Simply put, it's impossible to imagine it ending any other way. There's only one thing left to say: Thank You, Joe and Gabe!

And that's what makes this comic so masterful. There's no visible gap between the writer and the artists. Chiang's crisp linework, Jared K. Fletcher's emotive lettering, and Matthew Wilson's impeccable colors work with Azzarello's narrative as one seamless force of creativity, unrestricted by everything that seems to hold most other superhero comics back. The result is a comic that is, well, wonderful.

It certainly is clear that I loved this issue, and I think it comes to the perfect end at page 18. Only, it keeps going and those last two pages ultimately strike the wrong chord for me. Still, this is a Marvel comic book featuring a dog who loves pizza, and that alone makes it worth reading.

If there's a flaw with this over-sized issue, it's the steep $7.99 price tag. Some supplemental material is provided in addition to the story, but those variant cover galleries and pictures of the Locke and Key TV pilot set visit aren't quite enough to justify the extra cost. But if you're anything like me, you'll have run into your shop, paid for it, and then isolated yourself in a quiet place to read, with the price being a distant care compared to finding out what happens to the Locke family.

I will admit that I was not sold on the idea of "Swamp Thing vs Seeder battle for the title of the Green Avatar" that was presented last month. However, with this engrossing look into the history of the Green and the different personalities that comprise it, I can't wait to see what happens next.

Ugh! Bendis goes for the feels so hard on this issue I can hardly take it. The presence of Gwen Stacy was a smart choice, and her exchange with Miles is one of the most heart-wrenching moments of his story to date -- and there have been a lot! This issue made my heart swell up for the guy to the point where I needed to get up and walk around to shake off the feeling. This issue has all of that, plus a beautifully tragic origin for Cloak and Dagger, and a reveal of the villains behind the recent mischief. If you want to get your money's worth and cry a little, then you can't go wrong with picking up Ultimate Comics Spider-Man.

But let's not fret over that because the real star of this issue has no legs. He does, however, have a long list of obscene powers that have no rhyme or reason but still prove to be useful in various situations. He takes care of a Nazi bowling team the same way he once did Thor. And if having a Doop-centric issue wasn't enough, Aaron puts in a surprise cameo by probably the only character just as off-the-wall nuts as Doop. And that's just it: this whole comic is so off-the-wall nuts that it could not be dreamed up by another writer even after consuming hallucinogens and watching the Cat in the Hat movie. Whereas Geoff Johns has made a name for himself by rewriting oddball continuity, Aaron uses Doop to paint himself in it and run around the neighborhood so everyone can see.

Animal Man felt like it lost its way somewhat during Rotworld, but in one single issue it has brought itself back to its original high quality. While this issue has none of the title's signature horror elements, it still manages to stir up powerful emotions throughout. Lemire took a risk devoting an entire issue to Tights and it paid off beautifully. Given how nearly all other DC books always play it straight with little experimentation with format, this use of metafiction is wholeheartedly welcome.

Doug Mahnke provides the excellent story with what might go down as his best work on Green Lantern thus far. From Sira's icy reception at work to the street car race flashback, Mahnke does it all with superbly detailed pencils that play up the emotional elements of the story. By doing this, the sci-fi elements pop off the page with that much more oomph; namely, the surprisingly horrific scene that shows why the Third Army is something to fear. With both Johns and Mahnke working in perfect harmony, Green Lantern has reached a level of intrigue not seen since the Sinestro Corps War.

David Aja does his usual brilliant thing on the art. How great it must be for your status quo to be brilliance. And you've gotta love how colorist Matt Hollingsworth works purple into everything. Purple car, purple sunglasses, beanie with a purple H on it, purple robe with dark purple bullseyes on it. Red is no longer the color of love -- it's now Hawkguy Purple.

If he isn't already, Rodriguez ought to be named the master of double-page layouts. It's always a treat to open up to one of his cinematic two-pagers and soak up all of the details. So far, his best work has been the genius Head Key pages, but he might have outdone himself here with a certain surprise moment that, upon turning the page, made me exclaim several words that I'm not allowed to share with you on IGN.

It's worth noting that Locke and Key: Omega comes to a sooner-than-originally-planned close with this issue. The series will see its finale in two oversized issues titled Locke and Key: Alpha. This chapter, however, does not feel like the end of an arc in the slightest, but seeing how it's this freaking amazing, and the fact that the next two issues will be bigger than expected, it's tough to complain at all.

Staples has done such extraordinary work with such uncanny consistency that it's starting to get hard to find a new way to praise her artwork. Her character designs are imaginative and functional, her settings are detailed and layered, and her storytelling is smooth as butter. I don't know how she does it so well month in and month out, but it's a probably a closely guarded secret between her and Daredevil artist Chris Samnee.

There's so much to read into in the narrative and so much to discover in the art that you'll probably want to read this one twice. At least. Soule and Saiz are on fire, guys. Get it while it's hot.

But the story here more than makes up for it. Aaron layers in several different plot threads -- the hunt for Dog, an unopenable chest, the effect of the past on the future -- and weaves them together in such an emotionally impactful way that you'd be hard-pressed not to shed a tear. And yet in this dramatic story, he still manages to have you afraid for what happens next while also making you laugh unexpectedly. Aaron gives you everything you could ever want in a comic, but just watch out for the Terrifying Smile of Kitty Pryde.

With the First Born with his shirtless chest and spiked wrists finally caught up to Wonder Woman and the gang, we get not only a brawl to remember, but a few key reveals. They are all delivered with that signature Azzarello wit that makes his script read more like poetry than anything else. The way he sets up exchanges between characters is remarkable. There are so many plays on words, metaphors, and innuendo that it's a wonder the book flows as silky smooth as it does. Being a book called Wonder Woman, I imagine that's the point.

It's almost hard to describe how pleasing it is to my eyeballs to watch a Superman story by Kuder unfold. Not only does he use creative paneling to whisk you from one action-packed moment to the next, but his character designs are as precise and emotive as can be. There's a new villain called the Ghost Soldier, and not even counting his sweet ninja-commando costume, his powers make for one of the most nail-biting Superman fights I've ever seen.

Hickman ended his run on Fantastic Four a couple weeks ago, but he left just a few hanging threads that allow this epilogue to be the perfect send-off not just for FF, but for his entire run on the Fantastic Four franchise that he brought to the forefront of modern comics. With him helming Avengers and New Avengers come Marvel NOW!, his future looks bright beyond measure, but it will always be this mind-bending, universe-sprawling, family-centric run on Fantastic Four and FF that showed everyone the brilliance of Hickman's writing. In a word, Hickman is fantastic.

Rodriguez shines more here than ever before. The third page shows Rufus looking up in awe at the vaulted ceiling of Keyhouse, and so too was I completely enraptured by the image. I found myself turning the book this way and that to take in all of the details from different angles. The image taps into the deep mythology that has been built around Keyhouse, and for those who have been reading all along, it will evoke a reaction not unlike a religious experience. This is page three, people. Just wait until you see the rest of it.

Being both the artist and the writer gives Lemire supreme control over his story, which allows him to create visual parallels, add nuances to the characters' behavior, and pace it to perfection in a way only the best artist/writer duos are able to achieve. For a story about the possible end of the human race, it is given an extra layer of depressing sadness that this is only a 10-issue mini-series. We aren't even at the halfway point yet, but Trillium is looking to be one of the biggest hits of Lemire's already glowing career.

The return of David Lopez on pencils raises this book back up to how strong it was in its debut. By using true-to-life depictions of people and places, he grounds the story in a realism that might make you forget you're reading an X-Men story. It's that trick of the mind that allows him to deliver a visually powerful climax that rocks the foundation of the story. Wood and Lopez are on fire with this X-Men story and I don't want to put them out.

The aforementioned shot of Zod gone native is insanely good because not only does he look like a badass Lost Boy, but it speaks volumes about the man he will become. He's covered in monster hides and he's fashioned weapons out of wood and vines and fangs. He's a deadly force no matter where he is. Good on Pak for thinking it up and good on Lashley for executing it with such masterful skill.

I am enjoying the notion that there's not an outright villain. The ghost soldier is back, but when he shows concern for Lana's safety it lets us know that he's not some one dimensional killing machine. We also enter a den of monsters, but by the end we learn that they are more than they seem, too. Best of all, Lana is back with all the bravery of Superman but none of his powers to back it up. She's the beating heart of this book, so thank you Mr. Pak for writing one of the best iterations of the character comics has ever seen.

Lemire uses a stream of Twitter-like posts to show what Buddy's fans and the media have to say about him, and it's used absolutely perfectly. They contribute to the story by helping build up the mysterious animal kidnapper while also adding in bits of humor to balance out the dark mood. Animalfan180 has got to be my favorite because regardless of whether s/he is praising Animal Man or insulting his detractors, each tweet ends with "God bless."

And while this issue is heavy in a lot of ways, you still have to hand it to Lemire for coming up with the best super villain name I have heard in years: Biowulf.

In another writer's hands, a fan might be able to complain that they have heard this same story before because they've been reading Batwoman from the start, and they wouldn't be wrong. What co-writers Williams and Blackman do so well here becomes apparent when you reach the end. They not only reiterate Kate's story, but add an extra layer of soul to the telling as she dissects her history in a way that only comes with the clarity of hindsight, like reading an old journal and seeing how wrong you were about your life and the people in it.

Grace's artwork is spot-on for this type of story. His action is huge and in your face, and he gets the feel of those classic video games down perfectly. There's even a sequence where the characters enter the Really Tall Building with the Boss Character at the top level and the comic turns into a 2D side-scroller, complete with "FIGHT!" popping up in big red letters. Burn the Orphanage repeatedly punches you with fists made of nostalgia and awesomeness, which is precisely why you need you need to let it kick your ass.

Grace's art is fluid and lively and an absolute perfect fit for the story they are telling. Even though there's an image of female nudity, it's done more to satirize the busty females of these types of games than to titillate the reader. There's also a police officer fighter, a dude with an animal head, and a creature that's not even human, none of whom would be strangers on any fighting game roster. There's even a tournament bracket with all the different fighters on it like you'd see on a fighting game loading screen. I could go on listing all of the awesome stuff these guys crammed into this book, but you're better off reading it and enjoying the hell out of it yourself.

Given Daredevil's dark past, Foggy no doubt has had reason to doubt Daredevil's positive new outlook on life, especially given what he found in Matt's desk drawer. Waid does not say whether Foggy or Matt is right, and for the time being leaves it up to the reader to decide. But to prove that despite his harsh actions Foggy has Matt's best interests at heart, Waid gives us a glimpse at what makes the duo one of the most endearing in comics.

The Dark Knight III: The Master Race delivers a pitch-perfect first issue, channeling the vibe of The Dark Knight Returns by telling a slow-burn story with mythic characters set against a modern day backdrop. The art pays homage to Miller's iconic world while improving and inventing where needed -- an impressive show of artistry on all fronts. While Miller is co-writing with Azzarello, it's Azzarello's voice that shines through, lending the book the crime smarts of 100 Bullets, the reverence for Batman's legend in Joker, and the epic quality of his Wonder Woman run.

This issue could have been a flop without Nick Dragotta's impeccable facial expressions. Much of this story is unspoken, leaving Dragotta to convey Peter's anger, Johnny's indifference, and the heinous enthusiasm of Blackbane the horse-alien. The best sequence features no dialogue at all and is definitely the selling point of the book. To pick a favorite moment would be hard, but I knew Dragotta had produced something special when I saw a panel with Peter passed out on the pavement, Johnny hitting on a mounted police officer, and Blackbane hitting on the horse.

The art by penciller ChrisCross, inkers Scott Hanna and Marlo Alquiza, and colorist Wil Quintana is a perfect fit for this huge galactic showdown. Sure, every aspect isn't without minor flaw, but the overall product succeeds wildly despite any errors. The grand battle is executed like the best Hollywood blockbusters while still managing to get in close for the intimate juicy bits. Page after page of payoff makes this an absolute joy for dedicated Green Lantern fans, and the cliffhanger will have you drooling for what comes next. Congratulations to Tomasi and the entire Lantern team at DC -- you rocked the house with the Rise of the Third Army conclusion.

This comic is so dense that it feels like it's twice as long as it actually is, and that's a good thing because you won't want it to end. Fraction uses Kate -- that other Hawkeye -- to make Clint rethink his choices, and that introspection echoes throughout the rest of the book to make this issue and all the ones before it amount to more than the sum of their parts. Also, you'll get your fill of Lucky the Pizza Dog, find out why Clint has that bandage on his nose, and be tickled to hear that just about everyone, including Wolverine, watches a TV show called "Dog Cops." Not to be cliche, but Fraction and Aja's genius comic book storytelling lands a perfect bullseye.

Fialkov has blatantly detailed this event throughout his run, but he left just enough stones unturned that seeing it play out first hand becomes a rewarding experience. While many writers spell everything out, Fialkov and Sorrentino put emphasis on the art so that it enhances the story instead of providing a running commentary. The details of how Andrew becomes a vampire means something to the overall story, and that "ah-ha!" moment reverberates back to the main narrative, making this zero issue not only entertaining but essential.

In perfect synchronization with Sorrentino's art is Fialkov's script, juicy as a freshly dead corpse. The way he makes the story so personal tugs on the reader's heart strings, yet when he reveals that the stakes are far bigger than just the fate of two vampire lovers, it is enough to make the blood rush to your head. It is strange that this book can accurately be defined as a vampire horror romance, especially when Twilight has lowered the quality of the genre by skimping on the blood and instead floundering in emotional woes. Fialkov cuts the sparkles and shows what is really behind such tortured relationships: manipulation, rage, yearning, backstabbing, and lust.

Right on par with the stellar story is Andrea Sorrentino's gorgeously gory art. Even though there's a large-scale battle going on, his work never looks busy or lacks focus. He frames the characters with the carnage. Given the level of detail he employs on each page, the near perfect execution of his paneling, and the heavy yet measured weight of his inks, it's hard to believe he has never missed an issue. The idea that he is able to consistently churn out this high quality artwork boggles my mind. Or at least it would if there was anything left of my brain after Fialkov's epic plot twist made it explode.

Simply put, Lemire and Janin work together to create true comic book magic.

There comes a feeling that there might be too much going on to keep track of, but given the overall strength of this debut issue, McCann has more than earned my trust enough to warrant buying issue #2. In fact, this book immediately joins Brian K. Vaughn's Saga as one of the most engrossing, must-read titles out there.

While Hickman's main Avengers title isn't bad by any means, this book takes the cake. New Avengers is a dark drama that sets its small cast full of big egos against a reality-encompassing threat. It makes you feel desperate and sad due to the immense conflict these men face, but it also hits on any nerd's innate love of sci-fi mysticism. The kind that would make Jack Kirby proud, may he rest in peace, 19 years ago today.

Jim Zub channels Jack perfectly. He's polite and determined yet quick to reach for his sword when injustice rears its ugly head. I felt the first issue played things a tad too safe, but that was just a warm up. This chapter we actually see Jack take a fall -- a rarity for the master swordsman -- and the resulting development became my favorite part of the issue. Zub, Suriano, Burcham, and Lee have truly created a comic book that any Samurai Jack fan -- and Genndy Tartakovsky himself -- would be proud of. If you were a fan of the animated series, or maybe the thought of a time-traveling samurai sounds cool to you, then you owe it to yourself to check this comic book out.

Sex pulls off a great feat by embracing familiar elements from past famous works while feeling wholly unique. It could have been titled anything, but I suppose it's Casey's way of reminding the reader that even though he's built this incredible new world, it's really all about one thing at the end of the day.

I don't know what else to say except that this is a comic that any comic fan, horror fan, or botanical enthusiast would absolutely love.

Esad Ribic goes overboard with the awesome, delivering balls to the wall visuals from Aaron's increasingly eccentric and hilarious script. I'm talking Avenger Thor getting struck in the head with a space-shark, and Young Thor looking downright aghast when Mjolnir is taken from his reach. My only quibble is that, in a universe full of gods for every occasion, why do they all have roughly the same humanoid size and shape? Where are the animal gods and the dragon gods and all that? Again, that's just a minor complaint for the series in general, but it's really hard to criticize this issue because, after all, space-sharks!

With the added elements of war-induced PTSD and the coming of the apocalyptic Caul, Lemire looks poised to deliver a love story unlike we've ever heard before.

And then Batroc shows up. I couldn't say exactly why, but Batroc the Leaper has developed a large and weird following, and now I see what all of the fuss is about. He's an old 60s villain made fresh who wears a ridiculous costume and has even more ridiculous powers, but his personality and French accent make him likable and fun to read. This issue also contains a subplot involving Captain America, but it gets buried underneath the more compelling content about Miles, and, of course, Batroc. You'd have to be an absolute eediot not to like him.

Taking a step back further, you can see that Miles' decision to be (or not to be) Spider-Man comes from a wide range of experiences instead of just one single event. Peter's origin story is practically one-dimensional compared to all we've seen from Miles, who had everything from his family to his villains to S.H.I.E.L.D. to his best friend to an actual Peter Parker from another dimension influence him every step of the way. Miles Morales is not Peter Parker, and while Bendis is clearly making parallels to their lives as people and as heroes, their characterization is miles apart. And it's all for the better.

It is astonishing how Remender's love for the Age of Apocalypse can be so plainly seen on the page. More often than not, crossovers with old fan-loved stories are a sleazy way for publishers to earn a quick buck, but not here. The AoA characters make a reappearance that has incredible impact on the story and, more importantly, a personal impact to the members of X-Force. Not to mention it allows for an incredible clash of Apocalypse-Archangel vs. Phoenix, the stuff of fanboy wet dreams. All the while, loyalties are tested, hearts are wrenched, and the plot escalates to insane levels. Remender and the art team are in top form and are on track to complete an epic tale that earns its namesake.

Still making Remender look good is Phil Noto. While former regular series artist Esad Ribic's art had a painstakingly detailed look to it that you could just tell was incredibly hard to do, Noto makes it look easy. His images are clean and precise with powerful moments of action and subtle nuances in his character work that sell every word spoken. It may look easy, but storytelling this good doesn't happen over night. Fortunately, Noto will be there to end the series with Remender, and if this issue tells anything, it's going to be good.

So many plots threads come together in such poignant ways that after my initial read through, I read it two more times just to see how Azzarello did it all so masterfully. There are themes of birth, freedom, loyalty, and spirituality that all wind together with the art to create visual poetry. DC is putting out a fair number of strong books, but with this conclusion to Birth Right, Wonder Woman crushes them beneath her boot.

Normally I feel jarred and a tad bit sad when regular series artist Cliff Chiang misses an issue, but Tony Akins and Goran Sudzuka do such a great job here that it's impossible to complain. The design of regular-sized Poseidon works better than his gargantuan form, and what goes on inside is a most welcome scene of utter badassery as the First Born dismembers a crab guard and uses his claw as a weapon. That might be enough for a normal comic, but Azzarello delivers an even better moment between Wonder Woman and Orion that just might go down as my favorite in the series.

As far as negatives about the story go, it's hard to find any. It looks great, it reads great, and it'll leave you pumped for the next issue. Maybe that first page is too ambiguous or the last page is a bit out of left field, but those are more symptoms of this being the first installment than anything else.

The members must face their first big monster attack by a classic Fantastic Four villain, and seeing them come together sets the uneasy tone of their team. Speaking of the classic Fantastic Four, their book is still tied to this one, although not without breathing room. This issue stands mostly by itself until the final sequence that will have you waiting with bated breath to pick up the next issue of Fantastic Four. Although, with the quality of both series measured thus far, I imagine most people will come for FF and stay for Fantastic Four, which is the opposite of how things used to be.

Even when Williamson employs the tired old method of showing Jackson going around to recruit a team of supernatural experts to help him with the job, it works wonderfully because of Jackson's no-BS attitude. Do yourself a favor and pick this comic up. It will make you cringe, laugh, and cringe again.

Geoff Johns pulls off the impossible by finding an epic, thrilling, and satisfying ending to his Green Lantern run. Even though there are a few hiccups in the art, the overwhelming amount of quality and care that went into the rest of the book makes it a resounding success.

Bendis and McNiven knock this one out of the galaxy. If you love the nerd adrenaline rush you get from superheroes and Star Wars -- and who doesn't? -- then climb aboard this book because it looks like it's going to rocket into the awesomesphere.

Hill doesn't waste a panel as he uses Scot's video project to let the characters shine with some heart-wrenching confessions. This issue goes light on the dark magic stuff, but we've been with Tyler and Kinsey so long that hearing them shed light on key moments in this story's history proves to be just as good as any of the key stuff. Hill has stacked the elements of his story -- Dodge, the keys, Tyler, Kinsey, Bode, the cave -- like a game of Jenga. You can see that they're all about to crash down in a horrifying way, but no matter how harrowing it looks, you can 't stop reading.

So carefully crafted was the conflict between Namor and T'Challa that you'd be hard-pressed to choose a side. Hickman shows that war is an ugly thing not to be wished on anyone, and the gravity of the situation can be gleaned from the fact that Narmor loses his signature smirk for the first time in recent memory. Infinity looms large over these heroes, yet with so much strife between two of its members, it's a wonder how they'll survive each other, let alone Thanos. Now that's an event comic I want to read.

Brian Wood has synced the tension between his many different plot lines and here he kicks them all up a notch at the same time. Mon Mothma flexes her authority, Colonel Bircher shows why his mindset is so dangerous for the Rebels, and Han Solo gets his flirt on. Leia has the most emotionally profound moment, but with the proverbial garbage compactor walls closing in, there's hardly time to do more than shed a tear.

The art from Saiz might also be the work of magic because it's unbelievable he can churn out such detailed, engrossing art month after month. There are too many amazing pages to point out them all, but my favorite pair has to be where a wounded Animal Man taps into the Red. The blood-paneling works on several different levels as it represents his wounded state and his connection to the Red, and from that the tables are turned on the next page, delivering one perfectly executed beat after another. Suffice to say, this comic is well worth your green.

Kitty Pryde carries this book in a way that would make Joss Whedon proud. He's the last guy to do her this much justice, even though that was back in the 616 universe, yet her indomitable spirit has been carried across universes and publishing imprints alike. Mach Two's followers are there to hamper Kitty at every turn whether she's trying to secure their reservation or just find a way to feed everyone. President Captain America had an interesting effect on the X-Men, so now that Tony Stark has shown up, I'm even more stoked to see what changes he brings to the table.

Artist Daniel Acuna's visuals are all sorts of glorious. The scene where Thor must destroy the falling debris looks straight out of a summer blockbuster movie. I can't count how many times I've seen Thor throw his hammer, but this is the first time I've held my breath in anticipation of its impact. And I've got to hand it to Remender and Acuna for having this take place over beautifully depicted Rio. It seems that 99.9% of all disasters occur in New York City, so I'm glad the creators are making this an international title in both its cast and its geography.

Like I said, I didn't know what I was going to get with a Cheetah-centric story. Geoff Johns featured her in Justice League, and while he did soup up her powers, I never felt engaged by her. By showing the strange sense of honor in her ways and revealing the unsettling cult-like environment she grew up in, Ostrander creates a detestable yet somewhat sympathetic adversary. This is definitely one of the best Villains Month issues, and with it, I'm now a fan of Cheetah.

On the narrative side of things, Kuder does a great job developing the character of Parasite -- better than a lot of other Villains Month issues that have followed the same formula. We meet Parasite and are drawn in by his characterization as that friend who mooches off of everyone and is generally a jerk. He's not endearing or likable, but the way Kuder spins it, you can't help but want to know more about the guy. And while Parasite's craving for Superman is nothing new, it's presented here in a way that makes it seem like a revelation. So not only does Kuder draw the hell out of this issue, but he makes the old seem fresh again. Well done, sir.

This issue features John Constantine, a character who appears in every one of DC's Dark books whether you like it or not. I wasn't keen on having him guest star in Swamp Thing, but Soule has such a knack for writing true to character that I pretty much loved him by the end. This definitely isn't as humorous as Soule's previous issues of Swamp Thing, but when the horror is this good, it's best to just enjoy the thrill ride.

One other point of contention is the lettering for the handwritten letters. Every now and then the cursive is too "real" to the point where you can't make out what some words are. But this and the other remark are just tiny hiccups in an otherwise expertly rendered piece of comic book storytelling. At only $1.99 per issue in its digital-only format, that's quite the bargain.

For as many elements as The Private Eye borrows from your traditional noir, it is surprisingly vibrant. There's the P.I. and a murdered client and her dangerously beautiful sister, but never before have we seen it all in such shocking pinks, greens, purples, and yellows. Colorist Munsta Vicente has given Martin's gorgeous visuals just what they need to stand out from the pack. Not that Martin's expressive character work, inventive settings, and endless array of masks didn't already stand out, mind you, it's just that the colors are what make this comic get seared into your brain the same way a hot iron brands a cow.

Mahmud Asrar kicks it into high gear this issue to bring the visuals in this Natural Resources arc to fever pitch. The battle between Psylocke and Jean is beyond amazing, plus you'll be surprised when a certain someone busts out some hardcore martial arts moves. It's all very visceral and impactful in a way that you don't always get in superhero comics. Asrar really shows the wear and tear on the characters; his punches and kicks and gunshots will make you wince. By the end of the issue, you'll feel emotionally and physically exhausted, which I imagine is just as Wood and Asrar intended.

The plot is more akin to something you might see in The Office than a superhero book, but when the costumes eventually do come on in the end, we are introduced to one of the most mysterious and downright chilling villains in recent memory, brought to life with utmost creepiness by Brown. Seriously, I've still got goosebumps.

The use of Lana Lang was a surprise here, but a wholly welcome one. She's gutsy and funny and brave, and Pak shows how being around her helped shape Superman into the hero he is today. There's also a neat little bonus story that puts Superman's super-hearing into a new perspective that you may not have ever considered before. If these two stories are the primer for Pak's run, then consider me one happy Superman fan.

Also, the way he executed the big reveal at the end made me jump up out of my seat and spin around and then dizzily try and find my phone so I could talk to my buddy about what just happened. If you're a fan of the X-Men, then you don't want to miss this one.

Albuquerque sinks his teeth into the visual stylings of Animal Man and injects it with his own twisted brand of awesome. You've got to hand it to him for the simple yet genius visual where Brother Blood's power blasts take the form of glowing red veins. Yet while he does a splendid job on the action, the more heartfelt moments are where he truly shines. I just can't get over little Maxine being hugged by Shepherd as the pirate crew -- including Captain Longneck, a gorilla with a nose ring, and the cutest dog ever in a long jacket -- look on with sorrow in their animal eyes.

The story ain't bad, either. There's a beautiful moment between Buddy and Ellen that's given the perfect amount of heart and realism. The scheme of the villains takes an unexpected twist. Not to mention we get to see the result of that acting nomination Buddy received. This two-part arc accomplished a lot for Animal Man by resolving some long gestating plots, yet at the conclusion we see it was set up for another arc that could be even crazier than what has come before it. I admit the cliffhanger threw me for a loop, yet Lemire has done such an impressive job on nearly his entire run that I couldn't help but smile and eagerly await whatever he's got coming up next.

There are more than a couple standout moments in this issue. Artist Paul Pelletier delivers one breathtaking moment after another with his cinematic style that sucks you in like a rip current. The kiss, the monster, and that final page are all executed with finesse to deliver very different emotions that hit equally hard in their own way. Rod Reis absolutely kills it with his color work, creating a gloomy blue world that feels as expansive and mysterious as the depths of space.

As for the Third Army, they have been relegated to attacking random people outside the main narrative for a bit too long for them to remain an interesting threat. However, some time with the First Lantern has me more worried about how dangerous he could be instead of them. Johns' story layers in several bits of interesting info, and even checks back in with the missing former leads, making this title the best its been since the start of the New 52.

If you thought last issue was sex-filled, then wait until you get a load of the "community lounge." Yet for all of the T&A, Cooke remains sterile and unaffected. He's a man who wants something deep down, but even he's confused to what it is. His interaction with Annabelle keys us into his emotional state, as does the brief flashback we witness soon after, but there's still a long way to go until this nut is cracked.

While the big baddie does make an explosive entrance, J. Jonah Jameson steals the spotlight with a sentimental yet harrowing scene that shows the impact Spider-Man and Peter Parker had on his life and why protecting the identity of the new Spider-Man is so important to him. Pichelli's work on that scene is strong except for a minor inconsistency with Jameson's face, but the emotional power she puts into one panel in particular overshadows any flaws. It's a gut-punch for sure, and it'll stay with you after you shut the book, which is just one more reason you ought to be reading Ultimate Comics Spider-Man.

This issue is just one giant slam-dunk for Pichelli. She even breaks the glass of the backboard. Her Venom is off the hook with thick limbs sprouting dinosaur claws and long tentacles that whip furiously about. The way it moves is like a charging gorilla and a hungry alligator combined, which lets her show off the agile yet not-that-graceful movements of Miles. Miles knows how to jump but hasn't figured out how to stick all of the landings yet. And for all of this blood-pumping action, Bendis knows how to bring it all around to make it a personal affair in the end.

Lemire has each of his separated heroes face off with their individual threats from last issue, only to be greeted by an even more overwhelming opposition. There are times when the dialogue gets a bit heavy, but it always gets back on track with another unexpected revelation that, like all the good twists, was right there all along if you cared to look for it. If Justice League Dark isn't on your monthly pull list then add it now, or I'll get you, my pretty, and your little dog too!

Speaking of Dr. Doom, it's absolutely wonderful to see him under Hickman's pen again. Much like how Rick Remender bringing characters from Uncanny X-Force into Uncanny Avengers has proven to be a boon, Hickman's New Avengers gets a great deal more exciting with such an unpredictable player now on the board. Having to deal with Doom while two of the Illuminati's members try to sort out a war is just adding more fuel to the fire, and it's precisely why this issue is so much fun to read.

Artist Jesus Saiz delivers an amazing looking issue that uses intuitive storytelling to show off Swamp Thing's oftentimes mind-bending powers. Watching him travel through the Green is never a dull treat, and this time he does this frankly impressive visual that involves the cell structure of a leaf. The only curious element to the art is the design of Capucine, who bears a close resemblance to Abby. It's too early to tell if this was on purpose or not, so until we find out, I've got my eye on her.

Pencilers Carlo Barberi and Agustin Padilla work together to strike a wonderful balance for this issue. The opening battle has visuals unlike any mutant battle I've ever seen before, helped generously by Marte Gracia's colors that paint the setting in bleak hues that let the vibrant mutant powers pop on the page. The artists do an excellent job, especially on my favorite page that features Kitty's version of a Fastball Special.

Or it would have if the backup didn't make reference to how it takes place after the events on Mars. But that snag aside, the backup by Sholly Fisch and artist Chris Sprouse creates yet another poignant tale about Superman, this time letting us in on his age and showing a touching scene that shows how this alien has great humanity. Combining this story with the main feature makes for money well spent.

But like I said, the story succeeds despite that, and a big part of the success can be owed to Immonen's spectacular pencils. The aforementioned mind-scenes channel the classic X-Men looks perfectly, while the large group scenes that take up the latter half are handled well by not losing focus of what's going on. If I had to pick at one thing, it would again be Beast. More than any other X-character, Beast has seen dramatic redesigns based purely on who is drawing him. We've seen lion-Beast and ape-Beast and everything in between, so Beast's new form only looks new in regards to how Immonen drew him a few pages earlier.

Watching the present X-Men interact with these new future X-Men not only gives us delightful teases of information, but we also get some of the best character interactions yet. Young Iceman talking to Wizard Iceman is a hoot, while listening to Phoenix Quentin Quire reminds you that some people never mature even with age. The only interaction that seemed off-kilter was Mustachioed Colossus embracing Illyana. I could imagine something happened along the way to make him change his mind, but for Illyana to be so pleased at seeing her brother feels wrong given that they last time they were in the same company, Colossus wanted her dead.

Foreman's stark visuals are what give this title such a unique feel. The center splash page features a stunning montage of the origin of the Rot with no shortage of animals, monsters, and torn flesh. More so than any other DC titles, the villains Foreman draws are truly horrific and disturbing. Seeing them in their true form is bad enough, but watching one of the Rot attempt to masquerade as a human has stomach-turning results; he would give Hector Hammond a run for his money for most disgustingly enlarged head.

With nowhere to turn to, Aquaman seeks out consolation in the sea life he has sworn to protect. You've got to hand it to artist Paul Pelletier for giving a whale an expression so sorrowful that you just want to pet it. Where Pelletier really outdoes himself is the awesomely powerful double splash page where Aquaman reinforces his true purpose for living. The page is masterful in its composition and holds back just enough to create the somber yet striking mood the moment called for. It's just begging to be made into an Aquaman poster.

The one thing that bothered me was how Aquaman sits in a magic ice throne that reveals the information to him, but it's unknown whom or what is speaking. The icy caption boxes would infer the magic of the chair is narrating, but it sounded odd to hear it use such a modern term as "Ninety percent of the population"" But believe me when I say that this is the tiniest of nitpicks and that this issue of Aquaman is well worth the wait.

Nick Spencer joins Jonathan Hickman on writing duties for this issue. Truth be told, I couldn't even tell that he was on this issue. That's a good thing, right? It's always hard to tell which parts came from which writer in these types of situations, but the good news is the the dialogue hits hard, the pacing is great, and the message of this two-part story rings loud and clear by the end. This series has admittedly been hit or miss for me because it's being told in such a disjointed manner, but this is definitely a chapter I can get behind.

A great deal of this issue is action, but it's the good kind where your stomach does a backflip every time the tide of the battle changes. The nonstop action reminds me of an episode of Samurai Jack, where you could watch him chop up robots for days because it was all so well done. We also spy in on Arcade after a noticeable absence, and what we see there will provide the other talking point for this issue. It's been hard to judge this series, but this one is a clear winner.

If you were similarly stranded on a desert island, the number one thing you'd need to survive, after a satellite phone and some water, would be Walker's art on this series.

Ardian Syaf's artwork makes Batgirl cool, sexy, and dangerous. He gives scenes with Barbara the perfect amount of heart and strength, especially when the lights from the Christmas tree play in her big blue eyes. But when she dons the costume to stop a group of muggers, she transforms into a dark, faceless creature of the night. It is some incredible stuff that allows the reader to sense the danger on the street, feel the impact of a hard blow, and cheer wildly when it is all over.

Simone's addition to The Night of the Owls stands on its own without any other Bat-titles, and given its high quality, readers would be sorely missing out for not picking it up.

The best thing about following a long-running series is experiencing the payoff that has been building up for months or, in this case, years. Parker does one better and not only gives satisfying closure to a couple major plot threads, but also fixes a plot hole from a completely different series by having an unexpected guest drop in. The character's identity is obvious to the reader, but watching the T-Bolts figure it out leads to a brilliantly executed climax guaranteed to make your nerd-continuity-endorphins fire off in excess. Mr. Parker, you are freaking awesome.

Artist Neil Edwards is the icing on the cake. He nails the different armor designs of Iron Man's gang and puts them to good use in a brisk yet explosive action scene. His art remind will remind you of the stellar guys who have been tearing it up on Mark Waid's Daredevil. Clean, crisp, and fully emotive. He really gets challenged to go above and beyond by inventing entirely new visuals for this alternate dimension, and he rises to the occasion wonderfully. With so many titles getting a shakeup with Marvel NOW!, it's good to know that Parker and Edwards will turn in material that matches the high quality of their previous work.

Bringing this blockbuster issue to life is Barry Kitson. Theaters are pushing 3D movies hard right now, but audiences would be better off taking a gander at Kitson's imagery that leaps off the page with astonishing impact. There are more than a few breathtaking images in this single issue -- Kree soldiers jetpacking through space, a certain cosmic being making a stunning entrance, and more -- and they are all handled with a perfect sense of scale and pacing so that they build on each other until the jaw-dropping end.

Hickman does tell layered stories and he does plant plot points early on, which a lot of people often complain about. But for those that have stuck with it, Hickman offers a great payoff. What is even better about his storytelling is how he builds to climaxes, yet that is never the end of the story. The war of four cities seemed like an incredible crescendo for the series, but it ended in Hickman's own unique way and the fallout of that crisis has led to something completely different, but with even higher stakes. He is steering this story with masterful precision and it is an issue like this that makes fans feel glad to be along for the ride.

Steve Epting and Nick Dragotta do a terrific job showcasing the different members of the large and flavorful cast by using varied layouts and paneling. Everyone gets some spotlight, even those adorable Moloid children. They also offer up some impressive visuals, including the self-repairing Baxter Building, the aforementioned bit in space that creates tremendous scale and depth, and the spine-tingling end scene. But more than any of those, it is the glaring looks on little Valeria's face that enhance Hickman's writing and make the issue work.

I am not one to seek out horror comics because, well, they freak me out, but I can't resist a story that's executed with great skill. Ghosted is a horror/caper story that goes beyond its concept to entertain, surprise, and humor you. I never know where it's going next and that's what I love about it so much. It's Halloween time, so do yourself a favor and pick this one up for a good scare and a great time.

Johns created a mystery for the Indigos over the years and now he executes the big reveal with a mastery he has not shown since before Brightest Day. When the Indigos first showed up, they were a great help to the heroes of Earth and seemed to be on the "good" side of the emotional spectrum, despite a few questionable actions (the most ominous being kidnapping Black Hand). Once readers reach the final page of issue #8, all of that might be just one big misconception. Or maybe not. Astoundingly, Johns has not even gotten to the big reveal yet, but provides just enough information and setup that makes the wait for Green Lantern #9 all the more unbearable.

The one hiccup in this issue comes when we get a not-so-subtle look at what Relic is up to in New Guardians. It's a tad jarring the way it's brought about, but also succeeds in its mission to create some interest in the new villain. That leaves you to just sit back and enjoy this Green Lantern title as it continues to get better and better.

Writer Robert Venditti orchestrates this final issue like a summer blockbuster. There's a huge space battle against Relic, some great quips between characters, and at one point Jruk goes crazy with his axe. And that's the best part of this issue: despite all of the craziness, Venditti manages to creates moments for both the main and supporting characters that remind you why you love them and why you are rooting for them to win over Relic. Yes, Relic's lines are a bit corny, and yes, his final moments are too explanatory for their own good, but I still enjoyed this finale to Lights Out thanks to the huge plot twists and excellent work on the hero characters.

To top it off, Andrea Sorrentino's art is off the hook. His shadowy drawings embellish the macabre nature of the subject material, and the transformation scenes look equal parts mystical and horrifying. Of all pairings for the New DCU, these two seem the best fit. Fialkov and Sorrentino have taken the unlikeliest of concepts and turned it into a surprise hit sure to have readers ready to sink their teeth into the next issue.

Fialkov delves out the narrative without a hitch. He is still crossing over with Justice League Dark, but he uses those characters to support and flesh out his immensely strong I, Vampire cast. Even better, despite all of the world-threatening vampire army business, he manages to bring it back to the love story. It is an atypical love story based off of power, lust, and violence, but hey, this is from the guy who wrote Echoes.

Andrea Sorrentino gets a chance to stretch his artistic legs and deliver a new kind of imagery. Showing a horde of vampires in broad daylight might seem non-threatening, but he uses what little shadow exists in that environment to create some downright creepy visuals. Over at the Van Helsing lair, he outdoes himself by creating a gigantic and imposing door adorned with their logo, but the real treat is what he shows off inside. Yikes.

Andrew has managed to keep his cool despite bearing the weight of the world's vampires, but here he starts to crack. Watching how he reacts to the Van Helsing's surprise attack reveals new facets to his character that fill this issue with impactful choices and consequences. Hats off to Fialkov for taking the tired old conflict of vampires versus zombies and refreshing it with lively dialog and insidious twists. He dips into his own original mythology of the Van Helsing clan to make a threat big enough to challenge the might of the magically supercharged Andrew. As much as we love seeing our heroes get new powers, it's strange how much we also love watching them fall.

Kaptara is an exciting and smart comic, one that hits all the right notes and utilizes a diverse cast of characters you can't help but latch on to.

Rodriguez again provides an astoundingly high level of artwork to bring this masterful story to life. At this point in the story, many images from as far back as the first volume are seen again in a new light, so much credit is due to Rodriguez for his incredible ability to hide Easter eggs in plain sight that reward any who would go back and start from the beginning -- and with a series this amazing, it would be crazy not to.

Yes, the story is still taking place in the past in order to reveal how and why all this came about. Yet instead of falling into the trope of simply showing already-known events first-hand, Hill makes sure to add in a few surprise character moments and unexpected uses of magic. With one more installment in this fantastic Clockworks arc, Hill has readers waiting with bated breath to see the full origin of his depraved and murderous villain.

Rodriguez dates his style as well by adding in some extra heavy shadows, but the action and framing are all his own. After building the tension to fever pitch, he executes each payoff with the horrific climax you'd expect, but also manages to surprise by using new imagery for old tricks. I'm looking at you, Ghost Key. The backup material of this issue contains the blueprints to Keyhouse used by Rodriguez throughout the series, annotated in conspicuous red ink by Hill. The intricate detail showcases the immense forethought that went into making this comic, and with fun entries like this to satiate us before the closing Omega arc, it shows all that planning was well worth it.

Where Wood is going with this story, I can scarcely say. The final page of this issue was just as exhilarting and surprising as the first issue's, and for a writer who normally ends on a somber note or character beat, that is saying something. His control over the book's tone is enhanced by Mara's supporting cast, which continues to be varied and diverse. With stories like Lance Armstrong's in the news right now, a story like Mara's is more pertinent and relevant than ever.

The artwork is as top notch as ever. The past scenes by Dan McDaid are the highlight not only for their content, but for their rough and stylized delivery. McDaid's pencil work might not be as smooth and polished as main series artist Rodin Esquejo's, but it doesn't need to be to be just as effective. My favorite pages from Esquejo have to be the opening moth pages that take you to a fantastical place full of white light that are as rich with metaphor as they are wonder.

The new Ms. Marvel series dives right into the controversial material about the Muslim faith, but instead of being weighed down by serious discussion, young Kamala Kahn is put front and center -- and she is wonderful. The art works perfectly to depict her everyday life while surprising us with her quirky imagination. This issue is full of frustration and hurt feelings, but also the right dose of humor just when it's needed. An amazing debut that can be enjoyed by anyone, even people who aren't Muslims, females, or superheroes themselves.

Wilson, Lopez, and the rest of the art team turn in an astounding second installment of this wondrous mini-series that has shown just as much promise as other rebooted Crossgen titles such as Sigil and Ruse. All signs point to this title delivering an equally well-scripted character piece brought to life by incredible art.

Consistently good art is a much sought-after quality, and Simone Guglielmini again delivers a lightly gritty style that showcases Markham's story in detailed settings populated with realistic characters. Markham would fit perfectly in any crime movie as he moves about with stern determination to find redemption. There's a somber scene in a church where he asks a priest for permission to kill a killer, and Guglielmini gives it perfect emotional weight, but also works in a hint of humor on the priest's reaction. It's a nice touch that reflects the drama of the series, but also the inherent humor in the idea of a hitman trying to be a hero.

Epting's images are draped in heavy shadows strong enough to send the happiest of clowns into a deep depression. This is a moody book that wouldn't be as strong without his masterful control over its brooding atmosphere. Again, I point to the Doctor Strange scenes. Just look at his face as he considers his glowing palm. And then look at how it changes in the next panel. That is an intense expression reserved for only him and Gandalf.

It almost seems strange that Avengers and New Avengers are telling two different sides of the same story. Or are they? It's hard to tell. The Avengers team appears to be on a wild goose chase for answers, while the ego-driven brain trust of New Avengers dives headfirst universe-sized answers and then fight to make sense of them. I couldn't begin to tell you where this is all going, but Reed, Black Panther, and the rest of them have me on their side thanks to Hickman's razor sharp scripting.

My favorite part of this issue was getting to see Thanos deal with the failure of Black Dwarf. It's about time we got to see the big bad do something aside from delve out orders and smile that wicked smile of his. Not that hearing him talk is bad or anything. In fact, Hickman's dialogue for Thanos is nothing if not dripping with epic evil sauce. While nothing can touch the original incarnation of the character, Hickman writes the best version of Thanos in the modern age of comics.

Soule really has taken this book and made it his own. It's as different from the three main Green Lantern titles as can be, but like with the Larfleeze series, it's never a bad thing. Red Lanterns has always been hard to get through and made me doubt whether it could hold its own as a series, especially when there are several other Corps out there who deserve the spotlight, but if Soule can keep this up, then he will have validated the Reds in my eyes.

The art by Alessandro Vitti is out of this world. All of the Lantern books have great artists, but Vitti's visceral style is just perfect for Red Lanterns. When Hal Jordan gets punched in the face, I cringed. I've seen a lot of superhero punches in my day -- A LOT! -- but that one stayed with me after I put down the comic book. All of his character designs are top-notch and his panel-to-panel storytelling is clear and intuitive. Red Lanterns is firing on all cylinders and it makes for a great lead-in to the final chapter of Lights Out.

Giving this story its fantastical signature look is Skottie Young. His settings are as simple as they are breathtaking. He has mastered the idea of "less is more" and uses it to great effect throughout the book. Just as masterful are his beautifully rendered characters, who laugh and look sad and get angry in the most captivating way. Young's Dorothy could give any Pixar character a run for most endearing cartoon character ever.

Staples continues to put out some of the most expressive art in the business. I can't get over how much I love bearded Marko and offended Giselle, not to mention the drunk cyclops in a bathrobe. Where she really nails it is the eyes -- or eye, if you're the cyclops -- because she makes everyone feel alive despite them all being drawings on paper.

With Rick Remender taking over this title next month with issue #21.1, Ellis could not have gone out on a better note. His run was short but memorable for its concise tales that fleshed out different characters and emphasized the fact that this covert team had to make tough decisions that were best kept secret.

Artist Carlos D'Anda comes into his own here, truly showing off what he's capable of with the opening double-page spread of the second Death Star. His superb use of depth and scale is enough to make you feel insignificant in this universe of ours, while the intimate moments on the following pages will remind you why life is worth living. The art may have tiny quirks here and there, but when combined with the engrossing narrative, it succeeds where many comics have failed in immersing you in the glory days of Star Wars.

The cast has grown to include characters of varying alien races and genders, which gives this series the same sort of growing diversity that separated Empire Strikes Back from A New Hope. And whereas the original trilogy was stark black and white, good versus evil, this comic has players on both sides that you are rooting for or against. The result is a plot thick with emotion, intrigue, and lightsaber awesomeness.

Speaking of the lawyer known as Partridge, he's a wonderful surprise that not only entertains with his Saul Goodman-meets-JJJ fast-talk, but his presence gives me confidence that Spencer has a few more aces up his sleeve to keep this series alive and fresh as time goes on. Spencer has a formidable library to his name -- Existence 2.0 and Morning Glories, to name a few -- but this just might be the best comic he has ever written. I'd raise a toast to its future success if only the Sinister Six hadn't drank all the booze.

A pitch perfect Superman cameo combined with a look at Swamp Thing's subconscious makes for a scary yet fun read.

With all of these macabre happenings going down, Ciaramella does not forget to indulge in a little humor. Witnesses mistake Eric for Criss Angel, while the image of him flying through the sky in a tattered cape and torn up jeans looks as obscure as it does absurd. Make no mistake; this man is not a superhero. Eric's drive and devotion might be as clear and focused as Batman's, but his goals are more on par with the Joker.

Mike Huddleston turns in some gritty and detailed artwork. The opening pages of the child's tale have a morose quality that embraces dark shadows to highlight the eerie aspects of the story, namely the tall man and the vile wolf-head of his cane. In the modern day scenes, he has a wonderful cinematic quality to how he plans his reveals to earn the maximum amount of surprise. The devil is in the details, and his intricate work causes the pages reek of something sinister, making an incredible start to this dark new series.

Making all of this work like a well-oiled machine is Tradd Moore's incredible artwork. He has a sense of style that allows him to build a world full of unique characters and rich settings. All of the humor in Jordan's script would be lost without Moore's expert hands making sure the visual beats match the verbal ones. Funny aside, one page shows Luther's friend daydreaming about superhero fighting while Luther himself is haunted by a memory from his childhood. It is a quiet, emotional moment that shows what sets Luther apart from a normal person, and it is a wonderful reason for anyone to check out this comic.

The visuals have never been better on this title. Kev Walker does a great job of maintaining a realistic environment for these crazy characters to operate in. The way he transitions from the snowy battlefield, up to the castle, inside a blimp floating in an unknown location, and back again is incredibly smooth, utilizing a stylized yet intuitive set of paneling techniques. His Mr. Hyde is especially well-done and he earns a few laughs through physical comedy and funny facial expressions. What started as a crazy and confusing story arc has completely turned around into a crazy and charming romp through time that was breathtaking, sexy, and hilarious.

Parker does some intelligent writing here and develops a far more interesting story than just a simple fight. I'm a big fan of the legends of King Arthur, Merlin, and Lancelot, but Parker writes something new into the age-old story; something sinister and devious yet logical and undeniably Arthurian. It would be hard to call yourself a nerd and not love this book right now.

Kev Walker's pencils retain their astonishingly high quality. His paneling is lively and never repeats itself, making each turn of the page feel fresh and exciting. There are several standout moments in this issue, including the dragon, the blink-and-you-missed-it affair between Lancelot and Guinevere, and the courtyard battle, yet the same can be said about all of them: they are visually striking with incredible details, and each one is complemented by a touch of humor.

This might just be with my copy, but all of the pages that show the darkened warehouse are dirtied with the inks from the opposite page. Whether it was an error with the printer or just the nature of printing predominantly black pages, it ultimately becomes a shame that this good looking book encountered such a mucky mishap. Aside from that and the aforementioned non-crossover problem, this book continues to be everything you'd want in a comic about an inspired young boy striving to be worthy of the name Spider-Man.

As far as the Ultimate Comics line goes, this is by far the best title. It continues to defy the conventions of the 616 Marvel Universe by reinventing characters and altering the status quo in ways that literally change the world. The direction of Ultimate Comics X-Men is curious, while Spider-Man's is a steady stream of solid issues, but Ultimates has risen to a place where the best elements of sci-fi and super heroes have combined into an unforgettable tale.

With all the doom and gloom of the plot, Hickman still manages to create a few moments of humor. Thor's take on reality TV is enough to earn a big laugh, and the back-and-forth between Spider-Woman and Captain Britain is equally funny. It is the small moments between the super heroics where Hickman truly shines. That is where he adds flavorful character moments and injects personality into his story so that when the action starts up, the reader is truly invested in his lifelike creations.

Simply put, I'm loving every bit of this comic book right now. The lax limitations of the Ultimate universe have allowed Wood to create a scenario where the mutant plight has been multiplied ten-fold. These truly feel like the end times where if someone doesn't do something quick, then mutants will cease to exist. Kitty's determination to lead her race to victory drives the story forward with a page-turning tension that'll have you lapping up the story like a thirsty dog.

Kitty has not been written to be such a compelling character since Joss Whedon's run on Astonishing X-Men. She leads with a cool head and strong conviction, dealing with the dissent within the ranks in a surprisingly reasonable manner. The rest of the cast is dotted with unique personalities and questionable loyalties, making the whole situation as dicey as can be. As amazing as can be, too.

Artist Alvaro Martinez works well with Wood's thoughtful storytelling sensibilities. The opening where a mountain lion approaches Kitty Pryde in the forest plays just the right notes -- solace, surprise, danger, understanding, calm -- and the same can be said for the rest of the issue. The Storm versus Farbird battle takes place in a raging storm, but that doesn't stop Martinez from making it clear and exciting.

With so much greatness packed into each issue, it is hard to believe that this title has not only been shipping on time, but sometimes at an accelerated schedule. The final panel will undoubtedly spark a wildfire of debate to what will happen in the next issue, but as Deadpool says, "I'm sure there won't be anything bad waiting there."

Remender gives readers a lot to chew on in this book. Even if you ignore the obvious implications of the timeline being royally screwed up, there's still a lot to be said about destiny and fate, right and wrong, and life and death. Then there's Deadpool making some hilarious jokes at the future Punisher. Is it just me, or has Remender not only written a knockout series, but the best iteration of Deadpool ever?

The Dark Angel saga was a huge event in scope and cast, but Final Execution looks to be the more personal story arc. Everyone has an agenda and a grudge -- even the heroes -- and the story feels as though it could twist into an unexpected direction at any time. Given that Remender's run on this series will end come December, there's never a better time for him to tell this violent and transformative tale.

The last loose end for Flash to tie up is his number one villain, Jack O'Lantern. Green Goblin being Spider-Man's greatest arch nemesis doesn't make a whole lot of sense the more you think about it, but Flash and Jack are cut from the same cloth. They both had terrible fathers and became monsters with extraordinary abilities. Exactly what makes Flash become the hero and Jack the villain is something Remender oh-so-poetically reveals here. The climax comes with a disturbing surprise, and that falls right in step with how this series began.

The premise that Edmondson created has been expounded on in this next chapter of the story. What was once the simple case of a man who listens to a little voice in his head has been cracked wide open and turned into a government science conspiracy story unlike I've ever seen. If you're looking for a comic that thinks hard, hits harder, and will keep you guessing until the end, then it's time for you to ask, "Where is Jake Ellis?"

Azzarello's unique directorial style calls for an artist with gifted hands and Cliff Chiang has triumphantly risen to the occasion. The pages are filled with women who are beautiful yet strong, settings that are atmospheric and detailed, and supernatural elements that emerge wondrously out of reality. Chiang's ability to create a strong visual tone with creative and consistent characters has been a wonderful treat that has kept this series as one of DC's best.

At one point Wonder Woman gets knocked down into the mud, and, believe it or not, it doesn't turn into some awkward schoolboy fantasy. She looks rugged and battle-worn and every bit the Amazon warrior she's been made out to be. An interesting tidbit comes when Azzarello reveals Wonder Woman's age to be 23 years old. She looks a tad too old for that to be true, but given her ability to trade blows with a sun god, I won't be the one to mention that to her.

Paul Davidson goes all out providing a visual climax, making all of last issue's insane imagery pale in comparison. Dr. Nemesis's transformation makes for a dazzling end fight, while the digital world created for the scene of Danger giving birth could have been borrowed from Tron. Even with all of the explosions and dimensional battles, Davidson still brings great focus to the characters and expresses what is going on inside. A special moment where Dr. Rao has an epiphany is intricately done, showing that he can do subtle, he can do big, and he can do science.

The backup feature attempts to add a heartfelt look at Krypto's bond with Superman throughout his adventures. The story comes off sweet enough, and it acts as a nice companion to what we learned in the main feature. Best of all, Brad Walker has done great work on this title and shows off his excellent art yet again. It's also worth mentioning Krypto's new look in both stories: instead of resembling a white Parson Russell Terrier, he now appears to be a fierce white wolf. John Snow would be jealous.

If a hiccup can be found, it's in the art. Steve Pugh has been kicking ass on art for a while now, but the pages by guest artist Timothy Green II and inker Joseph Silver do not evoke the same unsettling horror that Pugh's do. Cliff's spastic transformation hardly comes off as scary because it lacks the heavy blacks and detailed features that make Pugh's work so stomach-churning. Luckily, that team only works on the fairly simple flashback pages, leaving Pugh to wreak havoc over the rest of the issue with his hellish Hawkman and disgusting Rot-beasts.

Artist Stefano Caselli is a beast on this issue. His style is more in line with Jerome Opena's -- the artist on the first, second, and third issues who got this series off to an epic start -- and the title is better for it. With such heavy burdens on the characters, it only seems right that the artwork evoke such momentous imagery. Everything from the eerie opening pages to the scenes of the heroes working together to save people are glorious to behold, making this a fitting prologue to what looks to be quite the big event.

The trio of Rick Jones, Silver Surfer, and the duty-bound Captain Marvel deliver some fun banter; Fialkov has an uncanny ability to slide in a joke when you least expect it, like Silver Surfer's comment on the beach. And helping land all the jokes as well as the huge cosmic-level action is the amazing Leonard Kirk. His storytelling is top notch in every way that matters. His characters are expressive, his action hits hard, and the flow of his paneling is seamless. If you dig the style of Sara Pichelli, David Marquez, and Stuart Immonen, then Kirk's art will be right up your alley.

Those events in the imaginary war-torn Middle Eastern country of Kahndaq subtly tie into yet another slam-dunk Shazam chapter. Justice League has had its ups and downs, but Shazam has consistently been an engrossing, magical, and often times humorous story drawn by the ever-impressive Gary Frank. Johns authentically writes Billy as a child who shies away from the burden of responsibility -- and with good reason, have you seen Black Adam? -- and also one whose rash rush to solve his problem can only be explained by youthful exuberance.

It's nice to see the inclusion of pretty much all of the Powerpuff Girls' most notable villains by the second issue. It really opens up the story so it can go in any direction Little wants. He's not playing it safe and that is certainly admirable. IDW Publishing also launched a Samurai Jack ongoing series, and I never thought I'd find myself thinking that Powerpuff Girls would be the one to push its limits and explore unpredictable new avenues.

Wood does a wonderful thing here as he grows the Star Wars universe from A New Hope to Empire Strikes Back right in front of our eyes. We're seeing more bounty hunters and hearing further talk about the nature of the Force, but in little juicy snippets that would titillate any Star Wars faithful. And that's just what this series is about: sending us on a grand adventure with new stakes, new characters, and new dangers, yet it all feels as familiar as your favorite pair of Star Wars pajama pants.

Another element that didn't quite work for me was the character revealed in the cliffhanger. Obviously, this person hasn't had any development time, so it's too soon to judge fully, but even at this point it seems all too familiar. I can't count how many characters of this type already exist, so unless Snyder has a profoundly new twist on the concept, it runs the risk of feeling redundant. But given how awesome the rest of this issue is, Snyder definitely gets the benefit of the doubt.

A highlight of Bendis' All-New X-Men and this #1 issue is the new mutants. It's funny how the man who took new mutants away in House of M is the first one who gets to jump in and create new ones. I will give it to Bendis for putting fresh spins on old abilities as well as creating wholly unique powers where their purpose is not always entirely clear at first glance. New character Fabio Medina is shown creating balls that appear out of nowhere with a "POINK.". I hesitate to think of what the ball-wielding mutant will be named.

While the action is absolutely amazing, a couple scenes get dragged out in order to make room for all of it. Kade spends the entire issue trying to convince his cohorts that they haven't yet lost the fight, but it goes on a few pages too long to be believable. Also, Toad was being choked by Husk during last issue, and he's still being choked through the end of this one. That means when you pick up the next issue, he'll have been choked for three chapters.

Best of all, the revelations of the closing pages are enough to send any longtime Green Lantern fan into a tizzy. Last time I said Jensen was ballsy, and these pages show that I was not wrong.

Brian Wood's intense focus on Mara makes this title feel like a ticking time bomb. An uncomfortable scene with her on the phone has explosive results, which only makes you wonder what will happen the next time she's put under pressure. This issue ups the ante considerably as a mysterious force of antagonism is introduced along with a twist that shows Wood is wasting no time bringing his story to an extreme place where the heat goes from boiling to bonfire. All of this is juxtaposed with sad looks at how unavailable privacy has been throughout Mara's entire life. Jodie Foster would be furious.

I will say that while this comic hits all the right notes, it also doesn't take any risks. That's a good thing if you're a purist, but the predictability might hinder someone's enjoyment if they're looking for deeper storytelling or a new twist. But honestly, if you've been dying for more Samurai Jack for almost ten years, then this comic is just what the doctor ordered.

Wood tells his story in a series of vignettes that each help to sculpt the political and social nature of Utopia, a place which becomes more and more like its namesake with each passing issue. The X-Men have become rulers of their own nation, and it feels more authentic than it ever did in the main Marvel Universe and their island version of Utopia. The lax limitations of the Ultimate Universe free its stories from continuity, the bindings of too many crossovers, and the status quo changes of other writers -- and Ultimate Comics X-Men is all the better for it.

Since when does impaling a zombie produce a "THOOM" sound? Ignoring that, Jeff Lemire continues to develop his oddball cast of characters, borrowing more than one from his amazing Justice League Dark series. Black Orchid and her mysterious connection to both the Red and Green proves to be the most interesting of the bunch. Now I'm dying to know more about the Taproot Project, whatever that is. Lemire has built a fascinating and disturbing world with Swamp Thing writer Scott Snyder, and as the crossover event builds towards a larger story, each chapter never fails to be inventive, wild, and extremely gross.

Artist Bernard Chang is no slouch, either. He's really hit his stride on this book. Characters are full of life and personality. Settings are detailed and immersive. The paneling flows well to tell the story at a pleasing pace. Plus, I just love the way he draws the many different aliens that populate this book. Best of all, in a comic full of laser blasts and gladiatorial matches, the best part is the two-page spread of the newly constructed headquarters on Oa. Well done, guys, that is some killer stuff right there.

David Marquez is in top form, which is nothing new for him. He has a wonderfully clean style that lets him produce well-crafted characters and populate his detailed settings with them. You can really tell he put a lot of effort into aging Miles so that he looks every bit the new Spider-Man he has become. Colorist Justin Ponsor tops the pencils off with his usual high quality coloring that helps texture and emphasize both the characters and the action. I don't know what books these fine artists will be working on from now on, but it's safe to say that those books will look great.

Artist Mahmud Asrar makes another excellent showing with his simple-yet-effective style. I'm still not loving Kitty's solid white shirt with no details drawn in, but aside from that every other character design looks top notch. There's a nice simplicity to it all. No one wears a costume or a mask. They're just refugees with the bodies of supermodels.

Or would have taken it. It's hard to say how any of this will play out given that Diggle isn't writing the story anymore. Even though his plot will still be used for this arc, we all know it's how a story is told that makes it great. It could very well feel like a different book once the next issue hits. Given how well Diggle is able to write Superman by harnessing his most nostalgic elements while playing to Daniel's artistic strengths, it's hard to imagine a bigger shame for the Man of Steel.

Comic readers are right to be wary of tie-ins to big events because it's hard to tell whether it will be a loosely connected story cashing in on the event name, or actual required reading. With Infinity being seeded as far back as the first issue of Hickman's run, the Avengers tie-ins have a natural, intimate connection to the event. If you dug Infinity #1, then you won't want to miss this one.

Admittedly, there were some bumps in the road with an odd issue here and a mismatched art style there, but overall the series almost always had tight scripting and looked consistent, largely thanks to talented colorist Dean White. That this series will end and two will take its place stands as a testament to Remender's resounding success. It gripped us with its unforgettable opening arc, amazed us with its masterful Dark Angel Saga that earned one of IGN's rare perfect 10 scores, and filled us with emotions we never thought a mutant kill-squad could evoke.

The standout feature of this book is the voice that Fialkov gives Alpha. It's truly unique amongst all of the superhero books out there, which is saying something. He's pretty blunt about how he feels about his responsibilities and his priorities aren't exactly properly in line, but he's all the more endearing because of it. As the title intends, Fialkov escalates Alpha to the big time, and he's here to stay.

This issue shares a lot of the same scenes from Venom #7, also released this week, and it helps to build a solid connective tissue that binds together the main series and the tie-ins in a meaningful way. With all the attention given to different crises around New York, one might expect for the issue to read like a scattered jumble, but Slott has masterfully bound it together into a cohesive narrative. All of his careful planning allows for a climax that provides Jameson with a powerful character moment that has been brewing throughout Slott's entire run on this title, and the pay-off was worth the wait.

He would curse Spider-Man, too.

The family drama has reached fever pitch. Ellen hits her breaking point watching Maxine fearlessly demonstrate her (disgusting) power over the Red, while Buddy's mother-in-law, well, she's the only one genuinely freaked out by this stuff. Cliff also gets grossed out, but one gets the feeling he might be a little jealous of his super powered sibling, too. With talking animals, undead animals, and talking undead animals running rampant throughout, it is the quirky Baker family that grounds this title and continues to make it an absolute pleasure to read.

Steve Pugh does a great job conveying the weirdness of the Bone Orchard, making every panel look like a photo from the most disgusting issue of National Geographic ever made. His work is of high quality, but since it is following up Travel Foreman's unbelievably engrossing imagery, one can't help but feel his work lacks that special oomph. But that's not entirely Pugh's fault, and given the solid work he has done so far, there is no reason to not be happy with his presentation of Lemire's bizarre story.

This issue also continues to explore Maxine's powers as well as her childlike naivety. It's sad as anything to watch her try to bring Cliff back, and it acts as a poignant parallel to Buddy's own trials of grief. For the Buddy scenes, Lemire continues to implement social media into the book, and while the Twitter feed bit isn't used as effectively as it was in a previous issue, it does help flesh out the celebrity element of Buddy's ever-fascinating character.

Mike Perkins does a great job with all of the super hero action, but a few of his portrayals of popular characters look somewhat off. His best scenes are the ones that take place in New York City. Wolverine and his contact chat at a restaurant on West 73rd St, and you can almost feel the presence of bustling waiters, kids playing with their food, and an elderly couple quietly finishing their meal. Likewise, there was never a more authentic day depicted in Bryant Park. Northstar and Kyle have their lover's quarrel amongst tall trees, a stone fountain, and people sitting in thin patio chairs. His realistic imagery goes a long way to convey the three dimensional characters Liu has so expertly crafted.

If you have a problem with stories that use deus ex machina, then this issue will drive you up the wall. I rather liked it because while a god-like force did save the day, the mysterious person behind the mask made it more interesting than a simple wave of the hand. With the main movie cast team and the extended team established in the first two issues, this chapter allows them to interact as a whole unit for the first time. The result is a surprisingly personal and humorous affair that clicks the final piece of this series into place: it's heart.

As a matter of consistency, it seemed strange for the Alephs to go down with a single hit when at the beginning of this series it took the whole team to bring down just one. But Leinil Francis Yu draws the action so well that it's hard to complain. His imagery reeks of sci-fi epicness, making it a perfect fit for the likes of the muscular Gladiator, the giant Jabba the Hutt head that is the Supreme Intelligence, and the gathering of the Gardeners.

Avengers: Rage of Ultron is a spectacular story told by A-list Marvel talent, there's no arguing that. The story examines the ever-complicated relationship between Ultron, Ant-Man Hank Pym, and Vision, as well as a boarder philosophical argument about A.I. The art team delivers a mostly consistent graphic-novel length story with some truly stunning pages. It might be too steeped in current Marvel continuity for those who aren't regular Marvel readers, plus it feels incomplete due to ending on a (admittedly amazing) cliffhanger, but overall it still manages to be a cut above the rest of Marvel's original graphic novels.

Ardian Syaf's artwork is incredibly detailed and flows perfectly alongside the story. Batgirl is constantly performing slick acrobatics and she looks great as she swings and tumbles across Gotham. He also pays special attention to her facial expressions, which help tell a great deal of the story by reinforcing the sentiments of her narration. The issue generally looks great, but there is one irksome element. The best formulas for storytelling are ones the reader does not notice, but Syaf and Simone have produced the same opening (a quick bit of action followed by a two-page spread of Batgirl doing something impressive) twice in a row now, and it is doubtful this is a clever wink at the villain named Mirror. With such a spot-on, entertaining book in their hands, the team should not be afraid to follow in Batgirl's footsteps by taking some risks.

Despite having three pencillers and two inkers, the issue looks admirably consistent throughout. One gripe that still persists from past issues is that Barbara and her mother look nearly identical, making conversations between them confusing. They both have the same face, same red hair, and are of equal height. Unless mom got some serious botox, her face needs to be aged appropriately, and she should probably get a shorter haircut, if just for clarity's sake.

I've been loving what Scott Snyder and Greg Capullo are doing on the main Batman series, but when I heard the Joker was coming back, this is the confrontation I was most looking forward to. Luckily, Simone does not disappoint.

As Batman and Superman enter this new world and meet their doppelgangers, we get several moments of unexpected humor. Lois and Catwoman add a much-welcomed sense of lightheartedness to the story, while the inner monologues of both Clark and Bruce keep it focused on the matter at hand. This is the last thing I expected from this title when I first heard about it, but it's proving to be quite endearing right out of the gate.

For a book called Dancer, there is little to do with the actual ballerina in the story. Alan is draped in mystery, but even less is known about the girl. In a genre already oversaturated with hard edged men hiding a hard edged past, this could prove to be a point of contention. However, given that this was the first issue, there is still plenty of time to see if she is more than a pretty face in need of saving. Edmondson and Klein's efforts combine to make a stand-out first issue that could teach other recent gun-touting thrillers like The Secret Service and Secret a thing or two.

Paolo Rivera's art continues to be a highlight of this series. His clever way of incorporating sounds into the artwork helps not only enhance the environment, but also gives the entire issue the unique flavor of the blind Daredevil. The fact that all of the children are blind allows for some hilarious images despite their dire circumstances: Matt leads them through a blizzard, his sonar sight disabled by the snow, with his bright red costume showing from underneath his tattered clothes.

The title may have changed, but Declan Shavley is still rockin' it on art duties. He has a great way of giving each character unique body types instead of making them all muscle-gods, as can usually be the case in super hero comics these days. He executes the battle scene with a rarely seen amount of clarity that is more focused on the execution of each strike than the actual impact. Combined with Parker's excellent script, Shavley delivers a great looking start to the next chapter of Thunderbolts. I mean, Dark Avengers.

Artist Neil Edwards does an admirable job of keeping up with Parker's bulging narrative, although at times his layouts get the best of him. The scene where Man-Thing tries to generate a portal past the shield has an unrefined composition that throws off the focus of the page. That said, he comes through when it counts and maintains the unfiltered, unglamorous tone set by previous artists Declan Shalvey and Kev Walker.

Skottie Young's artwork is as masterful as ever. He is without a doubt one of most consistently high-quality artists in the business and never fails to turn in artwork that is as stylized as it is beautiful, and as dynamic as it is heart-warming (or heart-stopping, if he is drawing Venom). Here his standout character is Zeb. He is uneasy with all this stuff about other worlds and talking animals, which Dorothy is used to by now, and his apprehension shows on his face to earn many laughs. Thanks to his blue overalls, tatter brown hat, big mouth, and emotive eyes, every time he says "Gid-dap, Jim," it is hard not to smile at Young's charming creation on the page.

Seeing how epic storylines that threaten the fate of the universe have become commonplace in this title, it is nice to have a chapter that takes a breather and refocuses on what is most important to these characters. Last time Reed was left to his own devices, he tried to fix everything with a group of alternate dimension Reeds and almost destroyed everything he held dear, so it shows character growth that he now decides to go on a science field trip with his dad and spend some time with his best friend.

This issue directly connects to the events in Fantastic Four #602, which stars the adults of this large family cast. Hickman has maintained the identity of the FF and has made it an unmissable companion to the returned Fantastic Four series. The art may vary between the titles, but the story continues to be solid throughout.

Gabriel Hernandez Walta's artwork showcases the beautiful landscape of Wakanda. Lush jungles, native wildlife, and a cascading waterfall so gorgeous you'll want to jump right in. All of Hickman's jokes would fail to land if it wasn't for Walta's excellent execution. I have always liked Dragon Man, but Walta takes it to a new level by showing him holding a Zebra in his massive hands as if it were a toy. It's an endearing moment from Hickman, who continues to be one of Marvel's most consistently entertaining writers.

Jonathan Hickman's epic storyline came to a triumphant close months ago, and for a while it felt like he was spinning his wheels until Marvel NOW!, but here he shows that there are still some important moments to be shown. While this conflict lacks in scale is makes up for in emotional power. I could certainly be accused of complaining that Hickman has been tying up all of his loose ends, but with issues like this I am certainly glad for it.

The return of Doug Mahnke is most welcome, especially since he delivers some of the most eerie and haunting imagery this series has ever seen. He plays up the mystery of the Indigo Tribe by using heavy shadows, hard lines, and hazy images. The Tribe seems to have good intentions, but when they arrive with ambiance borrowed from a horror movie, they stir up equal amounts of fear and awe. Colors are of extra importance in a Green Lantern book, and Alex Sinclair's work on this issue is spot-on. He embellishes Mahnke's drawings in order to make them glow on the page, giving this book that wonderfully unique Green Lantern feel.

Johns continues to peel back Sinestro's layers, and this time we get a look at his "Batcave." It's a trophy room full of computers, devices, and trophies, and it goes a long way to further flesh out Sinestro's character based on what happens there. This is a good looking issue, and aside from a lettering error at the top of page 11, the tantalizing imagery alone is enough to make this issue worth a buy.

Fernando Pasarin's ability to draw evil ninjas and formidable corps members is strong, so it is a delightful surprise to see he is equally adept at drawing innocent creatures on alien worlds. Innocent and cute! I thought last issue's blue toothy manatee people were unparalleled in their adorableness, but here he shows off a new race that looks like a cross between your favorite puppy and a fuzzy chipmunk, which makes it that much more sad when they come under attack. He has developed a great visual style with many different elements, yet they all work together to create a nuanced universe of seemingly infinite possibilities.

Artist Bernard Chang ups his game considerably from last time. Everything I nitpicked about previously has been rectified, leaving us to enjoy his expressive character work and knack for fun action scenes. Seriously, the badass bit with Jruk had me fist-pumping and cheering him on. Chang builds up the tension to the scene with some dynamic paneling before cutting loose with a big shot and a quick follow-up panel to put the cherry on top. With the art and story in full gear, Green Lantern Corps is the place to be.

Sorrentino's artwork has been impressive since day one, but like the writer, he must now step up and offer something new. Nothing like Cain has been seen in these pages before, and Sorrentino creates an astonishing new visual to demonstrate his power. The presence of the Justice League Dark members give him a chance to play around with some lighter elements -- glowing coats and magic spells -- but he expertly keeps it all grounded in his wonderfully horrific style.

The story's steely tension sustains itself through the action scenes, and then ramps up on the final page to make the next issue a must-buy. Fialkov has taken so many tropes of the vampire and horror genres and given them such unique and flavorful twists that I feel like I'm experiencing them for the first time. The old seems new and the cliche becomes chilling. With such excellent sensibilities about his material, I'm starting to wonder what Fialkov could do to help out a certain Big Blue Boy Scout.

It'd be hard not to compare what Waid is doing here to take on Daredevil. Daredevil was lightning in a bottle that resulted in an upbeat and charming Matt Murdock, so Waid treads carefully not to write Banner the same way. This Banner is seizing the day and putting his talents to good use instead of wasting his potential by being constantly on the run while looking for a cure. It's a refreshing change for Hulk, and if humorous and revealing stories like these are any indication, then Waid is on the right track to deliver another success.

Mikel Janin keeps up the great look for this book with detailed artwork that puts an emphasis on the unsettling features of the team. A closeup of Deadman has him looking as menacing as Faust, while Black Orchid looks downright dangerous no matter what she's doing. Hard to believe these guys are the heroes. The only one who does not look the part is Andrew Bennett. He appears neither imposing or dangerous as a hyper-powerful vampire should, leaving him looking more like a J. Crew model who wandered on the page. That said, Justice League Dark has immediately become a favorite and shows potential for becoming one of DC's best by harnessing the insidious side of the company's mythology.

Equaling the uniqueness of the story is Scott Kolins' expressive and trippy art. He draws humanoids and dogs made of energy tangling with Larfleeze and the ethereal Wanderer, lending the fights a Saturday morning cartoon sense of abandon. His art is as integral to the fun as the dialogue and plot, and it's because all three elements work together like a well-oiled machine that Larfleeze is such a gut-busting success.

So why the high score? Despite any misgivings, this was a monumental capstone for the series. The execution of this arc was extraordinarily well-done. Not only did Clockworks answer big questions, but it simultaneously set up for the next and final arc of the series, Omega. Plus, Rodriguez's art is still as breathtaking as ever, with monstrous shadows and Herculean men coming to life on the page. That is an expression often used to praise well-drawn art, but Rodriguez earns it more so than any other comic book I have ever read. Whether he's showing the tears rolling down Rendell's cheeks or orchestrating a double-page climax with countless details to be taken in, his artwork transforms from paper and ink into something magical and emotive.

But didn't I say you'd be glad you picked up this book? I did. And here's why: it looks like art deco and The Jetsons. It uses negative space and dulled hues. It reads like noir and dystopian literature. It has cars from the '40s that fly and cigars that billow thick smoke. It sounds like thick city accents and big hand drawn onomonopia. It's Blade Runner and it's Felix the Cat clocks and it's unlike anything else on the shelf right now -- and if you happen to spot something that is, it's probably because Motter's work influenced it.

Joe Eisma absolutely nails every bit of humor in Spencer's script. Zoe's facial expressions throughout the issue are absolutely hilarious. As crazy as she is, Eisma sells her as someone so beautiful and terrifying that it is impossible to stop watching her. Eisma's settings still seem to lack any significant detail: the hallways are bare, meeting rooms are bare, and the bathrooms are bare. Only Ms. Hodge's office seems to have a few posters on the walls. The Morning Glories Academy itself is as much a part of the story as the characters, so fleshing out its personality would be welcome. Perhaps it is just a quirk of the school: no one knows what it is, no one knows who runs it, and no one can decide how to decorate the walls.

In the previous two issues, Wilson did a great job of intertwining the stories of Giselle and her sister Genevieve, but here Viv is missing for all but a single page. Viv is acknowledged and missed by her sister, but her absence is felt. However, it is a credit to Wilson's ability to create a character so endearing that you miss her when she is gone.

Simone Guglielmini creates an incredibly detailed world for Markam to operate in, especially the establishing shot of China Town, which is so well done it might as well be a frame from a crime movie. His style is gritty, but instead of falling into tired old noir/criminal tropes, he keeps his drawings fresh, dynamic, and full of life. Until someone gets shot, that is.

One of the hangups on Brian Michael Bendis' New Avengers was that it seemed too similar to his main Avengers title. Hickman solves that problem by making this book distinct in tone, plot, and cast. And unlike Matt Fraction's Fantastic Four and FF books, Hickman's Avengers books seem as though they can be read independently with no consequence. Overall, Hickman kicks New Avengers off right.

Hickman further expands the threat of the incursions by creating the villainous mapmakers, who are like Galactus but smaller as they consume entire worlds and leave them to explode. This threat has thus far been faceless, so it's nice to get a corporeal bad guy. This chapter has a lot of setup, but it's all done in an exciting way while maintaining the book's dark tone and core theme of, essentially, how far can these men go to save their world and still be able to call themselves heroes?

Wiebe has no trouble conjuring up perilous situations to put the boys through, but as Gilbert laments, Peter seems to like the danger. Toodles' narration tells how inspiring and uplifting it was to be around Peter, and that adds a delightful spirit to the proceedings. The boys sneak through sewers, plot their escape, and tangle with Nazis, but it all comes back to Peter's indomitableness, and that is what propels this story to the next level.

As fellow IGN reviewers have said, the dialogue in Spaceman stands out. Most of the characters speak in a futuristic slang. I had to read almost every word balloon twice before I could understand what was being said. I found myself speaking the dialogue out loud so I could make sense of the phonetic spelling. However, this was never a bad thing. I can't remember the last time a comic had me this engaged with the world it created.

Bendis and Pichelli do this crossover concept so much more justice than anyone could have imagined. Part of me wanted the stakes to be bigger, the villain to be more maniacal, and the heroes to be pushed harder. The forces of antagonism hardly feel like they require two Spider-Men to overcome, let alone the Ultimates, Nick Fury, and a group of S.H.I.E.L.D. agents. That said, all of the wonderful intimate moments would have been lost in favor of giant explosions and characters punching each other in the face, and there's enough of that currently going on in Avengers vs. X-Men to last a lifetime. Count me glad that Bendis and Pichelli chose to forego cheap adrenaline rushes in favor of delivering an emotionally resonant story that stays with you after you put down the book.

At times the characters behave illogically to provide an excuse for a neat action scene or plot twist, but overall they are faithful representations that are as entertaining to watch in the comic as they were in the movies. In fact, at times it feels like watching an unreleased Star Wars movie, and that's magic well worth the five bucks.

Even better, Tohm gets some much needed fleshing out along with Trachta as they swap "How'd you become horribly disfigured?" stories. Vader seems to surround himself with men as messed up as he is. This gives artist Agustin Alessio a chance to embellish in the macabre characters that populate this book. At times his painterly style feels unfit for this particular story, but when big moments go down he uses his talents to produce some emotionally striking imagery. Just look at the full page shot of the team's arrival at the Ghost Prison and you'll see what I mean.

Star Wars: Shattered Empire delivers a more steady and hard-edged story than any of Marvel's other Star Wars comics. Rucka commands the tone with honest and charming dialogue as lovers Shara and Kes grapple with post-war trials and tribulations. Despite a few quibbles with the coloring, the art is rather spectacular. Chechetto's gives a lesson in how space battles ought to be done, full of glorious action and thrilling momentum. While this comic doesn't answer every question you have about what happened after Return of the Jedi, it also doesn't promise to. What it does promise is a wartime romance story that makes sparing us of the original cast and subtly guides us to The Force Awakens, and so far it delivers in spades. Plus, the creative team makes Ewoks undeniably endearing, so there's that.

Calero refreshes the character design of each team member, and the book looks better for it. The Engineer is sexier, J'onn is more alien, and the team's premiere couple both look a little less like action figures. Calero truly shines during Jack Hawksmoor's trip to visit the city-spirit of Chernobyl. The spirit looks like a terminal cancer patient, and he's being tended to by the spirits of Hiroshima and Nagasaki, both of whom are beautiful but tragically scarred. Given the sensitive political and environmental nature of using these cities in a story, it is pleasing to see them handled with equal parts tact and grace.

I wasn't sure what to expect out of a comic like this, but so far it has avoided all manner of cliche when it comes to the actual relationship. Soule has treated it with maturity and intelligence while also delivering some hardcore fights that remind you that even though they are lovers, they are also heroes.

A notable point of interest for the first Cape series was its penchant for unexpectedly gruesome violence. A bear hasn't been dropped on anyone yet, but this issue features a tense scene that earns its disturbing-factor through the pure obscurity of the situation. Even better, Ciaramella's writing somehow makes the use of an F-bomb feel like the most genuine response Captain Chase could have to his weird predicament. It's that little piece of magic that I was hoping for, and the creators have delivered.

This book has impressive comparisons to Kick-Ass and Chew, so the challenge will be for Jordan and Moore to keep up their great work. What is the nature of Luther's powers? Who is the guy who can spit his teeth like bullets? What will Luther use his abilities for? I'm not sure, but Jordan has me wanting to know, and I am sure I will find out with sufficient amounts of blood, guts, and violence.

Artist Tradd Moore's consistent quality has been a treat on this book. The action is huge and clean, yet personal and brutal. When Luther gets thumped across the page, you can feel it in your gut. Moore also gets big props for the four pages detailing the bloody history of the book that stretches throughout the ages. After reading this issue, the only thing that is strange is why someone would not read this awesome series.

All of this goes down and Parker still manages to spend some time in the wondrous chamber holding the remains of Man-Thing. The scene is strange yet beautiful, and immediately gets gross when Mr. Hyde tosses in some "food" he collected. To mix sci-fi, biology, and mysticism might seem an odd choice, but all of the different characters and their abilities, along with some clever writing, allows it to happen seamlessly. What seemed like a hokey excuse to put the Invaders on the cover has turned into an excellent story that embraces the values of the era and uses Cap, Namor, and the Human Torch to entangle the T-Bolts in a conflict that literally means everything to them.

Sara Pichelli is missed, but David Marquez is not too distant from her art in style or quality. He makes a funny spectacle out of Miles trying to escape the rings while talking to Quaid, and creates a convincingly dark and moody scene for when Scorpion confronts Uncle Aaron. The scene plays out with moments of harsh action and surprise, and Marquez nails each one by upping the visual tension panel by panel. Even better, Miles sneaking back into school allows him to draw an excellent scene of adolescent hijinks and the silent exchange of knowing looks.

As S.H.I.E.L.D. attempts to attack The City, an explosive battle unfolds involving helicarriers, mech suits, and nuclear warheads. The scripting takes the reader in close so they feel every bombardment, gunshot, and hammer swing. Esad Ribic is the reason all of this works so well. He fills the pages with such dynamic action that each panel crackles with kinetic energy. With all he does right, Tony Stark looks eerily gleeful in one panel, while Nick Fury loses his confident demeanor a few times, transforming him into a scared little boy. It feels wrong to see Fury so afraid; he ought to look distressed and troubled, which is more in line with the man in charge we have come to know and love. Regardless, the art is as high caliber as the story, which has raised the stakes to inconceivable heights.

This is yet another excellent chapter in Hickman's run on the Ultimates. He has truly embraced the lax limitations on the Ultimate universe and exploited them to their fullest extent. Characters get to act on their extreme inhibitions, the status quo shifts wildly from issue to issue, and consequences have long-lasting effects. Almost every issue ends with a surprise that could never happen in the regular Marvel Universe, which at this point seems cool, but it is scary to think of what the world will be like once Hickman has finished waging his superhero war.

This is a slower chapter compared to the insane events of the past few issues, but it nonetheless entertains with tight dialogue and the continual development of a world-altering plot.

Paco Medina's style previously did not jive with the serious tone of this series, but now he has got it right. His pencils look sharper and more subdued, allowing him to play up the emotions in his characters without getting into cartoony territory. A huge asset to the improved look of this book is Marte Garcia, who paints a gloomy and bleak landscape. A few panels appear too murky and lose some detail, but overall the refined look of this series matches Wood's dreary script to a tee.

From the beginning of this series, the characters have been weighed down with hard decisions. They swore themselves to secrecy and pledged to take out the world's most dangerous threats to mutant-kind, and they even contemplated the idea of having to take one another down, if it came to it. Remender brought those ideas to a brilliant crescendo, and now he looks poised to continue this series with the same amount of heart, viscera, and Deadpool toilet humor.

Phil Noto maintains the realistic look of Uncanny X-Force that has made it stand out as the darkest title amongst the X-books. Even though Wolverine puffs up to the size of the Blob, there's a grotesque realism to it. Noto also scores a laugh without the help of dialog that, for all intents and purposes, should not be that darn funny. I don't want to spoil it, but it involves the new skinless villain and the reaction shot of a man watering his lawn. The shot only proves that Remender is up to his usual memory-staining imagery, and Noto is ready for the challenge.

Of all the terrible events to unfold over the course of Fear Itself – the death of Bucky, the destruction of the US Capital, the fall of Avengers Tower – this profound change in a beloved character is the worst to endure because of its consequences. Kitty is forced to make a heart-breaking decision, and her dialogue echoes back to Whedon's run, which has defined her character for the past several years. By honoring past material, Gillen expertly crafts a moment that shows while Colossus may be made of steel, Kitty has always been stronger.

Greg Land is a big part of why the battles in this book were so good. When Namor attacks Luke Cage underwater, the resulting explosion of water is incredible. You can feel the immense power of the hit. Same goes for poor Sunspot, who gets clocked so hard he flies over the other panels on the page. Even with all the action going on, he knows how to slow down just in time to deliver some unbelievably hilarious reaction shots. His art combines with Gillen's consistently entertaining writing to produce one of the better AvX tie-ins out there.

Venom #7 has defied the often lamented tie-in issue to create a tale that not only entertains the reader, but is a natural progression of Flash's story as Venom. With a vital subplot now concluded, it will be interesting to see where Remender takes his troubled protagonist next.

Much like his fantastic Uncanny X-Force book, Remender constantly refers to past events and characters, making his whole run feel organic and, more importantly for dedicated readers, vital to the overall story. Jack O'Lantern's return to the thick of things is handled in a subtle way that makes his character all the more loathsome than if he were to simply crash back into Flash's life tossing out pumpkin bombs. The character of Venom has never been in better hands, and with Medina on art duties, this new arc looks to keep delivering a top-notch comic book.

Paul Davidson's excellent pencils help sell the humor with spot-on facial expressions and reaction shots. Being an X-Men book, this series is not without a sense of wonder: as Dr. Nemesis descends to the ocean depths to discover the source of the contamination, what he discovers changes him in strange and beautiful and horrendous ways. It is a mesmerizing and memorable trip that only adds to the charm of this superb new X-title.

Strong female characters, a complex mystery that threatens to unsettle all mutantkind, and a giant sea monster battle.

David Lopez's art for this series has been consistently high quality, and he doesn't let up here. Colossus might be the bruiser on the team, but Storm's icy expressions make her far more intimidating than a muscular metal man could ever be. Lopez ramps up the visual intensity right in step with Wood's increasingly dire plot, making for one of the best X-Men stories on the shelf.

David Lopez fills the pages with his lean character designs that fit in nicely with the other artists handling the rest of Battle of the Atom. There is the matter of his backgrounds often being little more than a pop of color, which is a shame given how elaborate the Jean Grey School's set design is. As a saving grace, he draws a hilarious shot of a coffee-and-doughnut-wielding Doop frozen mid-chew as an alarm sounds throughout the school.

If there's going to be a point of contention for this book, it might as well be the art. Nuno Plati did a knockout job on his Amazing Spider-Man backup with FIalkov, and he delivers similar results here. His fluid and heavily stylized character designs might be too atypical for some, but I enjoyed his Gennedy Tartakovsky-esque drawings where everyone has a distinct visual look along with a pair of thick eyebrows. If you hated Alpha before -- and who didn't? -- then try this story out. You might be surprised that you come to like the little twerp.

Like I said, those quibbles are all small ones. Alpha has been through a lot to get to this point, yet for each step forward, life kicks him back two. Alpha is your buddy that you love to death but he comes off kinda harsh to other people and he doesn't realize it. His attitude isn't exactly in line with the morally pure Captain America, but you can't help relate to him as he tries to appease the girl he likes, while also figuring out how to be a superhero with some name recognition instead of repeatedly, hilariously being mistaken for Nova.

With a diverse cast featuring characters of different races, body types, and genders, Walker makes Avengers Arena reflect our real world more than a great deal of other books not set exclusively in a death arena. With this series alongside Young Avengers, Marvel's teen-oriented comics have rarely been stronger.

While it's increasingly saddening that Fables is ending, it is going out very strong. Fables #142 is another great chapter of this series and as it inches closer to the end, the stakes are higher than ever.

There were a few other odd elements -- Oa has a support staff? -- but the main one that has plagued this event is that Relic still lacks a compelling personality. In fact, he's firmly set in "let me shout my plan and everything I'm doing" mode. Still, his actions are forcing the Lanterns to reach deep within themselves to survive, and that is making for some mighty fine comic books.

Jeff Lemire joins Johns as co-writer on the backup, On the Outs, which features Steve Trevor sulking in a bar over losing Wonder Woman and his job. It sets up Justice League of America #1 and adequately answers a few lingering questions close readers may have had. Brad Walker knocks the art out of the park like he has done in more New 52 backups than I can count. Why isn't he the regular series artist on Justice League?

This isn't your typical New 52 book. It's doing its own thing, and so far it is doing it well. It has a clear voice and defined style that allows it to stand apart from the pack while still feeling like it belongs next to all of the other DC comic books. If you want an entertaining book full of fun and mystery, or maybe you've been wanting to dive into a superhero team book but didn't want to get involved in things like Trinity War and Forever Evil, then Justice League 3000 is for you.

Han Solo and Chewbacca also make an appearance, and that's where artist Carlos D'Anda shines. His framing of their short but brief chase scene was done with an excellent sense of speed and scope to give it that huge cinematic feel. There are just a couple occasions when his facial work takes a dip, but other than that this book has top notch artwork to match its top notch story. The Force is strong with this one.

Artist Alvaro Martinez spares no expense on this conclusion to World War X. His settings are absolutely gorgeous. Whether he's drawing the lust forest of Utopia, Jean's fiery powers, or the crumbling Tian, it all looks spectacular. He also has a great subtly about his character work. He can make the characters speak with their eyes and their body posture in addition to the world balloons coming out of their mouths. This was an amazing looking issue that makes for a fine endnote to a highly enjoyable series.

Then again, I seriously doubt young Cyclops would be so trusting of a woman who has a belt of tiny human skulls around her waist along with an even tinier human skull on her forehead. She needed a redesign. But other than that, the narrative goes off without a hitch. Cyclops and Mystique get into some serious stuff, yet Kitty Pryde bossing around young Iceman keeps things light and humorous. It's good to see Bendis on a hot streak again.

The scene between Jean and Kitty Pryde was pretty amazing. Bendis has taken careful measures to show us how immature and inexperienced this Jean is, which allows us to see her grow from her mistakes with the help of the veteran X-Men. Scenes like this make me see what Beast originally intended when he set this crazy plan into motion. Now if only someone would have a similar heart-to-heart with Cyclops, then some real problems might get prevented.

Nuno Plati's artwork more resembles the last cartoon show you watched than the last superhero comic you read, but that never proves to be a bad thing. He uses simple-yet-distinct character designs to tell a clear story that expresses a wide range of emotions. During the monster fight, things do get a bit jumbled, but the encounter is so brief that it doesn't hold back the book much. Fialkov and Plati's great efforts here go a long way to show that Alpha is worth a second look, and that sympathy can even be found for a Grade A douchebag.

While most of this issue is great with both fun and terse character interactions, the lackluster villain weighs it down. He's certainly not the worst bad guy to ever appear in a comic book -- not by a longshot -- but he also feels too familiar to previous villains, even in appearance. If he were one shade darker and had a few more ridges on his chin he would look just like Thanos. That said, he sufficiently fills the nasty villain quota by using his heavy-handed dialogue to defeat Captain America without lifting a finger. This book is all about the excellent moments that DeConnick builds up to, and that is definitely one worth remembering.

Simon Baz starts the story with a flavorful monologue that excellently encompasses his unique outlook on life from being a young Muslim all the way up to becoming a Green Lantern. The metaphor that Johns demonstrates here is some of the best writing he has put down on paper. The rest of Simon's part in this story is him reacting to the horrors of Black Hand and the space prison, further showing us more and more about his character. While the First Lantern attempts to steal the spotlight, Baz is still the number one reason to buy this book.

This is an incredibly solid start to the Lights Out crossover given the short amount of time the new creative teams had to get their bearings, and with Venditti at the helm, it looks poised to deliver a game-changing story that will be strongly felt in New Guardians, Green Lantern Corps, and Red Lanterns, which are all a part of this crossover. I don't want to say you need to read all of those titles in order to enjoy this story, but I will say that I have been reading them all and my investment in this story has been richer for it.

The Third Army's assault on the jail is some of the best work Fernando Pasarin has done on this title. This has a lot to do with the fact that it's not a space battle featuring countless aliens flying around shooting green lasers everywhere. Guy is vulnerable with his back up against the wall, and Pasarin captures that desperation with some excellent close-ups, and getting up close and personal is what he's best at depicting. With a script that plays to Pasarin's strengths and a story that reveals the fruits of Tomasi's storytelling labors, Green Lantern Corps finally outshines the main Green Lantern title.

Waid definitely plays to Simon's strengths, calling for shots of Hulk and Thor going to town on Frost Giants and the like. Like I said before, there are times when the more heartfelt conversations fall flat because a facial expression just doesn't convey the necessary subtleties, but these moment are far and few in between. The rest is a gorgeously rendered book that harkens back to the days where fun was the name of the game, and if fun is what you're looking for, that is what you will find in Indestructible Hulk.

That's part of the fun of this comic. Siedell has a good time throwing out hints and teases about Vader's legacy instead of just telling us things we already know. I will admit that this first issue feels a little on the light side as far as content goes, like there could have been more progression to the story, but it achieves what it sets out to do and does so in an entertaining way, so it's hard to complain.

Kano steers clear of aping Paquette's artwork -- which would have been a bad idea -- and shows off a clean style that emphasizes the setting's effect on the adaptable hide of Swamp Thing. You'll see desert Swamp Thing, micro Swamp Thing, and classic Swamp Thing, which frankly would all make sweet action figures. He's not afraid to use atypical panel layouts, and doing so keeps the visual flow of the story smooth and engaging until the end.

Wood has moved on from the events of Battle of the Atom without missing a beat. It feels as though he had to put his story on hold for two months for the crossover, but now it's over he's back to doing his thing as if it never happened. On one hand, I'm glad of this because as an ongoing series it feels more concise and contained, but I also wish the pricey 10 issues I paid for had at least a little payoff in all of the books it touched.

Speaking of Lord Gouzar, despite being a brand new baddie, the ever-entertaining dialogue of Bendis gives him a harsh personality and combat skill to match. The Avengers have a time adjusting to the unique attributes of the micro universe while trying to battle this new foe, lending an air of desperation to the proceedings. Janet van Dyne also reveals how she survived Secret Invasion with a classic "you didn't see what you thought you saw" explanation. The story cuts off on an awkward beat, yet I am still eager to see how Bendis finishes what has been a grand orchestration of superhero team action.

Artist Leinil Francis Yu shines best when he's draws spaceships dogfighting and heroes throwing punches, of which this issue has a lot of. I still get a kick out of heroes like Hawkeye and Spider-Woman going out to space to shoot arrows at ships and -- I don't know -- zap them with spider-powers? At least the Falcon looks awesome as he does it in an awesomely designed pterodactyl space suit.

The threat of the Third Army seems palpable enough thanks to Mahnke's art, but the actual concept feels flawed thanks to the weak motivations of the Guardians and the Third Army's ability to only hurt supporting characters. What has me more excited is the thought of what new stakes the First Lantern might bring. In classic Johns style, the revealed identity of the First Lantern resonates from a long forgotten point in Green Lantern history. But just like the reveal of the Anti-Monitor, Nekron, and Krona from events past, it makes perfect sense.

A lesser writer could have grossly mishandled the "return" of Kyle's deceased ex-girlfriend, but I liked how Bedard uses it to show Kyle's strength instead of going for a cheap emotional gut punch. Volthoom even sees Kyle in a new light after this, which allows us to get deeper insight on this all-powerful villain we've only just met. Wrath of the First Lantern does right where Rise of the Third Army misstepped -- it gives us a clear antagonist that personally threatens the heroes who directly confront him, so now all we have to do is sit back and watch the fireworks.

Leonard Kirk is absolutely killing it on art, though. He has a clean yet dynamic style that helps fit this book nicely into the aesthetic of the rest of the Ultimate Universe. There's one double page spread of Galactus that's just mind boggling. Kirk's use of scale and epicness literally made me yell "WOAH!" and hold the comic out at arm's length to take the whole thing in.

Star Wars: Shattered Empire returns to the greatness of its first issue, delivering an entertaining issue with sharp plot twists and fun character dynamics. The art is strong in this one, filling the reader with a rush of energy as battles are waged on the ground and in space. All that, plus a neat Phantom Menace reference, make this a fine penultimate chapter to Shattered Empire.

The scenes with Luthor feel detached from the main narrative, and so ending the issue on a Luthor-centric moment feels off-kilter. Obviously we won't know the reasons for his involvement until the story is complete, but currently it feels like he's here just because he's Superman's most famous foe. With two other antagonists already present, adding in this familiar face might be too much.

Yet for all that "happens" in this enjoyable issue, there's a sense that not much has happened. I'm all for slowly paced stories -- I'm currently loving Bendis' snail-paced Age of Ultron -- but only if each issue offers a fresh and meaningful development. This issue felt too similar to the first one, and the last page cliffhanger could have been guessed midway through issue #1. There's still plenty to enjoy here, from the gorgeous artwork to the character moments big and small, so forgive the repetition and go pick up Guardians of the Galaxy. If anything, you'll get to say you knew them before they were mainstream once the movie hits.

Speaking of Deborah, she provides a new lens to which we view Andrew, adding an interesting layer to Joshua Hale Fialkov's violent vampire love story. Fialkov writes each character with a wit that could only come from someone who has read and written a lot of comics, which makes me curious as to why he went with a weak excuse as to why Andrew didn't choose to use his awesome power to end the conflict when he had the chance. Probably because the book would then come to its conclusion, and given how Fialkov delivers a twist worthy of a standing ovation every 6 issues, I would be remiss not to see issue #18.

Artist Carlos Pacheco turns in a great looking issue, especially the on pages where Doctor Strange uses his powers. The grace of his pencils allow him to show the hem of Doctor Strange's coat billow in magical winds, while the peculiar gravity of the astral plane do the same thing for long hair. Speaking of the astral plane, it always seems to look different depending on who draws it, and I very much like this interpretation with its molecule structure and floor made of purple flowers.

Watching the X-Women work together through David Lopez's pencils is an engaging and entertaining experience. I've never seen Psylocke's powers used in such a creative way, and credit goes to Lopez for making it all look so cool. There's a few faces that look a tad strange -- Psylocke sighing, Wolverine making any facial expression -- but the rest of the comic is executed with expertise. There's a palpable sense of speed as the planes careen through the sky, and the closing pages create so much tension it'll have you holding your breath.

Writer Sholly Fisch does his best to clean up the character's not-so-straightforward continuity and give him a new purpose in life. The reasoning as to why they use Kryptonite as a power cell makes little sense, and the same goes for a few other key details, but overall Fisch succeeds in making the character compelling and accessible. While I will admit that the New 52 Metallo isn't exactly the most intriguing of the DCU's villains, this issue does leave him in a place where he could very well become one.

A highlight of this issue is seeing the Human Torch team up with Spidey after his apparent death many months ago. Their reunion scene is hilariously crafted by Giuseppe Camuncoli as he shows Johnny in the most embarrassing situation imaginable. Let's just say it involves Rebecca Black's "Friday" song. Camuncoli also knows how to switch gears to convey the danger the pair land themselves in with an incredible full-page shot: Octobots swarm the space station, Spidey looks genuinely frightened thanks to the excellent use of shadowing, and Johnny looks fearsome as he ignites, but anyone who passed sixth grade science knows that his actions have only made matters worse.

Artist Ed McGuinness is the star of this book. His drawings are full of an energy and charm that you just don't see often enough. Even though the heroes are in dire peril this issue, there's a wry smile underneath the pencils that tell you to enjoy what you're seeing because everything is going to be all right. You can tell McGuinness is having a blast drawing this book because there's a silly gag, awesome spectacle, or hard-hitting action sequence on every single page. Seriously, did you see Northstar zipping around the ship like Peter Pan fighting pirates? With something like that to feast your eyes on, maybe it's not so bad Nightcrawler wasn't around this time.

Steve Pugh does an excellent job showing off the grotesqueness of the Red, especially the castle with a muscular structure that looks borrowed from an animal heart. While most of his artwork evokes the proper reaction -- a combination of being grossed out and delighted -- the larger zoomed out views lack the necessary details to be effective. That said, he no doubt put a painstaking amount of effort into these pages, and the high quality shows on almost every panel, making Animal Man's world the most engrossing of the entire DCU. Pun intended.

While most of this issue is strong, Ellen's character has changed from her usual spunky, determined self into a worry wart. Obviously she can do little to combat the Rot the way Buddy and Maxine can, but I'd love to see her do something aside from lament her situation to grandma. While Lemire has done a lot over these 11 issues to grow the world of Animal Man, he has at times lost focus of his protagonist. This issue brings it all together in a way that reminds the reader that this is Animal Man's book, and Animal Man is awesome.

Keeping this title looking on par with Ivan Reis's Justice League pencils is Paul Pelletier. The two artists share a similar style, and the cleaner lines of Pelletier's work makes following potentially convoluted action scenes a breeze. The last page has excellent composition with its many visual aids, yet for all the compliments I've given, I have to complain that the featured character lacks a certain oomph to sell the moment. Still, with the crazy plot twists and slick art, it looks like Throne of Atlantis has regained its footing and is poised for a strong conclusion in Justice League #16.

Artist Paul Pelletier has the unenviable job of filling the shoes of former series artist Ivan Reis, but he does so with excellent results. He gives a grand tour of the ancient structures of Atlantis, which look like a sunken ancient Roman city. The throne room is as glorious as it is solemn with its intricately detailed thrones made from all manner of shell and crustacean. Moody deep blues used by colorist Rod Reis create an atmosphere for this place that shows us its beauty while also reminding us that these are troubled waters for Arthur.

Geoff Johns has scripted this issue so that revelations come up naturally through the dialogue and bonk you on the head at just the right time. However, there's one particular line of Urn's -- "But I will!" -- which doesn't quite make sense given what is said right before and after it, but it's not that big a deal. This title is still chugging along like a fully powered steam boat filled with ice magic and badass redheads and plot twists so big they could fill the Marianas Trench.

Artist Claude St. Aubin does a superb job showcasing the tormented soul that is Black Manta. The dude just looks worn out and angry, yet he never loses that serial killer sense of calm. If you look closely at the details, which St. Aubin inked himself, there's some odd structure to his anatomy work, which causes some stiff looking characters. However, these instances are few, and the issue otherwise looks pretty stellar.

Going with the idea that anything can happen in another dimension, Pak assembles a curious and hilarious cast that includes a kid Nightcrawler, a cowboy Wolverine, and a few other alternate reality X-Men -- and at one point they all wear Magneto helmets. It's most definitely silly, but it all has a sense of drama to it that will keep the reader entertained and hooked. Alternate dimension stories can be a tough sell, but Pak gives the reader a good reason to put down their money.

Initially, Liu's tendency to show events out of order turned me off, but she hits her stride here and makes the flashbacks catch up to the present in a huge way. Also, her dialog has a nice touch of sentimentality to it that shows these are X-Men, but they're caring beings, too. The characters act like teammates ought to with personal jokes and chummy behavior, which goes a long way to make Liu's version of the X-Men one of the most authentic out there.

It is not an issue of "Can there be two Visions at once?" but "If there is already a fully functional Vision on the Young Avengers that Stark already knew about, then why would he bother rebuilding the original model?" Alan Heinberg's 9-part Avengers: The Children's Crusade crossover featuring the Avengers and Young Avengers has yet to end, so there is a chance the issue will be resolved there. Regardless, the unmotivated addition of Vision to the team was the only flat note of this otherwise excellently orchestrated issue.

Renato Guedes does a superb job with the more intimate scenarios this issue offers up. The scene where Viper taunts and caresses Cap hits the perfect note of being sensual and unnerving. It is to his credit that he properly makes Viper appear her age and does not give her the standard comic book female face of a cover girl model. With such grounded visuals and excellent sense of character behavior, this issue looks top-notch where it counts.

Just as stellar as the story is Daniel Acuna's art. Special note must be given to the layout of the opening page, which speaks volumes more than is actually said: the US Secretary of State -- accompanied by numerous tanks and helicopters -- is framed between Madame Hydra's long legs sporting a sexy heeled boot on each foot. Acuna is tasked with drawing several huge moments, and he tops each one with the next, which adds to the break-neck momentum of the plot. During the breakout scene, VC's Cory Petit hits the perfect note with his coloring, emphasizing how no scientist would ever want to be on the bad side of Iron Man and Storm.

The moment of reunification of the team with the supposedly deceased character had me smiling from ear-to-ear. Bendis makes it memorable by making it a purely human response based on all that has come before. While this issue does not rock the house in terms of plot, and in fact seems counter-intuitive to ending an extended run, seeing the character alive brings its own emotional response that longtime readers will surely react to. Whether that reaction is resurrection rage or not is entirely up to you.

The best part of this chapter has got to be when Eden expresses his doubts about the mission and Captain Marvel and Captain America give him a talk about how there is no fate and that it's only his choices that matter. Then after they leave, Thor -- a God among men, mind you -- lets him know that destiny has brought him to this upcoming battle. It's a great juxtaposition of ideas and by exploring both of them Jonathan Hickman manages to steer clear of cheesy-inspirational-talk territory and instead delivers something realistic and fantastical at the same time.

The only major element this issue suffers from is the loss of Kev Walker on art. Riccardo Burchielli does a solid job as his replacement, but there are more than a few panels that look downright awkward thanks to an attempt at a stylistic image totally missing the mark. But aside from those, Burchielli manages to bring it home in the end and deliver one heck of an ending for Hopeless' whiplash narrative.

I've said it a thousand times, but it's Simone's perfect command over Batgirl's inner voice that makes this title a joy to read. Her stories have dark themes and sadistic villains, but Barabara Gordon's plucky spirit combined with a dash of humor always puts a smile on my face. Simone does her best when given the time to develop a character, so perhaps that is why this particular story does not feel as focused as everything that came before it. There's not only Knightfall but her three henchmen and then James Jr. operating in the background. It's a lot, but Simone does manage to make this overstuffed story work because her lovable Batgirl rises above it all.

All of this continuity nitpicking means little in the end, leaving the real question to be whether this is an accessible title for a new reader or not. With a brand new sinister villain opening the story and an intriguing start to a new mystery, the answer seems to be yes. A new reader might wonder how there is another Batman in Moscow and why Damian is talking about those other orphan boys, but ultimately this tale is fresh, engaging, and a reason to breathe a sigh of continuity-relief.

[Editor's Note: This is a collection of previously released digital material, available weekly from the DC Comics app!]

For an exposition-heavy issue, Scot Eaton manages to keep the visuals as lively as the dialogue. His character work is spot-on, especially his expressive faces, which comes in handy during the closing pages of the book. He took what was surely a challenging script and managed to add the right amount of graphic content to sell the moment without going overboard. Now that the truth about Marcus is out, he will definitely be a character to keep an eye on.

Admittedly, it would be interesting to see the writers take on a continuing story. One can't help but wish there were a little more to each chapter of the book. Perhaps they'll try it down the road (though the next issue is advertised as an anthology as well). But when you get down to it, it's tough to find much to complain about when a book's debut is this much fun.

The Dream Thief concept is introduced with little explanation, but it is enough to get you interested. Although, from what this issue reveals, it seems like John is stealing memories, not dreams. But it's too soon to tell what Nitz has up his sleeve. The book gets into a nice flow and then a few elements throw it off -- the thought balloons, the awkward use of the Facebook "Like" icon, the rushed ending -- but its engaging writing carries it on regardless.

Hickman accomplishes here what other writers might spend a whole series building up, which leaves the door wide open for this imaginative story to go east and west and then north and south, to boot. With over 30 pages of pristine Dragotta artwork colored by the incomparable Frank Martin all for $3.50 -- and printed on that nice Image paper, mind you -- East of West is a hard book to pass up.

With such a great moment for T'Challa, it is unfortunate that the ladies' story gets shortchanged. Their conflict with the undead soldiers resolves, but the whole affair feels like they were given busywork while Reed and T'Challa were off pursuing their merged fates. That said, this issue has some great moments for Black Panther, and it delivers the only poignant Avengers vs. X-Men tie-in scene that I have read, a feat Hickman should be proud of.

Phillips continues to do what he does best and puts together a dark and moody noir book with hard lines and heavy shadows. He draws Josephine with a classic, timeless beauty that looks sexy, statuesque, and mesmerizing. This gives her a strong presence on the page and also allows her to operate in the past and present seamlessly. For a book called Fatale, they definitely got that part right.

Artist Barry Kitson takes over interior duties from Steve Epting and offers up some stunning visuals. An orange planet with rings of light is a breathtaking backdrop for the menacing Kree fleet; a fiery meteor tracks past the citadel of Attilan, which looks as if the Disney castle was jettisoned into space and Susan tends to her plants with invisible constructs shaped like watering cans. His settings are gorgeous and he does an excellent job incorporating his characters into each environment. Also, in an issue almost devoid of action, he receives a special nod for the cinematic quality of his art that keeps the pacing alive with energy.

As much as the moments that emphasize size and scale continue to impress, Nick Dragotta proves to be a master of small moments. The look on Mister Franklin's face as he gets chastised for his bad driving is hilarious, while Val getting surprised in her bedroom with Bentley has just enough situational humor without going overboard. The only place where a visual oddity occurs is the first shot of Black Bolt. He's got crazy eyes that pop way too much. But then again, maybe he's just excited to have his conflict resolved before Hickman leaves the series this fall.

Manapul has previously done a great job using dynamic paneling to show the intense speed of the Flash, but this issue allows him to break out of conventional molds and create a truly unique experience. He sculpts a bizarre place that causes a sense of vertigo and makes the reader lose all sense of gravity. The land of the Speed Force definitely does not look how I thought it would. Turns out it has floating rock staircases and a sky made of faded memories. Given everything we know about The Flash, I guess I was expecting at least a little bit of lightning.

The art is as strong as ever. Goran Sudzuka has some great character designs for the cast, not to mention some stellar designs for the setting. The "haunted" house is becoming a character itself, with dated architecture and enough shadows draped across the interior to make you think twice about stepping inside. There's a particularly astonishing moment when a character opens a door to a strange, strange place, and it's moments like that that will keep you coming back to Ghosted.

While nothing universe-shattering happens in this first issue, it effectively sets the stage for the shenanigans to come. More than anything, it allows the reader to take a deep breath after the ten-issue war story and focus on a more nuanced, personal story featuring the always-entertaining rivalry between Hal and Sinestro.

Much like his script for Justice League #1, writer Geoff Johns is using different conflicts to drive characters into unlikely partnerships and uncomfortable situations. The sparks that fly as Sinestro and Hal attempt to see eye-to-eye seem ready to start an inferno, yet their mutual interests keep the blaze at bay. Johns is crafting a character-based tale with high stakes driving the plot forward, which is exactly what he does best.

Since the launch of the New 52, Green Lantern has been entertaining month after month, but has yet to produce anything extraordinary. It is hard to argue with a series that is consistently great but does not offer a sensational payoff at the end. Johns has stayed away from the galactic-sized threats long enough to produce some juicy character work, so this change of pace is not unwelcome. Given that there are numerous moments of foreshadowing for a bigger event down the line, this initial story arc ought to be embraced before another 9-part event a la War of the Green Lanterns series shows up.

Despite the not-quite-perfect execution of this installment, Johns gets props for continuing to provide more layers to one of DC's most consistent and entertaining comics. He never ceases to create a powerful emotional connection between characters, or shed new light on old prophecies that turn the Lantern universe on its head. The mythology is always transforming into something bigger and better, and given the destruction of the Red and Yellow Corps in addition to what happens here, it looks like all the Lanterns are in for their biggest shakeup yet.

A lot happens real fast in this issue, but not to the detriment of the overall product. A great deal of ground is covered as the story moves forward in a clear direction, and Johns mercifully does so with nigh a vague prophecy spewing out of the Book of the Black or the Guardians. Sinestro has gone from the series' villain to its lovable anti-hero, and the tough decision he makes in this issue weighs on the reader because they have come to care for the guy, demon eyes and all. The strong emotions felt for Sinestro, Hal, and their plight proves yet again that Green Lantern is a series worth getting invested in.

This issue falls right in step with the begrudging buddy cop scenario that Johns has been mining for laugh after laugh. I nearly lost my hat when Sinestro "accidentally" sliced into Hal's arm. Even better, Johns puts all the Lantern factoids he's spread throughout his entire run to good use, making for an excellent payoff for longtime readers. It's great that Johns has kept the story focused on Hal and Sinestro while also managing to escalate the conflict with the Guardians to a galactic scale, and that's what has me so pumped to read Green Lantern Annual #1.

Artist Doug Mahnke does a solid job this time around, delivering effective pages that look as good as they have since the start. What drags some of the pages down is the coloring. While most are great with the soft Lantern energy glow, the details on Simon's masked face are lost in a void of blackness. Aside from that, Mahnke merges the grounded real-world elements with the space-squirrel B'dg holding a book bag. I enjoyed B'dg's presence immensely, if only because, in the face of all this drama, he reminded me of how fun Green Lantern can be.

Even though things are starting to go downhill fast for Hal and the Green Lantern Corps, this issue has a palpable energy to it. It's got space battles and scandalous betrayals and an awesome Fish Lantern -- what more could you want?

Artist Billy Tan does an excellent job as usual, delivering on the soft notes during the campfire scene as well as the fun and creative action at the end. Inker Rob Hunter does a fairly good job throughout, although there's a bugeyed Carol in one page that mars the smooth flow of the storytelling for a beat. All in all, this is a great first step for the Green Lantern franchise into uncharted territory.

The Guardians have been ranting about their scheme for a while now, so for everything to come to a head without a final piece of convincing motivation, this event has me cautiously optimistic. Although, given Johns' track record, he definitely gets the benefit of the doubt.

Artist Fernando Pasarin luckily gets to tell a more focused story that doesn't involve page after page of numerous Lanterns squished into each panel. He definitely doesn't skimp on the bloody violence that opens the issue, but he also delivers the best work I've seen from him when Guy has a tense scene with his father. It reminded me of the scene in Hook when Jack smashes dozens of clocks in spite of his father; with each strike you feel the emotion break free like the glass that fills the air.

Fernando Pasarin gets some points for the close up of the stripped-down captured enemy with his see-through form that puts his bare bones and eyeballs on display. It is a good thing they left his pants on. He also delivers on a stunning shot of the Emerald Plains that would send chills of excitement and dread down the spine of any Green Lantern fan.

Fernando Pasarin puts forth a solid effort with his pencils, but due to the flawed coloring of Gabe Eltaeb, the artwork does not match the high caliber of the story. Most of the pages feature so much green that characters become indecipherable from one another. Lots of green is expected in a Green Lantern book, but I can't recall having been this overwhelmed by it before. The book is starving for visual diversity. In fact, pages in the Planetary Citadel stand out as the best in the book simply because they utilize a wide variety of purples, blacks, and blues.

That said, the last page makes up for any of those discrepancies on pure fanboy credit. It would be a spoiler to discuss it blatantly, but suffice to say that Bedard has listened to GL fans and has given them exactly what they want to see. What makes the final moment so great is that it could only have happened to Kyle based on his past experiences in the Corps; it is not forced. Fun shenanigans involving all of the corps, an intriguing mystery, and a writer poised to deliver some well-crafted fan service? Oh hell yes.

Regular series artist Brad Walker is joined by Geraldo Borges, but their styles are so in sync with one another that I didn't even notice there were two artists until I checked the credits. In a world where art consistency is often sacrificed to meet deadlines, this is a true blessing. The alien architecture is fascinating with its shining peaks and long-stretching walkways, although the best part of the comic has to be the light-hearted facial expressions exchanged during moments of humor (of which this issue has many).

While the second Justice League arc did not impress beyond imagination, it had some solid moments towards the end. The final pages from Ivan Reis and David Finch offer up some super-teaser images accompanied by some tantalizing copy. Those preview pages put a smile on my face because they evoked the comic advertising tactics from an era long past. Johns' penchant for teasing has left me wanting to see what happens next in the worst way.

The art by Kotz is generally solid, although there are times when I couldn't fully make out his drawings, like the cramped opening pages with the pixies. He does a stellar job designing all of the Santas with different hats and suits and facial hair. The main star of the book, the Krampus, looks like what would happen if Mr. Tumnus turned into the Hulk, and I mean that in the best way possible. He's eye-catching and funny to boot, so you're always waiting for the next scene with him. By all rights, this book is so ridiculous it shouldn't work, but that's exactly why it's so much fun.

Artist Scott Kolins has a mixed cartoony/realistic style that looks worlds apart from the steely space epicness of other Lantern titles, yet its one that fits the tone of the script to a tee. The book isn't the prettiest on the stands and it's not the tightest line work you can find, but it gets the job done. Larfleeze looks like a mohawk-sportin' punk rocker who traded in black for orange, which is a bit of a departure from his original, more alien design, but it fits this fresh spin on the character nicely.

While this comic is a lot of fun during the Larfleeze scenes, the Stargrave/Wanderer pages aren't nearly as entertaining. Yes, there are a few humorous moments, but the pair spend too long recapping events and delving out exposition. It is of course a good idea to have something slower paced to break up the bright orange battle scene, but this doesn't quite to the trick. That said, Larfleeze still pleases overall and you don't even have to be a Green Lantern fan to enjoy it.

One curious blip in the art is a number "2" stamped just above Jade's head during the cave scene. I reached out to Spencer and he said it was just a weird printing error, so instead of chastising the editor and publisher of the title, I am instead heavily grateful that it was just a mistake. After obsessing over the Lost numbers for six years, I am glad there is not going to be a new round of numerical madness in Morning Glories.

Artist Joe Eisma fills each page with Zoe's bristling attitude. You'll feel personally brushed off just flipping through the book. There are a lot of intense images and small clues throughout, and he manages to give each one the precise amount of presence on the page. For a dialogue-heavy issue, he manages to change up the images enough to keep things interesting, and does an especially good job of it on the silhouetted panel in the dark.

Joe Eisma again puts out the same solid artwork that has driven this series from the beginning. There is a stark, uncompromising focus on the characters that never shifts away, but with such character-centric writing, it would be hard to imagine it looking any other way. He handles the buildup to the "coming out" reveal with a tickling excitement found in a teen TV show like Degrassi, but expertly brings the visual tone back around to the horror roots that make the series so gripping.

The ideological discussions that make up the meat of the issue are well thought-out. I imagine the minds behind Avengers vs. X-Men had a nearly identical conversation during last year's Marvel retreat. Even though the issue centers around Cap's trust in Namor, it's Xavier's confession that earns the true standout moment. Although, given the absence of this sort of content in the actual event, and considering that it's almost over, all of this debate seems to have come too little too late. Even if this issue ultimately proves the Illuminati don't work, it reveals their one redeeming quality: an Illuminati issue is the place to go if you want to hear Marvel's characters have valid discussions about the current big event.

Unrest fills Avengers Mansion as news of Luke Cage quitting the team to spend more time with his family reaches the rest of the crew. Iron Fist takes the news the hardest, which leads to a thoughtful conversation with Doctor Strange that Bendis sneaks a moment of humor into. It was also fun to hear Carol talk to Jessica about her new Captain Marvel persona. Bendis hits his stride here with an excellently paced issue balanced by the right amount of humor and tension. Hopefully he carries this quality on to the end.

Artist Michael Avon Oeming does a great job with his style reminiscent of Samurai Jack and the Powerpuff Girls, perfect for this chapter's quick action and robust cast. I seriously love his simple yet iconic look for each of the Avengers, especially Thor. The downside comes when you consider the last several issues have been a who's who of artists Bendis has worked with throughout his run. So while Oeming performs well, it's jarring for my brain to make the switch from Carlos Pacheco's realistic style from last issue and Michael Gaydos and Mike Deodato's gritty styles from the issues before that. I have enjoyed each entry, but this storyline is going to make for one heck of a visually diverse trade collection.

While the story is still top notch, the art goes down a peg. It's still effective in its storytelling, which is always a huge plus with writer Jonathan Hickman's twisting and twirling narratives, but it lacks its normal polish. Artist Mike Deodato does a great job on select scenes, but then there are some that lack his normal commitment to detail, plus Frank Martin's usually spot-on colors aren't as varied and textured as we're used to getting out of him. This is still a good-looking issue with a great story, but it must be pointed out that it doesn't reach the high mark of previous issues.

This installment would have been a better choice for the first issue because it shows Atrocitus actively pursuing his agenda instead of standing around thinking about it. Milligan makes an engaging, introspective story by turning the gruesome Atrocitus into equal parts badass and philosopher. Does rage simply beget more rage? How is one rage more worthy than another? I don't know, but Milligan has me wanting to find out.

The movie Prometheus comes out this week, and while that's probably just coincidence, this issue evokes the feeling of being trapped on a space ship with a terrible monster, although Atrocitus wreaks havoc more like the Hulk than a xenomorph. Milligan's writing of the guest Stormwatch team is superb, making me wonder why he hasn't made his cast of Red Lanterns just as lifelike, quirky, and engaging. I can't review this comic without mentioning the hilarious fight between Midnighter and Dex-Starr the cat, which offers the series its first truly memorable moment. There are still a few clunky bits of writing -- mainly the scenes with Rankorr and some bad dialog ("Maximum solar power!") -- but overall this effort is a vast improvement that has pumped some life back into the heart of this series.

Gabriel Hardman continues to deliver extremely angled panels surrounded by copious amounts of white space to emphasize the hard-hitting action. His pencils and Bettie Breitweiser's faded color palette combine to create a style reminiscent of the fast-paced action serials of days past. The Descendants are capable of some crazy powers, and Hardman displays them with sickening, visceral detail while avoiding any real gore. Best, he delivers one of the most chilling series of facial expressions that help sell the insidious twist at the end.

In this world, life as we know it is gone, but apparently text-speak and hashtags have survived. The smart use of social media allows for an interesting plot development, and also makes this strange place seem a tad more familiar. With the intriguing flashbacks to Orson's time on Mars, this mini-series feels like an elongated episode of Lost: each flashback reveals a small piece of why Orson is who he is, which effectively teases out the origin of the most likeable lunk since Sloth from The Goonies.

Bendis has certainly handled this story well. It's easy to imagine the many ways it could go awry, but he keeps it intimate and personal without crossing any lines. He sees the obvious humor in this strange situation and mines it for subtle laughs. The fatherly love that Bendis has for these characters can be felt on every panel and in every word balloon, and while it's not over yet, I'd wager this will end up being the sweetest Spider-Man story we've seen in a long time.

The plot moves in a strange way that keeps the focus on the way the characters interact with each other instead of the actual threat at hand. That might seem odd, but Cornell does it wonderfully with an excellent blend of tension, humor, and personal insight. He understands that these are extraordinary people with equally extraordinary powers, and that is what is for the best.

Like I said, Swamp Thing doesn't impress with the easy way he gets himself out of his horrible predicament, and then he just gives Constantine a free pass once the conflict is over. With so much potential set up previously, it's a bit of a letdown to see it end so predictably. That said, the most interesting part of the book is the other voice inside Swamp Thing's head compelling him to violently defend the Green, and that is something Soule provides in spades.

A pleasant addition to Winslow's story is Anne, the girl who works at his mental hospital. The second you start to wonder why she's behaving the way she is, Edmondson craftily reveals that there's more to her than meets the eye. After that scene, I knew I liked this book for sure because the characters were worth getting invested in, even though you'll have to forgive a few instances of forced dialogue from the stranger who joins their party in the latter half of the book. Given that this is a double-sized issue for a bargain $3.50, you'll most definitely want to give it a try.

If you love history, sci-fi, and comics, then there should be no reason you're not reading this series. There are some moments where it feels like Hickman lays on the crushing depression of Helmutt's situation a little too thick; one scene makes Lt. Aldo Raine look like he was taking it easy in Inglourious Basterds. It says something about Hickman's credentials as a writer that, for a brief moment, you feel sorry for a Nazi.

Pepe Larraz has an excellent style that lends itself to the other-worldly characters and settings populating this book. There's a Nordic ship flying through space toward a hungry-looking space alien with a mouth the size of a football stadium, and Larraz sells that obscure image as well as he does the grounded barroom brawl between Tanarus and Heimdall. His superb sense of scale, gravitas, and pure imagination make the transitions from surreal to slightly-less-surreal feel fluid and natural.

Reading this, I recalled the dissection scene from Blade 2. There is a similar scene here where a dead body is cut into and white milk-like liquid spills out. Gross. Del Toro enjoys the science of the monsters that go bump in the night and this issue is full of medical analysis that ultimately shows the reader that no one knows what killed a plane full of people, but something is still going on inside the corpses. David Lapham adapts the work with a detailed sense of urgency, but his effort is weakened by the numerous quick cuts to different characters and locations. It builds fear, yes, but the reader might be unsure why they are so scared.

And boy does this book get twisted, but not in a blood-and-gore type of way. That can be attributed to Sean Murphy's scratchy and engrossing linework. Snyder's mystery is no doubt what brought many readers to this book, but it's Murphy's art that sucks you in and won't let go. The way he bends reality with the more surreal elements of the book is just fantastic, and if the disturbing closing pages are any indication, things are only going to get crazier.

Even though there have been 90 issues of zombie attacks, close calls, and surprise killings, Kirkman still manages to make the tension of a possible attack ever-present. There is one panel where someone simply questions where another character is, but the way it is scripted makes the reader wonder whether the person in question is just out of sight or being eaten by a zombie. Kirkman and Adlard are coming closer to the 100 issue mark of this incredible series, yet they continue to hit their stride with every gruesome and gutsy story arc.

To go into the details of the plot would ruin the multiple surprises found throughout. This time travel story has been an incredible adventure that never ceases to find the absolute worst predicaments in order to tell the best stories this team has seen in years. Now that the T-Bolts are nearing their goal of returning to the present, the thought of ending the trip that created such genuine and endearing relationships actually saddens me. There's still hope that their time machine malfunctions again, right?

The dialogue and character development throughout the issue are stellar, but the repetitive nature of the big action sequence hurts the momentum of the story. Miles delivers a powerful blow to Scorpion, who pops back up in surprising fashion. Believe me that by the third time, it's hardly a surprise. All that aside, the action scene is actually really cool. Most bad guys take Miles for granted for being a little kid, but Uncle Aaron sees his potential and uses it against his enemies. The begrudging nature of Miles' relationship with his uncle keeps the tension high, making the emotional punches hit harder than the real ones.

With such excellent character moments throughout this issue, it is a shame Bendis again does not come through with action that matches their high quality. Like Miles's encounter with Scorpion, this battle suffers from repetition and lack of creativity. Aaron has proven to be a Jack of All Trades with his plethora of stolen super villain gear, so when he uses such straightforward tactics to combat Miles it makes him lose all the cred he built up. That said, the emotional beats in the issue were so strong that it doesn't hurt the issue too much. If anything, it puts the stakes of the fight above the fisticuffs, and isn't that what we're always asking for in comics these days?

Barberi opens the book with a scene that not only gives an exciting dose of action, but symbolically shows the relationship between Storm and Colossus. He really has his work cut out for him after that, with many pages detailing a quiet escape into the woods. He depicts sleepless nights and desolate landscapes in a way that will make you weary just flipping through the pages. This one-off flashback puts a much-wanted spotlight on everyone's favorite mohawked mutant, and now we can see just why she's a rebel with a cause.

Mike McKone's art meshes well with the style of previous artists on this title. He emphasizes more realistic imagery that helps to sell the gravity of the plot as well as the gore of the violence. As the action ramps up towards the end, he offers up some excellent paneling that emphasizes the big moments, yet the last page falters. I'm not sure what happened there to cause the art quality to dip and resemble a cheesy reveal page from the 90s, but everything leading up to it was solid.

Tabula Rasa has become a strange place with an energy pyramid, green tribal people, and forests with purple trees. Greg Land gives it all an obscure alien beauty with echoes from our own world. Bad-Apex's art chamber is supposed to show how he reached the apex of creative art, which is revealed to be a suspended glob of Gak and a giant crystalline abacus. I do not claim to understand modern art, so I will rest assured that in 65 million years, at least that will have stayed the same.

Greg Land continues to offer up impressive realistic visuals that make each mutant look their best. His superb work on each character's facial expressions does wonders to help sell the emotional beats hit throughout the issue. The top moment goes to the aforementioned scene involving Namor and a certain sea monstress, and if it does not make you go "Ick! Ick! Ick!" then nothing will.

Tony Moore is still missed on this series, but Lan Medina continues to do a solid job on the art. His Venom is too slick and clean, but he makes up for it with Jack's horrific visage. He has a great talent for body language and facial expressions, which make all of the excellently drawn scenes with the macabre Jack stand out in this team-up from Hell.

But it's not like Venom has not done all that before. What makes this issue so great are the two sub-contexts it is taking place under. First, the symbiote has a good reason to be downright livid. Secondly, Flash has been put through the grinder between his love life, Crime Master, and Jack O'Lantern. It is immensely gratifying to watch them get a chance to unleash their fury, turning what could have been a mindless romp into an adrenaline-pumping, emotionally-fueled brawl. Finally, it's okay to say you're a fan of Venom again.

I was most astounded by the visuals of Megatak. His powers allow him to control real-life glowing colored Tetris blocks, which he uses to deflect bullets and smash Venom in the head. Kev Walker is no stranger to drawing bad guys with weird powers after his excellent work on Thunderbolts, and he shows off the Savage Six with apt amounts of creepiness and ugliness. His pencils also lend themselves to short, exciting bursts of action, and given the writing style of both Remender and Bunn, that makes him a great fit for this title.

Flash's rogues gallery has shaped up nicely over its 18 issue run. Jack is as despicable as ever and proves to be the perfect nemesis for Flash; they're like a perverse Green Goblin and Spider-Man. Megatak remains a speechless character that is only around to use his amazing power to hurt people, but this is not bad. He's a silent enforcer. Lan Medina sets these baddies into frantic action with crisp art that emphasizes the hard impact of each brutal hit. His style has an honest quality that shows them for who they are and foregoes the typical exaggerated physiques. But given the disgusting state of Jack's mangled face, perhaps he is too honest.

The teacher-student relationship between Sabertooth and Kade seems apparent at first, but by the end of the issue, it is Kade who has figured out a more logical strategy to hurt Wolverine. Kade's development as a villain takes a big step up since he is not only learning from Wolverine's longtime foe, but improving on his methods. While Aaron's progression into more serious territory is not wholly unwelcome, it does sap the book's wild energy and quick-witted comedy -- two qualities that have made it such an excellent series so far. There are still fun moments to be had, but troubling moments of peril and destiny now linger over the characters.

Aaron defies the dreaded tie-in issue blues and manages to tell a cohesive story within his own title without leaning too hard on what is happening in AvX. The return of the Phoenix has curious ramifications for students and staff alike: Quentin and Rachel Summers suffer seizures, while Idie expresses her frank opinion about the Phoenix's involvement with her powers. This is what I wanted to see from an X-Men title during AvX. These mutants have had to deal with the Phoenix in different variations for years, and now instead of constant foreboding talk about it, we are finally seeing actual effects caused by its return.

This is all fun to experience, but there's not the clear sense of danger you'd expect for Quentin even though he's essentially an undercover agent. The art by Nick Bradshaw is as wildly creative as Aaron's kooky world. The new Hellfire uniforms look like something out of a rejected military design book (in a good way), and the school grounds are never without a morbid surprise. There are a few instances where the character work gets a bit too loose, but that's a tiny complaint on an otherwise stellar looking issue.

This issue is very much a piece of a much larger puzzle. It builds on what came before it and propels the overall plot forward a notch. There's something sinister going on with Apollo up on Olympus, so it's hard to imagine what Cassandra will find when she reunites with the First Born. Wonder Woman, on the other hand, appears to be surrounded by characters she can't trust, and for the first time in a while she offers a poignant piece of dialogue that lets us see the world from her point of view. You've got to hand it to Azzarello -- whenever you think you've got his take on Wonder Woman figured out, he throws in a curveball.

Paul Davidson's pencils are the perfect complement to Spurrier's sense of humor. Davidson's handling of the awkward opening scene earns a big laugh by using a static panel layout to express Dr. Rao's hilarious reaction. His style has a great upbeat quality that keeps the chatting scenes lively and the action scenes brisk yet memorable. And let's not forget he drew Dr. Nemesis riding a freakin' mutated hammerhead shark.

Artist Paul Davidson outdoes himself with the presentation of one of the more unique X-Men baddies: a Nazi with almost a dozen heads joined together from different dimensions, plus he has the Emperor's lightning powers and Forest Gump's legs. One could only imagine what his description looked like in Spurrier's script. Another standout visual is the pregnant Danger. She has a belly swollen with data and swirls of energy, and while the final product will undoubtedly be revealed next issue, it is a credit to Davidson's skills that any reader would be horrified to see the result.

David Lopez creates an excellent look that matches the more earnest storyline. He draws the many women of the book with dignity and strength instead of using those all-too-common cheesecake shots. There are two pages of conversation between Storm and Cyclops that stand out as the best of the issue. They are flawlessly paneled and use precise shots to ramp up the tension. With a strong emphasis on tone and character, Wood and Lopez serve up the best single issue this X-Men series has perhaps ever seen.

David Lopez opens big with the aforementioned splash page. The team dives out of their jet and freefall into a stellar action scene. Lopez has an excellent sense of gravity and movement, which he shows off with Domino skidding down a roof and landing with her guns out. So cool. His best work comes during Colossus's confrontation with the villain and the haunting imagery that persists long after the page has been turned. Wood and Lopez have exceeded all expectations with their incredibly well-rounded cast of characters, a divisive conflict, and art that fits the tone of the book like a glove.

Roland Boschi makes a fine replacement for David Lopez on art duties. His linework is not as clean as Lopez's, causing some of his character's faces to vary from panel to panel, but overall his style still fits the serious tone of Wood's story. He has some great layouts where the art does not necessarily stop at the borders of each panel, allowing him to make the art flow right along with the pace of the narrative. If you're tired of Avengers vs. X-Men disrupting your X-stories with crossovers, then Wood's X-Men is the book for you.

Young Avengers snaps its fingers to the drama of teenage life one moment and starts head-banging to raucous superhero action the next. It's cool and hip and relatable without trying too hard, and what's cooler and hipper than a feisty Latina, two gay teens in a longterm relationship, and knocking boots in space? Like any rock concert, it might go off-beat every now and then, but it's a pretty great time regardless.

Nuno Plati's artwork is as stylized as Humberto Ramos', the man who originally designed and debuted Alpha in Amazing Spider-Man. Like Ramos, everything here has an atypical style, but the world is completely in Plati's hands. He manipulates the characters and settings in his pages with an intuitive sense that helps sell each and every panel. Even Alpha's hair is something to keep an eye on as it seems to react expressively to his current freaked out emotion.

Whether scenes of two people chatting or a close quarters brawl, Pelletier makes it all look great. A lot happens here, so credit is due for telling a large story in a small space, a skill that no doubt comes in handy when drawing Johns' detail-intensive scripts.

While I did enjoy the plot development quite a bit, it began to ring a tad hollow because the story lacks a sense of heart -- a problem that can be traced back all the way to issue #1. The machinations of a universe-sized plot have overshadowed the people involved in it. Hawkeye and Black Widow have an exchange, but there's nothing there to make you truly care about them, and the same can be said for almost everyone else. This story is a lot better now that it has a clear focus, but it still has some work to do on the character front.

Kev Walker is again absent. Why can't we get more consecutive issues out of this guy? He's one of the best artists working today and the main draw of this series. Artist Karl Moline does a fine job filling in with a style that is in line with Walker's, but it's not as good as the real thing. To be fair, Moline has some excellent layouts and paneling that pick up as the momentum of the story reaches its surprise conclusion. Two more!

This issue takes its time where others have rushed. I'd be lying if I said the climax of this issue felt duly earned, but I will admit that the first three pages built up more emotions in me than the last three issues, and that is what made the ending so gratifying to read. I never thought of Ganthet as a father figure for Kyle, but now that Tony Bedard points it out, that relationship makes for the keystone of this issue's awesomeness. Even better, this is the first title that seems to have made progress on finding a solution to that whole Third Army problem, and, frankly, I'm just glad Rise of the Third Army is finally over.

Writer Nick Spencer seems well aware of what readers want to know and puts us in Ike's shoes, albeit not without a warning of the price that comes with getting answers: first, your head might bleed from all outlets, and second, they lead to more questions.

Although this comic is worlds away from what Rick Remender gave us in his recently concluded series, this snap reboot embraces the differences to make it work. Spencer gets the best out of a small cast and an intriguing new status quo that has potential for many more interesting stories.

Eddy Barrows turns in a stellar looking issue of Superman. His layouts using the Medusa Mask as panel borders is as creepy as it is cool to look at. It's really Pete Pantazis' colors that round out this comic and make it so pleasing to look at. Lois is pretty much a bright blue glowing figure, while Psycho Pirate's powers light up like the fourth of July. This is a great looking issue that helps establish Superman as a solid book that you won't want to miss out on if you're a fan of the character.

This issue has so many moments where characters either get what's coming to them or dodge their fate that it becomes a rollercoaster of emotion. Aaron delivers long-awaited kisses, stabbings, and punches, but some come at a price so high it will have you pulling your hair out.

Artist Raymund Bermudez has a no-frills art style that works well for the clean-cut lifestyle that Lex is accustomed to. Lex's icy cool gaze is rendered excellently and Bermudez puts it to use when he plays it off the feeble expressions of timid prison guards and scientists. There's one explosive double page splash in the middle of the book and it's clear that it's only there so the issue can claim to have had action, but it's confusing layout instead makes it the singular blemish on an otherwise good-looking book.

Aside from that, Yu delivers an issue full of impressive looking aliens and epic shots of armadas floating in space. His grim visual tone fits the perilous nature of Jonathan Hickman's plot to a tee. With the main narrative of Infinity being rather broad and sweeping, this Avengers tie-in shows a closer look at the intergalactic politics and personal conversations between the likes of Captain America, Gladiator, and J-Son. Even better, mysteries that have been brewing ever since Avengers #1 are becoming more and more clear. With Hickman's longform writing style, that is a godsend.

Then there's the matter of Dean White's colors, which normally lend any artist's pencils a realistic sheen. With Romita Jr.'s style of rounded features and extra big heads, hands,and chests, White's colors only work to point out how exaggerated and not realistic his character designs are. There are times when this isn't so bad, but it is noticeable, which only makes the art that much more uneven.

But when he cuts back on the words, he tells an interesting story. We learn how Nabu has influenced the events in this title since the first issues, which earns Robinson some credit for planning the story out well in advance. Some more time spent with Flash lets us see what he's like outside of costume, as opposed to Hawkgirl, who seems to be wielding dangerous weapons whether she's on the job or off. With Scott back on art and a new character added to the cast, Earth 2 has the push it needed to stay on your pull list one month longer.

The final chapter in the 13-part Black Vortex crossover story has some great moments, but a few too many unresolved plot threads stop it from feeling as satisfying as it could have been.

Ivan Reis -- with some help from Paul Pelletier -- has the unenviable job of coordinating a huge sea/land battle featuring more heroes than you can shake a decoder ring at. Sometimes this results in overly busy pages like the first splash page. I'm tempted to say Ocean Master is the focal point of that image, but he's lost in the mix. And is Firestorm getting knocked away or is he flying awkwardly on his side? There's a ton of action that gets crammed into these pages, which allows for a particularly gorgeous full-page shot of pure payoff later on. The story and the art could have both come out a mess, but it all works together despite itself to end Throne of Atlantis with every bit of promise that it started with.

There are so many moving parts to this series that it's hard to judge it all at the outset. It's not as dramatically personal as Identity Crisis, but it's off to a better start than Avengers vs. X-Men. It's more accessible than Final Crisis, even though it's missing a clear source of conflict like Civil War. This might not be a line-wide event like those stories were, but it's definitely got the scope and talent of one.

Ninjak's debut issue was packed with potential, but this follow-up only mines a fraction of it, making it a solid read that signals that the best is still to come.

Artist Luke Ross has the unenviable job of making the new A.I.M. baddie come off as a badass, and I was surprised at how effective his design was. He did away with the beekeeper outfit and replaced it with an imposing suit of armor that still bears the signature A.I.M. square headpiece and yellow color. He may as well be a cousin of Mortal Kombat's Cyrax -- a good thing in my book. There are a few panels where the body language comes off stiff, as if the characters were mannequins and not people, but those instances are fortunately not the norm for most of the book.

While the plot certainly is well executed, it doesn't feature Superman prominently. Strange, to say the least. A good chunk of the issue is dedicated to the H.I.V.E. Queen's battle against Hector Hammond, which is where Jesus Merino shines. The Queen shows off some visually impressive moves that make her a formidable foe, while Hammond mind controls some civilians, giving them huge heads just like his. Merino makes it a striking visual because it's hilarious to see those angry giant heads running about, but also deeply unsettling because, well, look at their heads!

Alvaro Martinez takes the art reins and does a pretty solid job. He is absolutely gifted at drawing the various flowers, trees, and vines that grow around Utopia. You can practically smell the forest air as you flip through the pages. I noticed that Blackheath's hair changed from green to blonde, which is either an error or an unexplained change, both of which are nothing more than mildly annoying. Also, it is very nice to see Colossus back in the picture with his glorious steel muscles. They have been missed.

The plot started in Minimum Carnage Alpha #1 has only grown weirder since. In all the chaos, exactly what the heroes are fighting to prevent becomes an unknown variable. The downside becomes the fact that neither Venom or Scarlet Spider appear to have a personal stake in the story aside from saving a damsel in distress, a tired old cliche that doesn't look like it will be defied anytime soon. Still, thanks to Shavley the wonky adventure pleasingly continues and looks all the better for it.

That said, this issue has all the shenanigans one would expect from a book where the plot concerns Captain America's Bucky Bear being stolen by Cyclops, inciting a silly neighborhood brawl between both teams. All of the expected characters show up for the fight, but I was taken aback by the inclusion of a few currently deceased characters such as Nightcrawler and Banshee. If anything, their inclusion cements the fact that this book completely ignores all manner of continuity in the service of fun, and in that regard, A-Babies vs. X-Babies is a resounding success.

The Animal Man parts of this story are drawn by Steve Pugh while the Swamp Thing parts are by Timothy Green II. While Pugh's stylized drawings are as solid as ever, the paneling technique used by Green makes for a jarring page turn into the Swamp Thing parts. Green frames his panels with generous amounts of white space, and while this can be effective if it's self-contained, it works against Pugh's panels that use almost every bit of free space and even overlap at times. Still, both artists deliver big on the Justice League of Rotworld designs and give us an all-out gore-fest that's fun to look at in that sick sort of way.

But back to focusing what's in this book instead of what was left out. Namely, Steve Pugh's gorgeously grotesque artwork. When Maxine lights up, man does he kill it. He makes everything from the gross Rot monsters to the mysterious men in yellow wetsuits look vivid and obscure, like an R-rated episode of X-Files. The heart-wrenching final pages are all in his hands with little assistance from dialogue, and boy does he wring your heart dry.

No matter how conflicted the story may make you, you'll feel no such thing for artist Kev Walker's absolutely stunning pages. The latter half of the book has some crazy moments that are sold by Walker's visceral details. The look on Katy's face as she went bloodthirsty made my stomach drop. You might not agree with the path Avengers Arena is taking, but it's hard to argue that it makes you feel something every time.

The supporting cast gets shortchanged as far as conclusions are concerned, but that is an acceptable negative given that Andrew and Mary got such a solid sendoff. Seeing how Frankenstein is currently lumbering around in the pages of Justice League Dark, it's not a stretch that we might see Andrew, Tig, and Mishkin the vampire-dog again before long.

The signature voice of Keith Giffen and J.M. DeMatteis still carries the narrative along with a lighthearted sense of humor, but with Larfleeze engaged in a battle where he only gets to shout out a few lines, the book becomes the equivalent of a concert where the headlining band only gets to play one song. It was interesting how this issue was all about the servants who serve powerful masters, and Stargrave is pretty funny, so as long as this series puts the spotlight back on the main attraction, it'll be one to keep reading.

Joe Eisma delivers an excellent issue abound with expressive characters and detailed settings. He has come a long way since his first issue of this series and it definitely shows. His characters are more distinct and the backgrounds feel more natural, which allows the narrative to unfold without a hitch.

Even with the shipping delay, the art by Jim Lee has taken a noticeable dip in quality. He does turn in some iconic poses of Superman, but everything in between varies from looking finely tuned to somewhat loose. This is still a good looking book, but it's not as polished as what came before. Also, the design of Wraith is all over the place. He was clearly made to resemble Superman with the blue base and red accents, but the hood and excessive glowing makes him look like Darkseid with a Superman costume on, which I don't think was the intention.

The three-man art team puts out some nice visuals, and that is where this book is able to keep a somewhat lighter tone. The staff are pretty pissed at Quentin Quire, yet the fact that Doop is there giving him the stink-eye as the teachers yell at him make it read completely differently, i.e., incredibly hilarious. So with the narrative taking a turn for more somber times and desperate measures, it's the art that keeps this boat afloat.

This is somewhat of a "catch your breath" issue where the regrouped characters pick themselves up, dust themselves off, and assess the situation. They have a true villain amongst themselves in Apex, so the complexity of both their relationship with each other and with Arcade gets a new dynamic. This all forms around Hazmat's breakdown, which allows us to see these teens actually acting like heroes more so than we've seen thus far. Not in the saving someone from a burning building sense, but in the way that inspires others to do good by helping each other.

We do get a quick look at the aftermath of the A.R.G.U.S. explosion, and to avoid spoilers, I will just say that the reaction of the heroes is a redeeming moment for everyone present. In a story about heroes fighting heroes that takes place just before Forever Evil and Villains Month, it's nice to get a reminder of what makes someone a good guy.

The plot steadily builds an interesting mystery before jumping into a fun action scene, but the witty banter that was enjoyable at the beginning wears thin by the end due to repetition. A sense that Peck could have gone further with the material can be felt. Despite my misgivings, this was a good book that has entertains with both lead characters, all emphasized by impressive art.

Despite the joining of numerous plot points, the dynamic between Peter and Carlie makes it a fun read. Carlie is a confident and determined police officer, so scenes where she and Peter banter about spider-fu, the Jackal, and Spider-Man's secret identity have a witty edge to them and prove to be the highlight of the issue. Combined with Ramos's stellar art, this chapter overcomes its jumbled story to deliver an entertaining tale.

The real gem of this book comes from Fialkov's entry with phenomenal artwork by Nuno Plati. Plati's style evokes a cel shaded anime look that at first seemed strange because Spider-Man is rarely drawn that way, but then I was immediately sucked in by his dynamic layouts and the clever way he manipulates the eyes on Spider-Man's mask. Fialkov puts Plati to work, scoring a laugh-out-loud moment every couple pages thanks to his refreshing script featuring a self-aware Spidey who is down on his luck. Given how he stole the show here with a quintessential Spider-Man story that celebrates exactly what we've loved about the character for 50 years, I would not mind seeing Fialkov become the regular series writer for o'l Webhead.

Steve Pugh ups his game for this crossover issue and provides more minute details to the setting than ever before. Vines creep up a railing, haunting figures are showcased in front of an apocalyptic backdrop, and the first journey into the Rot has a sickening amount of bones, teeth, and flies. A montage detailing the interactions between the Green, the Red, and the Rot looks stunning with its veiny structure not unlike Yanick Paquette's plant-paneling in Swamp Thing. With the marrying of both art style and story concepts, the Animal Man and Swamp Thing creative teams have set up a crossover that I can't wait to read. Given general hate for crossovers, that is a strange feat indeed.

On a more meta note, did Liu give Northstar a perverse sense of justice by having Wolverine get viciously attacked on his special day? That's some wedding present.

The pencils done by Daniel Acuna have an obscure beauty that pull on all the right strings. Many readers have strong memories of the events he depicts, and he does them all justice with intricate battlefields full of super hero debris and strong visual cues that would allow any Avengers fan to identify the setting even without a caption. The rubble of Avengers Tower looks just like the shots of Ground Zero after 9/11: crumbled pieces of skyscraper, some ruins still on fire, and brave firefighters tending to the scene. In lesser hands this might come off as crass, but Acuna and Bendis have intricately crafted it to remind us that while these super heroes live in a fictional world, their pain is ultimately a reflection of our most life-changing experiences.

The actual story here feels like a throwaway used to showcase what Smasher can do and where she came from. On that level it works pretty well. Although, with any Hickman story it is safe to bet that this seemingly insignificant tale will have bigger ramifications down the line. Taking into consideration how this story connects the Avengers more intricately to the cosmic part of the Marvel universe along with Marvel's teaser for their Free Comic Book Day offering, it definitely gives you a reason to get excited.

Artist David LaFuente does a cartoonier version of his already cartoony style for this story, which fits the tone nicely. This comic moves at breakneck speed and he makes it easy to follow with his expressive characters and intuitive paneling. I found myself enjoying the small details the most: the "Hellcat doesn't like mornings" coffee cup, the cute animal apron Cap wears to serve dinner, and the personal items that surround Bruce, Tony, and Natalia as they relax.

The art by Andre Lima Araujo is a slam dunk. His lighter stylings go with the humorous tone of the script, allowing him to express various emotions at a whim and deliver bombastic action scenes with bountiful energy. A big credit is due to Frank D'Armata, whose colors accent Araujo's pencils to help achieve a fun and vibrant atmosphere. This is a great looking book that has a lot to offer in the visuals department.