I've read Adventure Time #1 four times now (twice while discussing it with one of the artists of the book, Braden Lamb, at a local comic creator meet-up, once with an advance from BOOM!, and once after purchasing it), and as a fan of the series and a fan of comics I can find nothing wrong. Fans of the show won't be disappointed, and I can't imagine that folks curious enough to travel to Ooo will find the experience uninviting either.

If you're looking for a crime comic book to put other crime comic books to shame, then good news, everyone: "Red Handed" is here.

Ultimately, anyone who appreciates both the intricacies of the Marvel Universe as well as has a deep appreciation for our own history should feel right at home in this book. While this issue does miss the Hickman touch of added prose pages and design layouts, it's still a great way to end the first part of the story with a bang. Watching intense historical figures get reshaped into characters and heroes/villains within the Marvel Universe has been incredibly entertaining, and their ties to one of the most important organizations in the Marvel Universe is what makes this comic so special to follow.

Now is not a good time to get into Fables for the first time. As odd as it is to say that, especially after a centennial issue and at the beginning of a new arc, the only reason Fables is as great as it is right now is because we have all been here for 102 issues. Watching Pinocchio's excitement about comics only matters if you've grown with the character, watching Ozma buy into the idea only works if you know her normal attitude, and seeing Mr. Dark's absolute destruction of the world surrounding is only relevant if you have watched Mr. Dark in action for 27 or so issues now. No, now is not a good time to get into Fables. However, this issue proves that now is an absolutely amazing time to be a Fables fan, and starting off the year with an arc as strong as this might just let Fables earn the “Best Ongoing Of The Year” from Multiversity once more.

Additionally: perhaps accidentally, perhaps on purpose and perhaps a sly oxymoronic combination of the two, the entire comic syncs up rather well with the latter half of the first disc of M83′s Hurry Up, We're Dreaming. That can't be more than pure coincidence, but it works out well regardless.

Honestly, between this and the previous issues of “Casanova: Avaritia,” I can't remember the last time I was this satisfied by the experience of reading a comic book as I have been from this arc alone. We're still four volumes away from the absolute finale of “Casanova”, but it's probably nottooearly to note that whenever this all ends it'll be Fraction and the Twin's definitive masterpiece.This has all been said before (by me, and on this site), but it's hard to match the sheer amount of creativity and genuine love for the art of comic books as found in “Casanova.” It's clearly a labor of love with the amount of time spent in bringing the series this far, and as one door seemingly closes it is rather impossible not to be excited for what the future holds with ‘Acedia.' Suffice it to say, whatever happens will be impossible to ignore.

In fact, comparatively, the "Daredevil" ongoing that currently exists could be compared to some off-brand generic cola. What Bendis, Mack, Janson and Sienkiewicz are making is Classic Coke. And do you really want to live in a world without Coca-Cola?

For the opening shot in a war, “Everything Burns” is certainly off to a bang. It seems that the odds are against our heros in this one, but in most great stories of a heroes journey they often are. Fraction's “Thor” has reveled in the glory of classic mythos and Gillen's “JiM” work has sung with bold character development towards otherwise seemingly unlikable characters. With the two styles combined, it looks like “Everything Burns” may just be the true major Marvel event of the year. Fingers crossed.

Mr. Laufeyson, Mr. Gillen " take your bows. You've earned them.

For a great interview with Brandon Graham about where the book is going in the future and how it connects to the past, click this link.

I really can't stress this enough: "Stray Bullets: Killers" is a comic that not just deserves to be part of your pull but absolutely needs to. Every issue is something different, and 45 issues later it's still one of the best series I've ever read.

So "The Multiversity" is a pretty grand start to what seems to be quite a fun jaunt throughout DC's new multiverse, as well as a celebration of all things comic books, and for that I have nothing but praise to sing. If the book is really the culmination of all of Morrison's work, then that aspect clearly shows in both the recycled elements and the new ones. It's a big book about superheroes, it's a big book about stories and it is definitely a comic about comics for comic fans. As the series veers off with the following issues before coming back around for the eventual wrap-up/bookend, it'll be a lot of fun to come back to this first issue and re-experience the start of it all " and in the end, that the series already looks like it'll demand of us time, attention and frequent visits decidedly makes it a win for DC and Morrison.

Suffice it to say, “Avengers” #1 is a very strong start. Hickman's Bigger and Bolder take is staggering to behold at first but refreshing, and Opena's illustrations fit perfectly with the grandiose vision of the series. Marvel's NOW! initiative is so intently focused on delivering a shake-up of ideology, and “Avengers” is strong proof that the plan worked. Given all that is potentially in store it's certainly a great time to be a Marvel fan, and if his “Avengers” is even half as densely plotted as “Secret Warriors” or “Fantastic Four,” it's rather difficult not to expect great things down the road.

It may not have a #1 on the cover, but “Avengers Assemble” #9 is the perfect place for any new or lapsed fan to get into the Avengers and is the best not-#1 on the market. The book finally feels like what it was always meant to be — a place for fans of the movie interested in checking out something similar to find their haven within comics while old fans have just as good a time. Together, DeConnick and Caselli have hit all the right marks that Bendis and Bagley didn't seem able to, and the book is reborn in a fashion that most other NOW! titles can't boast. This isn't just a new status quo for the title; this is a brand new book with a completely new outlook — and damn, that outlook is mighty bright.

While DC's output as a whole has suffered in the wake of the New 52, including but obviously not limited to Morrison's own work on “Action Comics,” the epic Batman run that Morrison embarked on six years ago is truly one of the most impressive works in DC history. It not only solidifies why Batman is their number one character, but justifies it as well for an epic journey into Gotham's heart of darkness. That we get to see it all tied together in such an immersible way and to have Chris Burnham on art for the grand finale is just icing on a rather delicious cake.

So if you're looking for a book that's fun, open, friendly, endearing and the highest of quality, a book that you can share with anyone you may know and show them both why this series is worth following and why people are so obsessed with superhero comics in the first place, Kelly Sue's “Captain Marvel” is a great book to do so with — and with Filipe Andrade attached to this arc and things looking like they'll head in a rather interesting and grounded direction, this is a great point to see what all the fuss is about.

As odd as it may sound, it's easiest to look at John Layman and Rob Guillory's “Chew” as a version of the Joker. Sure, sometimes it's spray-painting a museum while dancing to Prince's “Partyman”, but you should never forget that on occasion it's performing magic tricks and making a pencil disappear. There's that slight angle of humor in there somewhere, but it's mostly just horrifying and incredibly dangerous. Either way, bravo on the gravitas.

The rest of the book is nice, though largely hit or miss. It's tough to “review” a list of someone else's favorite movies of 2012 (or rather, it's tough to do that without sounding like an opinionated jerk), but the backwater does serve to give the entire comic magazine added value. If you're looking for a book that gives you time for your money, that introduces you to some concepts you might be unfamiliar with or that opens up your mind to the wide world of comics (the Gaiman interview is particularly enlightening), you'll be hard pressed to find a better value than “Creator Owned Heroes” this week.

It may ostensibly be a marketing gimmick, but it's just as good as it ever was. It doesn't really matter what they call this book anymore. The next issue could be called “My Little Pony” to try and get that crowd to read this book and it wouldn't matter. As long as Parker is at the helm and working with fantastic artists like Shalvey, you should be reading this title no matter what. It is absolutely one of Marvel's finest current titles.

It all comes down to this: did you read the critically acclaimed “X-Club” mini? Of course you did. Did you love it? Of course you did! Aren't those images above these words pretty damn sharp? Of course they are. Do you have a dollar? Of course you do. Just buy “Extermination.”

So Godzilla may not exactly be relevant anymore and the classic film is over 50 years old, but with just one issue Stoke has proven that his reign is far from over. No, Godzilla is definitively back thanks to the folks at IDW, and "Half-Century War" is pretty much the perfect resurrection for him. With the first issue giving us a look at the events of the first film and once again bringing us back into his world, it is with baited breath that we wait for Stokoe's second issue. Bring on the monsters.

Yet, a few missing details isn't enough to stop the juggernaut that is "Infinite Vacation" #5. Suffice it to say, if you were a fan of the book before, I find it incredibly hard to believe that the ending will not leave you satisfied. The pages barely hold the comic in, and that's meant quite literally. With its dial turned up to 11 and everything coming in with an extra kick like a spiked bowl of punch, this is a great way to kick off the year for comics and sets the bar for presentation quite high.For the rest of you, keep your eye open for a trade. It's going to be quite a beautiful finished package.

Suffice it to say, “Polarity” is definitely off to a good start. It'scertainly a good debut for a new creator (if it were someone lesser known than Bemis, you could almost guarantee a huge celebratory deal would be made), and it makes for quite an entertaining read. It's a book that has all the makings of a classic origin story, and aside from some awkward dialogue and a fewexaggeratedtropes, there's a lot to like. Add in a free song to listen to while reading and “Polarity” is a sharp story in a beautiful package that you'd do well not to miss out on.

With an exploration of the things that have shaped her reflecting directly on events of the most recent two issues, we're given a beautifully rendered story that touches on what makes Red Sonja worthwhile: she's compassionate, complex, mysterious, clever, talented, deadly, vulnerable, dangerous and impossibly interesting.

"Rover Red Charlie" was a story about us as much as it was about dogs going across the country, and all the subtext comes to the forefront in a dark but riveting finale that's quite gripping. You'd probably be surprised at how the "Homeward Bound meets Crossed" hits a startling amount of high notes. It's undeniable that Avatar books have a certain reputation instilled upon them because of the company's main gore-tastic output, but having said that, that a book like "Rover Red Charlie" could come from the company is nothing short of spectacular, and it will probably remain Avatar's most critically underrated endeavor ever.

This is a deceptive issue of a great book, and on some level it's probably ok to call it “rude.” Maybe even “evil.” Yet it's important that “Saga” be allowed to smack the readers around every now and then. It's a consistently great read, sure, but consistency only gets you so far; every now and then you need to be shaken up, to have the book grab you and remind you why you read it, and it's always best to have no advance warning of that. With Vaughan and Staples completely in sync, “Saga” is one of the best books being published today, no questions asked – and to even think about not reading it is a major folly. If it's somehow not in your pullbox yet, you may want to re-think how you're choosing your monthly reads.

It's been a long time since a modern Vertigo title felt like it was destined to be a classic that would stand amongst the greats, but if any book has a chance it's this one. Congratulations to Aaron, Guera, Jock and the entire team behind the book on a fantastic piece of comic work, and we're officially counting down the days until the next one.

“Secret Avengers”lightly builds off of what came before and then tries something new. It tries out something that is more akin to what the average Marvel comic reader of 2014 has been clamoring for, and most importantly? It's fun. “Secret Avengers” is a heck of a lot of fun, and that's easily the best praise I can give it.

And hey, outside of the lack of Dunkin Donuts signs everywhere, it's a pretty great little representation of Boston. Or, at the least, the Zakim Bridge (although the lack of appearances of the Boston Garden in that area is a bit suspect, says the guy who lives a ten minute drive from that location).

It certainly wasn't obvious by the books previous sense of bravado, but “the Cape” was apparently always a circular tale. Where it originally offered a fresh take on a time-old trope, the story's ending returns back to where it began and wraps everything up in a neat little below. It was a curious road that the book traveled to get from its humble beginning to its fantastic ending, but the road was ultimately worth traveling.

Let me make this very straightforward: did you read and enjoy “the Strange Talent of Luther Strode?” If yes, then buy “Legend.” Even if you didn't buy “Strange Talent” when it first came out, go buy it now and pick up a copy of “Legend” so you aren't left waiting. “Luther Strode” is the kind of book that knows what it wants to be and goes after it with a vengeance, and unless you want it to come after you you'd do well to pick it up now. It shouldn't be a surprise to anyone that a title like “Luther Strode,” known for kicking ass and taking names, doesn't fall victim to any kind of sophmore slump. Instead, it punches through a door and punches through the reader's skull. But don't worry – “The Legend of Luther Strode” is the best fist through your face you're likely to get this holiday season.

“The Walking Dead” is a tough book. Reading it is hard, because with issues like this it is hard to be in a great mood afterwards. Writing about it is hard too, which is why “The Walking Dead Corollary” exists at Multiversity when one of us doesn't want to write about something because it's difficult. After a string of issues that left us as readers complacent and perhaps even a bit defiant when death wasn't lurking around every corner, it's nice to know that Kirkman and Adlard can still sufficiently beat us over the head to remind us exactly where we are, and why we keep coming back month after month.

For those familiar with Rick Remender's work, one thing is absolutely clear: the man loves music. From his humble beginnings in comics with thinks like “Black Heart Billy” or to more recent references to Mogwai not-so-subtley placed in “Captain America” #1, the influence of music on his work is more obvious than how magic works in “Phonogram.” To that end, “Uncanny X-Force” has very much been like a great rock album in its execution: it opened up with a kick-ass first track called ‘The Apocalypse Solution,' a track full of memorable riffs that set the tone for the rest of the album, before moving into an album full of popular singles and radio sensations like ‘The Dark Angel Saga' plus a few kinda-filler-but-still-good tracks like ‘Otherworld,' all before coming together in a big penultimate track that preludes the end of the record in ‘

Obviously with big events, fans find themselves conflicted in how to respond. The popular answer is often to shun it entirely given the repetitive nature of the industry, while others choose to embrace the shifting landscapes and constantly reinvented worlds. No matter how you feel about events, though, this is an absolute highlight of the entire saga. Call it a diamond in a rough or the crown jewel — no matter what, this is a can't miss issue for fans of “AvX,” the X-Men, Cyclops, Gillen, Eaglesham and Marvel Comics of 2012.

As time goes on, I think you'll find the success of Winter Soldier is less “Joey off of Friends” but more “Fraiser off of Cheers” — a smartly written book that exists properly in tandem with its original source material that is just as entertaining, if not better. It's been a long wait, but Winter Soldier feels as fresh and exciting as Brubaker's first Captain America story in 2004 that introduced the concept behind the character, and this is easily Marvel's first Can't Miss New Series of the year.

It might be a bit unfair to say, but it's possible that “Witch Doctor” is simply an acquired taste. It's a comedic book, but it has a rather dry wit. It's a horror book, but it doesn't really fit into any traditional tropes within horror. The writing and the art isn't like that you'll find in your average comic book, all of it very much being rather singular to this book. In the wide world of comics, that's definitely one of the highest compliments we can give; there is nothing else quite like “Witch Doctor,” and until the next volume hits the stands that will remain a fact of life.

You should buy “Young Avengers.”

Suffice it to say, “All-New X-Men” is quite a refreshing and exciting new chapter into the X-World. It does move us backwards in terms of the direction of the franchise, but it also pushes things valiantly forward in terms of possibility. Really, anything is possible at this point, and that's kind of exciting in and of it's own right — and honestly, that's all you need to spark interest in new readers, or to catch lapsed ones. While the overall premise isn't fleshed out too much, it will certainly be interesting to see the book evolve over a few more issues, but as far as Marvel NOW! debuts go this is definitely a surprise hit.

All in all, another wonderful issue of Atomic Robo, which is absolutely not surprising. I always look forward to Atomic Robo books because I can always look forward to a great read each time. I can't think of a bad issue in it's entire run so far, and I don't see one in sight.

The first issue of I, Vampire is the complete storytelling package, as Fialkov effectively and efficiently introduces these characters and their story to readers while Sorrentino sears the images of that tale into our minds. The surprise hit of the new DC universe is here, folks. Don't miss out on it.

For a whopping .99 cents, this is a great bargain of a comic.

The return of “Scarlet” is definitely something to be celebrated. This was and still is a great book, and there's honestly never been a better time for a book as dark or politically charged as this one. The America that exists in 2013 has grown to such a place that its nice to see two prominent creators creating a book that is not only a fine piece of fiction but a locked and loaded rifle, ready to fire. While it could certainly stand to ground itself more back into our world versus just getting lost in its own, this is certainly a can't miss comic.

“Wraith” is only just getting started; where it goes from here will certainly be a sight to see, and something impossible to miss.

However, if anyone was going to do just that and knock it out of the park at the same time, it'd be Christos Gage, and with a partner like David Baldeon alongside him, the future is certainly looking bright.

Fans of Ennis won't be disappointed, but on the same hand fans of Ennis might be disappointed. See, Ennis has done such a fantastic job as a writer in not pigeon holing himself to specific genres that the only thing that is often noticeable is the excessive violence. Jennifer Blood certainly has violence, but this is not on-par with anything we've seen in The Boys or the Preacher, and it's only marginally close to some of the things we've seen in Punisher. That's just at the start though " Jennifer Blood promises a lot to the future of the comic with it's over-sized first issue.

"Wayward" has the makings of a true hit. With a little more humor and a lot more ass kicking, this book is going to find a huge audience with comic fans. It's off to a great start.

It's an entertaining little book, not quite reaching the ecstatic highs of “Adventure Time” but not missing a bit of magic like “Marceline.” Fionna and Cake are amusing as concepts and this is a great opportunity for the Adventure Time world to truly expand; having Allegri flesh out this iteration of their world a bit more in a way that perhaps the show doesn't really allow for is a fantastic move. And while the duo may not be as easy to understand as Finn and Jake, their adventure is still definitely worth your time.

The lesson of “Amazing Spider-Man Annual” #39 is ultimately very clear. No, it's not that Spider-Man is an important character, and no, it's not even some form of debate on morality or ethics. It's not even really justa variation on a theme/trope/idea that has been admittedly played out, both in Spider-Man stories and elsewhere.No, all that's in here somewhere, but the lesson here is that Brian Reed should write more superhero comics because I say so. (Objectivity in a review? What's that?)

It's nice to see the Runaways again. Whenever they make a background appearance or work themselves back into the spotlight, it's like seeing an old friend you don't really talk to. Sure, you're friends on Facebook, but it's as if you have zero contact with the person until you accidentally bump into them in public while shopping at the same store randomly. You smile, you hug, you catch-up on everything you missed and you swear you'll keep in touch this time — but you don't, and the story remains the same here. The Runaways make an excellent addition to the cast, if only for this story, but the Runaways aren't staying. They'll be here for two issues and then they'll leave us, promising to keep in touch but most likely disappearing for another extended period of time. However, it is ultimately important to see what these two issues represent: closure. Sometimes, that's all you can ask for.

In a time when there is a lot of negativity brewing around the world of company-owned superheroes, it's easy enough to see why we as a comic collecting culture still buy into i all when books like this are released. Waid played a long con (against me, anyway) with his handling of Murdock, but this issue shows me the “Daredevil” everyone else sees: a fun and slightly nuanced take on Marvel's other resident punching bag. Can't wait to see what issue #12 holds now.

If you've never been interested in Doctor Strange, this book seems like as good a place as any to get interested. The Season One initiative has been largely disappointing across the board if only because their hasn't been a lot that felt new in any way, shape or form. Doctor Strange Season One, however, changes that for the most part; it's an old story, sure, but it's told in such a way where everything legitimately feels fresh and exciting. If this book is any indication that we'll be seeing a Strange fill sometime soon, and it would seem that it might, this is certainly a great way to get Strange into the conscious mind of an unsuspecting public.

So all things considered, “FF” #1 essentially makes for a better introduction than “Fantastic Four” #1. It's not that the other title is necessarily bad in anyway, but if the modus operandi of Marvel NOW! is to deliver content that is new and easily accessible, then it's “FF” that truly delivers it with smart form and fashion. The new volume of “FF” is certainly not the same as the old, but it operates so fluidly and transitions so smoothly that it should appeal to scholars and neophytes both, and with a new cast and a new direction “FF” could easily be one of Marvel's most entertaining new books once the ball truly gets rolling. For now, it's a wonderful set-up to a bright future.

The Allreds have done "Madman" for years in the same ginchy style that "FF" ultimately sought to imitate, so with a third Allred on board now the flow is kept overall " so it's easy to say that if you liked what came before and you liked the Allred's seminal work, you're still going to love the charm and wit of "FF."

"Green Wake" was a twisted tale of metaphors with a Lynch-esque vibe that did the entire Shadowline imprint at Image proud. While the series doesn't get its perfect ending, it helps to remember that in life, there are often times no perfect endings to anything. In Green Wake, that inevitably makes perfect sense.

It should go without saying, but if you've ever had interest in pulp adventure comics like the Mignolaverse's '1940s' stories in "BPRD" or "Lobster Johnson," "Whistling Skull" is not a book to miss out on.

As “Locke & Key” begins its wind down, it's impossible not to reflect on the entire series run and marvel at what a journey it has been. For all intents and purposes this issue is the “main ending,” wrapping up most of the plot threads prevalent throughout the series and offering up a lot of answers to questions we've always had. Delivering answers can be tough and nobody wants to polarize the audience by not offering too many definitive explanations, so the book has a hard job in striking that balance. Yet despite a short misstep in delivery, the first half of the series finale offers up a very satisfying read to fans of the book that wonderfully reflects the bleak nature of the series with a concise contrast of emotional storytelling. This is the story that fans have been waiting for.

So when it comes down to it, “Nova” is a rather exciting prospect. Loeb and McGuinness' take on the Nova Corp looks quite intriguing, and if you can get past the tropes and shake off all the deja vu you'll feel while reading the issue, there's a lot to like. Sam Alexander seems like he'll be a fine addition to the greater Marvel U if the first issue is any indication, and this is as open and friendly a door as the Cosmic Marvel U has ever seen.

Eric Stephenson recently wrote an interesting piece on the state of super hero comics vs. independent comics, comparing modern trends to a child pulling toys out of a box and attempting to figure out interesting ways to play with the same old things. While on some level this is true, Remender is truly one of the gleams of light you can implicitly trust when it comes to using our favorite old toys for fun new adventures, andSecret Avengers (now on its fourth creative team) is off to another strong start. If Remender'sre-imaginationof the Age of Apocalypse could say anything of what he has in plan for the Masters of Evil and the Shadow Council, one could venture a guess that his run of Secret Avengers with Gabriel Hardman is still going to be the equivalent of ice cream. Sweet, delicious ice cream.

So when all is said and done, this iteration of the “Secret Avengers” feels decidedly different from what came before, and that's a good thing. If there's one thing the book could benefit from, it's a stronger inclination towards the actions of the characters without relying on the reader being aware of mission ops, because half the fun of the book is seeing all the little tricks Spencer and Ross have pulled when they've read the ending. If “Secret Avengers” can be just that -secretive – then this is going to be a very exciting run with some great characters.

"Ultimate Spider-Man" is definitely one of Marvel's most accessible comics at the moment, and while Miles definitely needs to step up his game he's never the less fun to read about. His journey has a clear direction " to become the next Spider-Man " and while his walk down the road of life is seemingly aimless, 'Venom Wars' is off to a good start. Here's hoping that Bendis and Morales get that push over the story-cliff they both need.

The last issue's controversial moment might somewhat say otherwise to more passionate fans than I, but as someone who came to the Amazon's sector of the DCU fairly late in the “game,” I'm finding this iteration of the warrior princess to be quite an endearing one. The classic elements (as I've come to understand them) of Wonder Woman as an icon are all still here; her selfless is at the forefront, her bravery is astounding and her role as a hero is adamantly clear. It feels like, for the first time since “Infinite Crisis”, that someone is really trying to make Wonder Woman a character available to everyone, and not just those who were fans before. (Whether they're succeeding is, of course, up for debate, but for at least one inconsistent fan the formula works.)

When “X-Men” was announced as a book that would deal with vampires in what seemed like a blatant grab to the popularity of the bloodsuckers, I'll admit I thought the book wouldn't amount to much beyond it's gimmicky grab for attention. Yet, the book blossomed slowly but surely into quite an enjoyable run thats more memorable than you'd assume at first glance, and with a bevy of talented artists all getting a swing at the interiors for the past 29 issues, it was certainly a well-executed example of why we like comics with mutants in the first place.

Schism is not inherently a bad book in any way, shape or form. Aaron clearly has plans that he and Kieron Gillen will be working on for 2012 with this whole Regenesis business. However, when you compare Schism with any number of X-Events of the past five years, you'll find that those books " while still being rather open ended " all had much more pertinent resolutions with their stories.

So “Fatherhood” is a book that has a very specific audience in mind, but that's not necessarily a bad thing. A certain special level of empathy is required to truly connect to the story of “Fatherhood,” one that is perhaps not as accessible for those who have not entered into that stage of their life yet, but there's still plenty of recognizable and visceral emotion on play. Chances are you'll find something that connects to you – whether it be based on your relationship with your parents, or perhaps even a certain level of daydreaming. And at the very least, it's a very thought-provoking read contained in 22 visually engrossing pages.

In Rob Williams I trust. Heck, in Remender and Parker I trust as well. "Circle of Four" has been an entertaining and rip-roaring adventure in fire and brimstone, and while this is perhaps the least Venom-esque story you'd expect to see under the Venombanner (and, really, could've probably done well as a separate mini, all things considered), the trio of writers are making it work through and through, outside of a few hiccups. Is the portrayal of X-23 on par with the development to her character in the past year? No. Is the art choice for this particular issue good, if not a bit thematically questionable? Sure. But is the book worth buying? Absolutely.

So it's with these things in mind that we can very easily give the first issue of Bunn and Silas' run a thumbs up. While it does find it's footing in what came before, it's clear that the new creative team is here to do something different. With a different focus and new villains for Venom to go up against, this first arc of the all-new “Venom” should end up just as strong as the one that came before it. Let's just hope that Bunn can at least infuse the book's hero with as much heart as he does in his other work, namely “the Sixth Gun.”

Is that enough to recommend the book? Not entirely. If you like the Avengers and you like Howard Chaykin, yes, absolutely read Avengers 1959. It's not ostensibly connected to anything outside of finding it's roots in New Avengers, but if you have even the slightest of knowledge about the Marvel Universe then you don't need to read that first story, just hop in now. It's always nice to get a story that isn't over encumbered with the milieu of history preceding it, but if you're given some sort of dilemma in which you have to ask yourself whether to feed yourself or buy one more comic, just buy yourself dinner. Avengers 1959 will be there for you in trade some day.

Still, I would challenge, perhaps even outright daremost comics to be half as brave as “Winter Soldier.”

Either way, "Casanova" has returned with a new style, once again solidifying its place at the top of the current comics pantheon. Smart, devious, slightly off but always on, "Casanova: Acedia" is a strong start to what will hopefully be the best volume of the series yet; with a creative team that is quite literally the best they've ever been, it's hard to assume otherwise even with a slower start than usual. And while that #1 on the cover may be deceiving to some, feel free to dive on in " the water's fine, dead body floating in the center of it and all.

And so things return to “normal,” only for the next arc to assumedly shake things up again with Declan Shalvey and some death. While this arc certainly had it's ups and downs, Wood's “Conan” run s still very much enjoyable. Never truly allowing itself to become typical or formulaic, Wood and the artists on the title repeatedly try something new, whether it works or it doesn't. In the case of this arc, the finale was mixed, but with art as sleek as Lolos', it's easy to take regardless.

Think about it like this: this is a book for undecided voters. Giving the title a chance is like getting to pre-cast your vote in order to find out if who you wanted to vote for would make a good President a month in advance of the election. That's a pretty sweet opportunity, all in all.

When the world ended, “Powers” lost a bit of the tooth and claw. Yet, as “Bureau” kicks off, it would seem that Bendis and Oeming have no intent of abandoning this fan favorite work, and the new direction for the series is a welcoming one. While long time fans will certainly notice the attitude change, this really is a remarkably nice spot for new readers to jump in and get the gist of whats going on. Lets just hope that “Powers: Bureau” can remain consistent with its release, because there is one thing that has caused the book to suffer in the past, its the delays.

So the beginning of the book is a bit washy for me, but I do enjoy where the end of the issue ends up. I guess my main problem was it took too long to get to "the point," and as a Shakespeare fan I am willing to allow characters to change goals and positions versus entire stories being changed (i.e the odd scene before Hamlet is sent away " what is that dog?), which threw me off. Really, once Hamlet ends up on King Richard's island and everyone begins to talk of murder and quills, I enjoyed it more. It's not quite Fables or LOG, but it sure is headed in that right direction.

At the beginning of the book, Tony Stark is having drinks with a nameless woman who is played as infinitely generic. What we see from the interaction at first glance is an inherently handsome and charming man chatting up a ditzy and seemingly stereotypical blonde who is only interested in him for money and appearance, but what we quickly learn is that this is actually a front. She's not a stereotyp and is actually a rather smart individual who is simply playing dumb for her own reasons. That's basically “Iron Man” #1 in a nutshell: it's a sharp book and Gillen has planted seeds for what should be a great re-introduction to Tony's world, despite having an exterior glamour that's off-putting and facetious. Whether you continue with the title or not, though, if you take the chance on the new “Iron Man” you'll certainly get a good single comic book experience. Just try not to get too hung up on the art.

The latest issue of “Iron Man” stands at an interesting precipice. It is not part of the last arc, yet it serves as an epilogue; it is not part of the new arc, yet it serves as a prologue. This is the type of issue that would supposedly do well for new readers, yet also lightly insinuates that the reader should have some of previous events before entering. In spite of it all, though, it's a rather solid issue of “Iron Man”, and with Dale Eaglesham on art you can easily expect great things to come.

Oh, and for the record: Team Avengers. Cyclops is being a bit of a d-bag here.

Nothing new, but still something to behold

It should also go without saying at this point that Fear Itself is an absolutely gorgeous book. Stuart Immonen has evolved so much from the earlier days of his career, and when you compare his work on Fear Itself to his first illustrated event, DC's

I have the utmost faith in Road Rage. King and Hill are strong storytellers on their own, and Ryall and Daniel have both proven themselves several times in their past work. While Road Rage isn't the comic you would initially assume it'd be with KING and HILL branded so boldly on the cover, there is enough angry truckin' in it to satisfy your vicious GTA-based driving fantasies.

"Superman/Wonder Woman" has a lot of assumed potential to be something different, and if Tomasi and Mahnke can pull that out sooner rather than later then it's easy to excuse an otherwise average first issue. Tomasi and Mahnke both have earned some good will over recent years at DC as well, which helps; Tomasi's run on "Batman and Robin" emphasizes heart and family in the story, and Mahnke is known for big, explosive stories with well-defined characters in the center of it all, so all things considered their "Superman/Wonder Woman" should have some pay-off down the line. At its onset it's rather run of the mill, but out of the two books with Diana's superhero name on the cover this is the one I'd hedge overall bets on.

“Fearless Defenders” sits on that interesting precipice of new comics where it's good enough to want to read more but not astounding enough to make immediate waves. Over time, “Fearless” could certainly become a great book; if there is one thing certainly not missing from the first issue, it's an abundance of heart and good intentions. Yet that'll only take it so far – with the upcoming arc inherently being about the formation of the team, it'll be a bit tough to judge the book until the end of said arc. Whether you want to stick around to see that play out is up to, but it doesn't seem like it would be a bad idea to.

Out of the two things I've read from Firetower, I put my money on Dagonet as the better comic. I like the writing of this book, but I really don't enjoy the art at all.

Either way, the issue as a stand alone preview of what's to come in Venom is a great start. While it's Spider-Man connection is minimal at best, the issue succeeds in making the excitement for the Venom title rampart upwards exponentially, and you'd be hard pressed to find anyone not willing to give this idea an issue or two now. The future Spidey teases are frosting on the cake as well, and this further goes to prove that in the hands of Dan Slott, Spidey's universe couldn't be in better shape.

The Alpha storyline had potential, and while Slott's ideas were seemingly grandiose and well-intended the play-out for everything falls short. Between the hand-wave wrap-up of the story, the seemingly out-of-place character work and the otherwise awkward artwork, ‘Alpha' ends up as a miss and the character is thrown out like yesterday's jam. But the silver lining is: it's Dan Slott. Dan Slott, the man who loves Spider-Man more than perhaps any writer of recent memory. A relatively lackluster three-issue story in an otherwise great run is absolutely no reason to be turned off to the book as a whole. Here's finger's crossed for the next set of issues.

More than anything, I'm reminded of ‘The Gauntlet' storyline that “Amazing Spider-Man had a few years ago. It was a villain showcase, in which all of Spider-Man's classic villains came back in one form or another to put him through the ringer. That story features a lot of great and dynamic tales of villains and why they do what they do, and Morbius was included in it with a one-off story (#622) where Spider-Man hunts him down for the wrong reasons. It was a great little story, and it gave perfect reason to like Morbius and to want to see more about the character. Unfortunately, #699.1 is not #622, nor is it #654.1. It simply is what it is: a book that came out at the wrong time as part of a long legacy when it really should've been released assomething else. I wouldn't give up on the idea of a Morbius-led title yet, but this issue is certainly otherwise skippable.

So as "Amazing Spider-Man" ends and "Superior Spider-Man's" head watches with narrow eyes in the distance, a lot can seemingly be said for the fact that at least Slott is trying something new. While the idea of a hero being replaced " or even being replaced by a villain " isn't ostensibly that new or innovative (heck,Megamind's already done it), giving Spider-Man such a drastic albeit assumedly temporary overhaul is certainly daring. Yet still, just because Slott, Marvel and all else involved are trying something new doesn't inherently make it that good, and despite all good intentions the finale of "Amazing Spider-Man" falls flat on its own bravado. "Superior Spider-Man" is a concept that something enticing could be done with and there is no denying that, but "Amazing Spider-Man" #700 seems like the perfect jumping-off point more than anything else.

This issue is the first step in a right direction in redeeming the title, and I'm happy to keep the book in my pull.

But you know what they say: it's better to have read a great comic with a bad ending, than to have never have read a great comic at all. Something like that, anyway.

Either way, the easiest way to tell if you will like "Twelve Reasons to Die" is to read the first lines of the book: "If you had a pussy it'd be getting wet right now." If that fills you with disgust, then this book is not for you; if it makes you laugh, then there's probably something here for you. Gauge how you feel about that one line, because trust me " on this one, you can go with your gut.

“Batwoman” is a comic that has been enjoyable for people who want “Batwoman” to be “Batwoman,” and on some level that's fine. The book is definitely in cruise control right now, though, and it is beginning to feel stagnant. Comics don't necessarily have to be all lightning and explosions all of the time, but you should at least be able to get a feel for what direction a book is headed in. Either Williams is playing it all extremely close to the chest, or he's just winging it now that the first big story is done and they've passed the cancellation prospects; either option is plausible. Lets just hope that the next big story this book has up its sleeve picks up the pace a bit more and returns this book to a top tier position within the Bat-titles, as opposed to just another average one.

“Cable and X-Force” is a bit of a let down, but not in any particularly offensive ways. While the issue could've done with a tighter explanation of its purpose and plot overall, what Hopeless makes clear with the issue is that he's not phoning it in or throwing things at the wall to see what might stick. It's just a matter of having the title stand out against the crowd, and given how many books Marvel puts out a month with double-shipping and the sheer amount of #1s being thrown at people, “Cable and X-Force” isn't a title likely to impress readers over perhaps anything else. It's a shame, and Hopeless and Larocca can certainly deliver over time, but if you're looking to be wowed immediately like some other Marvel NOW! books have done, you've come to the wrong place.

It's a tough call, in the end. “Captain America and…” is a book that you'd want to like more, and while it certainly has it's form of charm it's just tough to value this book more than “Captain America,” “Invincible Iron Man” or even “The Avengers.” It's a nice distraction from the rest of the world and even a nice deviation from the world of “Avengers vs X-Men” and all that no more Avengers stuff, but even so there's only so many comics you can buy in a given week. Sometimes when a book is good but not great, you just have to flip a coin (or wait for trade).

I'm an optimist, though.

Then again, I can't say I'm not at least intrigued to read another issue to see if things get better. So at least there's that.

It's early in the series so there's still plenty of time to turn it around and into something a bit more recognizable in terms of the character. Aaron and Bianchi are the team for this book and if you have any affinity for their work or the character this is a can't miss read. Yet at the same time, there's definitely something off about it in the way that it attempts to create a sympathetic anti-hero, rather than just show off the dark journey of the most dangerous man in the galaxy. It's certainly a mixed bag of a read, something that will be easier to judge when we know more of Aaron and Bianchi's plan, but for now “Thanos Rising” has all the telltale signs of a book that will read better in trade.

A year ago when “Aquaman” #1 came out, it was an easily missed opportunity to show off the heroic talents of Aquaman when Johns chose to write a story about how no one could respect the character no matter how hard he tried. Now, a year later with “Aquaman” #0, not too much is changed — nobody really cares about Aquaman, and we're given half a story that barely goes to inform who the character is today.If that's worth $2.99 to you, then by all means.

If you really want to read “season one” of the Fantastic Four, I couldn't recommend the Marvel Masterworks collection of the first ten issues any higher. For the exact same price as this new book, you'll get ten issues of comics at their very best. Fantastic Four Season One by Aguirre-Sacasa and Marques is not ostensibly that bad for what it is, mind you, and it's certainly a good first entry into the entire Season One line, but in the end you can't beat the King.

"Guardians" needs to be more than "Space Avengers," but it's not really given the star treatment the book deserves. Bendis can certainly write better stories than this, and the recent "X-Men" books are proof positive that he's great at team introduction books (let alone any book of his career that had a #1 and featured a team). "Guardians" just feels sloppy, though, as Bendis is clearly walking a shaky line between following-up a critically acclaimed run and attempting to launch a book to a different fanbase.

I, personally, really want to love Jason Aaron's “Incredible Hulk” story. Aaron's work has never let me down in the past and he's one of the few creators who I would happily buy anything from if his name was on the cover, even a comic co-written and illustrated by Shia LaBeouf. Yet despite my willingness to go that far, so far no emotions stir by the end of the first arc. Often times, you can tell if you're going to like the entirety of a run based on the first story in it, and if this is what the title has to offer then I'm not sure its worth revisiting. The next arc focuses on Hulk staying angry, traveling and getting into shenanigans (with multiple illustrators at the helm) which could be fun, but the comic has a long uphill road ahead of it. Right now the book is not much more than a big angry, veiny beast — thematically fitting, I suppose, but not not very entertaining.

“Invincible” #100 should be a big issue. Forget that — it should be huge! Colossal! An absolute titan! But when it comes down to it, the amount of things that could've or should've been in this issue very largely outnumbers that which is actually in the issue, and as such “Invincible's” hundredth issue is not particularly engaging or exciting. The book still remains one of the better comics on stands, but you can't help but feel that this was a bit of a missed opportunity to show off what's so great about the series, in the same way that issue's like #60 or #75 did not too long ago with their grandiose events. There's just nothing very special going on here.

It's awful that this has become a reason for giving a book a thumbs down, but in today's economy where Marvel is double-shipping the majority of their titles and you really have to pick and choose between what's really great and what you're possibly buying just because (insert reason here), “New Mutants” doesn't offer anything particularly striking from anyone. The New Mutants haven't really been “new” in who knows how long, and there's just no major reason to read the book unless you're a) a diehard fan of the New Mutants, b) a diehard fan of Dan Abnett and Andy Lanning, or c) a diehard fan of Leandro Fernandez. If you don't fall into any of those categories, now would be just as good a time as any to jump ship if you haven't already.

So “Saucer Country's” finale is a bit underwhelming, but that's to be expected. It wasn't the planned ending of the series, but rather the one it was given no choice but to have. Cornell has promised that he and Kelly have future plans for the series to be done at some point, and hopefully when that day comes it'll alleviate the sting of this ending. For now, though, what we're given is a forced conclusion with an optimistic ending for a series that never quite got its act together. Cornell and Kelly are two great creators and “Saucer Country” could have been something truly great if given time; unfortunately that's not the case, and this is all we're left with.

All that said, that doesn't mean the book isn't in some ways fun, mind you. In terms of offering up a place for new readers to discover comics and why they inherently matter, “Savage Wolverine” seems like it'll appeal to a very limited audience. If you like a wordy Wolverine, deadly dinosaurs, pseudo science and a buxom babe, this book is literally right up your alley in terms of content; however, compared to any other Marvel NOW! book on the stands this week, there's no reason to grab this unless you have a particular love for Cho or #1s.

At least the art by Chris Weston is still great. I have absolutely zero complaints about that.

“Ultimate Comics Wolverine” is a decent start to a mini, but it's one of those things where if you're not an Ultimate fan, there's not much to see here. That's pretty much the general state of the Ultimate universe, actually — what was once created to be infinitely accessible has now warped its way into becoming so insular that, in order to (assumedly) get the end of a story started three years ago, we're given a spin-off mini written by a different author. That's not inherently bad, especially if you're an Ultimate fan already, but if you're coming for Bunn, Messina or just Wolverine in general, you're better off looking at their work elsewhere.

Ultimately, “Wolverine” #1 is a bit hard to really judge. It comes down to a matter of preference, rather than most comics which can be easily judged on their perceived quality. If you like Paul Cornell's writing, you're probably going to like this book. If you like Alan Davis' artwork, you're probably going to like this book. If you like Wolverine, you're probably going to like this book. But is there any particular reason to buy this Wolverine story over any of the other two Wolverine-starring ongoings? No. Is there any particular reason to buy this comic over any other comic? Not really. And is the story off to a very strange start? Yes, assuredly. “Wolverine” comes down to the flip of a coin, but survey says that you're probably best left waiting for the first arc to be done before really giving this book a firm judgement.

So as far as introductions go, the main story is a poor foot to start off on. While pulling from the quirky web comic crowd certainly worked for the “Adventure Time” comic, it's just not the case with this book. It's lucky that the comic features a back-up strip by Ryan Pequin, however, because that's the closest thing we get to what you'd likely expect from a book with this title and cover. It actually features the Bravest Warriors being an off-brand of brave and warrior, and that's what you're paying to read. With eight different covers to the book — all but one of which giving the implication that this is a book about teens in space having adventures — with a solicit that implies you'll find a story of teens who “warp from galaxy to galaxy, saving alien races with the power of their… emotions,” you'd assume you'd get more than a muffin-off some TV watching.

It's such a shame that this issue isn't stronger. Simon Baz shouldbe the Hot New Character of 2012, and this issue shouldblow doors down. And yet, "Green Lantern" #0 is yet another example of the low standard of quality that the DCnU seems to have all around. It really isn't thatbad when looking at some of their other offerings, but it's also not good either; it simply exists, a set of stapled pages sitting on stands in comic shops and select bookstores around the country as a firm reminder of what DC and Geoff Johns currently are. In time Johns may regain his mojo and Baz may grow to be a very endearing character within the DCnU " but between that horrendous cover and the subpar sequence of events that are contained within the issue, your $2.99 will be muchbetter off staying in your wallet for now.

Or maybe I didn't really get it. That's highly possible too.