In the most effective use of a dream sequence in recent memory, Cornell skillfully explores Lex's thought processes and distinct viewpoint on the superheroes of the DCU. Sure it's been done before in the past, but not in such an entertaining and refreshing manner that manages to have me rooting for Lex to come out on top at the end of it all. Cornell takes full advantage of the dreamscape, embracing the absurd and hilarious nature of it. I'm calling it now, the panel of the week goes to the moment in which Lex first encounters Master Mind inside the saloon. Words cannot express the awesomeness of that shot. Together with Pete Woods' revamped art style, Paul Cornell is giving comic fans a reason to care about Lex Luthor.

The new Jimmy Olsen backup is sadly a bit underwhelming, mostly due to all the setup that takes place. Nick Spencer has a knack for writing every day people, but the dialogue and exposition is so heavy handed at times that it's difficult to actually care for Jimmy's situation. With introductions now out of the way, hopefully the real fun can begin.

viable threat, but I'll give Slott the benefit of the doubt and run with it for the time being.

Instead they choose to play by their own rules, and they're clearly having a blast doing it.

His name and contribution to the book may have resulted in bigger sales for American Vampire, but I have little doubt that Scott Snyder and Raphael Albuquerque will maintain the same level of quality that I've come to expect from the title.

The twist in the final pages actually caught me by surprise, but hopefully Snyder can give it some context next month and have it make more sense. Based on what he's done so far, I have no doubt that will certainly prove to be the case.

While this first issue didn't bowl me over, Jeff Parker throws in plenty of ideas that guarantee I'll be coming back next month. The mock transcript in the back offers up a few laughs, as did the ad for the upcoming Gorilla Man mini. If next issue can deliver more of that and a broader look at the entire team, this'll be a welcome addition to my pull list.

If you've been a fan of Bendis' Avengers work up until now, this book won't disappoint. The story is picking up steam and is poised to kick up the action next month. If you haven't been following, I still recommend giving this new book a shot. Without the baggage of a company-wide event hanging overhead, it's the perfect time to try something new.

Equally frustrating is the fact that Bendis goes overboard with the jokes and banter this time around. I could tolerate it before, mostly because it was kept in check, but this time it constantly hindered my overall enjoyment. I didn't take the time to count the number of times Spider-Man made a horrible joke, but I'm sure it's at least five times too many. And why does Maria Hill insist on referring to Noh-Var as "alien boy"? Although this finally showcased some insane John Romita Jr. action shots, they were not up to same quality as his usual work. That could be the fault of Klause Jansen's inks though, since they aren't as sharp and clean as before. At this point, Avengers is proving to be a disappointment. That's a shame too, considering it's status as Marvel's flagship title.

From the journal entry-style narration boxes to the ever-present red and black imagery, DC wasn't lying when they labeled this a missing chapter of R.I.P. Yet even those that complained about the inaccessibility of the original story will be able to enjoy this straightforward installment. Having gotten used to reading Dick in the bat suit, it's both odd and exhilarating to read Morrison's interpretation of Bruce Wayne as Batman again. The dynamic between Alfred and Bruce is touching and a stark reminder of the vast differences between Dick and Bruce. Tony Daniel changes up his art style this time around, though not exactly for the better. There are inconsistent facial structures and Batman appears to have bulked up on steroid, but overall Daniel's storytelling abilities have improved considerably these past few years. Morrison's overarching Batman story is coming to a head in the next few months, and I can't get enough of it.

Batman & Robin #17 is a smart and refreshing change of pace from what we've enjoyed from the title thus far. If you were thinking of skipping this arc and waiting for Pete Tomasi and Patrick Gleason to take over, you may want to rethink that stance. Fans of Cornell will likely get a kick out of this, even if you have to put up with lackluster artwork.

While Gail Simone has a deep understanding of the characters and introduces an intriguing villain, she doesn't deliver a knock-out first issue on the level of Secret Six. Still, this is a promising start to the title and I already know I'll be sticking around for the second installment. Simone's ensemble books are always a pleasure to read, even if they can take more than one issue to hit their stride.

Call me crazy, but if Marvel calls you up and tells you to draw a story as if your career depended on it, because it does, then you draw the hell out of that story. You put your best foot forward and show the entire industry that you have what it takes to roll with the big boys and girls - that you can deliver on every level. This book gave six artists the perfect opportunity to do just that. Some of them rose to the challenge, while others fumbled around. This sort of inconsistency is to be expected in anthology comics, but that doesn't make it any less disappointing when it happens.

I'm optimistic that the major concerns I have now will fade away as the series progresses, I just wish they wouldn't have been as apparent so early on. With great setups and an eclectic cast of characters, Brightest Day could certainly keep the same level of excitement going for a whole year. If Johns and Tomasi can strike a balance between characters while continuing to giving each their own unique voice, we'll be in for one hell of a year.

In perhaps the biggest surprise of the issue, Geoff Johns and Peter Tomasi manage to capture and sustain my attention during their Hawkman and Hawkgirl story by delivering some gruesome action and introducing an intriguing twist regarding their latest resurrection and encounter with the black rings. And throwing in savage anthropomorphic cats and birds are a guaranteed win in my book. The only clunker this time around turned out to be the Deadman sections since absolutely nothing new was learned or explored. His segment ended on an interesting note, but I'd be more excited if it involved a character I actually cared about. Ramping up the action and deepening the mystery surrounding the two storylines that were considerably weaker in previous installments easily ranks this as the best single issue of Brightest Day so far.

The Martian Manhunter's storyline takes center stage and is easily the most enthralling, as well as graphic. Like many fans, I find his journey to be the strongest, and the possibility of it tying back to Grant Morrison's JLA run brings a smile to my face. The cliffhanger from last issue gets a big payoff here as we finally learn Mera's secret origin. It's not particularly shocking, but Black Manta's involvement adds considerable weight to several events in the past. The Firestorm and Deadman portions attempt to inject a bit of humor to the series, but your mileage may very depending on how you feel about cheeseburgers and projectile vomit. Another decent issue in the series, but the difference in quality between stories still prevents the book from reaching its full potential.

It seems almost impossible for this title to settle into any sort of consistency, which is a real shame considering the talent that's working on it.

On the other end of the quality spectrum is what's going on with Firestorm. Without question, the retcon involving the true nature of the Firestorm matrix is the most ridiculous thing I've read in comics all year. Not only that, but it perfectly illustrates the main problem associated with the title. It's more concerned with reinvigorating B-list characters and making them seem important than it is with weaving an intricate and enthralling story. At this point, I have little faith that anything will change as the series moves on. Proceed with caution.

While this may be a decent comic book, it certainly doesn't measure up to the previous issues in the series. I'm hoping the book can regain its footing in the next couple of months, as I would hate to see one of the best comics of the last decade simple fade away into mediocrity.

Who Won't Wield the Shield? reads like an excuse for some Marvel writers to have a bit of fun amidst the seriousness that we've grown to expect out of our comics today. The comic is comprised of inside jokes, pot shots and a dash of crazy. At $3.99 it's a bit of a tough sell, especially with the mediocre Deadpool story attached to it. But if you're looking for a few good laughs and an adventure orchestrated by Kithotep the Cosmic Kitten, I suggest going out of your comfort zone for once and giving this issue a shot. I guarantee that at the very least, you'll never look at Ed Brubaker the same way again.

While not quite as strong as the opening arc, International Flavor is still an incredibly fun and entertaining story. More than anything, it proves that Chew is not just a one-trick pony. This concept has versatility. Layman has done an excellent job building up the world within his book and making sure it'll be an interesting read for a long time to come.

But the real draw of this issue is that it's so damn hilarious. If you thought last month's Poyo issue was funny, wait until you discover why Poultplus is so "fricken' delicious". Trust me, you will not be disappointed. Rob Guillory's fantastic visuals and well-placed Easter eggs deliver comedic gold on just about every page, making this the most entertaining book I read all week. With the Omnivore collection out as well, it's never been easier to get hooked on the continuing adventures of FDA agent Tony Chu.

I have no idea what to expect from next month's finale, but the book has earned a bit of leeway so I'll stay optimistic. Call this a hiccup in an otherwise excellent track record.

Just when the issue was hitting it's stride it takes a drastic turn that could flip the entire series on its head, then the issue abruptly ends. I'm not sure what to make of this development, or of the major revelation involving Tony's family life. This might elevate the title to another level, or it could easily crash and burn. The end result is anyone's guess, but let it be known that Layman and Guillory are not afraid to take bold chances when it comes to Chew.

The surprise ending is certain to take the conflict Between Mason and Tony to a new level. Drastic steps are taken and you can pretty much surmise that Tony won't just stand around and let them go unpunished.

Ed Brubaker crams so much into each issue that it's impossible to feel as if you are not getting your money's worth each and every month. The essays in the back of the singles not only prove to be almost as entertaining as the comic itself, but are great resources for anyone looking to devour more crime and noir stories. This month features as essay about Korean crime films and I can't wait to track some down and watch them. Pound for pound, Criminal is one of the best books you can spend your hard-earned money on.

Crysis #1 isn't a terrible book, especially when compared to other tie-ins I've read in the past. The problem is that it lacks any sort of depth that forces me to care about what I'm reading. In some respects, that's probably worse than if it was just a crappy cash-in.

Boom Studios delivers the best all ages books on the market, and Darkwing Duck is certainly no exception. To draw a movie comparison, this feels very much like a Pixar film. With an inherent charm that draws children in, but also those quick jabs at modern pop culture that adults get a kick out of, this is a comic book that fans of any age can enjoy.

Darkwing Duck #2 continues right where last month's issue left off, delivering a fun, accessible story with plenty of laughs along the way. My only major complaint is the book felt rather rushed, especially considering the more methodical pace set by the first issue. One example of this is the way in which Darkwing gains access into the crimbot factory. The plot device works well enough within the context of this all-ages title, but there are more clever ways the goal could have been achieved. If you enjoyed the particular brand of humor that was present last month then you'll find this installment delivers more of the same. There's also plenty of absurd imagery to accompany the good-natured jokes. The guard flamingos in particular had me in stitches. Even if you don't have the same nostalgic connection to the character like I do, Darkwing Duck is worth a read. You'll be surprised how much fun you're having.

While the book has a tendency to lay it on a bit thick at times, it still delivers a satisfying read with every single issue. Moon and B? continue to grow as writers and watching their evolution over the course of this series is fascinating. I just hope that next issue is decidedly more optimistic, as I'm starting to get a bit weary of the gloom and doom.

The backup is forgettable, but so long as they continue to be attached to a great main story then I don't mind too much.

Having the story narrated by an unknown individual worked wonderfully as it compounded the descent into chaos that Copernicus was experiencing. It also didn't hurt that Steve Ellis is capable of illustrating some exceptionally creepy skulls. The whole book has a Lovecraftian feel to it, especially towards the latter half and the final few panels. Together these elements combined to provide one of the most engaging books I read all week. Hopefully the rest of the series turns out to be just as enjoyable.

The status of Batwoman's own title is still up in the air at this point, which is a real shame considering just how much life and personality Rucka has infused into the character over the last year. But certainly the various dangling plot threads leave plenty of material to be explored in the future if the opportunity presents itself. This issue's cliffhanger in particular leaves the door open for yet another dynamic duo to occupy the streets of Gotham. After all the work that's been done to validate the existence of Batwoman, putting her up on the self right now would be a terrible mistake.

Fans of Moorcock's work may get enough of a kick out of seeing these characters come to life to forgive the uninspired structure, but other readers may not be quite as forgiving.

Aside from continuing to put out some of the most gorgeous artwork in comics today, Francis Manapul also takes the time to add small touches that make Central City truly feel like a bustling city with citizens constantly on the move. I'll give Johns the benefit of the doubt because his track record shows he's more of a long distance runner than a sprinter. I just wish this issue had more of a payoff to it.

Make sure you know what you're getting into before picking this up at the shop. If a short enjoyable tale and encyclopedia entries aren't your cup of tea, than feel free to skip this entirely. But if you have Flash fever as badly as I do, pick this up and it should tie you over until Flash #1 comes out.

I'm a big fan of Antonio Fuso and his minimalist style. What he's doing here is slightly different from the last Cobra book, but it's still fitting for the tone of the series. There is some confusion during the Croc Master portion though as the scene jumps around and some story beats seem to be missing. The entire scene was disturbing on several levels, but it would have benefited from the inclusion of just a few extra panels to offer up smoother transitions. Either way Mike Costa and Antonio Fuso continue to produce the best G.I. Joe book, no matter what direction the story ends up going in.

This is easily one of the most enjoyable books I've read this week. If you still think that G.I. Joe is just big explosions and cheesy dialogue, I implore you to pick up this book. Reading the first series isn't required at all, just dive right in. Cobra has never been this dangerous, or this entertaining.

decision to leave the heavy lifting to his artist proved to be a double-edged sword. This book showcases some gorgeous artwork, but at the expense of some basic storytelling principles. Hopefully these problems get addressed in later issues, as it has the potential to be an excellent collection of character profiles for G.I. Joe fans to enjoy.

The main problem with this story is the predictability. It's not terribly original or complex, and offers little in the way of substance, but there is still some prospect for an enjoyable adventure. If Reed is allowed to put his own spin on the property and the art conflicts can get squared away, fans of the movie might actually have a book worth checking out.

After a wonderful build up in the final pages, the cliffhanger left me somewhat disappointed. It's not horrible, but the scene ends too abruptly. It would have been more effective if Chuck Dixon had given us just one more panel, or maybe even taken away a few and left us somewhere else entirely. Either way it's a decent start for the book and fans of Snake Eyes won't be disappointed.

If you're a fan of the movies then this will definitely hit all the right buttons. The charm, humor and witty banter that made them such a treat is here in full effect. The jury is still out on whether it'll have its own personality and lasting appeal, but hopefully this'll tide you over until the mythical 3rd movie comes out, assuming it ever does.

The bottom line is that Girl Comics delivers interesting and entertaining stories. Some of the stories are weaker than others, some featured artwork more compelling than the writing, but there's enough content here that you're sure to go away feeling satisfied. This is a great way to kick off the Women of Marvel initiative and I'm very excited to see what Marvel has planned next.

It's hard to read Gladstone's without it putting a huge smile on your face. That alone makes it worth the price of admission.

It's disappointing that Gangsters & Goliaths didn't bowl me over the same way Kingdom of Monsters did right out of the gate. There's plenty of room for grounded stories to be told in the Godzilla universe though, so I'll stay optimistic about this title for now.

And in case you needed more proof that twin girls are creepy as hell, this book seems fit to remind you of that cold hard fact. So far their sole purpose in the book is to introduce yet another monster into the mix, but the cliffhanger seems to imply that there is more to these Doublemint twins than meets the eye.

The pot shots at pop culture also fall flat this time around as Jersey Shore gets spoofed. I grew tired of these jokes by the end of issue #3, so as soon as they reared their ugly head here I simply tuned out and waited for the Godzilla portion of this Godzilla comic to start. Thankfully Godzilla did manage to somewhat salvage this issue by finally coming face to face with Anguirus on the field of battle, a.k.a. Hollywood. The fight is as big and splashy as one would imagine it to be, but it's just the opening round. Those coming in hoping for an all out brawl will have to wait until next month's issue to drop. Hopefully it contains more monsters and less melodrama.

The incorporation of Hammond into the story happens quickly, paving the way for an unexpected development that makes his bulbous head considerably more threatening then it has ever been. This is thanks in no small part to Doug Mahnke's haunting imagery. If you think his interpretation of Hammond at the beginning of the book is creepy, just wait until you flip to that final page. That image alone is all the proof you need that Johns still has major plans for the Green Lantern universe, and I can't wait to find out what they are.

Green Lantern's current direction is the most satisfying shift to emerge out of Blackest Night. Now why can't Johns work the same magic on Brightest Day?

From here on out it's anyone's guess what Mignola has planned for Hellboy. It's exciting and scary to see a creator take such a drastic step, and I'll damn sure be going along for the ride.

By itself, this was a great story. I give credit to Way and Talajic for surprising me with an entertaining story that I wasn't expecting. I just hope that this doesn't open the floodgates for more Hit-Monkey stories, as I'd hate to see him go the way of the Marvel Zombies and overstay his welcome.

Armadale's reaction to learning the extent of Max's past crimes is pitch perfect as well. The revelation from last month weighs heavy on him, and it shows during those difficult scenes. More so than what happens with Max, I'm curious to see just how this plays out in the upcoming issues. Their relationship has never been perfect, but the strain this is putting on Armadale's faith may be the final straw.

The inclusion of a certain IDW-verse character was a pleasant surprise, and fits nicely with the subject matter the book is set to tackle. Needless to say, his inclusion adds to the comedic tone to the book and is absolutely necessary in order for it stand apart from the plethora of supernatural comics currently on the stands.

Invincible's world keeps moving right along despite the insane battles that just wrapped up. And while it seems a shame to have an issue that doesn't completely utilize Ryan Ottley's artistic strength, it's moments like this that keep the book from becoming stale and repetitive.

I have some problems with the choices made in this issue, but I'm still confident that Fraction will bring it all together as the arc begins to wind down. With 21 great issues under his belt, I think the man has earned some leeway when it comes to storytelling choices. Plus, I love this book too much to stay upset at it for very long.

It's impossible to express the level of anticipation I have for the conclusion to this arc. Go Team Iron Man!

Booze, bullets and dynamite. Honestly, there isn't a single good reason not to pick this up. If you like this latest outing, chances are you'd find the previous ones just as compelling. There's a minimum amount of investment required for diving in and enjoying this character. In a time where storylines can go on for months and years at a time, that's a comforting thought.

While fans of Justice League Detroit might be intrigued by the appearance of certain characters, there is not much in this book that is worth checking out. Even the closing scene, while quite disturbing, did little to change my mind about the title. Thus the issue continues the mediocre trend for not only Justice League of America, but the Blackest Night tie-ins as well.

The cliffhanger isn't as strong as last issue's, but all indicators point to finding out just what is up with Alec's resurrection powers. Part of me doesn't actually want to find out the answers because it might drastically shift the tone of a book I've been enjoying immensely so far. Still, I'll keep an open mind about the whole thing and give the creators a fair chance to ease my concerns.

There isn't much negative I have to say about the book. They make the mistake of including the lyrics to a Hole song, but I can let it slide just this once.

Initially, the confrontation between Callahan and Alec seems fated to end with Alec on the losing side no matter what. But John Mahoney and Filip Sablik manage to turn the scenario around and deliver a clever ending that I didn't expect. After reading the back matter I gained a deeper appreciation for why the story went in that direction, even if it did leave Alec's character arc without a real resolution. With the possibility of more stories in the future, it would be fantastic to explore Alec's attempt at redemption in greater detail.

While it doesn't experiment with the medium in the way that the Calvin & Hobbes tribute issue did, this just might be one of Rodriguez's strongest outings to date. His ability to capture raw emotion has always been strong, but here the tears, sorrow and fear are practically leaping off the page. The funeral and Tyler's breakdown are perfect examples of Rodriguez at his best. Couple this with another fantastically disturbing mindscape section and you've got a book that's as beautiful as it is powerful. Seriously, it's unfair how good Locke & Key is.

The comic stands are going to be an incredibly empty place when this series wraps up.

Without spoiling it, I'll say that the setup for next issue is quite possibly the most comicbooky idea Hill has ever used in this series. From the moment I realized what Tyler's plan was, to the fantastic final page, I couldn't help but geek out uncontrollably. It serves as a refreshing reminder that even though this is as serious a story as it gets, Joe Hill is fully embracing the medium and all its eccentricities. Next issue promises to be one hell of a slobberknocker, and I for one can't wait to find out what happens next.

Whenever I encounter someone looking for recommendations on comics to read, Locke & Key is always on the top of my list of suggestions. And it's bold issues like this one, ones that challenge the notion of what comic books are supposed to be, that wonderfully exemplify why this book stands head and shoulders above the rest.

There's bound to be a few slipups from time to time, but Locke & Key is still a better comic than most everything else out there.

The stars of the show are Chris Brunner's gorgeous art and Rico Renzi's imaginative use of colors and visual effects. The imagery has a bright and bold look and at times it feels like every color imaginable was thrown onto the page, yet it always kept my eyes entertained and brought the world of Loose Ends to life. The constantly changing style and page layouts, as well as the inventive use of sound effects help make this one of the most vibrant books I've read in quite some time.

In case this review has yet to convince you to go out and buy Loose Ends, I'll leave you with this: it features, hands down, the best word balloon design in the history of comics. Hopefully your curiosity gets the better of you.

Alan's reactions are the one low point of the book, though that has more to do with my expectations than anything else. He acts just how you would expect after having his life turned upside down; the denial and running away is something we've seen a thousand times before. Luckily the random bits of humor thrown in help to differentiate the situation enough that it doesn't feel too much like a rehash of established conventions.

I'm also quite surprised that each issue has ended on a pretty engaging cliffhanger. Malignant Man truly is running on all cylinders.

So far, nothing about this book has me clamoring for the next installment. It's an enjoyable read that has the potential to be an interesting, fun and different interpretation of the golden age superhero origin story, but this issue alone may not be compelling enough to keep the attention of most comic book readers.

While this book has so far been a decent reading experience, the lack of character development this late in the game keeps it from feeling like the complete story most readers were hoping for. Even if looked at as just an action adventure, it leaves much to be desired. Unless the final installment smacks it out of the park, this story can be ignored by all but the most dedicated Mass Effect fan.

Fans of the game shouldn't feel guilty for avoiding this series all together. Some interesting tidbits and strong artwork are not enough to overcome the linear and mediocre storyline. Do yourself a favor and spend your money on the new DLC instead; it's sure to be a far more enjoyable experience than this book turned out to be.

With a few mini-series under his belt, Nick Spencer has certainly been making a name for himself over at Image in the last year. Now with Morning Glories he's determined to make the rest of the comic book world stand up and take notice. Assuming he delivers more of what made this issue such a pleasant surprise, I have no doubt he'll succeed.

I had my concerns that Nick Spencer may have showed his cards too early with last month's gruesome cliffhanger, but it's obvious that his plans for the series go far beyond any preconceived notions I previously had. Morning Glories has earned a permanent spot on my pull list.

How ironic that the issue focusing on my least favorite kid turns out to be the best of this character-centric arc thus far. Well played, Mr. Spencer. Well played.

Since this second arc focused more heavily on character building than story progression, it'll likely read better in trade than in singles. With the plethora of revelations that have come to light in these past few issues, Morning Glories is poised to kick it into high gear next month.

But aside from the great character, issue #12 addresses the concerns that some fans have had by delivering significant story progression. We get a better idea of where the academy is located, new character relationships come to light, and while the overall air of mystery surrounding the school remains, just enough is peeled back to keep readers satiated and frustrated at the same time. This was the perfect way to follow up those previous character specific issues; I just hope Lara doesn't turn out to be just as manipulative as every other adult in the book.

I hesitate to say that Second Coming has stalled out, but it's tough to think differently when a mediocre issue such as this hits the stands. All it takes is one subpar segment to kill the momentum that the X-books have spent six weeks building up. Luckily we only have to wait one week for the next chapter to come out. I hope it gives the series a much needed shot in the arm.

The plot thread involving Terra is well crafted, and I'll be interested to see how that develops. But ultimately this issue failed to deliver anything substantially more than what we have already seen in the various Blackest Night tie-ins that have already come out.

The creators ask you to bear with them for an issue, and that may be a deal breaker for some. There is definitely potential for great stories of morality vs. duty to be told, so long as we're eventually invested in the characters.

Normally I'm not one for such references, but the callback to Charlton Heston's famous line was actually handled quite nicely. It brought a smile to my face rather than a groan. Shortly after that is when business starts to pick up as tensions boil over between apes and humans, which no doubt means a stand-off is on the horizon. These first two issues have completely won me over, so I'm on board for whatever comes next.

The artwork also proved to be a delightful surprise. The highly textured style suits the book well and is very much in the vein of the film. The designs for the city are a nice hybrid between ape and human sensibilities, a subtle hint to the fact that humans still have a respectable role within society. Although it didn't come out of the gates swinging, Planet of the Apes #1 easily lands in the positive end of the licensed comic book spectrum.

My only regret with picking up Power Girl was that I waited until issue #7 to do it. This stands as one of DC's most overlooked books and even if you don't consider yourself a Power Girl fan, I urge you to check it out. You just might be surprised at how much fun you find yourself having.

I'm eagerly awaiting the next issue to see where Remender and Moore plan on taking it from here. This is going to be one crazy ride and I can't remember the last time I was this excited for a Punisher story.

Frankencastle continues to move at a satisfactory pace and provides just the right amounts of crazy to keep me happy. Although I have a few gripes with the writing, I'm having a great time reading this. Fans of Remender and Moore's previous collaborations on Fear Agent will undoubtedly get a kick out of what the two are doing here. And if the cliffhanger is any indication, things will definitely be hitting the fan come next issue.

Rocketeer Adventures has so many great things going for it that you'd be a silly fool if you didn't pick it up. The Rocketeer is only 30 years old but much like Dave Stevens did in his original comics, these creators succeed in producing timeless and iconic pulp stories that all comic fans can enjoy.

I'm quite surprised that a book staring Agent Brand and Beast has captured my attention as much as it has. If we keep getting issues like this one, it'll eventually become one of my favorite books on the stands. Let's hope it sticks around long enough for that to happen.

It's a shame that some of Marvel's most consistent titles are being cancelled. I've had more fun reading SWORD than I have with most of the other books in my stack. I can only hope that more readers give the eventual trade of this series a shot. You'll be pleasantly surprised at how much fun it is.

Even if you've never read an issue of Scalped before, I urge you to pick this up and read it. No previous knowledge about the book is needed, and it serves as a great example of what the title is all about. Comic books don't get much better than this.

Scam is packed with exciting moments and offers up enough of a twist on the genre that readers will find it enjoyable and fresh. It's a genuine treat and I'm optimistic it'll continue to deliver as the series progresses.

My one disappointment is with the lack of attention paid to a particular appearance and what that means in the grand scheme of things. I would've liked to get more than just three pages devoted to that thread, since that character's involvement is far more intriguing to me at this point than a nameless alien. But this book is still more fun than you can throw a translucent energy shield at. If you're looking for a different type of Avengers than the kind Brian Bendis is serving up, Ed Brubaker has just what you're looking for.

The fact that this book has retained my interest despite holding out on explaining Nick Fury's involvement is a testament to the quality of the title. I can't wait for the next issue to come out.

By catching me off guard and making some bold choices, Gail Simone delivered one of the most enjoyable reading experiences I've had in weeks. Secret Six is not just DC's best team book, it's one of their best books on the stands. Period.

Where this comic stumbles is the storytelling. It's as if Simone is more concerned with getting to the point where Bane rides atop a dinosaur than about telling a cohesive story. While it's true that exposition isn't always required, as evident by last month's fantastic old west tale, when a team goes from a yacht in the ocean to a giant bird's nest in Jurassic Park without any explanation, it wouldn't hurt to have at least a single panel to put it all in perspective. The entire issue is riddled with such instances, resulting in an awkward reading experience that had me laughing and scratching my head all at the same time.

These latest two arcs of Secret Six have been firing on all cylinders, proving time and again why the title is clearly one of the best DC has to offer.

Long time fans will most likely get a kick out of getting some new reading material, but there isn't much new insight or material to be had here. It's the reveal at the end of the issue that will undoubtedly get everyone talking and clamoring for more. Hopefully Dark Horse has something planned in the coming months, and having Patton Oswalt write it wouldn't be such a bad idea.

Severed scratches an itch for horror that I didn't realize I had. It's a different kind of scare than what Snyder fans are used to, but it's definitely an issue that sticks with you long after reading.

The imagery is intense when it needs to be, but doesn't show us every gory detail. The element of the unknown remains and it allows reader to fill in the gaps for themselves. The creative team wasn't lying when they said they were going for an old school horror vibe. Severed is as good as horror comics get.

The final page is as chilling as a cliffhanger can get. Knowing what's been mentioned about the build up this series will have, I keep expecting things to start going insane at any moment. And while I'm echoing my concern that we haven't started seeing that sort of progression yet, I'm still very much enjoying the deliberately paced story that's being told here.

Severed continues to provide a reading experience that the comics market has desperately needed for a long time. I can't wait to see what comes of this month's final page and just how Jack plans on making it out alive.

There's some potential for this to be a worthwhile read, but it all depends on whether Allie can make me invest in Xanatos' struggle. At this point it's sheer curiosity that will keep me around to discover where these events lead.

I'm curious how Xanatos' sister will figure into the whole story, but at the same time I'm afraid it won't actually spark much emotion out of him other than more blind and inexplicable anger. The idea that he will one day fall from grace isn't even subtle at this point.

This hardly feels like a tie-in to anything, and that's exactly what I've always wanted. Hopefully that trend continues as the series moves forward and the mystery surrounding Ngani Zho deepens.

Obviously JMS has something to say about Superman, but it may come at the expense of a story. This never truly feels like one complete and unified issue, but rather a series of events strung together in order to give JMS the perfect setup to tell us, rather than show us, why Superman matters. It has the potential to grow stale rather quickly, so hopefully JMS has more in store for the Man of Steel than this.

Eddy Barrows' pencils are back in full force this time around. His high impact artwork brings the action sequences to life and diverse panel layouts do an excellent job of switching up the talking heads segments. I have no problem getting this book a few weeks late if it means Barrows draws every single page of it. Hopefully next month's break gives the artist enough time to put out more the same high caliber work.

I can't say I'm sad that this series is ending. Any momentum it had in the beginning quickly disappeared once the book lost focus and went in multiple directions. The final page brings the story of Kandor around full circle, but I can't say I care enough to stick around for what happens next.

Figuratively and literally, the carefree 80's attitude that the turtles represented for so long gets tossed along the wayside. Not that I expected IDW to go that route, but it's nice to see them acknowledge it and move on. This is a promising start to the series and just might deliver the sort of adventures fans have wanted for quite a long time.

While Raphael's current predicament is explained in passing, there are still plenty of questions left unanswered and I'm having fun learning about this new TMNT universe that's being crafted. Hopefully the inconsistencies here don't rear their ugly head again later on.

Although the problem may only appear to be getting worse in my eyes, the unnecessarily wordy dialogue is in serious need of some editing. There is so much repetition in what's being said that the words lose their impact quickly, not to mention the fact that it screws up the pacing of the scenes. As before, this underlines the problem of the book feeling disjointed. Once the flashbacks conclude I suppose that won't be an issue, but then we'll be losing the best part of the book as well. Needless to say, I'm not exactly looking forward to that.

But I do have some nice things to say about The Big Lie. The artwork was decent, I especially enjoyed seeing former San Fransico mayor Willie Brown dressed as a pimp, and the quips about Apple got a chuckle or two out of me. In the end, the creators seemed to have forgotten that comics are a form of entertainment. Above all else, their goal should have been to entertain, rather than simply attempt to inform.

I'm curious what sort of dynamic Bo and Bo will end up having, as well as whether one will start using a different name. It's tough to get a sense for the tone we can expect from here on out, but if it truly is a buddy action flick like Kirkman says, then it'll probably be a healthy dose of action and comedy.

The Infinite also suffers from extreme emotional disconnects that stem from Rob Liefeld's pencils. He's always had difficulty successfully conveying emotions in his characters, but it's even more apparent here since Kirkman's strength lies in his characters. There are several scenes where it's evident that Robert Kirkman is trying to strike an emotional cord, and it's a real shame that the artwork gets in the way of that. And I have a sneaking suspicion that this won't be the last time it happens.

The Red Ten could be a fun romp of a super hero mystery. It's not the prettiest girl at the prom, but maybe she's got a great personality. As the story unfolds and heroes begin dropping, that's when we'll see if the has strong enough legs to stand on for 10 issues.

Nick Pitarra's work is a thing of beauty. The Frank Quitely comparison is apt but only when it comes to his artistic style, not the storytelling. Aside from a gorgeous page showing a man age rapidly, his layouts and page structure are fairly standard. He's able to translate Hickman's script quite well onto the page though, and it's still one of the better-looking books out this week. Those looking for another great, mind-blowing Hickman story won't be disappointed with the promise this series holds.

I'm absolutely in love with Chad Hardin's artwork. His two-page spread during the climactic finish contains my favorite images of the week. They're visually stunning, loaded with kinetic energy, and the unconventional panel layouts perfectly convey his creativity that caused me to take notice of his talents in the first place. He is quickly becoming one of my favorite artists. I have no clue where the book is heading in the immediate future, but I look forward to finding out either way.

I'm not sure what to think of the ending because there is absolutely no context for it. I'll remain optimistic for now because it plays to my love of the weird and absurd, but space travel isn't something I was prepared to encounter while reading The Traveler.

If JMS' run on Thor ends up getting collected in an omnibus, I hope these three issues are included. Against all odds, Gillen and Tan have succeeded in giving us a satisfying ending that even the most die hard JMS fans could appreciate. I'm optimistic that they'll be able to keep up the pace next month when the Siege tie-in begins.

With a return to a more traditional brand of storytelling across the line at Marvel, no title stands to benefit more than Thunderbolts. The change has brought new life to a series that often times fell by the wayside. This latest issue shows the potential to elevate the title to a level not seen since Warren Ellis' run some years ago, not to mention a cliffhanger that long time fans will surely get a kick out of. In the midst of all the new and revitalized titles popping up this month, Thunderbolts is not to be missed.

This is another solid issue that confirms Thunderbolts should not be ignored. Parker and Walker are injecting a bit of fun and excitement into the title, both of which have been missing for quite some time. This is the most consistently enjoyable title with the Heroic Age banner and anyone looking to read a great team book would do well to give Thunderbolts a read.

With his creepy disappearing acts and awkward dialogue, Ghost has quickly become my favorite character in the book. As with Moonstone, the fact that he leans more towards the right side of the law is a perfect foil for examining and developing the rest of the team. The scene in which Moonstone, Crossbones and Juggernaut debate whether to fight or flee stands as the most enjoyable in the issue and acts as the perfect showcase for the vastly different and conflicting moral codes present within the team. Kev Walker's artwork is gorgeous for the most part but the action in the later half of the book was difficult to follow at times, and his rendition of Valkyrie is both interesting and disturbing. I can't recommend this book enough - you need to be reading Thunderbolts.

Forced crossovers such as this can kill any momentum a title has going for it. I have my concerns regarding the upcoming Shadowland chapters, but here Parker proves that he's capable of building a competent story around the most awkward of tie-ins.

I winced at the thought of a fill-in artist coming in, but Declan Shalvey steps up and delivers one impressive looking comic. His gritty style meshes nicely with the subdued nature of the issue and helps focus the attention more on the characters themselves rather than who they're punching this month. The fighting ramps up next issue though, and I have little doubt this creative team will deliver a tie-in you won't regret purchasing.

Time and again Parker has proven he can inject his characters into any storyline and still craft an exciting tale. According to the solicits the tie-in train won't be stopping any time soon, but I'm way past the point of being pessimistic about it. Put the Thunderbolts wherever you want, Marvel. Just make sure Jeff Parker still has his hands on them.

will be.

While the book certainly seems to be picking up steam, the unevenness of Fraction's tenure on the title has me only cautiously optimistic. Still, I'm quite curious to see where the story goes from here and how it will tie into the overall plans for the future of the X-Men.

Now that Matt Fraction has stopped trying to juggle too many storylines at once, Uncanny X-Men has turned into quite a satisfying read. If he keeps this up there won't be much for fans to complain about, except for Greg Land's artwork that is.

The return of Kitty, the possible complications surrounding it, and the overall Nation X storyline serve as evidence that Fraction has finally found his comfort zone with this title. It's a shame that this had to happen right before the Second Coming storyline though, as crossovers can cause a book to lose its identity along the way. Hopefully Fraction now has the experience on this title necessary to keep that from happening.

With Hope taking her new recruits to a separate title, I'm optimistic that tighter and more character driven stories such as this one will be the norm on Uncanny – at least until the next X-event comes along anyways.

There is considerable character development to be seen here as Moon Knight slowly realizes just what it means to be an Avenger. Writer Gregg Hurwitz also successfully establishes elements of teamwork that were merely brushed over in Secret Avengers. As a result we get a terrific adventure that acts as the perfect supplement to Secret Avengers and sets the stage for Moon Knight's own journey towards redemption. Easily my biggest surprise of the week, pick up Moon Knight #10 if you find yourself at the comic shop looking for something new to try.

The issue ends at a strange place, one that I didn't expect or particularly want, though it's understandable that given the sheer scope of the story that certain members of the X-Men would eventually get pulled in. I'm just hoping that their involvement is kept to a minimum as Jason Aaron's epic story continues to unfold.

to get my hands on the "Wolverine Goes to Hell" finale next month.

This issue is a competent read, but failed to blow me away or convince me that I've been missing much by not reading Simone's series before now. The cliffhanger also shows some promise for the arc, but I couldn't help but laugh at the delivery of it all. It felt as if I was watching the end of The Empire Strikes Back, only without a whiny Mark Hamill in it. If you haven't been a fan of the Wonder Woman title as of late, this isn't going to convince you to pick it up. At this point it would be a safe bet to simply wait for the new creative time to take over in the next few months before jumping onboard.

Like in Superman, the artwork here is annoyingly inconsistent. There are some visually stunning panels, but then I turn the page to discover wonky anatomy and frog-faced Amazonians. The fact that Don Kramer needs help after just one issue has me quite concerned, but I would rather have hiccups in the shipping schedule then deal with glaring art problems bringing down my overall enjoyment of a fascinating story.

With this latest issue, the stakes have been raised even higher for the remaining mutants. Major blood has been spilt and you can rest assured that certain members of the team will be looking for payback. There weren't any big hints as to what's in store for the rest of the crossover now that Hope has finally reached Utopia, but I welcome the idea of not knowing exactly what will happen next. If it's as consistent and entertaining as this first act, this just might be the best X-event in recent memory.

X-Force #28 delivers the scene that many fans, including myself, predicted from the very beginning. Following the tragic death of another friend, Hope's mutant powers finally manifest, though the exact nature of her abilities is still up in the air. Hope's rage and animosity towards Cyclops still feels forced, and I have a sinking feeling that this unstable foundation will be used as the catalyst for the next big X-Men conflict. The artwork succeeds in capturing the desired mood, though I'm more inclined to believe it is a result of the coloring as opposed to Mike Choi's stiff character models. I have no delusions about the upcoming finale changing my stance about the entire crossover, but here's to hoping it at least delivers a more definitive conclusion than Messiah Complex.

If you're like me and have been on the fence about the franchise lately, this may just pull you back in. At the very least, it finally delivers the character moments that have been absent for the last few months.