It's not a revolutionary title, but is one of the few comic titles specifically catering to teenage girls. The dark turns the comic takes are too few and far between to sway older audiences but will suck teenage girls in with its relatable boy issues. But young teenage audiences will get more of an emotional response with Orange than with this title. But it still deserves a read from teenage girls " just don't expect to be too impressed, just intrigued.

The rest of the artwork, with the emotions running wild on the pages, made the comic much stronger than it would have been without them. Martha's purpose and Kit's mother used to make the story interesting since it would have been reduced to unsympathetic characters and a still forming romance without those, but this issue does a complete 180. Kit's interactions with Dwayne and Jim were great in this issue and Martha just made the issue confusing, while Kit's mother had no impact on the plot in this issue, except by making Kit's character even more sympathetic. Right now, the story is good, but Hahn needs to decide where it's going, because at this point I'm even more lost than I was after the second issue. The air of mystery has quickly grown tiresome. It still feels like a better series for teenage girls, but has a little something to offer for everyone else.

For more reviews of this highly awaited crossover, choose an issue from below.

The most important thing that this comic has which is becoming, unfortunately, all too rare in comic books, is that it is a lot of fun to read. It's a quick comic, and thankfully the price reflects it's length rather than it's content (which would have made it much more expensive). This is the perfect issue to read on your lunch break, and is a great read for casual comic book readers or first timers who want to find something light and fun to read rather than some of the heavy and depressing stuff going on in the DC universe right now. I have a feeling the plot threads dropped may lead to a story arc, which does worry me since I would be content just reading one-shot stories, but there's no reason to doubt the combined abilities of writer Paul Tobin and artist Colleen Coover from MonkeyBrain " Bandette has stolen my heart and I don't want it back anytime soon.

$0.99 that you could spend on the first issue. Maybe not this... even if the cliffhanger is somewhat promising.

It feels like Kubert broke an unwritten and sacred rule: don't reveal Joker's origin. In a way, it diminishes the character and makes him like every other sympathetic Batman villain out there " and we have more than enough of those. The artwork may be good, but even that didn't get me to crack a smile in this joyless issue.

Originally I was angry before I read this because it was placed in my pull-list accidentally and that's $2.99 I could be spending on another comic. However, after reading this I couldn't stay mad. It's an insane romp with immature humor, a self-contained story we see all too little of in comics and characters I would love to see again. The perfect guilty pleasure. However, there is a big problem with this interlude and it's just that: it's an interlude. I've read up on the series and I did read issue six which featured the death of a prominent Batman ally. Grant Morrison has used this series to build-up a reputably astounding and emotional story about the conflict between Batman, Talia and Leviathan and then this issue makes readers wait another month for the serious stuff. I can't imagine ongoing readers being happy in the slightest about it, but if you're interested in mind-numbing humor give this a shot.

Batman: The Dark Knight #1 might be pretty to look at, but it rehashes many old elements. This is obviously easy to do with so much Batman out there, but most of the things reused are fairly recent and can be enjoyed more elsewhere. Two-Face on massive steroids is also a questionable choice that will have longtime fans of the character upset. The only really enjoyable part of the issue that will have some coming back for more is Jai Hudson, who is both interesting and great eye candy to add to the Batman mythos.

The story may not be paced as well as the first and has some outrageous out-of-character moments and average artwork from an accomplished artist, but it is a more fun read than the first, with constant action always keeping us entertained.

If you can't stomach the sometimes excessive gore in Detective Comics, this series is a little more palatable with some great art and a simple storyline to follow despite it being all over the place, but you will definitely need to read the previous issues to understand this issue.

Reading over this review, with many jokes about the "emo" Batman eating ice cream, you would think I despised this comic. The truth is, I loved it. It is my favorite Batman title. I love the story, the corny and great jokes, and the odd art hiccups as much as the beautiful moments. It's just a fun series with a serious story that can easily transmogrified by the reader into a series of jokes. Looking at it critically, Batman: The Dark Knight is the weakest of all the Batman titles. But I would not have it any other way as my guilty pleasure.

This issue was mostly disappointed because of how much (or rather, how little) ground it covered and how quickly it was covered. I could not sit back and laugh at the opening clichs " I was too busy brooding over the $3 I wasted picking up this bland and chauvinistic issue.

There isn't a lot to say about this mediocre title. It is not the best because of its boring characters and slow pace, as well as the degrading storyline, but the intensity of the issue and sub-par art " with it's happily lessened tendency to favor two-page spreads - keep it from being the worst of the series.

The opening may be a great introduction to Madder Red, but it is a poor introduction to the artwork. Colorist Jean-Paul Csuka limited his colors to a kind of black-and-white style with spurts of red, mirroring the artistic style of artist Riley Rossmos Sin City. The opening pages have people who look like Ronald McDonald because of their bright red hair. I understand a few colorful exceptions, like Madder Reds mask and his bloody red shirt, otherwise I would have preferred the red color be limited to blood. The character designs are very simplistic and never is that more impactful than with the characters costumes. I love how the Firsts helmet reflects images. When he looks at Madder Red the two red eye sockets on Reds costume reflect well on his helmet.

This issue is a great start. The characters are interesting and the ending has a great cliffhanger that will have readers coming back for a second issue. Nikki and Lincoln are both great additions, but the issue does have some G.I. Joe overtones. Fans of the original will not find what they are looking for here with all the old characters replaced and thesetting being the modern day and not World War II. While I miss the original storyline of Blackhawks, this new team and villain are satisfying and have me hooked.

This issue of Blackhawks was paced well and the story and artwork were enjoyable. The dialogue could be less extensive and character, could be looked at more in depth, but at this moment Blackhawks is an enjoyable series. Original fans may not be thrilled with the new high-tech direction, but for fans of action comics, specifically fans of Marvel's team S.H.I.E.L.D. and GI Joe, Blackhawks is a great newcomer-to-the-DC Universe title.

I have no idea what the direction for Blackhawks is and the series is starting to worry me. They crammed so much intothestory that the direction it may be heading is onethatI suspect willturnreaders off" this issue was hard to understand, and most readers will probably drop the title. I'm going to stick around for one more and hope Costa can focus on one thing at a time, which has proven fairly successful in the past.

Really, this final issue encapsulates the Blackhawks series: it starts to mount into something great, but due to pacing and many other problems, this title is kept from what it should be. It's Static Shock all over again. Hopefully, the characters and stories will return again. But probably not. For anyone interested in sci-fi series, this may be a good place to start. Just don't expect amazing artwork or well-crafted characters " just passable artwork and likeable characters at best that could have been better.

This issue surprised me. I wasn't a fan of the art but I love how amidst the murderer and super humans there is a family full of characters that I'm interested in learning more about. The story itself is simple but interesting. It doesn't take a lot of thought to enjoy and I like that sometimes. If you're interested in the storyline, check it out. Except for a lot of the artwork, you won't be disappointed.

If you're looking for something different from the norm, this is a meaningful attempt to talk about alcoholism that doesn't commit the cardinal sin of being preachy. There's even some over-the-top violent imagery accentuated with a few subtler touches in the artwork that add to the overall appeal of the story. These factors make Buzzkill a fantastic first issue that you should not pass up. Unlike the copious amounts of alcohol...

Usually when I love the first issue of a series, the next part disappoints me. But Buzzkill #2 continues to impress. "Reuben" is my favorite new character of the year and the concept is brilliant. I cannot wait to read more and my fingers are crossed that Cates and Reznicek will not just stop at just this mini-series and will either turn it into an ongoing series or create a spin-off, which they have talked about doing. Until then, I'll enjoy this buzz killer.

Catwoman feels bland at times, especially with Selina's lacking narrative and the sub-par story. There are some good moments and never "slutty" ones, but Catwoman still has failed to really entertain me. She feels like a mood swinging teenager at times and could use a better revamp. It definitely does not stand out in the pack.

Catwoman #2 far exceeded my expectations and is the best second issue of the New 52 that I have read so far with the omission of the first couple of pages. Catwoman was fun to watch and the story provided some top-notch violence and many twists and turns leading to a great climax that will have readers ready with their claws out in anticipation to dig into the next issue of Catwoman.

The art upgrades from "great" to "gorgeous" because of Tomeu Morey's colors, which were even more inventive and impressive than the already illustrious artwork. The scene with Catwoman's contorted face becomes fantastic when the normally dull bluish-grey atmosphere, which created a wonderfully unique setting that already added to the bleak mood, has dashes of red, and the white in between the panels has a huge splatter of blood. These unique tactics were astoundingly effective in making the reader feel the intensity of the scene.Before, Catwoman was only a decent series at best, but this issue was amazing and one of the best issues ever produced during the "New 52" era of DC Comics. Saying it was purrfact in the beginning may be giving it too much credit; there are sour moments, like some awkward touches, faces, a misplaced monologue, and a villain who needs more creativity, but the combination of the story, artwork, and colors make this issue well worth a read.

This issue was average. Abit disappointing, considering the other wonderful issues this run of Catwoman has had. The villains are at their worst, the storyline is slinking around at a cat-crawl and previously appreciated elements have been noticeably removed. The biggest problem is the underutilization of constructive things for Catwoman to do: Winick needs to get her out of the corner sobbing and back into action.

This issue of Catwoman is not bad, but it does not reach the fun stride previous issues had. The story is forgettable as well as the villains, and Selina is an idiot for plot convenience. The series could be much better, but the funny dialogue and great imagery save it from being a bad issue with everything else keeping it from being a good issue.

Avoid Catwoman's claws (and her ear-bloodied teeth) at all costs.

This issue is a laughable and pleasant surprise. It is the perfect "guilty pleasure" comic. For a more relaxed Catwoman and some fun dialogue and situations, pick up Catwoman's seventh issue.

This is a solid issue of Catwoman. It's storyline, while going through the same basic motions as previous issues, has several things spicing it up including Spark, the dialogue, and the addition of several other enticing plot elements. With the exception of the pencils, things seem to be looking up for our favorite feline fatale.

I really wanted to like this comic book since it was from the "Comic Book Men" of AMC. But I'm afraid even their show can't make up for this disappointing start to a series that made me feel nothing but a headache. I'm sure some people who like all of these ideas meshed together may enjoy this issue and the artwork had some wonderful moments, but it's just not for me and I suspect many others.

It's hard to see what will come after this issue. Will the past event that keep being foreshadowed to us by the character be fully explored along with the characters powers and personalities? This is still a powerful first issue in that it has the reader asking a ton of questions and intrigued enough with the with the 'Why?' to buy the next issue, and that's what a first issue should do " even if it also has a bunch of confusion in it's wake.

Danger Club is a bloody love letter written to acclaimed titles like Watchmen and Kick-Ass that should not be missed. This issue mimics everything well and it all comes together in a shocking story " unless you're slightly squeamish and extremely curse-sensitive. The only real problem, other than the nit-picking and over-achieving main protagonist, is that the ending of this issue does not link back to it's opening, making me all the more anxious for the next issue.

Danger Club #3 still has unique but now greatly flawed artwork. Danger Club's concept has a disappointing outcome that makes me feel like I wasted my money on the first two issues. Unless there are more twists to redeem the issue, Danger Club only has one real danger: of being the most disappointing title of the year.

Neither story had fleshed out characters, but the first managed to impress and be enjoyable. It does not have a lot of depth, but the story is dark and creative with glimpses of great artwork. Hoyt and Frank are budding characters that have not yet blossomed into full-fledged personality wielding people, but this is a good start to something that could be great.

This issue serves it's purpose as an origin story, but it's so drawn-out that it becomes a bore to read " with the help of Adeline's grading narration, which still would have been tolerable in smaller doses.

This comic had the potential to be so much more than just an all out brawl with everyone against Deathstroke. The character is too powerful, seemingly at Superman's level, and needs to be explored emotionally as well as physically. If you love non-stop action, there are plenty of other books that can still give you that and a good story. If I want to see blood, I will read a horror comic " it is the perfect season to read them. This title is unfortunately a pass, but I am crossing my fingers that the third issue can capture the great potential the first issue of Deathstroke had and run with it.

The only reason I will still be picking up the next issue is not because I want to give this book another chance. It is boring and I would not bother with it again under normal circumstances. But the next issue will be featuring a crossover between Deathstroke and the Blackhawks, a team of soldiers with advanced technology, or more importantly, the stars of a series I have greatly enjoyed so far in the New 52 under the same name. If some of that title can rub off onto this one, there may just be a chance for Deathstroke after all.

Higgins has apparently made a successful attempt at turning Deathstroke around: the action, while not as fast-paced or prevalent in this issue, to the point where some would say there should have been more action, was enjoyable. The storyline could have progressed more by omitting some unnecessary action, but then it would have unnecessarily taken away the great action sequence of this issue! Hopefully, this trend can continue into the next issue of Deathstroke along with more plot development, more depth and hopefully even more impressive artwork than the standard art we are being given now.

The problem is how long it took this series to develop depth. Not only did almost all previous issues lack it, but this issue does not waste time giving us depth. But it does not come in large quantities. The pacing could be quickened slightly, but the direction this issue has taken is definitely a step in the right direction, if not as solid a step as the previous issue of Deathstroke's had taken. Avoid this issue if you want a lot of action and more than minimal (but well attempted) depth.

This is another good issue of Deathstroke with some powerful moments, but it is undermined because of how long Deathstroke took getting to this point. The art is still mostly a miss and the story covers a lot quickly, but the characters are enjoyable and the story is satisfying, with a cliffhanger that will have you coming back to see an upcoming fight between Deathstroke and a not-so-newcomer.

Deathstroke's first arc never felt as good as it should have. There was always too much action, and while that aspect has improved at the end of this series first story arc, the characters are only just starting to expand away from paper-thin. The storyline did not build well enough because of the pacing problems before this issue. The hindrance as an end to an arc as it should have been can mostly be blamed on it's predecessors, but the ending was so perfect with some great art mixed in that this issue proved to be the perfect epitome to an average arc.

A filler issue that could be easily skipped without missing any story elements, this is one issue I recommend picking up or maybe even starting with if you're coming late to the hack-and-slash father-son vengeance of the New 52's Deathstroke.

This issue would have actually been a lot of fun for a laugh if the dialogue kept up the terribly bad tone used during the mob meeting. But the dialogue quickly becomes monotonous " it's overly long, boring and repeats the same things over and over again, usually about Deathstroke being a badass. The artwork is also usually poor with the characters sporting darkened eyes and unrealistic muscle-structures. So, Deathstroke #9 can not even become a guilty pleasure.

The storyline has many problems, the artwork reached an all-time low in the Deathstroke series, the Omegas feel like they're taking over the series and Lobo should have been replaced with a no-name. Huge fans of the New 52's Deathstroke pre-Liefeld and Lobo fans will hate this issue.

I would look more kindly on this issue if it was part of an Omegas series, but even then it still has its flaws. Seeing Deathstroke fight Lobo was not as fun as I wanted it to be. Despite setting up the Omegas well, I felt like Liefeld neglected the title character. He also only managed to slightly scratch the surface of the Omega's origin, leaving much to be desired in this fast-paced issue which did not manage to accomplish anything story wise, just character wise. As a result, this was a boring issue that could have been given a different title and a different direction.

Liefeld's run may have well been a different version of Deathstroke altogether, but just like Kyle Higgins, Rob Liefeld's run on Deathstroke has come to an untimely (for some) end. Yes, Rob Liefeld is leaving DC. So who will be taking on the mantel of Deathstroke next? Will thy make him the unstoppable force he was in Higgins's run, or the aging veteran Liefeld portrayed? Either direction has merit, and we'll find out in two months since we first have to sit through a gimmicky zero issue by Liefeld.

Unfortunately for people who want to see where this story is going and only have Deathstroke on their pull-list (a.k.a. me), theyre going to miss the conclusion since this story featuring Hawkman will finish up in Hawkman #14. But I must say, this story is a welcome reprieve from the overarching Deathstroke story going on which is sad because the overarching story is so boring, and this issue is somehow counted as part of that six-issue overarching tale. It really doesnt need to be a part of it. For hardcore Deathstroke fans, this doesnt really feel like the character. And after a run consisting mostly of action, its jarring to all of the sudden have humor added into the mix. I did enjoy some of the humor, but while this issue may be solid its not going to be the saving grace of the Deathstroke series.

I can't say I enjoyed this issue. Despite some funny lines on Slade's part and a decent set-up for a new villain, I can't help but feel more than just dj vu" I know this concept. Jordan isn't giving us anything new and I can't see this story arc heading anywhere groundbreaking. Even then, the eh artwork isn't helping matters.

Eh, I didn't need that time or those brain cells anyway.

Overall, Jordan has made a story some people could gravitate towards but it isn't a game changer for Deathstroke nor is it worth the money for the majority. It doesn't make me wish Deathstroke wasn't at death's (or should I say DC's) door. The artwork is the major factor keeping this issue back, but the tedious moments of narration and the tired concept of ninjas are other big turn offs that dull my enthusiasm to read the next issue.

Just like before, this issue isn't bad. You get what you would expect if you've been reading this title for a while and it's still an improvement from when Rob Liefeld (and sometimes Kyle Higgins) were writing the series. But the readers of this issue should be from a very select group a group who has at least read and enjoyed Deathstroke #17 (and Team 7 if they want to appreciate the ending). Everyone else... there are plenty of other comics in the sea that offer more originality than this one does.

The fight with Ogilvy could've lasted longer and you would think it only lasting one issue would make Ogilvy seem weak (it's kind of obvious who won). But even with a bland origin story, Ogilvy's character makes him seem like a strong character who I hope to see again soon. If you're interested in Ogilvy at all or the Penguin this is a good issue to check out. Ogilvy may not become a very famous member of Batman's Rogues Gallery but he's gotten his wish: even though he's a footnote in the Batman's universe, he is no longer a nobody.

This issue is fun with an interesting story, a somewhat witty Doctor and the humorous Acari. Some characters need work, both personality-wise and art-wise. The best part of the issue is all the callbacks strewn throughout the comic, making the comic to be fully enjoyed only by fans of the Doctor Who show. Casual watchers can still find some enjoyment but will be much more entertained with more knowledge of the Doctor's past under their belts.

Elephantmen #32 has a well-constructed story with little entertainment. It felt slightly boring and failed to capture my attention. It had too many genres, and the direction was too confusing. The art was not mind-blowing, but it had high-quality colors. This issue just did not have enough high notes " it is a solid issue but with mixed results.

This comic is a good read. But it barely stands out amongst the numerous other comics produced from Top Cow and Image, especially art-wise. The story does have an air of mystery to it that will make me come back and read more just to see what happens, which I would call the greatest success the first issue of any series can accomplish. It's fun, but a clich, and needs to have a great second issue to make up for it.

This is a great title to come out around Halloween. Ernie Fairchild is a regular Michael Myers with moments harkening back to the Rob Zombie Halloween remake, but with a supernatural twist. If you've never read Evil Ernie, this is a great issue to start reading. For old fans of the character, I think they'll enjoy it and hopefully won't be too put off by the changed origin story. I look forward to seeing the carnage Ernie is going to cause next issue, as well as the addition of an unlikely sidekick also from the older Evil Ernie. And even if the rest of the series flops, this is still a suitable origin story that may have you going back to the 90s' comics like me.

Evil Ernie still doesnt look like himself, a skeletal biker, but is instead a fleshy meat sac. In some panels he looks like a clown. But his design does a bit better when he is doing an Exorcist reference. He looks human, but has the flesh around his mouth exposed. I also like how his design has no midsection, save for some green shine! I wonder, if he ate food, where it would go

Like the rest of the series, this is a solid issue with the same ups and downs of the previous issues. The series will become stale if it keeps following this tight pattern, especially if Jason Craig keeps up his chaotic art scheme. But Im still looking forward to seeing more of Ernie and (thanks to this issue) Smileys powers and have hope that the story will move forward... if the ending of this issue is handled right in the next one.

Overall this issue accomplished less than any former issue. There is some good dialogue between Smiley and Ernie and Ernie's father and his hostage. Unfortunately their dialogue cannot save this issue. Ernie's origin story has already been dragging on for too long and this issue made it all the more insufferable. I've quickly lost interest in the characters and the storyline because of this issue. The novelty of this series seems to have run out. Apparently Snider has very little left to offer us other than redundant situations immersed in poor pacing.

There is a clear crowd this comic will attract. If you aren't sensitive about mentions of God and Lucifer, enjoy blood and don't mind seeing a shadowy Obama, you may find this issue interesting. However, it's hard to fully understand everything that's going on if you haven't read the rest of the arc and with the first two issues winning me over and the next two slowly declining, I have more hope that this upturn will continue into the final issue. If it doesn't... don't waste your time with this renewal of hope.

Despite a smiley ending I can't ignore the rest of this confusing mess. At the end of all this, I've realized Snider should have focused more on Ernie's childhood on his journey to the deal with the devil, instead of his afterlife when his deal with the devil was almost complete. Snider should have had longer flashbacks, made less face-palming puns and made the story easier to understand. On that final note, I don't think as a whole Evil Ernie was worth it. There were issues that still stand out in my mind and that could be enjoyed, but the overall result of these six issues has not been worth the possible damnation.

Fatale #1, while creating a long and detail first part to a solid tale, also leaves behind a lot of mysteries that will have readers scratching their heads in wonder. This story, combined with the realistic characters and artwork, make this issue great for any fans of crime-noir or who like horror. Fatale #1: a great way to kick off the New Year!

Because of the narration, Fatale is not your obvious detective story. It characterizes unique people who you want to learn more about and begins to unravel a story that could get very complex. Ignoring the sometimes clichd moments that are not saved by narration and the mostly poor to hysterically bad artwork which has only one spark of brilliance, the issue is a fantastic reader for any fans of dark detective drama. There is always an air of mystery, but this issue made that air much more clear. Just not enough to see anything yet. And I look forward to the next issue when the fog clears a little more.

The score that I rated this comic (a 6.9) means that I think this comic has it's moments and should be picked up if you have a couple of extra bucks, meaning Molly Danger/Princeless is more than worth $0. In fact, if you miss it and find it like I have other former Free Comic Book Day comics at a Comic Con for a dollar or two I'd still encourage you to buy it if you want an introduction to a powerful female character like Molly Danger and another fun experience with the always inspiring Princess Adrienne. They're perfect for young female readers but can be enjoyed by all ages and genders.

Steve Niles and Bernie Wrightson are a match made in classic horror heaven. Don't expect a ton of gore that has been in Nile's other works like Pieces for Mom. If you read Frankenstein Alive, Alive #1 you get great artwork with only small touches of color in all the right places and an age-old story with no huge twist, but an enjoyable final classic.

New readers could pick up this issue and understand it, but it will not be a good introduction to the main characters of the series that are downplayed because of Fantomah. Fantomah seems capable of having her own one-shot or even a mini-series. This issue has a strong story but just relies too much on one character. Followers of the series may enjoy it as a nice breather from the very involved story arcs of the past, but the artwork is still a step down from the previous issue and Cassie and Vlad are unfortunately at their weakest.

You can feel that Montclare and Hadley were trying to create something fun but it turned out to be a one-shot with a limited audience that still has flaws. If you are trying to get a kid into comics, this might be a nice treat for their Halloween basket. It has a valid moral and feels like a Halloween TV special. But everyone else, don't trick or treat with this issue. You'll only get toothpaste the person who gave it to you meant well and it's good for you, but where's the "treat?"

Now, would this issue stand out if not for Happy the horse? Probably not. Without the bright burst of colors and other creative monsters thrown into the mix, this issue would be your standard action comic with an excess of cursing. The action scenes were entertaining, but that little blue horse will be the main reason I'm coming back for more.

The Christmas setting is also an interesting choice that I think controls a lot more of the comic than it would seem. The snow in this issue, the Christmas lights last issue, the facts that our protagonist is named after jolly old Saint Nick himself (which kind of makes me chuckle when I think about it), Happys whole bit about miracles. What better time for miracles than Christmas? I just hope this subtly dominant choice (OK, it is somewhat shoved in our faces) is not pointless and does contribute to the meaning of the story but with the king of uncontained violence Grant Morrison, I dont expect an ending as cookie-cutter dry as A Christmas Carol.

Again, this is a mature series with adult themes that go beyond just violence and there is a lot of cursing. Don't expect happiness, but a gloomy comic in both story and perfectly-matched color scheme and artwork (sometimes). It's far from a perfect issue, but makes the first two issues worth it" for me, at least.

This series has sold very well and has been received well critically, so it's likely Grant Morrison will be writing for Image Comics again, which I don't object to. When the man is on his game, he can produce gems like Batman and Robin. Let's just hope in his next Image title, Morrison indulges in less curses and answers more questions. Until then, this has been a very unhappy, but entertaining, Christmas story.

I doubt the creative team were trying to be groundbreaking, but I feel like this comic could have been. I wouldve liked it to have more self-aware moments and acted more as a commentary about celebrities, comic book movies and the zombie genre. Instead, its just a fun romp that could be more fun. If you find yourself chuckling at the concept, give it a read. I didnt hate it, and I even cracked a smile once or twice while reading it. I just feel like it couldve been so much more and yes, I know Im saying that about a comic called Hollywood Zombie Apocalypse. But when you could be reading one of the many other zombie-related comics out there, you can easily give this one a pass because of it.

The issue is enjoyable thanks to theplot, but still remains flawed. ICE needs to makemajor improvements made in the next issue before anyone will shell out four bucks for it. Right now, if you want a comic and have to watch what you spend, pick this up for its story.

Im reviewing this one-shot as a non-Indestructible reader and as such, the story appears to make sense to me. If this issue is true to the characters and elements of the world, such as the importance of publicity in the superhero world, Im looking forward to digging into even more Indestructible. However, it isnt perfect as I didnt really find myself getting very invested in Stingray since I was too busy enjoying everything else going on. There also is a cliffhanger ending, making this one-shot incomplete. I wish it was a mini-series rather than a one-shot so it could expand on the characters and story. But it was successful in that it makes me want to get into the universe of Indestructible.

Justice League International #2 may not be the greatest issue of the New 52 but it is unique and manages to do many things better than your average 52 series. It is a good start for new readers; it's not dark but has some great dramatic moments that keep it from being boring. Longtime readers may not get as much enjoyment as they were hoping for with Booster's non-existent humor and Guy's quick appearance, but it is an enjoyable issue. The overall series is recommended to new readers and long-time fans of the characters alike " just don't expect anything as phenomenal as Batman or Aquaman.

The series is still far from being a top-tier title with it's story, action and pacing problems. But the characters are enjoyable enough by themselves to make the reader want to keep reading and the art is excellent. DC fans will enjoy it, particularly those interested in teams and more dialogue driven stories rather than solo-act series full of action.

This issue has a lot of problems: The dialogue between characters is imbalanced, the storyline is boring (despite it starting to get an epic feel), the attempts at humor are mostly more forced than funny, and the villain's copyright is questionable. This is the weakest point of the series, and another issue like it could be the end for the JLI.

I hold out hope for the JLI. But I don't expect the casual or new readers to. Wait until the new story arc. You'll be waiting a while.

But hey, at least now ongoing readers can rejoice " it may have taken six issues, but finally the characters names do not appear in the comic (something we definitely shouldn't be seeing in an 'epilogue').

This issue is attempting to be the culminating point in JLI's history, with hints of imminent deaths, established deaths and critical conditions. But never does the tension reach the crescendo it's trying for. There are too little emotions going on with the characters all behaving the same, the pointless plot points and the bright color scheme. The issue is a failure, but does have me hanging on thanks to that surprise end character and the hope that some of the things at stake are legitimately high.

The characters may be enjoyable, but the series really feels like it's on it's last legs and it's cancellation at issue 12 seems all the more reflective of how this issue turned out. The pacing is nonexistent because nothing happens with the exception of two characters: one who could easily have been introduced before and another who doesn't even belong. Adding Batwing was a blatant attempt to hook more readers onto a sinking ship of a series. But, despite the overall story-hiccups and artwork, Justice League International #8 is not at all boring or unentertaining. The characters are the sole reason why.

Really, this story arc should feel like an epic but this issue continues to have the same problems as the last: the story never progresses and the mood is far from what it should be. The only thing you need to know from this issue is that O.M.A.C. joins the JLI for their flight to Paris and the team have to fight Firestorm and friends. Unfortunately, and the biggest kick to JLI followers, the story will be continuing in Firestorm #9. I would laugh if the plot of JLI, which has moved hardly once since issue 7, actually progresses in another title. It certainly didn't this issue.

Unfortunately, the pacing is still atrocious, the villains range from respectably boring to irritating, and a lot of filler is put into the romantic escapades of the members of the JLI. With only two issues left, I'm sticking through this series to see the end of the JLI, and this issue has given me a little hoping via the entertaining action sequences, but offered little else. The writer needs to start focusing on what is important.

And I still have to trudge through one more issue.

Justice League International #11

But familiarity with the members of the JLI is what made this issue fun for me and made me glad that finally, after wasting money on twelve issues, I could read one for pure enjoyment and as a result ignore the flaws, which Johns and Didio often made better by glazing them over with plot twists and good characters previously developed by Dan Jurgens. This was the fun ending that Justice League International #12 never gave me. A true ending to the JLI.

This debut job fulfilled its basic task: set-up a story. The story does have the potential to grow and Gischler throws a couple of creative elements into the mix. But there is too much going on here. Most of it you've seen before, especially the protagonist (what was his name again?), but the plot development surrounding Cassian and his family, some good artistic moments from Ferreyra, plus several characters who are still mysteries, make me curious enough to want see where this story is going.

If you're looking for a complex, multi-layered story, this is not the comic for you. But if zombie ninjas sound cool and you have a couple of extra bucks to spend on some great artwork, this could be the comic for you.

This story's start in this issue is an enjoyable romp but is nothing revolutionary. Fans of MacGyver may find themselves disappointed with their heroes' butchered looks, but if they want a fun adventures story, this is a good start to one. And it does have killer jellybeans, so there's another plus.

For our previous reviews of Malignant Man, click on the links below.

This wasn't exactly "short but sweet" but despite my initial disappointment with Mara's debut issue I can't help but look back somewhat fondly on it and anticipate the next issue. The concept of Mara is still enjoyable despite a somewhat boring announcer and a not-so-surprising ending (spoiled by news stories like mine that I didn't even know were spoilers, I swear!) and I can see this series going in a very powerful direction or going down in flames. But we've started out on a mostly positive note that has piqued my interest to see where the series will go"and while the ending unfortunately wasn't a shock because all the news stories including mine mention it, when the cliffhanger finally comes it does have me interested in the next issue.

This is a great comic that requires no beforehand knowledge. Sci-fi fans and readers who rarely dabble in science-fiction unite because this issue (specifically fans of the oddly similar Frankenstein Alive, Alive), despite some odd opening decisions and a clichd cast of characters, is a fun read.

Moriarty is not and has never been bad. This is an okay installment to the series, accomplishing some plot points in a somewhat entertaining way. But the comic is riddled with flaws. The story is a very intellectual one that expects a lot from the reader, but this issue gives the series little as a reward other than watching the awesome feats of one Moriarty. The story, while trying to be interesting and fascinating, takes a backseat to Moriarty's character whose development happened too fast in the first issue leaving us with just some cool action moments here and there. The detective feel is almost gone completely, leaving behind the lesser science-fiction. The series is better suited for a noir feel and needs a return to the art style in the first issue. Still, the series remains fresh, intellectual and has a great character, which is enough to give it a small recommendation. Just don't expect as much from it as it expects from you.

Despite all the questionable artistic choices, the colors saved the art from being terrible. The issue brings the story full circle in an entertaining way through the dialogue but not by the art. Every word is chosen with care and a lot of effort went into it. Tartarus was worth the wait with Corey giving him some of the best dialogue in the entire series, enough to almost completely overpower his appearance. This issue is a great ending " or in Moriarty's case, a great beginning.

Reading this comic is like stepping back in time to the 90's, but the better part of the 90's. It shows promise for a future series which needs to develop its characters and solve some of the mysteries set down by this issue. The premise is great, with mediocre art that still fits the mood well but could be better. If you do pick up this issue you will feel compelled to at least pick up the next to get answers, if nothing else.

The title still has a lot of promise with mystery and creepy supernatural elements related with religion that can sometimes seem misplaced among the language and strippers. The supernatural moments manage to be creepy and are the only reason to pick up the issue. The art does stand out from other titles and takes you back to the 90s, and not the worst parts of the 90s, but is nothing to brag about. Sam may not be a likable or original protagonist yet, but there is still hope for this title if more focus is put into the supernatural and not how many curses can be squeezed onto the page.

Non-Humans #1 sets up a world very different from the one I got because of the description this book had. I wish I had more of an idea about what I was getting into before reading this book, so hopefully now that you're more informed you can enjoy it right from the start. The artwork is still scratchy and Aimes is an unlikable character who I'm sure is bound to become more "sympathetic" as the story goes on, but all I can keep thinking about is his son and the Victoria Secret mannequin... and Buddy the drug dealing bear. But all crazy and clever non-human designs aside, this story is deep. Granted, you can see the equivalent analogy of black discrimination in X-Men, but if that isn't cutting it for you, or you just need to see that drug-inducing teddy bear, check out the first issue of Non-Humans.

Despite the flaws in the characters and the artwork and my inability to think of this series as simply a mini-series and not an ongoing one, Non-Humans #2 is a solid title with tons of fascinating exposition which does make it feel like you get your money's worth content-wise. With better integration between the story and the artwork, along with some story fix-ups, I can see this series going in a very positive direction.

Just remember, there aren't as many pretty pictures as there is dialogue, so for those driven more by action than words, this will not be the comic for you.

We were spoiled with issue one. We got an ashcan issue by the original creator of Peter Cannon, Pete Morisi, never before seen in print. We got an interesting forward by Mark Waid that detailed Morisis exciting life story. Then we got almost a love letter like message from writer Steve Darnall about how much he loved reading and writing Peter Cannon. They should not have given us so many perks, because now this issue leaves me feeling cold, that it is the same $4 price tag as the previous, extra-filled premiere issue.

For more information about Pretty Deadly, check out my news story Death's Daughter Rides this October: Pretty Deadly Announced.

During a first glance, Princeless may look like it is falling into the many pitfalls of being the clich-battling turned clich tale, but there is more to this indie than meets the eye. Give it a read if you enjoy fantasy, humor and girl power, preferably if you're 13 and under, but the enjoyment and fun can spread to all ages " as long as you open yourself up to laugh.

Princeless #2 still has the charm, humor and heart, but little things like speech bubbles, unfunny jokers, and artwork quirks hurt the issues overall appeal. But the culminating problem of pacing is the major issue that could spell danger for Princeless " but right now it's still a lot of fun, especially for younger audiences.

This issue was not an effective way to start off a crossover event, but that does not mean The Prophecy will not turn out to be a great crossover event. Preview pages from future issues show some hope for the series. Hopefully, when the story starts and the characters get better acquainted, this crossover can become what Marz wants it to be: an epitome of the greatness of Top Cow... I mean, Dynamite Entertainment... unfortunatly.

This story is more than just a guy with writer's block. It offers many elements that I think anyone aspiring to do something can relate to, and the consequences of what can happen when you follow your dreams a little too closely. The meta concept is also something you don't see often and I always like a concept that hasn't been done a million times before. I don't always like how it's written and the artwork is weak in many places, but the premise is great and with the last page I can't help but be anxious to see what direction the story is going to take next.

Reality Check has a premise that is predicatbale but fun. The meta concept is one I love to see and isn't done often in comics, and while this issue didn't have as touching and tragic a moment as the last issue did, it compensated with some good humor, despite some clichd plot elements and editing mistakes.

This was another good issue with characters you can really get behind and a simple but enjoyable plot. Brunswicks comedy has been getting better and better, and while the tragic element is weaker in this issue, there is some suspense and I cant wait to see what unfolds in the final issue.

This starts out as an action-packed issue but quickly dies down. Nothing happens that isn't confusing and there is never an explanation of anything going on. The characters, with the exception of Red Hood, have no motivation to be in the story and do not need to be there. None of them (and there is no exception here) are likable. Jason Todd is boring. Roy Harper is annoying and Starfire has become a ho. The art only impresses me when Starfire's on the scene, but than I remember what they've done to her character and I go back to hating it. The banter between Red Hood and Roy is good but incomprehensible to the layman. And with this issue, you find yourself not caring about looking up the character's history. Instead you just want to read something about ANYONE else. If you're just interested in sex, which this issue seems to promote, you can still pick up an issue of Playboy " it's not too late!

Despite the numerous problems I could see this series running into, the spoilers you could easily encounter and the claustrophobia-inducing amount of characters, this is a really good start to the series. There is a lot of creativity in the issues each member of the team is going through. Depending on how future issues go, I could see this being a fantastic series. However, just looking at the first issue, its full of snappy dialogue, intrigue and an enticing variety of charactersin other words, I highly recommend picking up Secret Identities #1 so you can start digging up the dirt on these characters. Though I think youre going to need a forklift

This issue surpasses the first issue. In only a little over a page it uses Moriartys narration to catch you up on the story, so it becomes unnecessary to read the first issue. You can jump in with this issue, and I recommend doing so if youre a fan of Moriarty and enjoyed the Image Comics series.

Interested in the first issue of Shinku? Check out my review here.

This comic is not "sensational." It is a fun romp that leads to a rather dark conclusion, pumping people up for the next issue. Although it may not be the best New 52 title, it is definitely one fans of Marvel Comics and Milestone will enjoy. The issue is, unfortunately, hard for newcomers to jump into, with little effort put into explaining who Static is. NYC is utilized here as a great excuse to introduce many new plot elements that will come into play in the future, which looks very bright for our young superhero. I'm sure Dwayne would be happy with the direction his characters are being taken in, despite some missed or overused opportunities and mediocre art.

This issue is hard for new readers to get into and is lacking in the villain department, but itintroduces many promising plot elements and Static is always fun to watch. The action was great, the art fit the tone well, and I can clearly see how much fun the writers had making it by how much fun I had reading it.This is one of the series I enjoy the most from the New 52, but does have a lot of problems in the way it is crafted. Would I change anything? Yes " but I'm happy enough now not to care about anything other than enjoying the story andcharacter. I am just as eager as I was last issue to get to the next one.

Static was fun until this issue. It felt laborious to get through all the dialogue and the unentertaining Slate Gang, who have long worn out their welcome. The pacing is too slow and the action, as well as most of the dialogue, is hard to understand. Static, Virule, Piranha and Pale Man are the only reasons to check out this comic, and honestly if you want some better one-liners read Justice League International. It's a much more fun series than this has turned out to be.

This issue is a step in the right direction after the downward turn Static took in the last. By introducing new villains and expanding on the already interesting ones in Static's roster, the series has become entertaining again and has almost attained that fun quality. The dialogue is jumpy, the artwork choppy, but the story and characters are still a positive sign for our electro-powered superhero.

I was hoping that Static could not get worse than he had been, but the series went from one extreme to the next with terrible results. The pacing is very rushed with two important origin stories condensed down to only a page or two. The artwork makes all the characters become knock-offs of their beloved selves. Static has finally fizzled out to nothing in this issue, with only an occasional flicker to remind us that he is still around. But not for long.

This issue of Static disappointed me on every level with the only real positive being the twist. But even a clever twist like this can not save this issue from character, story and artwork problems, as well as the other quirks that make Static Shock #6 unreadable.

Static feels like he has a presentable formula this issue: there is action, puns and story. While nothing is executed very well, the issue does set a better standard for Static. Of course it is no where near polished enough to save Static from his cancellation after the next and final issue of Static Shock. Will Static go out with a luminous thunder clap or a fizzling spark? Find out next month when I review Static Shock #8.

On their own both Static's encounter with the young girl and the shrink are solid storylines when separate, and if they were more expanded upon in separate issues these storylines could become much better issues. If I had to pick one, I would say a full issue where Virgil flashes back to his origin and his life more extensively in Dakota, would have provided perfect closure for this series. Instead, there are two great stories here marred by being put together. Combined with the story not always adding up and the artistic hardships, this issue is average at best, but like the rest of the Static series, could easily have been so much more.

Suicide Squad is the evil team you should be reading and is the perfect polar opposite series to Justice League International. This issue is perfect for the Halloween season despite the fact that it could be a hundred times creepier with some improved artwork. The characters are interesting, flawed people who have entertained in this issue, and can hopefully keep in the next issue of Suicide Squad.

This issue has many flaws that make it pale in comparison to the previous two issues. The story is jumbled up intoconfusing,unnecessary time jumpsand Harley's character is juggling on a very thin tight rope between funny and blasphemous. But for both of those major flaws, the issue is still enjoyable. All the characters' interactions with each other are interesting and the story is solid despite the boring enemies and the disappointing climax. There are still high hopes for this series, and for anyone who enjoys dark stories and villainous characters, this is a great series to pick up.

I have mixed feelings about Suicide Squad #14. First I liked it, but after stewing on it for a couple of days I find myself getting more and more disenchanted by it. I expected a bit more from the Joker. His appearance in this issue was very underwhelming. Still, this is a must read for Harley fans, and you should also read Batman #13 and #14 which connect with this issue and the "Death of the Family" story arc. Regardless, I'm still looking forward to seeing how Harley gets out of her dilemma in the next issue of Suicide Squad.

Again, this issue wasnt as exciting as it could have been. Jokers welcome has warn off and he fails to make me chuckle or shudder much in this issue. But Harley stands tall and finally getting out of the Jokers thumb, showing herself more than her shallow exterior seemed to allow (and not in the dirty way). Her strength makes her character have much more depth than she previously showed in Suicide Squad. For fans of Harley Quinn, this is a monumental issue worth a read. For people who think shes become a sex toy of the New 52, this might just improve her image for you.

In the beginning, I compared this comic to Deathstroke in terms of how it disappointed me, but ironically I can make huge contrasts between the two: while I think Deathstroke needed less power and more vulnerability,in this issue Superboy had too much vulnerability. The constant action in Deathstroke also would have felt more appropriate here. Overall, the story has potential, but was executed blandly. Superboy's narration is great and his allies are interesting, but the enemies are as stale as the story and need to become more so this comic can stop being average and start being the great title it can be.

Superboy has the potential to be a much better title than it is. The artwork is average, the characters, with the exception of Superboy, are average when they should be fascinating, and the story is so poor it is almost non-existent. Superboy is well-written with only some boring and monotonous moments happening during his inner monologues, but his character adds some well needed humor into this issue which was what made it a somewhat enjoyable experience. The series needs major improvements, but is not a complete loss for new readers who know nothing about Superboy. These are the readers who will enjoy Superboy the most, much to the chagrin of Superboy fans like myself.

This issue is a good start for the Swamp Thing series that will be criticized heavily when compared to the original Swamp Thing, which was a much more enjoyable series. But this series does introduce some new elements and when resorting to more original material and elements the series is known for, incorporates everything together well.

The artistic flare of this issue is at times better than the first and the creepy moments are truly creepy, but the pacing is not as solid as in the first and new readers will have a hard time enjoying Alec or the ending. All that being said, the story is still quickly shaping up to be an interesting one, and will hopefully become the epic tale Swamp Thing deserves.

Longtime fans can still enjoy this book for it's great story and artwork, but the changes with the characters may be disappointing to longtime fans. This is definitely a Swamp Thing geared more towards the new generation, which is still getting a great book " just not as great as the original. But when has the new version ever outdone the original? Scott Snyder is still doing an excellent job and this issue of Swamp Thing is a must have for new readers trying to get into the Green and horror fans and can still pique the interest of longtime fans willing to overlook the new Abigail.

This issue is not horrendous, but for hardcore Swamp Thing fans of an older generation this comic can cause you to rant for almost 800 words. The storyline is not terrible, other than the blood-curdling slow pace. The newer characters are good, if sometimes misused, and the violent scenes are well-done. Snyder knows how to create a good horror story. The artwork has potential, but the artist needs to stop trying to "wow" his audience with every panel: his work quickly becomes repetitious and blends together to the point of making readers go cross-eyed. Even newer readers will soon, if not already, be asking, "When are we getting to the bulk of the story?" and "Why can I no longer see straight?"

The only positive (other than Francavilla's amazing artwork)? Umm... well... at least the cop-out in this issue wasn't as bad as Barbara Gordon's miraculous recovery after three years in a wheelchair.

The emotion in this issue seems gravely misplaced. There is almost no hesitance when Alec decides to kill Abby and not even her wonderful new design can make up for that. Really, I'm just glad "Rotworld" is officially over for Swamp Thing and we can now get on to something else which will hopefully take this series, which has been particularly disappointing to me, to the next level. If not, my dedication to the Green may be worn away to the breaking point. However, it could go either way with the next issue, which I just learned has a different creative team since this was Scott Snyder and Yanick Paquette's last issue. The new creative team will bewriter Charles Soule and artist Kano and I'm looking forward to seeing what they can bring to the table - though I have a feeling a lot of people who have been enjoying Snyder and Paquette's run on this series (and I know there are many) will not be happy.

As a TMNT fan, this was an amazing first issue from IDW Publishing that delivered everything you could have asked for, as well as some new ideas that add to the TMNT mythos. New fans will also enjoy being able to just pick up and read with little explanation needed, but the ones who are really going to enjoy this issue are the fans. This issue shows how far you can take turtle power.

The Almighties #1 is published by Actuality Press, Rated Teen+, priced $3.99, and is available now at www.thealmighties.com in regular and Limited Edition Avengers Movie poster-parody versions.

Dont pick this book up for basically non-existent zombies but for the mysteries abundant in the story and to find out what happens to this group of somewhat unlikable characters that you will find yourself strangely attached to. But the impatient be warned: to truly appreciate this you may have to read it a couple of times. For me, it was worth it to piece together this fascinating mystery.

The Li'l Depressed Boy #4

Todd, The Ugliest Kid on Earth #1 feels different than any other titles I have been reading in the last couple of years, and thats mostly meant to be a compliment. With the right audience who appreciates something with a sad undertone covered with humorous adult-themed overtones and who like Perkers unique style will enjoy this issue. Hopefully, this set-up leads to a compelling story that can reach its conclusion gradually after all there are only going to be four issues. All I know the first 1/4th has been satisfying. If its your cup of booze.

Lets just hope for a little less toilet humor and a little more story next issue.

This is not worth every comic fans time or money. If you are not interested in a dark and dank atmosphere with some blood and a different kind of artwork, don't pick this up. But for fans of horror, read this to experience a grim atmosphere and a fantastic start to a story that definitely leaves those willing to look past the concept at face value thirsting for more. Just be aware it won't feel like you're getting a preview into an awesome series rather than a full $4 comic book which I will only look past once since this is the first issue and they are trying to draw in readers with a lot of questions and get them past face-palming at the concept of vampires versus robots, and for me they succeeded. I'm hungry for blood, and I want more Transfusion!

Dracula: The Company of Monsters #11

There isnt much to say about Cezar Razeks artwork, positively or negatively. The character designs are solid but suffer in long-shots on the panel. They are often neglected on these panels. The same goes for most of the backgrounds, which are often basic colors like dreary grays, but the backgrounds are not what is supposed to be the readers focus, its the characters, and when the characters are up close their designs are solid and emotions are clear on their faces. The Puritans are especially drawn well with a hint of gore. Just dont expect more than what the average title can give you. Nothing is spectacular, but nothing bad.

Vescell is another comic with a lot of promise that I was looking forward to, but fell flat on its face with grand ideas flawed with poor execution. And while moments between the characters were enjoyable and there was a flimsy connection between the stories that probably will make sense in the future,currently, not much makes sense, andnothing felt executed properly and little work seemed to go into the art and story. The only way this issue can redeem itself is if the next is great " which, with an idea like this, should be attainable.

This is an interesting start to a mini-series that could honestly go either way at this point depending on what direction writer Ande Parks decides to go with the plot. Until then, while this may well be worth the money, especially since it reprints a 13-page one-shot story and the newer story feels very long because of all the dialogue and bits of narration, I would wait until the next issue to see what turn the story will take.

Witchblade: Demon Reborn #2 has little new material until the end. Ironically, just like the first issue I would say wait until #3 to see if this mini-series will go anywhere, but it's only four issues long and two issues and not a lot has happened with the story, and that is one of the worst offenses a mini-series can commit. There are only four issues, so use the time wisely. But then the cliffhanger makes it look like #3 could be the best of the bunch. Until then, this issue was pointless, without the ending, but still had good creepy moments that still were capable of so much more.

There was a big focus in penciler Jose Luis artwork on blood during this issue, which has more detail put into it than the backgrounds, which continue to be bare. Vinicuis Andrade, whose colors I always feel the need to critique in this mini-series, continue to be calming in some inappropriate scenes, but I do like the effective transition of calming colors in Saras living room transitioning into reds as she arrives in hell. But during her big fight she seems to be in a void of reds and blues that could have been used to make an effective demonic environment. The characters also continue to look very sketched with some overshadowed cheeks, necks and foreheads. But the style, while amateurish, continues to grow on me every issue.

Witchblade: Demon Reborn #2 (of 4) -Review

The end of this mini-series makes me satisfied that I stuck with it despite only hooking me in with issue three. By the end, everything grew on me: the story, the characters, the artwork, even the colors seemed to improve as this mini-series went along. It makes me hope to see more Witchblade from Dynamite Entertainment rather than the usual Top Cow produced adventure.

The mysteries and futures of the characters could turn out to be abysmal in future issues, but right now? Like I said before, this is the first time I've ever read a story about X and I'm not disappointed. There's enough mystery to keep me invested and I'm interested to see what happens to X, Leigh and Berkshire. It makes me want to go out and buy the first issue to see if I can pick up on any more detail about the characters and the story. There are some off things in this comic, like the unexplainable plot points and how unintentionally funny some characters and moments are, but honestly that added ten times to my enjoyment of this book and I think it's the reason I wanted to review it. This may turn out to be just a guilty pleasure, but I couldn't have enjoyed it more!

This is a great follow-up to X #2 focusing more on action than unintentional hilarity, going from a guilty pleasure to a genuine treasure still marred by some flaws. But while I found myself laughing at the last issue more, this issue had a lot of enjoyable gore and X continues to be a cool and mysterious anti-hero. Even if we do go out on a bad pun.

This is not a title that will be the "end-all-be all," but it is clearly not trying to be. It is just a fun title with an impressive - if inconsistent - art style and a cast of creative - if not in-depth - characters. It has to work harder to get a funny bone, but the uniqueness and artwork balance it out quite nicely. If you are looking for a cartoon zombie story that is unique and has a "web-comic" feel, this is a good title to try if you have a few extra bucks to spend.