The book is as good as the show, and certainly better than season two when we factor in Kim "Where Platinum Blondes Go Trouble Follows" Bauer's escapades. I'm not sure how a comic book series might work, but based upon the one-shot, I'd have to say my doubts on that would also be unfounded.

52 isn't quite good enough to be mediocre. Therefore I cannot bestow to it the bland, emotionless score of three bullets. On the other hand, I'm not outraged over 52 just puzzled as to the whole creative reason for its existence. I can see the monetary rationale. It therefore earns two bullets. I didn't enjoy it. I didn't hate it. It was unnecessary, if you ask me.

I'm really hoping for 52: Aftermath--The Four Horsemen to get better. I'm hoping, but I suspect I'll be disappointed. If you took out the 52 and the Amazons Attack references, if you made the meeting of the Big Three Minds special and focused less on the villains, I think this story would have been better.

For a feature with a kick-ass super-hero fighting zombie hordes, go see Resident Evil: Extinction. Stay away from 52: Aftermath--The Four Horsemen. I will never trust DC's promos again. Never before have the legends of DC been so stagnant.

What The Four Horseman amounts to is a marketing ploy targeted at hardcore DC heads. The lure of Batman, Superman and Wonder Woman smacking the Four Horsemen around in a one-shot, even a six issue series, would appeal to somebody like me, but that audience will find their heroes sadly lacking and being undermined by DC's precious 52 ciphers who are all important because DC told you they are. As far as I am concerned, DC has committed fraud by false advertising. I will never trust them again.

The Four Horsemen was advertised as a single issue starring Batman, Superman and Wonder Woman. We get a glimpse at what might have been, but it's not enough and it took too long to get there. Giffin treats Wonder Woman shabily in the story, and the intellectual conversation between the Chief and Veronica Cale which I guess acts as a bizarre geek climax is complete rubbish. “The nervous system, neurological clusters, the ‘circuitry if you will'" does not remain intact after an individual dies. When death occurs, the entire body decays. Necrosis starts instantly. Tissues immediately begin to wither. The cellular powerhouses stop, and each fiber of the being begins to unravel. Everything in the body dies, including the “nervous system, the neurological clusters, the ‘circuitry if you will.'” If the body is resuscitated in time, cells replicate to replace the ones that have already been damaged beyond recovery. Brain damage can still occur during the

This is the best issue of The Four Horsemen, but I cannot give it that much higher of a return. The Four Horsemen was advertised as a one-shot. That made sense. If Batman, Superman and Wonder Woman join forces practically nothing can stop them. I doubt even Cthulhu, the most heinous creature from literature, could do much more than make their victory an exhausting one. The Four Horsemen aren't anywhere near the glimmer of Cthulhu's level. In terms of threat, the Four Horsemen make Ali Babble more formidable. It's difficult however to feel any kind of emotion regarding their supposed capabilities since they're menacing characters who are two-dimensional whiners and/or thoroughly unlikeable, stupid and far from innocent.

Batman, Superman and Wonder Woman figure prominently on the marketing poster to Final Crisis, but thanks to 52 Aftermath The Four Horsemen, people should know that such symbolism means absolutely nothing. That's what this mini-series has taught me. Never trust DC ever again. Never take them at their word. Never believe the blurbs. Never blindly put things on my subscription list. It doesn't matter if it's Keith Giffin or Grant Morrison. Never hope.

I didn't expect much from this Abe Sapien one-shot, but I found the story engrossing and the art riveting. Abe easily carried the story by himself, and he proved to be an engaging solo hero.

Chuck Austen returns to Superman an abandoned sense of fun, and Ivan Reis returns to Action Comics dynamics and anatomy. What's more, this comic book can be read by anybody at any age. It's smart enough for kids and adults.

This issue Ivan Reiss is the best thing about Action Comics, but for once the meaning usually behind that phrase does not pertain to the rest of tale. It's funny but the Gog part of the story I felt would be the most annoying part. Thanks to Superman's constant mockery of his foe, this part turned out to be the most fun. The Titans' presence while plausible remind readers needlessly of events that should stay forgotten, and Jack Ryder's nastiness confuses.

The biggest plus of the story is that the battle is about something. Superman throughout the story reminds the reader why he fights Gog. He fights to save the innocents of Smallville. Why, it's almost as if he's a...super-hero. Shhhhhhhhhhhhhh! Don't tell anybody!

The story could have been tighter, but there are some real moments where Austen's ability shines through. The continuity issue of the shared DCU offers a problem that cannot easily be explained away, and in fact, it occurs to me that if the majority of the super-hero community simply stood in front of the doors to STAR Labs that they could very well stare down the opposition without a single punch thrown or a single drop of blood being spilled. "Criminals are a cowardly, superstitious lot."

Despite the caveats, Action Comics represents a new era for Superman. A kickass era where Superman isn't a namby-pamby who flies over wreckage and lets tidal waves hit.

Apart from Austen's abysmal characterization for Lana, he undermines the title further with an incestuous version of the Wonder Twins as the threat d'jour. Avoid at all costs.

The only good scene occurs when Superman saves a very frightened girl, but he really let Silver Banshee's death toll go way too far. Was he on a sandwich break or what?

Simone sadly does not research her subject enough. How can Repulse affect a bronze statue? Bronze is a precious metal and unaffected by magnetism. Magnetism cannot bend light. Gravity bends light, and exactly why is Superman blinded by the infra-red spectra? He can see that far down the rainbow, but why would specifically that portion blind him? Magnetism shouldn't be able to affect Superman's ability to absorb sunlight. This is implied by Repulse's dialogue. In fact, Superman even blinded should be able to mop up the floor with Repulse and Polaris. Maybe the next story will be better.

This leaves the story. Rucka provides adequate dialogue, but there's no happiness in the tale nor a sense of wonder. Everything seems ultra-serious and unexciting. If you want to experience a truer version of Superman, watch Smallville.

This is a good opening to Rucka's Superman. Mr. Rucka though an author more at home with grim and gritty seems to know that the presence of a Superman upsets the noir genre. Matthew Clark's art conveys the energy of Superman against a Metropolis that looks like a real city rather than a Mattel toy. If you haven't paid your respects on the Man of Steel lately, now just may be the best time to do so.

Mike Kennedy provides a visually geared script that drops the reader right into the action. The art in Aeon Flux offers a huge improvement over the source. Cover artist Timothy Green, with the excellent colors of Dan Jackson, puts meat on the bones of the characters, maintains a snappy pace through the panels and for the second act quieter scenes almost emulates Moebus.

Aeon Flux is also very timely. The psychological damage done by the noise from the Utopians battle against the plants mirrors the reports in the news about how sonic booms by Israeli jets terrify children and allegedly cause women to go into premature labor and suffer miscarriages. Sound, especially that of disco, of course has been used as a weapon of torture for decades.

The plot in the mini-series deals with an attempt at keeping the encroaching fauna but at the risk of psychological damage to those living in the city. This plot is entirely different from that seen in the movie, and while it does work, the movie's plot is just more complex and based more on actual speculative science.

Mike Kennedy's plot fits with the organic versus inorganic nature of Aeon Flux, but against the farther reaching story in the film, it just seems like a shoulder shrug. As with the artists, I would love to see Kennedy work on something else. His plots are finely tuned. He seems capable of producing a beginning, middle and an end, and I'm sure there were constraints associated with producing Aeon Flux that he had to follow.

The book is made for grindhouse fans, but all can appreciate the artwork and the fact that this hardback with excellent paper stock is only fifteen dollars.

By the end of the book, you know that you're in the hands of a new maestro. My hope is that Agents of Atlas will one day have a crossover with Birds of Prey so Bob's technology can fix Babs Gordon's spine.

Parker leaves the proceedings on a cliffhanger that gives readers a taste of the Big Bad last seen in The Avengers and promises excitement. I'm fairly certain Parker and company will deliver.

Even the murmurs of the Civil War do not distract readers from an outstanding issue of Agents of Atlas. The sublime lines of Leonard Kirk and Kris Justice allows for the complexity of character provided by Jeff Parker to be absorbed without the impediment of over-rendered pap in an action-filled mystery echoing back to the past.

I'm not calling for the end to advertisements. I understand that advertisements keep the costs of producing whatever you happen to be creating, but how about a little respect for the flow of the story? Stupid, stupid publisher.

The art and story in Agents of Atlas is just incredible. Parker and company run through all the traditions of the super-hero tale in a tightly paced tableau of visual power that impresses. They hint at mysteries that keep the reader looking for the next page and the next issue.

The Agents of Atlas return to resist the Dark Reign of Norman Osborn in the alternate Marvel universe once ruled by the Iron Tyrant. With their return, Parker reminds readers that once there were heroes. They rise again.

So in summary. Namora takes a helicopter upside the Grizzly's body. It's not just any cape or cowl. It's Namora. Namora issues a sense of history. Namora is a Golden Age super-hero. Namora has a motivation for ripping a helicopter in two and smashing said helicopter into the Grizzly. Even Namora's dialogue sounds heroic. So you need not have read the last series or even the last issue to understand what goes on. Screw the talking heads. Screw the introspection. Screw the 'effin deconstruction. Show more scenes of super-heroes splintering aircraft and crushing villains. Stop creating super-heroes that merely fill a role. Stop making generic knock-offs of better super-heroes. You want to create a hero? Do the work. Make me care about him or her. Stop bringing back heroes in forms that are alien to their histories. Stop crippling, raping and killing the really good heroes that you've got, and let them do what they are supposed to do: rip the tails off of helicopters and s

Ignore the meager cover. Buy Agents of Atlas, and enjoy. Parker conceives a witty story that bears historical significance. Hardman and Schirmer make each panel a gorgeous feast for the eyes.

This issue of Agents of Atlas is a trifle underwhelming when compared to previous issues. It's still however more adventurous, interesting, optimistic and smartly written than most of Marvel's titles.

Action-packed, filled with character bits that bank on the better qualities of humanity, Agents of Atlas is the best book set in continuity proper that Marvel publishes.

J. Lo--the artist formerly known as Jennifer Lopez. A dubious singer who admittedly gave a decent acting performance in Anaconda.

The dialogue can be quite beautiful at times as can the artwork. Morrison and Quitely have a forte for expressing super-heroes. Perhaps it's because they actually like them.

Bearing in mind that I hate Jimmy Olsen and hate Doomsday, I still feel that the story is only a passable diversion in the All-Star Superman canon. However, I do not feel I can judge this tale too harshly even though I sorely want to do so, especially since it seems that Jimmy is going to have sex with Lucy at the end of the story. The character is just too unwarrantedly lucky.

Only one mystery remains at the end of the issue. When exactly did Luthor lose that eyebrow?

Chronovore--Time eater first seen in a different form on Doctor Who, during the Jon Pertwee era. Later reappeared in a different incarnation in the Hugo-Nominated Doctor Who episode, "Father's Day," during the far too-short Christopher Eccleston run.

The ending acts as a decent solution--that makes good use of the backward nature of the Bizarros, but the final scene just made this reader roll his eyes.

If you like Bizarro, this is the All-Star Superman issue for you. You'll be in heaven. If you dislike or don't care about Bizarro, the issue of All-Star Superman is a passable time-waster.

Previously I've spoken about Frank Quitely's scope, and while the anamorphic widescreen treatment can be seen in these pages, it's Quitely's treatment of character that proves to be more fascinating. Given two knew Kryptonians, Quitely uses body language to distinguish them from Kal-El. You actually don't need to read a single word in this comic book to understand the story and the characters. You can observe Quitely's artwork and comprehend the plot, the interaction of the cast and what makes each character tick. As well, you can feel the emotional depth that's reflected in Morrison's story.

Superman saves a life during his daily patrol. He does not catch this life out of the sky. He does not snatch that life from the certain doom of a death ray. He saves this life with his presence, his words and his honesty. He saves the life by simply being Superman. The scene is perfectly executed, and it is why All-Star Superman isn't merely a good book but a great book.

Lex Luthor's B story is the least interesting thing in All Star Superman. When was the last time that happened? The dialogue, however, is pitch-perfect: encapsulating Luthor's ego and hatred for the Man of Steel. His niece is a riot, yet I almost wish that Morrison had simply dropped the section involving Luthor to instead focus on Superman's final battle against a cosmic threat to the earth. The two stories don't mesh very well, and that's why the book itself isn't as ideal as other chapters in the series.

Morrison has done the phenomenal. Rather than cheapen Superman by nullifying his power. He has instead created a super man in both mind and body. He has given Superman senses beyond ours and the intelligence to comprehend practically everything, even the wonderfully chaotic humans that he defends. He has made Superman an alien raised human and therefore gifted with humility. For the sake of drama, Morrison crafted menaces that often dwarfed Superman in power. By doing that, Morrison reminded comic book readers that before there were all these copies of Superman flitting about, there was only one Superman, and often he was the only one who could save us all.

While half the book focuses on the newly energized May Parker, and introduces her supporting cast without the clunk of exposition, DeFalco and Frenz soon get her into action in a plausible way, and if you read the narration--which you should--you can see that May loves the thrill of it all as well as the want to do good. I highly recommend Amazing Spider-Girl for new readers and faithful fans.

Even were you to chuck the Hobgoblin's characterization and this unique moment in Amazing Spider-Girl history, you still would be left with a simply terrific battle sequence filled with that special brand of spider-wit that compliments the perfectly timed visual comedy in May's school life. Ron Frenz and Sal Buscema should never part company. Chain them to their chairs if you must, but don't let either stray too far from Amazing Spider-Girl.

Though the meandering from the main plot slows the book down to an almost complete halt, Amazing Spider-Girl's main plot is still riveting and atones for the lackluster May Hartman, May Hartman pap.

Amazing Spider-Girl is surprisingly complex, but it reads smoothly thanks to the talent involved. You would normally dismiss this issue as almost inventory themed where a substitute protagonist interrupts the story proper, but DeFalco and his Merry Band in reality create a stand-alone tale that serves as the core for the ongoing story's revolution.

The school setting takes up too much time, but the multiple hunters in the story make for a smashing party that's crashed by the Amazing Spider-Girl.

May does come clean with her parents. In stirring words that equivocate her heroism, she tells her parents that she will be Spider-Girl because it is her responsibility, and that should be the major theme in any spider-comic.

Amazing Spider-Girl is exactly what I want in a comic book that deals with the legacy of super-heroes. DeFalco and Frenz incorporate heritage into the story. They address how the heritage of the characters helped mold them. They take no easy outs. Rather they let the plot evolve into a satisfying blend of emotionally charged heroics and domino arrangements.

By the end of the book, all the characters learn something about themselves, and we learn more about them. In short, this is the best issue of Spider-Girl's entire run, and that's no mean achievement.

Normally, such a story with such a half-assed premise would earn my deepest disregard. However, Amazing Spider-Girl's strengths save the book from being a complete loss.

There are some problems in the current storyline of The Amazing Spider-Girl, but added depth to an otherwise worthless character makes this issue notable.

All of these really winning aspects of Amazing Spider-Girl are left in the dust after DeFalco concocts a real challenge for May Day Parker and Ron Frenz and Sal Buscema put decompressionist drivel to shame by showing that the language of super-hero books is action, action and more action. While the story in Amazing Spider-Girl is a good one, it's actually an extra animated and strategic rescue that makes May Day Parker's foray against Carnage positively gripping. The artistic execution and the physics of the save are impeccable.

All involved can do way better than what's seen in the book, and this whole story was from the get-go idiotic; though not as obscenely wasteful as this week's Nova, which has such a dearth in entertainment value that it cannot help but put Amazing Spider-Girl in perspective.

At least the shenanigans between the two are mildly interesting, in a bad movie sort of way. The soap opera section of the book isn't. Because of her actions in a previous issue, May Day's little brother may never hear again! Moose hates Spider-Girl because he believes she killed his father! There's trouble brewing in Boyfriend Land! May Day didn't win the election she had already pulled out of! One tragedy could have provided impact and contrast. Multiple tragedies, and I'd argue that only one can really be considered tragic, blanket each other. The problems lack significance because they blend together, and you really cannot tell which one is affecting May the most. She reacts to them the same way. What it all amounts to is that May's life has become an indistinctive and boring ball of harsh, and she has become one of those hyper weepy-eyed women from old romance comics. Let's hope she hits somebody in the next issue.

All of this maelstrom of writing just doesn't seem to go anywhere. It's too piecemeal to grab the reader's attention, and if not for the artwork, this chapter in the soap opera would be an indication of "circling the drain" to quote Tom Servo.

John Romita Jr. provides a traditional Doc Ock but I really couldn't care about the loon since he is a villain after all. He does however need to feed Mary Jane sometime. She's dangerously close to fading away.

The final scene shows a plausible difference in the temperaments between Doc Ock and the usurper mollusk. While Doc has threatened at one time to kill three million Manhattanites and indeed would have killed those Manhattanites if not for Spidey's timely arrival, Doc Ock does not wantonly kill. The example from the past was a simple pay-up-or-die scheme. In the instance of the climax, Doc Ock hasn't a reason to harm any innocent bystanders. Thus, his actions make perfect sense.

John Romita Jr. effectively pins Spidey's expression with determination, desperation and dishevelment. He looks ready to fall over at any moment. Romita's Mary Jane looks far better this issue than she did the last chapter. Not only does she appear sturdier. She also is more expressive with a clear concern for Spidey' welfare. Her worry over her husband makes the penultimate scene acceptable and gives the end-note its heart.

The villain of the story is unique. JMS creates a villain who has a sort of happy-go-luck, lethal attitude that is the darker reflection of Spidey's Looney Tunes persona. This is a villain who likes to play but has no interest in reforming or bedding down the Wall-Crawler--although this tradition is given a subversive twist at the end as a gut-busting crescendo.

John Romita Jr. also makes this book more about emotion than simple super-hero/ super-villain action. His depiction of faces is meaningful. Shathra has a look of vicious amusement. Spider-Man's anger is palpable. The friendly neighborhood cameos perfectly express the disbelief and disgust they have toward Shathra's accusations. While Mary Jane really should know better, her reaction depicts a vulnerability and genuine sense of hurt.

John Romita Jr. once again matches the breathtaking level he attained for the Morlun saga, but he does not retread. Instead, he achieves this feeling by creating a world of webbing and a primal stark battlefield.

This issue of Amazing Spider-Man is ridiculous. It lacks a single original thought in the main theme, and it's only novelty can be found in the aforementioned throwaway gags. The story does however have good artwork, but no matter how good the artwork, it cannot possess meaning if the story means nothing.

John Romita Jr. has been letting me down lately with his depiction of Mary Jane as an anorexic, but in this issue, he beefs her up and gives her real emotion expressed with subtle head movements. Spidey he portrays as wiry and given a frame that recalls his namesake. His version of the mystery guest is beefier but also graceful. This character stands out when showing a human side in comprehending Spidey's interaction with Mary Jane.

The second joke which involves detective Lamount would have worked better visually. I would have rather seen the heroes mentioned in his dialogue stop by, check the character's credentials and go on their business as he waits for Spidey.

Artwork by John Romita Jr., Scott Hanna and Dan Kemp amazes and delights. The fight scenes excite, and the scenes with Peter and M.J. evoke a tenderness that belies the more stylized comic book look that certainly supports the lighter, comical scenes. I'm constantly awed at how much emotion Mr. Romita can weave from Spidey's face even when covered by a full-face mask. Were you merely to leaf through the book and ignore the crackling dialogue, you can just by observing the artwork still understand the emotions at play.

These set-pieces could have been gently worked into any story. Unfortunately, Mr. Straczynski chose to knit them into this uninspired tale merging a lesser Hulk and gangster cliches. Worse, it continues next issue. The sorry concept barely has enough steam for two.

John Romita Jr.'s work is as ever brilliant, but it's not really the big battle scenes that caught my attention. The battle just never really seemed to require a grand display of Spidey's powers. His understated reactions from the characters however help Mr. Straczynski reap the maximum impact from the jokes.

John Romita Jr. who has outdone himself for scenes spotlighting Spidey cutting loose against Morlun or Shathra accomplishes equally well the quieter scenes where a little girl gets a helping hand by her friendly neighborhood teacher and in the panels depicting the closeness between M.J. and Peter. He shows in body language how the single mom is attracted to Peter and has lots of fun as Spidey plays with the seriously stupid and outgunned group of local hoods. This issue of Amazing Spider-Man isn't laden with special effects or fight choreography, nevertheless, it is an outstanding issue.

John Romita Jr. has fun playing with the high drama and high comedy of the scenes. His panels beautifully teeter amid both moods so that the reader does not know quite what to expect. Do those headlights foreshadow foreboding doom, or are they merely headlights?

John Romita Jr. does his usual reliable job for the opener. He begins to stir the reader during the aforementioned scenes depicting the sexy then tastefully nude M.J. and the build up with the red lightning. Again, artistically the book at this point earns about three bullets. John Romita Jr. can do this type of work on NyQuil. Immediately after Spidey freezes in the flash of red lightning and has readers wondering what's sent his webs in such a tizzy, Mr. Romita blows your mind and drops your jaw with a two page spread that will go down in comic book history as one of the most memorable scenes ever depicted. The visual delight does not end here but continues to the very end of the chapter where Mr. Straczynski has one more surprise up his sleeve. Keep 'em coming, gents.

While I watched my socks fly off my feet upon ibibing John Romita's artwork last issue. This issue while still a treat does not quite have the same effect, but I really doubt anything could.

This issue of Amazing Spider-Man covers all facets of the Wall-Crawler. It makes for new readers a good starting point while still entertaining those already caught in Spidey's web.

Once again J. Michael Straczynski, John Romita Jr., Scott Hanna and Matt Milla make Amazing Spider-Man the best Spidey book on the racks and indeed one of the best titles in the comic book store.

I would have appreciated Amazing Spider-Man more had the authors not cheated and gone back to the Dormammu plot which I thought was rendered void through magical time travel. Still, magic seldom if ever obeys the laws of physics, and this is an okay tale that's far superior to most Spidey stories just not reaching the level of quality expected from the creative team.

The creative team of Amazing Spider-Man do not even seem to be trying very hard, yet they achieve more fun and intelligence in this story than whatever hyped up nonsense happens to be on the comic book news radar.

While MJ takes in the lovely colors of a sunset at Fisherman's Wharf, the sun rises in Manhattan, and an unexpected development changes the serene atmosphere and laughingly petty theft into a tense drama that once more expresses the creative team's comprehension of their medium. In reality this situation could have easily become a tragedy. Spidey's presence changes that outcome in fiction.

Even exposition sounds good in this issue of Amazing Spider-Man. Just about the only problem I can find in the story is the presence of an Native American in the opening. He, and the role he plays, is a little cliche and unfortunately reminds one of Vandhino from The Mystery Science Theater Experiment Puma Man.

John Romita Jr. will soon be leaving Amazing Spider-Man, and this issue could not be a better farewell. The scenes of arachnid attack he makes creepy. The scenes involving M.J.'s attempt to hit the stage he makes subtle and natural, and he instills unbelievable drama to flashbacks and summary to Spidey's life.

John Romita Jr.'s art has been a massive asset to Amazing Spider-Man. He doesn't leave on his best work. Again, his Morlun battles were far more impressive not to mention action-packed. These pages just feel dry and tired. Pity.

In summary, "bleah, bleah, bleah!" "Bwa-ha-ha-ha-ha-ha-ha-ha!"

A bad premise leads to a bad story that's badly executed. The real question that has to be asked is whether or not Mr. Straczynski was hit before the story's conception by a two-by-four or a four-by-four.

Prepare second arrest warrant should the accelerated aging be responsible for the Green Goblin/Gwen Stacy Tots' death or should one Tot kill the other Tot.

In short, "Sins of the Past" in Amazing Spider-Man is one of the finest arguments for abortion I have ever read. I'm betting a bipartisan committee would agree. Shame on Straczynski. Shame on Marvel.

The premiere of Amber Atoms is recommended with reservations. The art and the characters are engaging, but the story needed a little more polish. It has, however, intrigued me enough to follow.

As with the premiere, the art's the most enviable quality in Amber Atoms. Kelly Yates' space technology, which includes very cool starships that look like streamlined World War II bombers, and the alien settings deserve to be seen and admired. The story however should stand out more, and the dialogue requires sharpening.

I keep trying to like Amber Atoms, but I can't work up any enthusiasm over the book. The art is wondrous in terms of technique and imagination, but the story and the characters leave me cold.

The fact that I can recommend Amber Atoms despite the scattershot plotting is a testament to Kelly Yates' imagination as well as his ability to create intriguing characters and an arresting artistic narrative. With time and practice, I think Yates could be a very good crafter of stories. Call the series a draft for better tales to come.

The artwork in this issue is more then just funny. It's very characteristic. The scene for instance in which the original members of G.A.S.P. share a lollipop while lying in the grass and staring in the stars mimics the cinematic sharing of a smoke. This scene also foreshadows Amelia's lack of obsessive interest in G.A.S.P. She takes the lollipop out of her mouth and looks disgusted that she would be swapping saliva with her friends. In other words, she puts the sucker in her mouth and then takes it out with a what did I do that for expression?

The artwork still lovingly takes the Charles Schultz approach and pulls it into the twenty-first century by gently enhancing the color quality and including realistic shading as well as neat air-brush effects to accent expression and atmosphere. It's a fine mesh of the old and new and should be appreciated by any comic strip fan with an artistic sensibility.

Gownley does something very unusual with the New York flashbacks. Rather than rely upon the tradition of sepia or black and white, Mr. Gownley creates a texture for the atmosphere. It almost looks as if he drew the scenes on crinkled up paper that has browned with age. Perhaps this was indeed what he did. Whatever his technique, it works adds to the total reading experience.

The artwork also by Jim Gownley is some of the best honest to goodness comic strip style we've seen since Bill Watterson gaced the newspapers with Calvin and Hobbes. There's an innocence and aesthetic about it that far surpasses a lot of the so called serious artwork and that which is critically acclaimed.

Amelia Rules! celebrates the good side of humanity. It addresses a realistic conflict, and it finds a unique solution to save a little girl's life.

While the interpretation of the cough may just be my own cynicism about comic books creeping in, it doesn't affect the level of enjoyment which is unfortunately low. The artwork however matches Jimmy Gownley's set high standard.

Amelia Rules continues to surprise and delight through artwork and storycrafting ability. Ironically, Amelia isn't exactly the star of this issue. Though it's clear that she's the catalyst of events to come.

The artwork here offers a very different look at Rhonda and Reggie who are usually seen as bug-eyed, and for some reason I still think they're going to get together. Kyle proves to be a real jerk, and something unforeseen happens to Amelia.

Amelia Rules is the tonic needed in the new Dark Age of comic books, and Jimmy Gownley writes sophisticated stories in a simple style that employs the full extent of what the comic book medium is capable.

Welcome back Amelia Rules. You have been missed.

The big moment occurs when Amelia learns about the importance of the necklace that she had given to her friend Trisha. Amelia winningly fesses up the truth to her mom, and the underplayed emotion evoked in the colors and staging gives the scene the power necessary for impact.

The remaining pages are filled with a preview of Apathy Cat. No thank you.

Amelia Rules! shatters the myth of carefree childhood but lacks a heavy hand. The prime goal is to share in the laughter of this wonderful cast that deserves to be the next Peanuts.

Shannon doesn't often dwell on these shortcomings, and once she's presented with a crime, she instantly becomes alive as a determined, strong, smart, athletic Avenger that energetically entertains the reader via Nauck's artistic sense of kickass. Some really nice color combos by Ro complete the aesthetic.

By putting an end to decompressionist pap, the creative team actually illustrates American Dream like a comic book of old but losing none of the sophistication that many aim for but frequently miss. We learn American Dream's origin. We see her sort out bad guys and her own needs. At the same time, the book addresses dicey issues like illegal immigration and the abuse of power in the government. While they show the reality of trauma, they do not let reality get in the way of rational storycrafting within the context of a super-hero world. In short, American Dream is a perfect comic book.

Hill's actions force Shannon to follow Cap's boot-steps. This gives DeFalco the opportunity to have Shannon flashback to Clint Barton's dojo and fill in more pieces of the puzzle. Upon graduating his class, she is given a codename, but chooses a different direction:

Not counting the titles in the Marvel Adventures line, American Dream is the most entertaining series Marvel has produced in something like two decades. I'm ready to declare Shannon Carter equal to Tigra, my favorite Marvel character.

American Dream came as a complete shock. I expected a time waster. Instead, I read the best mini-series of 2008. Each issue accomplished multiple feats of writing strength. The chapters gave insight into the Dream's origins and her motivations. They signified her place in the Avengers and the MC2 universe. They reinforced her status as Cap's successor. They introduced plot threads to be laced together tightly in the conclusion. Nauck, Koblish and Ro made Shannon Carter graceful dynamite. Let's hope the American Dream resurfaces.

The technology levels of the government border on the ridiculous. There is simply no way possible that the government of the period could perpetuate the lie in such a convincing manner. No way possible. I don't care how much money they threw at the problem, the technology was not there to suit their needs. The administration also risks innocent lives in perpetuating their lies, and if these characters really are super-heroes, then they would not, could not allow such a thing. A sufficiently corrupt administration may not possess a shred of conscience, but a super-hero would possess more than a shred. A normal empowered individual would object to such treatment.

Hester only lost me when he shifted the story to Hell. I didn't see this as a necessary side-trip. Certainly, the writing in this new environment amuses, and the art's stellar with darker colors and black humorous designs, but the shift in focus loses some of the momentum.

Angel vs. Frankenstein #2 is actually superior than Byrne's first one-shot. Whereas previously, Angelus and Frankenstein were simply distillations of evil, Angel and Frankenstein are the opposite faces of the coin. This change makes it easy to root for the vampire with a soul.

When Byrne did Blood of the Demon, I considered Byrne's Jason Blood a defacto Angel. This inference of mine became stronger when Byrne began showing Jason/Etrigan in mid-transformation, which was represented by something like Angel's vamp face. Now, that I have read a John Byrne Angel story, I can see that he was just warming up.

Angel: Blood and Trenches earns my highest recommendation. Its a feat of artwork showcasing John Byrne at his very best. Its also a damn good Angel story.

Angels: Blood and Trenches is a memorable tale with art that exemplifies Byrne at his very best. The choices from the selection of paper stock to the decision to publish just Byrne's structured tight penciling were brilliant.

I would have given Angel: Blood and Trenches five bullets if not for the ending. The curious finish in which a historical personage shows his face feels too disconnected to the story, almost as if Byrne merely tacked it on as a joke.

I recommend Ant-Man & Wasp. It's an entertaining mini-series written and illustrated by a team that thrive in Marvel history.

I bought this series for Tigra, who sadly does not appear in this issue, but I stayed for the intelligence in the script and the sane, absolutely sane, Hank Pym. Thanks to this series and Avengers Academy Hank has become a bona fide champion.

Daniel Acuna illustrates the book, and you can see that if this is the same Acuna who provides DC with such lovely covers that Mr. Acuna has come a helluva long way. This is not to say that his work in Anthem is bad. It's just simple and a little crude. That said, you can see a lot of the talent he will become in the animation of the characters. The reprinting of the book does not offer the best quality. The line work looks scratchy, but you really can't blame the artist for this. Mostly Anthem is just an understated hoot.

The printing on this issue of Anthem offers better representation. It's a little blurry, but the jaggedness of the lines has thankfully departed. Jorge Santamaria Garcia's artwork is solid enough but less personal. He's more interested in detailing the action than the emotions of the characters, but there's nothing really wrong with that since Thomas' story demands a lot of action-oriented visual storycraft.

Do you admire Roy Thomas' writing? Do you like stories set in World War II? Do you have an affinity for heroes of that era? If so, Anthem will likely be a right fit for you. Be prepared though to wade through some subpar transferred artwork from a source material that was apparently the best available.

Hapless humans are quite defenseless and quite tasty. A deputy calls upon Aquaman, but other investigators fail to relish the former Sea King's involvement. That will change when a horde of Piranha Men attack.

...the book is always going to score high.

Johns ends the story on an uplifting moment for Aquaman and Mera. They gain a cheerful pet suitable to Aquaman's and Mera's amphibious lifestyle. It's a nice full circle moment that arises organically from the plot.

This ham-fisted attempt at censorship is the worst thing about Aquaman#5. Mera's naked and hasn't any hangups about nudity. If that's supposed to be a sheet covering Mera's breast, it's badly illustrated and just smacks of last minute anti-titilation. What's really the point of that? Protect us from nipples if you want, but don't insult my intelligence. Why not simply simply cut the panel here?

The Argonauts is an intelligent action book with strongly characterized superheroes and villains. It's time travel premise intrigues, and the attractive illustration entices.

The book ends on a backward Doctor Who moment. What more could I cask for? Dallas, Saunders and Towry make Argonauts a pleasure to experience.

The third issue of Argonauts steams ahead with unexpected treats, masterful characterization and a taste of bona fide social science fiction.

Carlos Pacheco cannot help drawing things that look aesthetically pleasing, and indeed, his presence on the book eschews the type of gothic, dark fantasy setting one expects to see. In each scene however the innocence of the fairy tale, as it once did, bears an undercurrent of the sinister. When first we see the OAC they should be a bright spot and spectacular, but the reader has already experienced vicariously the battlefield, and she can see the meaning behind the trappings. Pacheco depicts Bonnie--he with the Robin Hood mustache and beard--as too eager to inveigle Arrowsmith. In contrast, he imbues nobility to the Rock Troll who will not fight even if his own family have been killed in the attacks. Such evocative artwork matches perfectly Mr. Busiek's thoughtful, involving story.

What could have been a carbon of The Young Indiana Jones Chronicles instead carves its own story by cleverly avoiding cliche and depending upon beautiful artwork to convey a fantasy setting with period detail. Arrowsmith is recommended for anybody who likes a ripping yarn.

Romance, action and magic without a seam showing blend to create a fun comic book with dramatic moments. Fletcher Arrowsmith, an inspired take on Horatio Hornblower, serves as a more thoughtful hero for readers to follow.

Arrowsmith is not to be missed. It's a serious study in the mistakes we seem to keep repeating, and although given fairy tale dressing, the story pertains to what occurs to this very day.

Arrowsmith questions war through a fantasy setting that becomes darker as the weapons of the good care not how much evil they can spread.

Other than these major foolish deletions and amendments, Arrowsmith's finale shows that a soldier's reward is guilt over crimes that would not have been committed had everyone stayed home instead of fighting for a "glorious cause." War devours innocence as assuredly as flames devour skin, and the cause is often lost in the personal battle to stay alive and human. I'd like to see this book given away on Free Comic Book Day to contrast Chuck Dixon's ridiculous testament to Cheney's wet dreams. Arrowsmith was an impressive series that had something to say.

I have no real affinity for the X-Men. I'd be sorry to see them die in the cultural consciousness or in the comic books, but I don't really care about them as much as I care about the Justice League, the DC multiverse, Buffy and the Scoobies, Angel and his firm or Mal and the crew of Serenity. Joss Whedon and John Cassaday make me care about the X-Men just a little bit more. I'm impressed by the way these literally two-dimensional characters come alive on the pages.

John Cassaday provides the actors for Mr. Whedon and with Laura Martin the cinematography necessary for Joss Whedon's direction. Without Cassaday and the subdued colors, the realism in Mr. Whedon's writing would not be so perfectly conveyed.

Cassaday's artwork especially in these scenes is--well, astonishing. He imbues so much realism to Hank McCoy's condition and Wolverine's comparatively normal physique that the scenes still appear to be photographed then traced. It doesn't matter if the Beast is blue and furry. He still looks real.

X-Men used to be an incomprehensible mess in terms of writing and artwork. Joss Whedon and John Cassaday with Laura Martin effortlessly translate what appeared to be an alien language.

In truth, The Avengers should be Marvel's flagship title, and for a good Kurt Busiek while it was. However, thanks to Joss Whedon, John Cassady and the depth of Laura Martin's color palette, a JLA/Astonishing X-Men team up now makes an inherent amount of sense. Bonus points for the reference to Xander's strategy: "Man's got eye-balls..."

Astonishing X-Men certainly lives up to its name. At first you were just happy to find a readable X-Men book, but now Whedon is making the title his own.

Joss Whedon, John Cassaday with Laura Martin introduce a new storyline, make it obscenely easy for a new audience to be enticed and justify the faithful fans attention span all in one neat package that while not necessarily astonishing still entertains through meaty characterization, a fine battle and a surprise super-hero team-up.

The art team of Cassaday and Martin is still up to snuff, but this second chapter in Joss Whedon's latest X-Men excursion wasn't really worth the wait. The last line in fact is unwittingly hilarious. Granted, the succeeding chapters may end up providing the resonance sorely needed to make the story stand up to even cursory scrutiny, but judging by this chapter, Whedon has created a Mystery Science Theater 3000 experiment.

P.S. Please consider Angelina Jolie as Wonder Woman. She fits every criterion to make Diana awesome.

The "Hydra-haired"--see that's wit I expect from Whedon--Special Agent Brand of SWORD checks in on the superbly pathetic nasally-challenged alien that Lockheed burned in a previous issue, and he's the only provider of comedy. No, wait. Scratch that. Xavier provides humor too. It's funny when a man confined to a wheelchair challenges a killer robot that should be able to eviscerate him before he can think up some last words. My thought here was maybe you should call in some backup, Chuck. Like Babs Gordon for instance. The Wheels of Prey!

If not for Cassaday's illustrations of Kitty Pryde during her conversation with Colossus this issue of Astonishing X-Men would be good landfill material.

Fact eight, John Cassaday can sure draw purty, but it takes more than really beautiful artwork to blind one to a lame story authored by somebody can write better even when stricken by say a mutated strain of flu virus.

How often have we heard pretentious street super-heroes make some sort of claim that while you look at the big picture, the small picture escapes your notice? Whedon turns it all around, as he so often does.

That final scene is meant to be a shocking cliffhanger, but it loses its potential impact. It makes no sense. Fortunately John Cassaday and Laura Martin provide their usual gorgeous artwork, and though mediocre, the story's far better than the last tale: Danger Room come alive and gone amok.

Whedon did no favors for John Cassaday or Laura Martin when writing at his lowest ebb in previous issues. Cassaday's ability to create a tableau of photorealism within the framework of traditional comic book action has always evidenced itself, but this time out Cassaday brings to Astonishing X-Men a gamut of artistic sensory gems. He creates a sense of old school fun in his battle between Peter Rasputin and Sebastian Shaw. He creeps you out when Kitty meets a dangerous cuckoo in the nest. He makes you burst out laughing when we see that Wolverine is indeed the best and what he does. His homage to Byrne at the end of the book makes one smile. He gives the third-tier character's actions incredible weight. Laura Martin's colors vividly deepen the emotions at play--Emma's tear-jerking--and gives depth to the settings--such as the fiery hot Kitty trap. This issue of Astonishing X-Men lives up to its name. Whedon, Cassaday and Martin have a right to be proud of this one.

I've remarked before on Cassady's ability to illustrate in a convincing photorealistic fashion, and this issue marks no exception. What's more noticeable however is how he displays Kitty's power to phase through objects and take people with her. Cassaday with the tactile colors of Laura Martin gives the insubstantial visual substance.

The capper of the whole mess is when we learn that Cyclops is up and about. His move against Emma definitely rules out the possibility of time travel. This time Whedon hamstrings himself with his own cleverness. Cyclops is once again holding back his own optic ray blasts. No, no, no. A thousand times no. Cylcops has no control over the physics of his power, and none of Whedon's apologists can claim that Emma Frost is using her power to hold them back. She's trapped in a hole far beneath the mansion, and the other White Queen has just acquired a pair of smashing red holes to offset her ensemble. This issue of Astonishing X-Men was a huge disappointment.

The look of insanity on Scott's face as he shoots describes him to the reader more so than words ever could. The way in which the art team presents Ord as a blustery bruiser and far, far removed from the realms of superior alien intellects gives weight to the comedy he produces. The anger they seethe from a third-tier character helps Whedon draw dignity from the shambles of the Holodeck gone mad affront. The way in which they frame Hank McCoy as he enters the fray makes the whole scene work. Cassaday and Martin are David Boreanaz and Sara Michelle Gellar to Whedon's scripts.

Had it not been for Agent Brands tactical idiocy, I may have given this issue of Astonishing X-Men , but Brands apparent lack of intelligence, which reflects Whedon not thinking things through, forces me to knock another bullet out of the chamber.

Neither gripping, ground-breaking or epic, the best thing I can say about Astonishing X-Men is that it's pretty, but pretty for a lack of story isn't really enough of a saving grace especially given the talent involved.

This is another unimpressive issue of Astonishing X-Men. Whedon is just not up to snuff in these pages. He lacks passion for his subject and his own story. Cassaday's and Martin's art is as usual pretty, and Kitty gets naked. If that's enough to warrant your purchase, please be my guest.

This issue of the ever-late Astonishing X-Men should be absolute dross, and yet the power of Joss Whedon's words saves it from ending up in the rubbish heap. Impressive.

Setting aside the interaction of the characters and the sumptuous artwork, it's still very difficult for me to care about what happens to the inhabitants of Breakworld. As a result I feel even more detached from this story than I did from the horrendous Star Trek Presents the Danger Room Coming Alive saga. I've said it before, and I'll say it again. Breakworld is a real sphincter of a planet. Blow it up already. Good riddance to bad rubbish.

I still have zero enthusiasm for this Astonishing X-Men story and its characters. The conclusion certainly made me sit up and take notice, possibly for all the wrong reasons.

With fantastic artwork and a respectable hero, Athena's debut is a success. However, Athenas secret identity is too vague. Because the supporting cast is linked to her secret identity, they lack a necessary dimension to fully enjoy. If theyre not important enough to name, why should the reader care? By not designating the positions and roles, they become generic, a necessary evil to get the main character to the center of the story. As a result, the story becomes less substantial. The obfuscation is a pity because had the area been developed, Athena would have earned four or perhaps five bullets.

The second issue of Athena is stronger because the reader knows more about the characters. The impressive art merely gets better as Athena reveals her powers.

The Zeus effect is a good one. He really appears to take form from the clouds of dust thrown up during the melee. His eyes crackle lightning, and the scene alludes to elemental visions Ray Harryhausen conjured with stop animation. The scenes on a more terrestrial plane bear verisimilitude, and the realistic moments of gunplay, gangsters and cops sharply contrast the actual representation of the Trojan War, also depicted in Athena. Given a brassy hue, the artists burnish their illustration for the classic with a nuance of antiquity. The Trojan War narrative acts like a miniature graphic novel buried within a modern comic book.

Athena and Ares are old school heroes transported into a grim comic book world that emphasizes the darker aspects of our reality. However, Murray does not go too far. Yes, there is terrorism. Yes, there is callous stupidity. Yes, there is greed. Yes, there is degradation, but intelligence, innocence and honesty still subsist, and Athena has chosen to protect people with these qualities.

In terms of basic artistic mechanics such as proportion and aesthetic use of space, Athena Voltaire is a beautiful book. Furthermore, the well metered pace often explodes into breakneck action, and there's still time for well-crafted dialogue. A lot of fun and recommended.

Steven Bryant and Jason Millet make Athena Voltaire a beautiful exploration of classic cliffhanger archetypes. They keep the characters proportionate, realistic and give the book an underlying verisimilitude that keeps the book from teetering into over the top histrionics or cartoon lampoonery, always a possibility when one stirs Nazis into the mix.

Snyder, L. (1976), The Encyclopedia of the Third Reich. McGraw-Hill: New York.

Athena surprisingly does very little, apart from get pissed off. Granted she did a helluva lot in previous chapters, but in the conclusion, she's more like a witness. Ultimately, the story will probably read better in trade paperback form than in comic book form. As for the cute tag scene at the end, passable, but how you approach it will depend on your opinion of things like the World Newton Family Tree.

The latest volume of Atlas kicks off with a bang. The return of the 3-D Man is welcome, and one must ask, will Jann of the Jungle or her daughter be the next Agent of Atlas?

It's primarily the new Delroy Garrett that earns the latest issue of Atlas four bullets. In addition, the Human Robot backup is a powerful tale. Parker takes the thin origin for the Robot and expands upon his own words from past issues. He also explains the discrepancy of the Robot working for Plan Chu, alias the Yellow Claw, and why M-11 wound up at the bottom of the sea. Artists Ramon Rosanas provides the affecting artwork in a style that's sublime.

In the next scenes we learn Duane Freeman died. Did anybody see him go? Iron Man is choked up about the whole affair, and I just wish I could feel something for the man. These should be really strong scenes. Iron Man who is the answer to the JLA's Batman being emotionally overcome should really make me feel something, but the whole affair seems artificial. Duane is a Busiek character. He had to die because the other writer may wish to replace him with his own character. It's ugly and cynical but the truth.

Mr. Paquette captures the boisterousness nature of a care-free Thor. His Iron Man does not resemble a refugee from an anime robot factory and looks more like his own armored self. The Captain looks remarkably stalwart. Another Avenger appears uberserious while still another reflects the changes made but enjoys a less serious demeanor.

The one misstep occurs in an overtly staged argument between Jack of Hearts and Ant Man. These heroes have never really interacted as far as I know. They have no animosity toward each other, and the tempers flaring line doesn't really seem quite plausible. Ms. Marvel's reminder of continuity regarding Jack's power is throwaway dialogue, but the majority of the The Avengers makes the heart pound.

Apart from the characterization, surprises await Avengers readers. The actual culprit behind the cosmic whirlpools feels like a baseball bat struck squarely against the eyes. I never saw this coming. By the time the scene shifted to the duet of Yellowjacket and Wasp, I started making a list of suspects, but I was delighted to discover how incomplete my list was.

The blurb reminds me of DC's Secret Files books. The problem I have with them is identical to the problem I have with the expository blurb below the roll call. Readers should not need a guidebook to read a simple story. The story itself acts as the guidebook as well as entertainment. If the reader becomes confused by the behavior of the characters and confusion is not meant or part of the story, the writer has failed at his job to convey the emotions believably and failed to make the information pertinent to his tale.

Johns' Avengers women are intelligent, confident and powerful heroes. Wanda--thankfully free of all her gypsy garbage--steps out into the open, orates and then decisively hexes the hell out of one of the antagonists. Shulkie creams one of the bad guys after making clever commentary in an earlier scene. The Wasp acts like a leader: motivating the reluctant heroes of the group and stinging like her namesake. Even Ms. Marvel is blasting away and in the thick of battle. One of the best issues in Johns' run. One of the best issues in the series.

The Avengers gets more than a change of roster this issue. Gary Frank's innocent cheesecake as well as his overall study of anatomy and proportion would have been welcome to compliment Geoff Johns storytelling. Unfortunately, Mr. Frank's artwork is covered in Jon Sibal's spidery scrawl. It's not bad artwork per se but jarringly unlike Frank. What is bad is that Frank's obsession with the gum line is over emphasized. Grins become ghoulish as if the Joker paid the Avengers a visit, and we must ask where did Ms. Marvel's waist go.

Mr. Johns seems to know the history of the Avengers and has the other members vouch for Ant-Man's sincerity and bravery. The blindness in Jack of Hearts' viewpoint thus is purposeful, but it's a misguided rationale. Even Jack can't be this stupid. For a hell of a long time, he was Iron Man's protg. Talk about "coat tails." Mr. Johns asks the reader to feel sorry for the cretin simply because he has a problem involving his biochemistry, but he's such an unlikable dope that you find it hard to sympathize. Ant-Man's problems while unbelievable at least would merit a sad feeling if they were not so obviously orchestrated to mismatch the consequences of the Jack of Hearts' situation. On the other hand, maybe this hatred is actually a clever disguise for the forbidden love each hero feels for the other. Marvel may intend to stealthily kick a B-level and C-level superhero out of the closet to capitalize on their one hundred year old dead gay gunslinger publicity. Seriously though,

A story as compelling as this final chapter in the enjoyable three part crossover needs powerful artwork, and Alan Davis provides. Opening with a montage to the Captain's rebirth in a modern age, Mr. Davis evokes all the heroism and raw potency the story requires. He symbolizes the reclamation of Iron man's intellect and honor with a reflection of his classic look armor. He creates the subtle and class of Dr. Doom. Then there's that scene with the soldiers that makes one's heart beat faster. Words fail to describe it. The scene can be felt.

The saddest part of the Avengers is that this era will soon be diminished with Geoff Johns departure for DC. For once, the Avengers really were "Earth's Mightiest Heroes" and not the Justice League's younger cousin still having much to learn.

On the other hand, Ant-Man's helmet looks ridiculous. Ms. Marvel wears padding. Why? She's Kree. She was hit by Iron Man and reacted as if she had been smacked in the face with a pillow. It's obvious Copiel likes drawing the She-Hulk; we can thank John Byrne for taking the savage out of her name. I must though protest her abbreviated costume. Such a garment has no place in a dramatic story. I did not wonder once if She-Hulk shaved down there, but after seeing her, all I could consider was whether or not she went for the Brazilian. I would also like to know why her nipples stand at attention throughout the adventure. It's not cold. She shouldn't be sexually excited over the carnage. So her nipples should not be erect. Q.E.D.

Olivier Copiel again impresses with a distinctive larger than life interpretation of the Avengers that rises above the simple standards of the comic book's past history. Many an artist has given the Avengers realism and made the book aesthetically appealing. Anatomy has been recognized. Visual plotting has entertained, but this is the only time I've seen the Avengers become something other than a bunch of costumes--however well drawn--on a page. With the Olivier Copiel and Johns at the helm, you have faith in the Avengers as heroes.

While "Red Zone" expands on an already big idea, the story still crackles because the Avengers are the stars. These are not mere ciphers discovering the Frankenstein Monster beneath the Pentagon's more public ideals. This is Captain America whose spirit remains unbroken and vows that the criminals hiding behind the flag will be found and punished. This is the Vision who despite being an android or perhaps because of it exhibits more humanity than his foes. This is Iron Man and the Black Panther, whose relationship has become similar to that of Superman and Batman, combine resources to find a cure. Everything about this book is perfect.

The revelation of the villain ties in with the Falcon/Gyrich partnership which comes to an explosive end, but anybody who has seen a Universal Dracula film will guess the identity, and his presence exonerates the United States government thus blowing the whole point of the exercise.

The previous issues handled Black Panther's resentment toward Iron Man in an understated manner and as a result, this element enhanced the storytelling. By emphasizing Black Panther's practical bitterness toward Tony Stark in this issue, Mr. Johns undermines the story. He forces the reader to question from whence these feelings come. Iron Man and the Panther never really hung out while serving in the Avengers. Often they were not in the same incarnation of the team. They had no memorable team-ups that I can recall in either of their books. So what is the source of the resentment? Such animosity arises from accrual. Without that interlaced history, the scenes become forced. It's as though Johns wanted friction between heroes and decided these two would fulfill the role.

"Red Zone" is a mix of missed opportunities, promised drama that fizzles and in the end a love note to Ann Coulter. The She-Hulk subplot thankfully missing from this issue padded out the story from four issues to six and will likely be removed from the trade paperback so as not to confuse first class book buyers as opposed to we prolls who buy comic books in theory on a monthly basis.

Such a stupid issue. Johns rolls the dice. Craps. We lose.

Any book that contains two knowledgeable allusions from The Prisoner and another humorously from the original--or if you prefer semi-original--Avengers John Steed and Emma Peel cannot be all bad. In fact Chuck Austen's debut writing for The Avengers isn't bad at all.

Together with Austen, the creative team makes even little scenes mesh within a layered story, and a few continuity gaffes in the artwork cannot distract from a superhero story that has the under-hyped appeal of an average tale but swells into something more special. This story celebrates rather than deconstructs.

With a little editing most of the important instances in this issue of The Avengers could have been probably incorporated into the finale that has yet to come. As it stands, the third chapter is sadly wanting in depth and relevance.

I keep hearing bad things about Mr. Austen's writing ability, but what I see in The Avengers is fun, verve and women whose power equals if not betters their male teammates. That's exactly what I'm looking for in a comic book.

Even the epilogue of "Lion of Avalon" is worth reading. The dialogue between Britain and Wanda show a depth of personality and kindness. I like also how they speak about Jan while she's not present. Friends talk about other absent friends all the time. It's habitual, and added here; this quirk of humanity gives the section of story a natural, warm feel. Sweetness can be found in the illustration of the two Jennys: one fast asleep and cradled in titanic arms that can rip a tank into two. Very few readers cannot help be moved by the final splash page.

If anything, the Invaders represent how far Marvel has damaged itself irreparably. They represent how far the mirror universe Avengers have strayed from the concept of heroism.

The resistance, in the form of such heroes as Spider-Man, Luke Cage and Iron Fist, are the good guys. They plan out next issue's attack on the Tin Tyrant and his goose-steppers to rescue the Invaders. Some though have already taken steps to extricate themselves from Iron Man's THRUSH-like organization.

Finally, we come to Cap and Bucky. I confess that I don't particularly have any feeling for Bucky. I always saw him as a generic sidekick shaped from a mold of a mold of a sidekick based on Robin. Cap needed a sidekick. This is the best we could do. Krueger and Ross grant Bucky resonance, if not his appeal, by displaying Cap's absolute faith in him. They also give him the last scene, and it's a doozie. "Call me Tony" gets his comeuppance through physics and his unfamiliarity with a symbol of justice. How poetic.

Sadowski's illustrations aren't just potent in the fight scenes. The Washington D.C. architecture is detailed and looks accurate. He embodies frustration to a sword in the stone scene. The scientists wanting to perform a live autopsy on Toro maintain a certain detachment. The flame on moments impress as does the evocation of another golden age hero.

At first, you're carried along through Avengers vs. Invaders by the shear whimsy of the dialogue, the little things in the plot and the enjoyable distortions of well known heroes, but once you encounter the Torch's ponderings on his true nature and the Holocaust, the mood shifts, the heroism skyrockets and the idea that this book is just a really good ripping yarn fades. The story's much more than that.

When I saw Ross and Krueger's name attached to the Avengers/Invaders project, I suspected it wouldn't be the same old team-up or slugfest, and so far those suspicions have been proven correct. Combining forces with Sadowski and Berkenkotter, they have treated the book as a critique on modern day shock tactics while still hammering out a strong story that addresses the concept of superiority.

"Call me Tony" is a complete douche. While I knew he wouldn't die, I couldn't have cared less about him, nor could I root for his rescuers. I cheered for and cared more about Dr. Doom and Batroc Ze Leaper when they threw their lot in with Spider-Man, Vision, the Scarlet Witch and the bona fide Captain America to fight the Dark Rider and Mr. Hyde, respectively. To put it another way, and to paraphrase Crow T. Robot, "No matter how much Marvel insists that Iron Man and his lieutenants are still heroes, I must respectfully disagree."

If you're a fan of the Invaders, you'll definitely want to pick this up. I imagine the followers of the Avengers fled in droves when Marvel made them the villains, but still those who appreciate Captain America may consider this issue an auxiliary purchase.

I'm not absolutely sure that Avengers/Invaders had a story that was sustainable for twelve issues. I think it might have been better to end the tale with the Avengers rescuing the Invaders from Iron Man's clutches and sending them home. I get the feeling that this second part is more of an attempt to recover some of the heroism lost during The Civil War. It's not going work. Marvel has made Iron Man irredeemable in comics and Ms. Martinet is just as bad.

The story should have ended with the resistance rescuing the Invaders from the Avengers and sending them home. That would have been a satisfying, clean victory. Such a conclusion would have clearly picked a side, without the half-hearted attempt at redeeming forever tarnished heroes.

Avengers/Invaders started out beautifully. It indicted Iron Man and his flunkies. It ridiculed the Sentry. It should have ended with the resistance Avengers rescuing the All Winners from the SHIELD Helicarrier, and Dr. Strange sending them back to their proper time. Perhaps, Iron Man could shake a fist at them as they depart. This added part two was just unnecessary.

Less a reintroduction and more of a continuation, the opening chapter to The Avengers/Thunderbolts is a finely crafted story with rich characterization dependent on Marvel history. It promises future issues to comprise a smooth, fun and thoughtful ride.

While Kitson only does the breakdowns this issue, Gary Erskine does not jar with a series of sharp contrasting finales. Erskine was an excellent choice on Marvel's part to accompany Mr. Kitson since nothing visual distracts the reader from Busiek's and Nicieza's surprise.

With this issue, Tom Grummett takes over, but you'll hear no complaints from me. Shucking the weird angular look he gave to his recent DC titles, Mr. Grummett provides a traditional look to the heroes based upon proportion, scale and human anatomy. The technique compliments the tale. The idea is original. The players are from the old school, and any jarring bad art claiming to be style would ruin not just the aesthetic but also the intelligence, the wit and the depth.

In terms of the mechanics of writing, everybody sounds in character, and Baron Zemo becomes shockingly heroic as well as human while Songbird hints at her Avengers Forever fate. The narration by Hawkeye gives the tale a distinctive voice and allows the reader to feel for both teams.

Avengers/Thunderbolts is so good that it's painless. The creative teams give the Avengers one last hurrah, pave the way for Songbird's inclusion on the team and explore what it is that makes a super-hero a super-hero through panels that flow into one perfect movement.

Busiek, Nicieza, Grummett and Erskine with the vivid palette of Reiber and Sotomeyer create an elegant conclusion to the Avengers/Thunderbolts mini. They seem to close a number of chapters on the characters, and that's their right. The somewhat tragic tale nevertheless does not feel like the end.

I'm still going to continue reading Avengers Academy because Tigra is love, but I can't really give a high recommendation for anybody with a passing fancy in superheroes.

Valkyrie is a better Wonder Woman than Wonder Woman is or was for about twenty years. Iron Fist is presented as a far better Batman. That's kind of the feel of Avengers Academy. Despite this underlying idea that the students are most likely to become super-villains, which is only given lip service this issue, there's a real vibe of heroism in the book, and it especially lives up to the lofty promise of the Heroic Age. This is how the Justice League should read, but it suits me just fine that an Avengers book has stolen DC's thunder.

This issue of Avengers Academy is recommended only for fans of the new, new Thunderbolts and, of course, those who have the wisdom and taste to worship at the altar of Tigra.

The cover is a bit of a fib. However, the creative team more than atone through the beautiful scene in which Tigra decks Justice. I never imagined that happening and while the current incarnation of Justice has grown on me a little, that punch is sweet. Tigra is love.

I would have given Avengers Academy five bullets even had Tigra not appeared. Gage's Hank Pym spotlight is immensely entertaining and engrossing, and his actions best represent the heroic ideal.

Artist Mike McKone has grown into an arch Tigra illustrator; he even slips Tigra's tail through the hole in her bottoms. Inker Rebbeca Bachman and colorist Jeromy Cox enhance the sinew and the fur of everybody's favorite werecat. Needless to say, because Tigra prowls in the spotlight, she rates 48 panels, Avengers Academy is a necessary purchase. Remember, Tigra is love.

The art team's partner in crime scripts choice dialogue that reflects generational characterization and really frames the personality of the Taskmaster; his strange admiration for fighting heroes conflicts with a desire to be a master criminal. Gage conceives of an intriguing limitation for Taskmaster that also explains why he remains a villain. A rational being really should stay on the straight and narrow. Taskmaster would indeed make an excellent hero, but he's missing a component in his physical makeup that will always return him to the dark side.

So, in summary, Gage reinforces Hank's newfound sanity and heroism while using a continuity fixer-upper to try to give Hazmat a respite from her condition. At the same time, Gage convinces me that Leech is actually worth getting to know and instills even more curiosity in the new FF title. These moves and the willingness of everyone to help grant greater cohesiveness to the Marvel universe. Once again, Christos Gage builds on the foundation of the Heroic Age. This is why I'm making mine Marvel.

Despite Tigra gracing but one panel in a cameo role, Avengers Academy still earns a perfect score. It's simply the best book Marvel's publishing.

Gage's story compliments classic Avengers while adding more layers to the continuing theme of the Cadets learning the ropes of being a hero. Raney, Hanna and Cox fully integrate their art with Gage's words.

Mettle and Hazmat have a heart to heart, and it's just the right amount of pathos and comedy which later ends up visually as a raucous dance. Veil gets through to Striker, and the whole thing appears to end in a fight until, in homage to The Simpsons episode "Lard of the Dance," Speedball cuts loose, and the crowd goes wild.

It's not that the Cadets are incompetent. It's not that they're hopeless fighters or just plain old stupid. Theyre raw, and they've never fought the Sinister Six before. Fortunately, the Six have not lost their characterization to changes in Marvel history. None of them are child killers. They're rotten thugs. Robbers with gimmicks, and that leads to an entertaining nostalgic story bearing a fresh spin thanks to the Cadets of Avengers Academy.

Gage uses The Fear Itself event to explore the many facets of Tigra. He spotlights her courage, her doubts, her origins, the many changes that defined her life all in one issue. Frequently her internal monologue conflicts with her dialogue, and these at-odds words add even more depth to the story and her characterization.

It's sort of fun to see Hank Pym and Absorbing Man act like giant monsters, but it would be genuinely fun if the Absorbing Man weren't possessed by a magic hammer. Fortunately, letterer Joe Caramagna distinguishes the dialogue you can skip. Don't read the black dialogue balloons unless you really love Fear Itself. It's just not worth it.

I've read numerous similarly-themed team books, and they're always decent time wasters as long as the art's good. Avengers Academy is no exception. Tom Raney and Scott Hanna wring every emotion out of this melodrama. Veil goes through so many facial expressions that you might think Bill Plympton was behind the whole scheme.

Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in Biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups, where he reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.

This hindsight all can be attributed to the perfect fusion of art and writing. I mean, X-23 was a joke. She was a younger version of Wolverine with B-cups, and there were also some lesbian undertones thrown in for kicks. Marvel was essentially creating a character to appeal to a narrow, perceived demographic, not for comic book readers in general. Gage however treats his characters like people. Sure, there are some lapses in judgment like that horribly written Captain America a few issues back, but by and large, when you read Avengers Academy you end up involved in a story that centers on characters that demonstrate a wide range of emotion and depth. In fact, if you replaced Hybrid with an original, less resonant villain, Avengers Academy would still be entertaining.

Arcade contrasts the Young Allies and the Cadettes. Whereas they emanate youth, Arcade issues decay. His face appears emaciated, and his eyes are mere pin-pricks dancing among the darkness of his sockets. It's as if the corruption has eaten anything human. He's a far cry from the fat cheeked devil's cherub that years ago snatched Spidey and Captain Britain from the streets of Manhattan.

As to the artwork...When did Ron Lim get this good? Seriously. You cannot solely credit Scott Koblish's inks however expertly crafted they are. Ron Lim used to have some problems in the area of anatomic depth. All gone now. Lim with Koblish and Rob Ro create a professionally beautiful comic book. The characters' physiques look rounded not flat or overly angular; two deficits I found in Lim's past work. His ability to express emotion has undergone an astounding transformation. He handles equally well the larger than life moments and the understated body language of the characters. Lim has improved greatly, and that improvement benefits Avengers Next.

Avengers Next offers the reader more of the same. Courtesy of DeFalco, Lim, Koblish and Bob Ro, consistency is a beautiful thing.

The biggest bombshell in Avengers Next results from Ultron's presence, but to comprehend the meaning behind my tease, you'll just have to buy the book yourself. The gambit's too juicy to reveal, as is the cliffhanger.

I've got to hand it to DeFalco. Not only does he come up with a very impressive reason behind the crone's mischief, he makes it characteristic and historical. He furthermore never cheated the reader. He laid the clues to the scheme up front and foreshadowed the spanner in the works issues in advance.

Avengers Next is easily the most underrated series Marvel produced in the year 2006-2007. Even White Tiger received scant hype. Avengers Next was barely promoted. Don't let this series fly beneath your radar. Nuanced with nostalgia, the story is excellent. The art bares the sensibilities of proportion, scale and super-powered kinetics, but done in a stylish manner that demonstrates the maturity of a well-known comic book penciler.

The reason why I bought Avengers Prime is simple. Alan Davis and Mark Farmer rarely do wrong. In that regard, Avengers Prime is no different, but the writing leads me to the conclusion that I should wait for the trade if all I want to do is enjoy the artwork.

"Defender of the Deep" is fantastic. A perfect character vignette combined with a decent setup to the main story pushes the worth of the book from three to four despite the increase of a dollar.

The art by Gabriel Hardman and Elizabeth Breitweiser creates an attractive battlefield where all the costumed champions fight at their best. Repulsor rays blaze through panels. Electricity crackles from M-11. Atlantean sinew flexes as mutant wings carry Namora through the air. Simian facial expressions accompany crack-wises against Iron Man's future self. Jimmy Woo's martial arts play out against the moves of the ultimate soldier. Venus' nude beauty manifests in her song. Witty and beautiful, Avengers vs. Atlas is a winner.

Cornell casts her as a fourth wall breaking answer lady for the lovelorn of the Marvel Universe. Did Hulk really ask She-Hulk out on a date? That's just wrong if true. Unlike Namor and Namora, Hulk and She-Hulk are blood cousins. Ick.

I've analyzed these new feelings. With the exception of my undying love for Tigra, I have always just liked the Marvel characters. Unlike the almost ingrained ties I have with the DC heroes, I never harbored a strong connection to the Avengers. Remember, you can hate the comics and still love the heroes. For me, the Justice League trumped the Avengers, but you know what? In the hands of Hardman, Breitweiser and Parker, the Avengers live up to their reputation. With this artwork and this writing, It's very difficult not to find your heart beat racing.

I bought Avengers Initiative for Tigra, but Gage made me also like the Constrictor for a moment. His dialogue for the villains sounds accurate, and the plotting is easy to follow. The art in Avengers Initiativeis some of the best I've seen from the company since they went dark, gloomy. It reminds me of the superior work found in the Marvel Adventures line.

Gage characterizes the cowardly, reptilian Taskmaster and the newly enlightened Constrictor extremely well. I actually liked Vance Astro. Usually, his presence instills vomiting. Ultragirl enjoys some excellent moments. The heroes throw a party atop Avengers Tower and Avengers Initiative acts as a one stop status quo update for those who haven't been following anything in the Marvel Universe since the onslaught of Civil War. Furthermore, I actually felt good after reading Avengers Initiative.

The story by Vicino maintains Aya's sharp characterization, and her disguise as a private detective is an ingenious addition, but Vincino devotes the lion's share of the tale to the murders, which despite his claims, are not as ingenious or as cool as he thinks. I also question a scene where Aya confronts the murderer but does nothing to stop her. The guy holsters his weapon, and Aya could have just karate chopped him in the back of the neck. She should have done something, at least slap a tracer on him.

This issue of Aya is not only entertaining; it's an arousing informative panel by panel instruction manual for people looking to add excitement to comic books. I wish more people would study.

Aya, looking like hell, seems doomed, but Vincino unveils a final surprise in the third act that can only be successfully accomplished in the unique format of a comic book, or perhaps the absurd comedies of Matt Groening.

The premiere of Aya: Princess of Darkness is a good start for the hero and the reader. I look forward to seeing more of this far from generic crime fighter.

First-rate artwork combines with excellent writing and inventive twists to the midwife of science fiction's plot. Add a daring, competent female super-hero, and you've got one damn good comic book with the resonant name Aya: Princess of Darkness.

Vicino's pacing and his characterization for Aya naturally evolve these strategies to their logical fruition. Rapaak's staging of Vicino's scenes perfectly visualizes the writer's intent. Precision inks and evocative colors make the final chapter in "The Clone Order" all the more appealing. Such is the importance of observation; the creative team highlights Aya's eyes in the panels. They become striking reflections of her intellect. The quality of this issue of Aya: Princess of Darkness is the bar to which all others will be measured.

While in truth I would have preferred Mike Mignola had done the story and art on B.P.R.D., Guy Davis makes a suitable if unexpected substitute. The attitude of the B.P.R.D., and the moodiness fairly kept by Mr. Davis almost sends a chill up one's spine.

In terms of plot, Mignola and Allie form the basis around intolerance, religious bigotry and corruption in the church. Same old same old, but instilled with the writers' convictions and sincerity.

At a guess, Allie pinned down some of the more realistic characters in Mignola's story. Trevor, a winning lad with a smoking issue, is likely his. Trevor's father though briefly seen is more down to earth than the odd, scholarly Bruttenholm. Both writers however expose the hypocrisy of the Church, and it's not a visual of The Necronomicon that the poor woman fears at the end of the story. It's The Bible.

Mignola's story is far from mediocre. While he has done better work in the past, Plague of Frogs is stil a Mike Mignola story. Once the team leaves the somewhat crowded BPRD HQ, Mr. Mignola throws a pair of dice to issue some unexpected consequences. From this point in the story, we do not know who will survive, and that's the sign of good horror. We do not know what will happen next, but we're eager to find out. That's the sign of a good story.

While Kate Corrigan's part in the story adds some humor, the threat she faces is more of a shoulder shrug compared to the grotesque frog men and the borderline nauseating fungus-thing. She does not drag the story down, but when you've seen wyrms, Jenny Greenteeth and space fungi gods, the rising dead almost seem by comparison pedestrian.

As to Abe's predicament, I guess you'll have to wait even longer because he and Kate Corrigan only get a cameo of two pages. More time is dwelt upon characters for whom you do not care one whit.

I haven't really ever read a Mignola project that has disappointed me. BPRD: Plague of Frogs is no exception.

Mignola somehow manages to work the conspiracy against Lincoln and his subsequent assassination into the plot. Some critics might argue that it's a throw away piece of grandstanding, and yet the impact fits with the resonance of the characters the story explores.

Bad Girls' best element, apart from the superb Lara Croft milk advertisement on the back, which really is the very best part of the book, comes in the form of Simone. Given the premise's similarities to Buffy the Vampire Slayer, you expect the soon to be best friend of Lauren to be similar to Willow. Simone however stands out as a three-dimensional character whose qualities of competence and unique charm are welcome.

Mignola's and Golden's Baltimore: The Plague Ships is a worthwhile addition to the dark fantasy worlds fostered by Dark Horse. Ben Stenbeck's illustration suits the imagination of the artist/writer/creator.

Baltimore: The Curse Bells #1 (Ray's review)Posted: Saturday, August 13, 2011By: Ray Tate Mike Mignola, Christopher GoldenBen Stenbeck, Dave Stewart (c)Dark Horse Writers Mike Mignola and Christopher Golden build on the mythology of Baltimore. The vampires, huge monstrous bat things, scavenged the near dead on the battle-scarred fields of No Man's Land during World War I on an alternate earth. Vampire grand poobah Haigus promised the extermination of humanity when the heavily wounded Baltimore refused to be the beast's supper. Lord Baltimore's crusade though was inevitable. There's no way these gargantuan blood suckers would have settled for just the dying doughboy or the husk of the Hun. Besides, evil lies.

Imagine wild dogs ambling along and feeding from the dead, as well as the lively. Imagine witnessing the blood of your friends dripping from the maws of these dogs. Guess what? A dog is coming for you, and you, my friend have been shot in the leg. That's Baltimore's situation. Kind of. Sort of. See, instead of contending against wild dogs, he must fight giant vampire bats. To quote Hellboy, "Crap."

Blavatsky's rebirth is one of the most repellent things that either Mignola or Golden ever conceived. Mignola's work is well known, but Golden may be unfamiliar to comic book readers. Golden wrote Vampirella and Buffy the Vampire Slayer. So, he knows his way around horrific imagery. Artists Ben Stenbeck and Dave "Deep Red" Stewart underscore the terror with suspenseful graphics that twist the miraculous, living, evolving being into a grotesque example of body perversion.

Lord Baltimore and Vanessa grow a little closer. In fact, their relationship is somewhat like the Doctor and his companion. However, the characterization isn't quite so important this issue. This week Baltimore: The Plague Ships is a tour of the supernatural earth, rendered ably by Stenbeck and Stewart as directed by Mignola and Golden. The perfect Halloween book.

If you're treading in the footfalls of these classic terrors, yet still producing original grotesques--courtesy of Ben Stenbeck and the bright red of Dave Stewart--then you're doing something right. Baltimore: Plague Ships is a treat for people who know that vampires are disgusting monsters that pervert the dead for their own gruesome amusement. I foresee a Bram Stoker Award in the creative team's future.

Ben Stenbeck and Dave Stewart on the other hand pull out all the stops. Under a sheen of symbolic lilac, Lord Baltimore and Vanessa engage in a visceral battle against the forces of evil, and yes, Hun Diving Suits are cool.

Artist Colleen Coover oils the characters' gears with distinctive, cartoony looks that help flesh out the beasts--both human and their cousins. All in all a winning combination that will occasionally make you peal with laughter.

The growth of character isn't only limited to the humans. Go-Go very cleverly in the opening scenes displays superior spatial knowledge. Knobby peels back his Don Juan outer layer to reveal insecurity. While Chuck who instigates the conclusion, combines his intelligence with a nasty form of wit.

Nibot expertly directs the character interaction, and the snappy dialogue makes for a quick pace. Colleen Coover once again provides charming, cartoony artwork with clean lines that enhance the clearly crafted story.

Colleen Coover's artwork adds the icing to the muffins, and I hope to see more from Banana Sundays and Colleen Coover's charming judiciously used lines in the future.

"Prize Possession" is another clunker with some minor humor in Homer's attempt to start up a barbecue. "Cyrano De Barte" lacks any punch, and a superb surreal beginning to Robert L. Graff's and Jesse Leon McCann's "Hill of Beans" becomes swamped by a derivative flat story.

The art of course would keep you from quickly reaching the accuracy of the comparison, and a great deal of the sight gags comes in the form of Millhouse's Muppet-like expressive, blue eyebrows. Add a few shorts by Chris Yambar and the aforementioned artist, and you've got a very funny comic book that earns its price tag.

Likewise, I suspected "Balloon Party" would go bust, but Sherri Smith shows a comprehensive understanding of how Bart ticks. The dialogue and his actions are just perfect as his satisfied smile.

The rest of the book makes use of Springfield's odd and fickle desire for culture. The Mark Twain festival doesn't seem out of place at all and is symbolized in part by the play put on by Bart and Lisa. Lisa of course wants a strict adherence to the story, and the devilish Bart seeks to provide only the best entertainment. This basically goes to the idea that Springfieldians really just want to have fun. If culture comes with it, fine. If not, all the better. Thus, it's not absurd to see Homer in expertly tailored period clothing, nor should you expect that a speedboat chase in a Tom Sawyer tale would be unwelcome to the hedonistic denizens of the surreal town.

The intelligent humor of Gail Simone even when the characters act far from intelligent makes this issue of Bart Simpson Comics resonate with the power of a jungle call. The addition of an interesting off-kilter anecdotal tale and a hilarious short more than give the reader her money's worth.

Finally, Mr. Kress shows the Simpsons' immunity to "Family Reading Night," and while the behavior amuses, it's the ending that's laugh out loud funny since it comes from nowhere and strikes without reason.

Colorist Rick Reese and inker Patrick Owsley evoke the eerie mood of sci-fi horror of which "Invasion of the Baby Snatchers" is a partial tribute. Artist Luis Escobar concocts all sorts of interesting designs for the alien babies and again drops them through the lens of Matt Groening then pops in on Metaluna for his inspiration for the title antagonists.

Although the finale borrows from Mark Twain, Bryan Uhlenbrock's "Zone Wars" shows Bart at his best. A practical joker extraordinaire, the idiot savant Bart goes on an impressive spree. Nigles, Novin and Villanueva delight in the interpretation of Bart as evil, urban genius.

Bart Simpson Comics is not for your eyes only. Anybody of any age can read the book or have it read to them. The universality of the audience however does not dumb down the story which pays homage and pokes a little fun at the spy game.

Joey Niles, Mike Rote and Nathan Hamill provide a buffet of wild takes. Mike Kapleh, Jason Ho and Hamill display an array of art within art. Mark Erwin, Mike DeCarlo and Hamill tame a colorful bestiary. John Costanza, Phyllis Novin and Art Villanueva engineer a new outre cast member, find a way to impregnate with texture and fluidity a prank and imagine an awesome thirtieth century styled intensive care unit. Gnarly.

The artwork is consistently impressive. Given the short's subject, Bates uses some interesting angles and expression to depict the cast. Rote's inks add even more precision to the art than those in the previous story, and Hammill's color sense actually matches Villanueva's, which given his experience with the Bongo books is quite a feat.

In the final story James Bates offers a loopy parody on The Defiant Ones. In this version Bart and Nelson are cuffed together and must escape museum security and find their way out of their predicament. Bates uses the props of the genre to create faux suspense. The guillotine gag is in particular an inspired twist, and the core to the gag makes realistic sense. Luis Escobar through his timing in the panels milks the fake tension. Owsley's inks give the work added dimension and colors by Hamill take on a more down to earth note but does not shuck aestheticism as the kids leave the candy-codified trappings of Springfield.

In Rogers' story a supernatural detention slip seeks out Bart. Though whomever the slip passes to winds up in the hell of detention. Costanza provides some very animated Simpson doings for this tale. The more physical comedy takes a backseat to what is essentially action over a minor punishment raised to the nth degree.

And finally, Bates comes back like an infectious disease for "Flu Shot" which shows the devilish Bart finding a means to escape the needle and stick it to Lisa. Jason Ho with Mike Rote and colorist Nathan Hamil--what? Did Villanueva die during production?--draw a line of Springfield youngsters for your guaranteed yuks.

James Lloyd, Andrew Pepoy and Nathan Hamill further strengthen the wacky state of affairs. They cast dramatic shadows to give the opening an even more uproarious feeling, and they even nail the poses of the characters involved in the more gentle type of such mysteries--always standing around and doing nothing. Truly this one must be read to be believed.

Finally, "Cross Country Clown" is a winner due to Lloyd's and Pepoy's visual camaraderie between Bart and Homer.

James Bates in "Bart's Stink Strike" does not with the story stink up the room. Instead, he offers a bouquet of carefully crafted comeuppance for the usually unflappable Bart. James Lloyd peppers the panels with illustrations that one may find unusual in a funny book. On the very first page for instance, the reflection of Krusty on Bart's eyes combined with the cathode-blue courtesy of Art Villanueva give the reader a hint of how Bart has become practically hypnotized into forgetting all else--including bathing. Lloyd and Pepoy also give the aroma of slyness around Homer as his plan unfolds. While it's true that Homer is a "slow-thinker" Bates makes his shrewd scheme pungent and within Homer's purview.

Ortiz, DeCarlo and Hamill return for the panel pieces, and this time their talents must be directed for scenes filled with multiple denizens of Springfield. Needless, they succeed and make certain that the storyboard never looks cluttered.

Is this issue the worst Bart Simpson Comics issue I've read? No. Despite being unable to get me to crack a smile, the writers do characterize the characters to their television models, and all the artwork matches Matt Groening's designs. These assets are enough to raise the book from two bullets to three bullets. It's not bad. It's just the definition of mediocre.

Between these channels, Tom Peyer, James Lloyd, Andrew Pepoy and Hamill render a sweet short where Chief Wiggums expresses his love for his son at a baseball game. Jesse McCann, Mike Rote and Hamill entertain thoughts of revolution with another disturbing and bizarre episode of "Worker and Parasite."--the Russian version of Itchy and Scratchy that made Krusty on the show pause a few bug-eyed moments then cry out "What the hell was that!"

In the final story, Tony Digerolamo gets Bart, Milhous and Martin into trouble. Digerolamo makes one laugh out loud when Skinner gets into the act and the two enemies break down in an attempt to clear the conscience and comfort each other. The art by Ryan Rivette, Mike Rote and Villanueva beautifully highlight the emotional release all still contained in the Matt Groening style.

The artwork by James Lloyd and Andrew Pepoy in both stories gives the reader Matt Groening's style in a variety of the characters' moods and poses. Nathan Hamill's colors actually match the multitudinous rainbow collage employed by Art Villanueva.

You can do worse, but this issue of Bart Simpson Comics isn't a necessary purchase. I'd only recommend it if you had some spare cash lying around in the vault.

I doubt art for the Simpsons ever can be considered a chore. Carlos Valenti, Phyllis Novin, Nathan Hamil, James Lloyd, Mike Rote, Art Villanueva, Phil Oritz and Mike DeCarlo all convey their excitement toward their work onto the pages. Each story adheres to the model of recognizable silhouettes. The illusion of animation through the panels fluidly compliments the words, and the visual timing for the jokes is impeccable.

Chuck Dixon's story "The Burger Meister" is the best of the lot, but it's still a toothless war between Homer and Bart involving a Burger contest. I enjoyed the Snoopy and Red Baron gag at the opening more than the entire story. At least the art by John Costanza, Phyllis Novin and Hamill--combining to illustrate a splendid biplane by the way--pulls you through the minor episode.

Bart's impish nature gets him expelled in "Elementary School Dropout." Earl Kress demonstrates plausible reasons through the tale explaining why Bart wants to return to the warm comfort of the status quo. Aided and abetted by the panels of Niles and Pepoy brightened by Hamill, he creates an Odd Couple inspired comedy piece, which ingeniously changes Seymour Skinner's mind.

Bart Simpson Comics features three short stories and one two page joke that provides more laughs than most comedy features. The artwork in all the stories syncs with the television series' designs. Nathan Hamil's vivid variety and Art Villanueva candy coats are as beautiful as those on The Simpsons.

Templeton has a trickier task than usual for this issue of Bart Simpsons Comics. He must not only mimic the style seen on the show and create the illusion of animation for the regular cast but also consistently reinforce that stamp while reimagining the characters in slightly different forms. Given the fact that these characters are not easy to draw, it's doubly impressive that Templeton also nails their look and their behavior when they're presented in different stages. Inker Andrew PePoy is on hand to pick up some of the slack from Templeton, and his inks nicely over dramatize things like Bart's mask and Colossus' mad cackles. Colorist Art Villanueva gets some aid from Nathan Hamill, and all the artists must be commended for their at times intricate detail and rainbow of colors that make the Bongo books so attractive.

Special note must be made of James Lloyd's comic book gags, which feature continuity specific references such as "Krusty's Playhouse Comics" but also odd little riffs on Basil Wolverton, Superman, musicals and obesity. Andrew Pepoy's inks come into focus for forced perspective shots. Nathan Hamill's colors add a particularly beautiful nuance to a three panel change in time, and quite frankly allegedly serious comic books should be this beautiful and this inventive with their angles.

Costanza relies on close ups and tilted angled panels to emphasize the drama to be found in the bizarre Perry Mason milieu. Novin's sharp inks refine the detail, especially during a really smashing Man from UNCLE gag. I wonder if Peyer also bought the attache DVD set?

Hilary Barta who has illustrated previous Bart Simpson's "Treehouse of Horror" episodes for the comic book specials was an excellent choice for the tale. His shadows and more dimensional illusions fit the eerie ambiance of the science fiction in the flexible reality of the series. Robert Stanley's sickly greens give the opening a particularly impressive chiller theater spotlight.

Tony Digerolamo, Jason Ho and Hamill round off the book with a webisode of Angry Dad. Digerolamo thinks of a slapstick skit that could have been conceived by a ten-year-old but still appeal to adults; the mustache gag is fairly sophisticated, but Bart is actually pretty sharp, and it's within his purview. Ho contributes two types of styles successfully. He illustrates the typical Simpson look, and the more primitive art that attributes the Angry Dad episodes from Bart's imagination.

Nina Matsumoto and Mike DeCarlo remodel familiar faces in the story, and they also bring in newer characters that motivate Bart's and Milhouse's final decisions. The motivation arises in conveying what a couple of kids might find cool.

Asprec's, Novin's and Hamill's simple two-act play between Lisa and Milhouse as well as Bart's Frank Sinatra imitation add to an already outstanding story by Bates. While "Cool Rules" isn't impressive, Santiago's, Rote's and Villanueva's transformations for Lisa are better than the concepts. "Lisa's Bad Word" isn't much, but the art by Rivette, Glines and Hamill excels in exemplifying Lisa's embarrassment and the bad day that took her to the bad word.

All three stories in this week's issue of Bart Simpson Comics amuse as the artists adhere to the Matt Groening model while staying true to their individual styles.

Three stories and one forgettable short comprise Bart Simpson Comics #45. Only one tale is outstanding. All the art in the book captures the comedy and construction of The Simpsons television series, but one is in that respect severely lacking.

Each tale has a plot, a beginning, middle and an end. Simultaneously, the writers lace in an abundance of comedy, keep true to the characters and write some fantastic dialogue and twists. The artists within their own styles maintain the model of the show and master the timing of the sight gags.

In all respects, this issue of Bart Simpson Comics easily rests in the cream that rises to the top. The two stories satisfy in different ways that never the less seem intertwined.

One could accuse Bongo of hypocrisy. Batton Lash is after all filleting the Big Two's tomfoolery, but he's doing it in a crossover. However, there are some stark differences. This is a crossover lasting only three issues. Compare the trilogy to DC's weekly dovetailing drudges and Marvel's inbreeding Dark Civil Reign of the Secret Brand New War. One also needs to consider that this is only the second Bongo crossover. That's right. After 155 issues of Simpsons Comics and 48 focusing on Bart, Bongo engages in its second crossover. Surely, the Powers That Be at Bongo deserve an Eisner for the restraint.

Bart and Lisa first match wits with corn-fed crazies and then with ten classmates who have axes to grind. The Bongo crew does a tremendous job keeping your ribs tickled and your eyes glued to the richly colored pages.

Sergio Aragones! Sergio Argones Aragones That's why Bart Simpson Comics earns five bullets. The Mad maestro makes merry with Matt Groening's brainchildren.

I didn't get "Homer Simpson Chick Magnet" and that's why this issue of Bart Simpson earns only three bullets. This longer tale by Gilbert Hernandez consists of a series of accidental meetings between Homer and numerous attractive women. The explanation for the attraction is unsatisfactory and unfunny. However, Carol Lay's opener is strong enough to sell the book.

This issue of Bart Simpson Comics offers a change in design theme. For "La Barta Vita" John Costanza and Phyllis Novin imbue European style to Bart's appearance. In the end, their talent provides the last sight gag. If they were any less skillful, good story or not, the final panel would have been the butt of the joke.

In "Let the Games Begin!" Evan Dorkin attempts to express his frustration with security packaging. That might have been funny in the nineties, but there are plenty of handy little devices that can make short work of cellophane wrap and stick-ums. Perhaps, somebody needs to buy Mr. Dorkin a Swiss Army knife to end his exasperation.

Lay's story is a superb battle between Lisa and Bart. Her art neatly imitates the style of the show, and she has an able assit in Alan Hellard and Karen Bates with her onomotopaiea sound effects.

The two shorts and the vignette in Bart Simpson Comics are all worth reading and keep in tune with the series.

Bart Simpson Comics is a meaty cartoon cavalcade that will please any fan of the show or readers of funny books.

This excellent issue's final short arrives courtesy of Sergio Aragnes. His expressions for Homer and Maggie make dialogue superfluous, and her dainty dabbing of the mouth favors Matt Groening's edicts for dining depiction.

Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.

Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.

Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.

In the first story by Paul Kupperberg, Bart turns over a new leaf, and the citizens of Springfield don't quite know what to do. The story gives James Lloyd and Dan Davis a field day with the panels depicting Bart's unflappable angelic expression contrasting with the wild takes from Lunch Lady Doris, Mrs. Krabappel and Principal Skinner who goes straight down a noir spiral that includes booze, accident and tragedy.

Bart's selection of targets is inspired, and I love how Bates includes a sly slight against the gullibility of the media. Balloon Boy anyone?

The story benefits not just from Eric Rogers' imaginative escalations for Lisa but also from James Lloyd's and Andrew Pepoy's dead on replication of the distinctive linework from the animated series. As you can see, they do more than just polished work. They bring the characterization to the pages and think up new ways to visually represent the cast and their feelings.

Hillary Barta next surpasses his peers and probably makes Gail Simone go "D'oh" with an moodily illustrated creature feature alphabet done in a limerick style. If more comic books gave this amount of entertainment for the coin, I'd have less to complain about.

The subgenre of Jack the Ripper horror was just dying to be spoofed, and Gary Millidge proves just to be the right bloke to do the job right. Ear-to-ear grins will fill readers' faces as this slice of kidne-pie fills the gut of the story with all the conventions of the lore. Conspiracy, Abberline, Freemasonry, nothing is sacred when profaning what Ripperologists hold dear.

Chris Bonham and Steve Ringgenberg are two names not often associated with Simpsons Comics, but reader unfamiliarity should not breed contempt for their trio of clever tales within tales within tales. “You've read it! You can't Un-Read it!”

The Goon's creator Eric Powell shows up for the last tale. This ghoulish story involving relations with emus and cannibalism begins with a Lad's Magazine as a catalyst. The short just tears down The Simpsons style of storycraft but with a seriously twisted subject matter. Powell shadows the characters and gives them an almost three-dimensional semblance. These factors culminate to produce an ever more disturbing end. Kudos also sticking with the Treehouse tradition of slipping in Kang and Kodos.

I would have to say that this issue of Bart Simpson Comics isn't as laugh out loud funny as previous issues in this series or the other Simpsons books. It is however throughout amusing, smart and inventively sends up the super-hero genre without denigrating the subject.

Batgirl plans something special and merciless to end the Mirror. The scheme exemplifies just how far Babs will go to see justice done and just how cruel this kind person can be.

Batgirl shares the history with Batman and Robin. The healing of Batgirl forces Batman and Robin to share their paternal and fraternal love for her. The new Batman continuity with its links to comic book history is being written right here. In many ways Batgirl is the keystone book in the Batman Family titles.

While DC, surprise, surprise, did not hype The Batman Annual, Batman fans must not miss this book. I want Peter Milligan, the Lopezes and Mulvihill back on a Batman book right now.

Ann Nocenti and John Van Fleet work beautifully together to create a unique adventure with a strong hybridized Poison Ivy and a Batman more appreciative of light than darkness.

Other hints of Byrne's talent for writing comic books surface. A guest-star makes a surprise appearance. The scenes involving New Genesis ring true. Izaya looks like Izaya in the only way Byrne can draw the character. There's just a volume of information within an interesting story to be dissected and a plethora of heroic characters to enjoy.

The second half of this Generations issue slightly disappoints. Until this last chapter, Mr. Byrne has been writing time travel in a way that made sense out of the speculation. The climax to this final chapter creates a massive paradox, but again, the execution, the drama of the exercise and the brilliant epilogue make this tiny shortcoming easily forgivable.

Batman has people waiting for him. Nightwing, Robin, Batgirl and Catwoman all make an appearance, and these cameos are just as important as the widescreen scope of the plot and the artwork.

The characters themselves are given the artistic care equal to the city maintenance. Deathblow while beefed up actually would fit in our world. While Batman is still the larger than life hero, the artists draw him in such a way where the costume would make sense in the real world. He is a leathery creation that almost appears to have stepped out from another age. In a way he is. The antagonists are drawn with a heavy emphasis on seediness, yet these features are not over the top or cartoony rather a physical manifestation of guilt that the human beings buried deep inside them feel.

I'm more than satisfied by Batman/Superman. The art is what I expected from a talent like Manapul. The subtle colors by Buccellato enhance his pencils and inks through myriad shades emitted from various light sources. The writing by Mikes Green and Johnson entertained even if the Justice Titans should have perhaps been thought out a little better. The issue certainly could have been far worse.

Green and Johnson hinted at a mystery in play for the opening chapter, and here they give clues to not just what is going on but how Batman and Superman will solve the problem. As soon as the heroes mention one word, readers that are old hands at Justice League chronology should think of one villain. That's who manifests. Green and Johnson do not pull a Monarch. The payoff makes sense.

Mr. Wagner does some amazing work in Trinity. The settings are both symbolic and evocative. Metropolis stands around Superman like a golden city of tomorrow. The panels depicting Antarctica almost feel cold. The architecture and the environment give the book scope. This story is not taking place in the two dimensions confined by the borders of the comic book page. It occurs, as with the best movies, somewhere at some time. The heroes breathe. Their costumes and clothing wrinkles. Their feats of strength and majesty and sneakiness appear out of the ordinary because their world is a tactile, living thing that lends motion to the story rather than serve as a reminder for the static of the medium.

Mr. Wagner falters on occasion when dialoguing the Dark Knight. Batman, in full possession of his faculties, has never said "Why I oughtta..." as if he were a Bowery Boy. He also hasn't used the slang "scene" since the sixties and early seventies. Wonder Woman's use of the common tongue makes perfect sense when considering that she has observed "Patriarch's World" and given her more cosmopolitan attitude, which incidentally contradicts the characterization seen in her post-Crisis debut series. Trinity in short is not perfect, but it's damn near close.

A majestic Themyscira opens across and island situated in a vast blue-green ocean. Superman and Batman fly in a clear blue sky. Batman stealths through an art noveau forest dappled with pastel shades. Batman and Superman soar beneath cottony clouds. Under the ocean depths, ghostly jellyfish drift an dolphins play. Doves fly away from a marble floor holding the cast in the pale shadows of massive columns. Bats flutter in a massive cave below Wayne Manor. The breathtaking settings create the illusion of a real thriving world under a threat that only can be stopped by the combined might of Superman, Batman and Wonder Woman.

All the villains of the piece look in their own special way smug. They think theyre going to win. From the looks of serene triumph the reader can tell that they think they have a foolproof plan. When these plans sour, Cooke masters looks of individual disgust on their visages but leaves the readers of Batman/Spirit with smiles.

The internal narration hits the right notes, and the final sentence shows Batman to be more than a humorless sociopath. The artwork by Mr. Templeton smoothly brings the lank Cavalier to the animated Gotham City. I also appreciated how the origin is a precise recreation of Bob Kane's and Bill Finger's Bat-Man origin. No bats smashing through a window here. Frank Miller I think only intended that to be point of view symbolism--and not the ridiculous idea that Man-Bat's experiments sent the bat crashing through Bruce Wayne's window. "It's an omen!" Batman Adventures heralds a long-life for Batman fans young and old.

The brief but poignant tale offsets Penguin's criminal past with his polished present. Artist Templeton further muddies the question of Penguin's innocence and ultimate goals by portraying him as an arrogant, preening bird. He also stages a beautiful take on Batman in disguise.

The ramifications of the story present an interesting problem. Because of Ivy's situation, the Joker/Harley team must be reconsidered, and this may also lead to Batman having a new ally when the clown needs a cute punching bag. Surely, Ivy must also reconsider her ecoterrorism stance, and a cure for her condition may become her top priority.

This attention to detail in every element of the story whether it be how Batman should react when an event occurs, the display of esoteric knowledge that makes him more than a common street fighter, the insightful characterization of his archenemy or his various love-interests, the right amount of art that should be shown in a pitch black fight scene or the understanding that the Batman is not always dark and his image can even be graceful when surrounded by a sunset setting on an exotic island, all of these things makes Batman Adventures superior to every Batman book purporting to star Batman on the racks.

Batman Adventures like its predecessor titles usually presents a perfect issue month after moth. While this story bears a few shortcomings, it still features a Batman who acts consistently in character, engrosses with a coherent plot and captivates with beautiful artwork that facilitates frenetic action.

Batman Adventures is the only Batman title where you can find a Batman in whom you can trust and a history that you can comprehend. This is the only Batman title where you can find Batgirl. This is the only Batman title where drama unfolds with action and humor, and this is the only Batman title that appreciates audience intelligence. Batman Adventures is the best Batman title on the racks.

I expect greatness from Batman Adventures. This issues exceeds my expectations.

Mr. Templeton's Malone gains more weight of character as an informant, but the author does not stop there. Through his partnership with Mr. Burchett and Beatty, he adds one more element to the myth that gives a deeper explanation for why Batman continues to resurrect this low-life hood.

Dean Haspiel provides the artwork on both stories, and his style differs strongly from the cleaner look of the fluid animated Batman. It's raw with a nod to the underground and something that you might be able to find in a Bizarro Comics collection, but it's still a valid interpretation of the Dark Knight. A key moment to note is how the darkness shades Bruce's face as he lets his cape show during a psychiatrist's interview.

Batman Adventures gives readers two stand-alone stories that are each worth the price of the book. Written with intelligence and a care for characterization as well as consistency that can no longer be found in DC's continuity titles, Batman Adventures simply put is the only Batman book on the racks and one of the very few books overall worth reading.

Ultimately, The Riddler's high regard for Batman is what saves him from a return visit to Arkham. Hopefully he'll stay away from the asylum because the Riddler actually makes for a better protagonist than villain.

While the mystery in the main plot is somewhat lacking, the characterization of the Dynamic Duo more than make up for the loss. The second story is another perfect vignette reinforcing the relationship between Batman and Robin--er Nightwing.

This technique of staying on model benefited not just the action as in the scene where Batman confronts the Penguin but also the visual characterization such as where Batman rubs his chin as he ponders the mystery. If you were to name the Batman artists of the twenty-first century Rick Burchett and Terry Beatty should be the names on the tips of your tongues. Never once need you question their skill. They have without accolades been illustrating the adventures of the bona fide Batman, Batgirl, Robin and Nightwing for longer than the hyped artist of the day. There will never be another book like Batman Adventures. Mourn the loss.

Batman returns from the Slott adventure to the Cave and into Ty Templeton's vignette. Instead of brooding about his encounter with the villain and wallowing in angst, the bona fide Dark Knight removes his cowl and sits back to watch an episode of The Gray Ghost. This stirs his memories and makes him think of a more innocent time when he was a child and his parents were alive. His mother is portrayed with such sweetness, that you cannot help feel for Batman.

Other problems occur within the story. Batgirl while looking cute does absolutely nothing. Yes, I too find the character of Batgirl to be sexy. However, her appeal is based more on the fact that she is an intelligent, dangerous crimefighter not because she wiggles and makes googly eyes. If the police investigated, why didn't they find the letters forged by D'anjou? Why did they not find the robot in his workshop since he cleverly hid it under a sheet on a table in plain view? Why doesn't Nora recognize the letter is forged? The letters do not even appear to have the same handwriting. Why is D'anjou being given blood through an IV when he hasn't even been wounded? The only way out of a Freeze ice-cube is the method first used by Batman in "Heart of Ice." No transfusions needed. If Batman "jammed Victor's robotic body" how can Victor move the body even if by remote control to save Nora? Why would Victor tell Nora to "run" when he knows that the safety of the snow and ice canno

One thing not in this book's favor are the two grievous color errors. You may not think a change in Batgirl's boot and gauntlet colors affects the story, but they do. They create a sudden distraction that takes you out of the story and hurts the artwork. In her proper colors, under Burchett's direction, Batgirl cuts a visually striking figure. With the altered colors, you can't help but notice that something is very wrong with the character. This is still a minor quibble and certainly not the fault of the main talent regarding the best comic book on the rack.

The Dark Knight can and will still be found in Justice League Unlimited, but this is the end of something special. The last thing I'll say about this series of comic books is thank you.

Batman Begins ushers in a new era in which Batman once again prowls Gotham City to make it safe. The filmmakers have not forgotten the basics of the formula, and in fact you're better off spending five to eight dollars on this movie than you are spending half as much to buy a Batman comic book. Dark Detective being the exception. As a lifelong fan of Batman and somebody who believes himself to be an expert in all things Batman, I can say without a shadow of doubt that yes, Batman Begins is indeed Batman.

The depiction of Batman should be momentous. Maguire gives the same resonance to Batgirl. In the third panel, Babs takes off her glasses and lets loose her flashing hair. The fourth panel shows her drawing her utility belt from her purse, and the fifth shows her pulling apart her bulky clothing to reveal the truth behind the facade.

Originally I only intended picking up Batman Confidential to marvel at the artwork, assuming Garcia-Lopez and Nowlan were up to snuff. I'm actually looking forward to the next chapter in the story as well.

As the story continues Nunzio DeFillipis and Christina Weir bring their Tut superficially closer to the television version. They derive Tut's secret identity as a homage. They catalyze Tut's birth with a crack to the noggin, but this Tut is smarter and more dangerous than Victor Buono's broad Egyptian clown could ever hope to be.

I thoroughly enjoyed this arc of Batman Confidential. Thanks to Jose Garcia-Lopez, Nowlan and Baron, Batman looks good, especially with the lengthier ears. Thanks to Weir and DeFillipis, he acts like the proper Dark Knight I grew up with. His team-up with the Riddler offers comedy but more than comedy relief, and Tut proves to be an interesting, even horrific foe.

Batman once again becomes an impediment to the Joker's plan, and in the conclusion to this single issue, Englehart and Rogers enhanced by the inking of ever-reliable Terry Austin Batman and the Joker engage in what really is the metaphorical glove slap in the face but it has more excitement, more closure than the entire run of No Brain Land, Bruce Wayne: Murdering Fugitive and the latest excursion Infinite Torture of Gullible Fan Wallets.

Dark Detective is the best Batman book on the racks, and Batman has never looked better.

Dan DiDio explained that after Infinite Cucarachas all of DC's continuity will take place a year forward. Yeah, thanks for that. That's really inventive. Do you really want to publish comic books worthy of an adult mind? Pay attention then to Dark Detective. Idiots.

If Moxton doesn't play a part in this drama, then I can't see a thug or drug-addict like Joe Chill making a friend in the dapper killer sent to slay Bruce Wayne, and while criminals do make alliances, one criminal killing for another criminal is highly unlikely. Murder is not something criminals of the day took lightly. This friend of Chill's would have had to have been paid either in oodles of cash or in favors to motivate him into killing a kid. Chill always seemed like a low-level gunsel--constantly without cash and certainly not in the position to grant any favors. So why on earth would this unnamed friend of Chill's actually want to paint a target on his chest? It doesn't make sense. Oh, and if Joe Chill didn't murder Batman's parents, then hey, why would this friend of Chill's want to murder young Bruce Wayne? Awful. Simply awful.

When Batman discovers the Joker has kidnaped Silver in a scene where Evan and Bruce draw their lines in the sand, he immediately goes into motion, and again the creative team surprise you. Two-Face logically should give up the location of the Joker's home--a death trap no doubt inspired by the serial killer H.H. Holmes' abode, but Two-Face's abnormal psychology stands in Batman's way. Yet another twist gives Batman the answer and sets the stage for what I suspect will be a killer denouement. Dark Detective is how Batman is supposed to be.

The reason why Batman: Dark Detective does not earn a perfect score is that Engleheart totally cops out on the reasons why Silver St. Cloud and Batman do not stay together. Batman: Dark Detective wasn't set in proper Batman continuity. The book is far, far too smart for that, and no stupid status quo needed to be preserved. Since Batman: Dark Detective was about logic versus madness. A logical conclusion should have been reached. Silver St. Cloud going home with Batman, and the Dark Detective ready for another adventure.

Though pricier than the average comic book, Batman in Barcelona contains thirty-nine pages of actual Batman in a good story with excellent artwork. The ads are kept to a minimum. I would have preferred the book to be a square-bound graphic novel with a nice cover and heavier paper stock. However, as it is, Waids and Olmoss latest is a worthy addition to anybodys Batman collection.

Everything Dan Green adds to the book can be exemplified in the splash page depicting Batman's rescue of the woman. Examine the musculature. Green deepens the various muscles with thick inks an subtle lines representing every fiber of sinew. The emphasis of grit on the woman's skin and hosiery mars her beauty and style. Sure, she's a knockout, but she hasn't had a very good day. It's gotten better. Thanks to Batman.

Page nine and ten exemplify the artist's perfect timing and the depiction of the Dark Knight's strength and speed. The running joke of “My Hand…!” indicates his intellect and his skill in the fighting arts. His method is to first disarm then disable. This is Batman.

To enhance the real world setting, David Lopez and Dan Davis eschew comic book conventions of cross-hatching and the by the numbers anatomy that so eases the sketching of mightier than mortals. Lopez meshes smoothly with Ostrander. He follows the direction of mystery, and generates suspense and smiles for the readers. After Batman removes a threat, Mr. Lopez treats readers to what for the onlookers must be a creepy moment. For readers, it's a grin-worthy example of Batman's sly sense of humor. Don't believe for one second Batman doesn't have one. He has to have one in order to stage such moments. One more thing in Lopez's favor, he gives Batman the sharper, longer ears. We've missed you both.

More than symbolism is at work in Batman: Legends of the Dark Knight. John Ostrander makes Batman the World's Greatest Detective. Batman recaps the previous chapter for the reader, but for him this is all new information that he uncovered during his investigation. He quickly learns the lay of the land, and if not for a few semi-humorous obstacles, Batman probably would have been able to secure Jim Gordon's release the night in which this case takes place. Never the less, these barriers do not seem artificial. Once again, this is Batman.

The remainder of the plot runs extremely tightly, and there's irony in that Jim Gordon is not the one who will face down Hatchett. Two foes that do not know each other, who do not share a history will duel each other to the death, and this makes for a refreshing change. The one tiny moment I believe was unnecessary slows the book down somewhat but balances out the overall effect by providing a light ending moment of banter between Jim Gordon and Batman.

While the story simply wowed me, I did not believe I would appreciate the artwork, but Roger Langridge's style grew on me. While there's a certain underground look, it's not without an aesthetic sense. Furthermore, while Batman is designed in sharp edges, he still displays characteristic behavior something while artists more inclined to be anatomical have failed to show in the countless storyarcs of recent days.

If you're looking for another deadly serious, boring Batman exercise in pretentiousness, Batman Legends of the Dark Knight probably isn't for you, but if you're looking for something new in the Joker/Batman feud as well as something lighter and clever, then you need not look any farther.

Speaking in terms of artwork, the pages by Val Semeiks while decent do not really reach the standard he achieved last series. Batman's ears are too short for my tastes, and there's a definite Jim Lee influence to the look of the character which ill suits Mr. Semeiks' personal treatment. However, Semeik's attention to caricatured plug-ugly faces can be found here, and often Mr. Semeik's Batman slips through the veil of Jim Lee. Semeiks furthermore draws out more of the character's benevolence--especially in scenes shared with Karen and scenes depicting his devil may care driving--while still keeping him a figure of threat and fright for the opposite side.

This issue sets up the plot proper, and perhaps that's why you're not expecting the splendid surprise ending. The artwork by Val Semeiks is looser than that found in the first issue, but it's still professional enough to keep the story in fluid motion regardless of whether Batman battles government spooks or speaking with Hyland and Karen.

Kudos must also be given to unsung hero Kurt Hathaway who is no mean letterer. His decision to add sound effects or remain silent creates an impact. We can for instance imagine how a breaking door may sound, but the chok of a batarang and choom of its explosion exhibits fine foley engineering.

McDuffie does not suddenly lobotomize the Dark Knight. He does not make him standoffish where he refuses help. He instead finds a smart way to cut Batman down to a level more suitable for the match and makes the finale something you don't just read or observe but savor.

When Mr. Fowler manifests Batman toward the end, he realizes the dark legend he is supposed to represent without losing the humanity behind the mask or the man in the costume.

The plot of the story is neither original nor is it overly familiar. Ultimately the reader comes away with the feeling that while this was not the worst Batman story he has ever read neither is it the greatest. More excitement would have been welcome, and as it stands, the story just seems lethargic. Threatening the antagonist does not really generate suspense because he does not possess a single enviable quality. So the reader does not care what happens to him.

Less interesting still is Frank, the diluted Cornelius Stirk. Mr. Peyer does try to show the freakish character's conscience, but it's difficult for me to care about him when he continues his brutal behavior. Still, we see less of him and more of Batman in a well drawn legend.

This three part Batman: Legends of the Dark Knight perhaps is not the best of the series, nor is it the worst. It also lacks the mediocrity of safety and instead delivers outstanding characterization of the Dark Knight--as well as Alfred--through the actions of one repugnant character.

Though we've seen this exercise run before, it's still nice to read a comic book where Batman is not insane and not truly a vigilante in the classic sense of the word. Because John Wagner's writing the book, the dialogue and choice of scenes seems fresh, and Chris Brunner's artwork is easy on the eyes.

The basic way in which these lives become endangered has been seen on the television series Alias and read in one of Rucka's few good issues of Detective Comics. Mr. Wagner makes his means distinct but just as gripping. Chris Brunner through a little research makes Batman's impact stronger. The tiny attention to detail on how specific windows shatter adds realism and makes Batman's actions all that more fantastic. We wish Batman existed in the real world. I wish this Batman existed in Detective and his name title.

There's a subversive element to this story. John Wagner and Chris Brunner set out to show what makes Batman different from all the other anti-heroes from the nineties and all those that followed. They also inadvertently show how their Batman more truer to the original concept differs sharply from the lunk in the so-called continuity books.

Less interesting to the story is a Gotham City Detective's pursuit of Lonnie, the repentant member of the gang of Hillbillies who are metaphorically blasting shoguns in Gotham's streets. Wagner bestows to his detective an above average intelligence, but these scenes while offering the well drawn cleavage of Lonnie's friend and while well choreographed just seem formulaic and unenergetic when compared to the evocative moments of Batman ripping through Gotham's seedy side to find a lead on Rough Justice.

Devin Grayson--she who had Bruce Wayne buy a gun "just to see what it feels like"--next drags Legends of the Dark Knight into whatever the hell DC calls continuity. Such a move means that the sobriquet Legends no longer applies. I suggest hardcore Batman fans run away as far and fast as they can.

Putting aside the orientation questions; Batgirl's dialogue rings true to the form of the classic. The plot to Batman Strikes is a good one, and the surprise ending adds another dimension to the story as well as bumping up Batgirl's intellect. This issue of Batman Strikes is recommended for Batgirl fans.

Mr. Johnson erects a sense of place with detailed architecture that combines skyscrapers with the more classic gray stone of the late Anton Furst who created Gotham for Tim Burton's Batman. He evokes mood and atmosphere in the dark arena of the Aliens and a nineteenth century mad scientist's laboratory. The Batcave in comparison actually looks homey. Inker James Hodgkins refines Mr. Johnson's work with precision, unbusy inking. Gregory Wright finishes the presentation with eerie colors that accent an otherworldly design.

The story's pacing though as quick as the antagonists seems to be physically exhausting to the character. When Batman finally beats the Aliens, there is no doubt in the reader's mind that he should look up Selina Kyle and take a very long, languid vacation.

Woefully under hyped, Batman vs. Aliens likely soared right above the average comic book fan's radar. Seek out the back issues, or wait for the trade paperback, but do not miss this superb story detailing a problem that deserves Batman's involvement.

Asamiya's artwork and Natsume's have their strengths and weaknesses. Asamiya has a much surer hand when it comes to shading. His Batman was much more evocative and of course gifted with the long ears that the Bat-Gods intended. However, Asamiya also had a nose fetish; all his characters, male or female, have big noses.

Robin is important to the story for a number of reasons. While the continuity Batman has managed to turn away every friend he believed he never had. Robin likes Batman and knows he will without hesitation support him. Robin can also do things Batman cannot do. He takes on a role straight from the Bob Kane originals. Batman Gotham Adventures is a back to basics approach friendly to new readers, respectful of older readers and faithful to the essence of the bat.

I always expect greatness from Batman: Gotham Adventures, and the title rarely disappoints.

When the antagonist stands revealed, the villain uses a very strange weapon that would normally call into question the entire plausibility of the story. When you think about it, the weapon is so unusual and so unnecessary that only this particular type of villain would choose it. The villain's end may seem like a shameless deus ex machina, but given the villain's nature, this is a fitting comeuppance, and Batman's grim joke at the end serves as fitting punctuation.

Batman Gotham Adventures also surpasses the other Batman books in another way. No matter how dark the hero or the mystery, the adventure is optimistic. The hero wins, and the point of the book, besides engaging the reader's ability to think, is to see just how the hero will surmount the often deadly odds.

The confrontation in Dr. Leland's office leads to the raison d'art, but don't expect to solve the mystery. Unlike the Riddler's typical clues, these rely on obscurities only the most expert reader will know. Naturally, Batman being the World's Greatest Detective knows, yet another important difference between the animated Batman and the lesser version in the DCU, this Batman is not merely an effective thinking machine. He's neither without humor nor without heart.

Due to the absence of Batman, this is the least visually exciting issue of the run. However, the art team succeeds in making Robin resonate as an action hero. The anatomy and his acrobatic antics are in keeping with how he looks and acts on the series, and the book is not without its usual attention to aesthetics. Interesting enough the colors of Robin's uniform actually make much more sense given Gotham's perpetual red skies and seem less like a glaring bulls-eye.

Nobody was thinking when they let this issue out on the stands, but the artwork by James Fry and Ty Templeton, soon to return to the throne of Batman Adventures meets the high standards of past issues. The story however is unfortunately worthless.

The Bruce Wayne seen in this issue is a dullard. He forgets on purpose his employees names and is seen as a lay-about rarely at the office. Mr. Peterson should have known better, but what's worse is that Batman was unaware of the skimming at Waynecorp. Even were I to accept the Bruce Wayne performance as a bridge between the first and second animated series, I cannot and no Batman fan should accept that Batman would not know everything that occurs within his own company.

When Batman reaches the Joker, he learns an unsettling truth about himself. The words do not immediately impact. They gnaw at him later, and this time in the light, Batman makes a decision to finally accept the meaning behind his parents' grins.

Niles and Jones make the setting of the story important, but I'm very biased in this respect. I firmly believe that Gotham City should be the second safest burg in the world. Batman has been around, even in this continuity-light story, at least five years, and that should be reflected. Only the stupidest or most arrogant criminals should exist in Gotham City. Batman is a deterrent. His presence should be like dropping the meanest, biggest cat in a ship's hold filled with rats. The rats would learn how to swim.

During the escape, Ivy comes into possession of a gun, and here's what separates the wheat from the chaff. See a crime writer would have Ivy doing her impression of Scarface--the Al Pachino role--on whoever got in her way. Not Dini and Timm. They conceive of a way that fits her character and leaves the reader rollicking in his seat.

A superb diversion that never outstays its welcome, Batman: Harley & Ivy is a fitting coda for the animated adventures imagined by Timm and Dini. In fact, rather than cancel the Adventureverse books, can't we cancel the DCU instead?

Guy Davis drew Baker Street, Sandman Mystery Theater, the Nevermen and Danse Macabre. He has never once for the comic book reading public illustrated an anatomic, finely honed physique and to an extreme often prefers a citizenry of Mole People. This is not to say that Mr. Davis cannot do something that would make Burne Hogarth proud. Rather, he chooses to do something that is dynamically opposed to that type of traditional comic book artwork. Nevertheless, Davis' artwork fits the atmosphere of the story and fulfills the requirements of period detail that blends into the background. His Poe is somewhat whimsical and innocent which nicely contrasts the Batman who seems to come straight from a Heironymous Bosch hell dimension. Davis is also the most animated for Batman: Nevermore. Some of those issues of Sandman Mystery Theater tended to eschew action for ratiocination. Nevermore combines the two. I can't say that I fully appreciate Mr. Davis' artwork, but I really can't see anyb

Nevermore with Batman pro Len Wein and the attentive artwork of Guy Davis continues to be a not-to-miss elseworlds series. Fans of both Poe and Batman will be especially pleased.

Poe in the opening attempts to claw his way free from the coffin and in the process bloodies his fingers. Mr. Davis does not splatter blood from his hands. Instead, he shows his hands cracking with tiny cuts. He reminds the reader of the pain through scenes of Poe as he talks to the Batman rubbing and dabbing his hands with a handkerchief. The scenes give the reader something tactile in which she can sympathize and conveys the trauma that Poe experienced to help create the artificial reality of the story. Len Wein and Guy Davis are a rare and unlikely match in the world of comic books.

With those facts in mind I paid particular attention to how the Batman deals with the beast. Len Wein and Guy Davis make the brief battle memorable. The fierce creature enraged for reasons yet to be disclosed does not hesitate in attacking the Dark Detective, and Wein and Davis give the hero no easy out. His counter-attacks against the brutal creature make sense, and the final choice Batman makes echoes his response to Hugo Strange's Monstermen in the Bob Kane/Bill Finger originals.

If you haven't picked up the pamphlet version of Batman: Nevermore you'll want the trade paperback. Len Wein's and Guy Davis' comic book tale that witnesses madness is a must for any Batman or Poe fan.

While pastels are not the usual medium one expects to find illustrating Batman, and Campbell's mystery is more cerebral in nature than the average Batman story, his artwork still lends excitement and action to the panels. The colors still bring out the eerie nature of the bat and still give him a heroic look while among the Order of the Beasts.

David Finch opens the book with Batman rappelling out of a Batplane. This moment culminates with a double page spread and promises excitement, but Batman's not on his way to stop a madman from blowing up Gotham. No, he makes haste to change clothing. At least he does it quickly.

Frank Miller's imitators only saw darkness in his seminal work, but they missed completely that The Dark Knight Returns is one of the most optimistic comic books in the history of the genre. Here was a crime-ridden and controlled world that demanded the return of the hero. Let's hope that this time the writers who claim inspiration from Mr. Miller finally see the Knight as well as the Dark.

Pope's artwork is uniquely stunning. He does not illustrate male or female models. He does streamline faces or features. He instead concentrates on effect and motion. He considers panel layout and storycraft. His vision produces a fusion of government and sports celebrity through the design of the Federal troops. It equates beauty with duty to justice and humanism. Pope doesn't draw the prettiest figures, but these characters move, express and breathe.

Any true Batman fan simply should not overlook Batman: Year One-Hundred.

When Batman returns to his headquarters, he and his group of compatriots--consisting of a Robin and a non-crippled Oracle--discover the hidden messages concealed in the tooth and the reason why the Fed was killed. Pope takes his corrupt future borne out of the slippery slope and brings a threat to that future that goes beyond mere staining. This new escalation demands the attention of Batman. Fortunately for the world, Batman is back!

Pope creates a problem that demands the Batman's involvement, and along the way he touches upon the legend. Through Jim Gordon he extends that legend. Through the Bat's smart strategies he bows to the resonance of the World's Greatest Detective, and in throbbing, velocitous panel after panel Pope drives the Bat to the satisfying conclusion where the criminals quiver in fear.

start protecting the world. The best thing about the book is

You know what? I expected nothing from Batwing. I said to myself that this character was going to last maybe three issues tops, but something happened. Batwing was good, really good, and it ended on one helluva a cliffhanger. So I added the title to my subscription list.

Young David sets into motion vengeful events, but he makes a vow. This glimmer of honor in a cesspool of deceit attracted Batman, and we trust in Batman because that's what fiction allows. Because we place our faith in Batman, we know that David is a good man, and although he's better at terrible things, we know this history created the hero we have now.

Winnick characterizes Batwing and Batman as detectives. Even when in the thick of battle, both men offer insights into the case, track down the perpetrator and see through Massacre's latest tactic. Winnick also spotlights Batman's and Batwing's status as protectors, not just avengers. The safety of the innocent is their main concern. Of course, this requires them to beat the snot out of Massacre's henchmen, which leads to much visceral entertainment.

When the Creeper makes an appearance, you honestly do not care. Too much of the story has been wasted on the boring twins and the dull triangle shared with the detective-lover of the wild one. Let me save you around fifteen bucks, the detective will in a "surprise" revelation turn out to be the rapist.

What definitely bumps up the grade of Beyond Avalon is the artwork. Goran--another one in the same year--Sudzuka provides artwork that wouldn't be strange in Metal Hurlant. Though his characters while beautiful do not offer explicitness. Sudzuka's illustration gives Beyond Avalon a European school of anatomic appreciation and judicious detail that by rights should make most American artists hang their heads in shame. Likewise, Len O' Grady's colors bestow an Art Noveau sense of design that fits with the faerie themes and just takes the reader aback.

Jerome. This dwarf/troll's every word and action is annoying and grating. If this twisted, nasty and no doubt smelly monstrosity becomes Megan's sidekick, I just may vomit.

The characterization and the character interactions are too thoughtful to consider Big Max a spoof, and the situations are too dramatic to suggest parody. Big Max is rather a straightforward super-hero comic with a strong cast and excellent artwork by James Fry and Andrew Pepoy that's just a little cartoonier than the duo usually contribute.

Swiercynski and Saiz end their story on a curious note that appears to reference the Silence from Doctor Who. It's a surprising twist, but it suits the ultimate signature of the villain the Birds face, which is to use the entire capacity of the human body as a tool to commit crime. Batman readers may also want to note a curious connection to the Court of Owls. Perhaps, the Birds of Prey and the Bats ally themselves in a carefully waged war pitting the Gotham heroes against the new vermin in the city.

Needless to say, Saiz and Chung are no slouches when it comes to the action department, and all the Birds enjoy a spotlight of dynamics. Perfect issue.

Black Coat takes advantage of a seldom explored arena for crime and corruption that fosters the birth of an interesting hero with ideas beyond the time frame in which he battles. Aye, I think I'll wear this book awhile to see how it fits.

The beautiful art of Francesco Francavilla produces a unique textured look that ably animates the ample action--the standout being the take-no-prisoners fight toward the end of the chapter--as well as the proportionate scale of the characters. Throughout the artist of The Black Coat maintain a precision time-perfect atmosphere and choreograph a flowing story that breathlessly captures the power of the story carefully crafted by Adam Cogan.

With outstanding writing by Cogan and an opulent tapestry of black and white uniqueness from Francavilla, The Black Coat once again arrives as welcome pulp adventure.

The two stories both in terms of artwork and writing as well as their overall unification stick another feather in the Black Coat's cap.

Black Coat/Athena Voltaire is a slick non team-up between two critically acclaimed indie heroes. They work together through the passage of time to put an end to an age old hazard.

Science saves the Black Coat, but the perfection of the formula escaped the crazy Willhelm, still very much alive and crazy beneath the wreckage at the bottom of the bay. According to Willhelm's cohort, the formula isn't so much an elixir vitae but a drug that the Black Coat will need to take for the rest of his life if he wants to live sane. A tragic end for our hero, but Willhelm left notes, and I'm sure the fine minds of Nathaniel and Ursula will be able to decipher an answer to give the Black Coat liberty. Before that they'll need to contend with a league of comprised of legendary monsters brought to life by Francavilla's evocative art.

EDITOR'S NOTE: Danny Djeljosevic also reviewed Black Dynamite: Slave Island. Read his thoughts, too!

Black Enchantress casts three good stories with two having better artwork than the third. The character is an interesting throwback to a more innocent time of Marvel grue and a little tease, but be warned, the final tale continues next issue. So don't be surprised to be enticed to pick up the second issue of The Black Enchantress.

These two unpredictable stories feature likeable, off-kilter stars. They address the core concepts of heroism--even if the main characters do not believe themselves to be heroes, and readers scorched by burning earth of DC will find clever writing and enjoyable adventures in Black Enchantress.

"Demons in the Night" is the previous story's exact opposite. Psyche's multiple personality or possession issues offer the reader an intellectual puzzle with philosophical implications. The characterization fortifies a plot that better defines rape as the filthy crime that it is. Rhyming dialogue gently pushes the story into a surreal magical realm bordering modern day reality. The plot twists cannot be predicted, but writer Hill foreshadows all and plays fair with the reader. Artist Chris Marrinen and Mike Estlich on colors energize this story with powerful super-hero illustration and a vivid look that enhances the occult powers of the main character.