Richard George Comic Reviews

If you're looking for a deep, meaningful experience, keep on searching. '76 is not trying to be that book. My typical tastes tend to lean towards that deeper type of series to be honest, but I will say that the teams involved here do just enough to make me want to see what's next. I've always loved silly martial arts films and the detective/bounty hunter tales, so there is definitely something to hook me here. As is the trend with smaller titles these days, the team has also included a ton of facts about 1976 between the two stories. You have to respect that. Give '76 a shot if it sounds like it's going to be up your alley. Want to see something called a "Dragon Punch"? This will be the series to deliver that.

Jeff Lemire's Superboy makes its long-awaited debut here in a back-up story that seems to take place in the midst of Lemire's debut issue, due in November. It's hard to really get a sense of anything in these ten pages, though it is clear that Lemire intends to incorporate the Teen Titans to some extent. That's probably fine, but I certainly hope the Superboy series remembers its there to tell a story about Kon-El and not his buddies. A little more of Geoff John's approach in Adventure Comics would be welcome... but we'll see. It's far too early to decide one way or another. Those hoping to be blown away should probably temper their expectations.

The opening Joker scene is sufficiently chilling and his narration boxes work well in establishing the villain. Sadly (for us) his involvement in this issue is minimal. Jim Lee's pencils are as solid as ever, but even those are not enough to rocket this issue out of the depths of boredom. I've officially joined the legions of Batman fans out there who question why this series even exists when it's clearly doing the character no favors. You can't say that about many stories. All-Star Batman & Robin is proving it serves no purpose other than for Frank Miller to dump on the DC Universe.

Jesse's Score: 7.1

It's clear that with its second arc American Vampire isn't going to lose any steam. Though its lead character might not play as well on paper just yet, there's no indication that this series is taking any real dip in quality. With plenty of time - and pages - to work with, Scott Snyder and Rafael Albuquerque are no doubt going to continue to build Vampire into one of Vertigo's most memorable titles. Check it out - but be sure to snag the hardcover of the first arc in the next couple weeks.

Criticism aside, this is a beautiful volume of art. While everything surrounding the watercolor works could have been incredible, most of it disappoints to some degree. The commentary is only interesting for the first 10-15 pages, but then grows repetitive. The designs used for the film are great, but there's very little follow-through on how these designs were ultimately incorporated. The interview with Miyazaki it quite insightful, but again limits itself strictly to art. Watercolor Impressions is stellar within its narrow focus, but could have been so much more with relatively little effort. Regardless, fans of Miyazaki, Studio Ghibli or art in general should definitely seek this one out.

Maybe this series has some big twist coming up. Invincible was a boring superhero cliché until Kirkman threw everything on end after a while. But the difference is that his other books had legs to stand on to begin with. The characters were at least somewhat engaging, the art competent and the plots weren't half bad. Wolf-Man needs all of the above, and it needs them fast. There's no way to recommend this series at this point.

What I'm trying to say here is that you need to go to your local shop and tell them to order Atomic Robo. It's not the best book out there, nor the funniest, but it's incredibly entertaining. This issue fell a little too much into the typical "man out of time" routine, but seeing a charming robot tackle giant ants, while his support team banters about "imaginary physics"... you can't get that anywhere else. Invest in this now so that we can watch it grow into something really special in the months to come.

Outside of a slow start and a back-up story that was neither entertaining nor well drawn, this issue still manages to be quite a bit of fun. As soon as Robo confronts his targets, Clevinger's trademark humor kicks into gear, and the subsequent two-thirds of the issue easily make up for any faults of this particular book.

The problem here is that Fables executes the "New Age Fairy Tale" concept in a far better manner. It retains traces of these legends, capitalizes on our familiarity with them and then uses both of those facts to completely surprise us around every corner. Avengers Fairy Tales simply pales in comparison. I realize it was never intended to be a sweeping epic, but I would like to see something more daring attempted.

And then there was Steve Uy. Uy's work is marked departure from Stefano Caselli, whose animated, energetic, cartoon-esque style has been a defining asset since this series began. Uy is so different that it's impossible to enjoy his work. Furthermore he's incredibly lacking as a storyteller and his characters are completely void of decent emotional conviction or even energy. Virtually every panel falls flat, and you'll be hard-pressed to pick up on the proper message that Slott is trying to convey. A lesser writer would not have been able to carry this story through to completion. Despite Uy's damaging work, this issue is still worthwhile as Slott manages to tell a great story. Just have someone read it to you while you close your eyes.

Several books this week impressed me on an artistic level. The Initiative is one such book. Stefano Caselli's work prior to coming to Marvel both irritated and impressed me. His style carries an inherent energy, but can often veer into a territory that is too quirky and too animated, particularly when it comes to facial expressions. With seven issues under his belt, I feel like Caselli is rapidly improving, eliminating eccentric qualities while still retaining individuality and power. The result is stunning, and this series is definitely the better because of it. I'll take some manic storytelling if I get art this solid.

With any luck things will even out and we'll only have endure this kind of exposition once in a while. I'm still curious what's next for Cain - emphasis on next.

Essentially this series is far too intent on clarifying the past than providing reasonable incentive to care about the character. Though Jim Calafiore's work is suitably moody, there's not enough here to warrant any sort of purchase - past, present or future. Wait until Cass shows up in some other Gotham series and hope the writers there find a good use for her.

For the past several months, fans of Batman have had a lot to look forward to with significant developments and changes in the life of the Dark Knight. Some heralded RIP as one of the greatest stories in the history of the character while others respected the ambition but were frustrated with the delivery (clearly I fall into the latter category). What's great about this latest chapter, and the one before it, is how deftly it manages both the high-minded concept while effectively delivering it on the page. There are far too many superhero books that deliver the same old thing in the same old manner. How refreshing to see creators trying to dodge conventional storytelling and, more importantly, succeeding.

Frazer Irving does a commendable job capturing the atmosphere that Morrison requires for this arc to reach its maximum effectiveness. The slight catch here is Irving's atmospheric strengths do work against him here as several panels aren't as clear as they might be. These slight catches are mere bumps in the road however, as Batman and Robin delivers one of its finest stories yet. And that's saying quite a bit.

Cylon War is a fine concept, but was that the only necessity to make good comic books, this industry would be at an all-time creative high. The execution here ranges from simplistic (the writing) to being complete rubbish (the "art"). Quite simply put, this is not worth your time. In fact, the more I write about this issue, the more I dislike it.

You don't need this. I know BSG fans are hungry for more, but just wait a few weeks and get the definitive prequel that is worthy of the legacy that has been painted over three seasons (and if you were unhappy with Season Three's reported uneven quality, this will bring you back to the strengths of Season Two). Don't trick yourself into believing this is anything but an attempt to trick you out of your money. Buy some candy instead.

Despite my bitching, Birds of Prey has a solid foundation. When the villains weren't on the page, I was enjoying myself. The team dynamic and the high school drama worked pretty well. There's a lot of potential for that to become a huge, huge attribute to the overall series (it's not quite there for me yet). But the bottom line is that this is a superhero book. Hell, the issue is called "Bring on the Bad Guys". If this is how they're brought though, they can be taken back. Their presence nearly made me fall asleep.

Birds of Prey has the right components to be a fantastic series. We've seen it in the past. Sadly what could have been one of the most powerful arcs is turning into something completely unremarkable and wholy underwhelming. The art is absolutely the biggest contributor to this book's failure, but it could use for some better pacing and time management as well. At this point, two issues in, I doubt we're going to see much of a change. That's really a shame.

Birds of Prey would be a tough read these days simply due to some of the goofy characters and plot points. Some of the concepts could mix to great effect, but at the moment there's very little that's rewarding about this series, particularly in terms of the art. What pushes this particular issue off the slope and into the ravine is the utterly cheap ploy readers are supposed to tolerate in order to move the Joker conflict back one month.

It's easy to try and dismiss Blackest Night as formulaic or predictable, but that would be dismissing the superb characterization, phenomenal artwork and strong pacing. This series is not sitting still; it's not content to rest only on its action-horror roots. There is something for every superhero fan here – this is the genre at its finest.

Vaughan writes this issue quite well, but I've seen this done in the show before. I've seen Faith enter worlds that aren't her own. I've seen her find people she identifies with. The first few pages actually reminded me what I saw in those earlier seasons. I'm probably holding this series up to a microscope, but I think it has earned that distinction. The television show was a marvelous product. If a comic book series is to exist and continue the adventures of Buffy Summers, it needs to give us something new. I'm not seeing that so far. I'm by no means a hardcore fan, but I have seen all seven seasons. Those more dedicated than I might forgive the lack of originality simply because they're getting more. Those only partially familiar with this world might be just fine as well. But I find myself in an odd spot, not caring about what's going on and wondering when I'll see something fresh.

And so the transition is complete. Just shy of one year ago, reporters across the nation pounced upon the story that Captain America had died. Inevitably the iconic hero has returned, but this time he is more suited for the typical Marvel audience that expects character complexity. Steve Rogers might have been legendary, but he wasn't very relatable. Despite having a Cold War background, the Winter Soldier's anxiety and doubt are much more applicable to many readers. I loved reading about Rogers and his adventures, but the torch has been passed. I have no interest in going back and I can't wait to see where Ed Brubaker and Steve Epting are going with this incredible masterpiece. Despite the fact that issue #34 introduces a new status quo, it is above all else a story told with great skill, and that's more important than all the shiny armor and Nazi schemes in the Marvel Universe.

"The Trial of Captain America" is off to a fine start. What I most anticipate is that I don't know what's next. Everything I knew about this storyline was laid out here. That horizon is looking mighty fascinating right about now - I can't wait to see what Ed Brubaker has in store.

Cemetery Blues has the advantage of being unique in the marketplace. I can't think of any other humorous occult series out there, and Blues manages to deliver a satisfying experience. Sadly it's not quite as polished or amusing as it could be, and that holds this back from being amongst the top books of the week. Seeing as how I love to support independent efforts though, this is definitely one I will continue to read month in and month out.

Overall Havok is barely competent. Liam Sharpe's art works for what it is. Tieri's plot attempts to mock something while taking itself seriously, leading one to wonder how both goals are to be accomplished (the answer: neither). Even more annoying is the fact that this takes place prior to a Countdown issue released three weeks ago, leads into said Countdown issue and then continues beyond it. Why anyone would bother to rummage up a month-old issue of Countdown is beyond me. I can't understand how anyone in editorial would want a mini-series to rely on an outside title. It makes absolutely no sense.

But the problems with Countdown are fewer and less severe. I don't have the urge to tear the book in half anymore. I find myself interested in what's around the corner. Dare I say I actually want to see next week's book? Did Hell freeze over when I wasn't looking?

I don't know if Prime's arrival was supposed to mark a severe escalation in this series. I keep hearing about how everything is supposed to "speed up". Mxy's fate here is of little consequence to me since he doesn't seem to be too integral to whatever's coming next. Thus I am left with an issue that repeats the same themes as last week's, featuring a character that is absolutely dreadful. This series just can't catch a break even though it's clearly trying so hard to be important.

I'm sure the DC fans will say, "Just you wait!" I'm sure some day this will all make sense. But my problem, and my point, is that I shouldn't have to endure week after week to get to that point. Entertain me now or don't bother putting out the book. I get the sense that the last month or two of this will actually be important, but couldn't a six-issue mini-series have taken care of this? When all is done, Countdown might actually matter, but DC will have greatly abused its fans. There's no other way to look at a weekly series that accomplishes nothing for at least 50% of its run. It's just shameless.

There is no reason for you to buy this book. It's not the worst thing out there, but if you're a DC fan there are far better things to invest in. Any non-DC fans should stay away.

This week we at least have art that looks respectable. Manuel Garcia doesn't cut corners or portray characters as sketchy blobs. There is a good flow to the page and a professional presentation to the issue - which is more than I can say for the last few weeks. Bringing up the rear this week is a quick Joker origin story by Mark Waid and Brian Bolland. It actually dares to mix three of the most infamous origin stories for Batman's archenemy into one, with a clever hook to explain the variations. Sadly it's only two pages and is certainly not enough to make this even remotely worth its cover price.

Image is really on a roll right now. The quantity of original, bold, innovative books that the publisher is truly impressive, and I daresay it's likely they are rapidly becoming Vertigo's rival for compelling alternatives to the superhero genre that dominates the industry. CNV is yet another excellent addition to that arsenal, and while the title suggests some sort of hollow gimmick, the book is anything but that. A welcome surprise and a great selection for anyone's pull list.

As with any review, opening with criticism can make it seem like the subject is poorly executed. That is hardly the case with Midnight. This series has always been a personal favorite of mine despite its odd delivery style. The "Bedtime Stories" arc in particular has been fascinating both in terms of the actual plot and its larger commentary on our own world. Mike Carey has a wonderful concept built here - but I want some more definition so I can enjoy it fully.

In the end Crossing Midnight is an amazing idea that isn't being fully realized. I think that's a shame. It's my understanding that this series suffers from some incredibly low sales. As odd as this sounds, I'd rather people pick up this "decent" book than many of the better superhero titles out there. Originality needs to be rewarded in this industry, even if things don't work out perfectly.

The concept of a disillusioned hero isn't a bad one. Ennis pulls off a related revelation with great effect, but it's basically the only remotely interesting scene in the entire issue. Due to his isolation, Dare doesn't have much of a supporting cast. Nor does he have much of a personality aside from his hostility at life. It works on some levels but grows old and I honestly don't care to read about a bitter, dull hermit. Every other character in the series hits a very generic note, as do the villains and overall plot. In essence there's no reason to read this book. Even Gary Erskine's art hits a relatively monotone note, recalling older '60s and '70s books but lacking any real flair or power.

But there is one problem that threatens to devour Shadowland entirely - none of this feels original. The idea of Daredevil resorting to strong, villain-esque tactics has been played out time and time again, often revisited by every new DD writer. Each of them seems intent on saying their piece about Matt Murdock's strong leanings toward moral ambivalence. Though obviously this is something that could be addressed in the coming weeks and months, it's tough to remain interested in something that is remarkably derivative. The plot should have addressed this in some capacity by now. And shock tactics won't cut it.

The best part of all of this is where Brill leaves us at the end of the story. Let's just say there are some fantastic possibilities ahead, and I'm thrilled that Boom has opted to keep Darkwing around as an ongoing series. I don't care that this is supposed to be a kids book - it's perfect for anyone who enjoys great action/adventure fiction.

I can't believe I've written as much as I have here since I couldn't wait to get away from this issue and on to something better. Not only is this title poor from a creative standpoint, it's the worst type of pandering I've seen recently. This isn't designed to be a good book, it's designed to hit a demographic. It's marketing leading creative efforts. In my mind there's no other way to explain the train wreck I just witnessed, and it's unforgivable.

Videogame turned animated picture this Fall.

The bottom line is that this is a great change of pace as far as Secret Invasion tie-ins. I'm pretty much ready to get along with the main event into its aftermath, and this at least breaks up the constant dread and doom each Invasion issue seems to bring. Bring on the silly! The one thing to watch for the future is how effectively Way manages to play Deadpool's personality off of others. The book works when the chemistry is right, and Way will need a decent-sized cast to get things rolling on the right notes. We'll see how that works as time goes on. For now, I'm ready for some mascots and general insanity... and I'd really like to hear Wade's thoughts on the Skrulls being turned into cows.

Much like its star, the Deadpool series is a simple beast. It blows things up and gets you to laugh a few times along the way. I suppose it could be funnier, or more complicated, but the point is that it's entertaining. Deadpool fans will definitely have some fun here.

I've struggled to remain engaged by this series over its lifespan. Some arcs are pure genius (R.I.P. Bullseye) while others have been too bizarre to fully enjoy. But the start of this one, featuring Deadpool teaming up with the Secret Avengers, hits the proper tone. It's the right mix of action and comedy, and has no attention span whatsoever. Don't expect much characterization or complexity here. (Would you really expect that from Deadpool anyway?) If there's one fault, it's that some sequences by by Carlo Barberi were a bit confusing as Way attempts to track the actions of several different parties. But overall, this is a fun diversion from the typical superhero fare. And it's absolutely the one (and only) book Deadpool fans should be reading.

Outside of that "difficulty" there's not a lot to hold against this series. I do wish we could see more of the Fabletown residents. I realize most of them are watching Flycatcher in the mirror, but that seems like a cheap trick to make sure we're not being short-changed. I love the civilian lives of the characters and hope to see more of that soon. The only other oddity was a choice for the last page. Bill Willingham and Mark Buckingham opted for two half-page panels, slowing down a scene that just begged for a huge splash. It's not very often that sort of situation happens in any story let alone Fables.

Overall I love Fables. I'm a huge fan, and I make no secret of that. However this is not one of the best moments for the series, despite the fact that it is going to have an enormous impact on future arcs.

Maybe.

And, okay, maybe after all of this I'm starting to care a bit more about Rose after all - particularly given where her story seems to be headed. You win this round, Willingham.

There isn't much to complain about here, as both Willingham and Mark Buckingham are in fine form. If anything, there is the sense that the story is in a waiting pattern for the big anniversary, but Willingham still gives us plenty of smaller developments to digest and absorb. The series is likely to benefit immensely from moving beyond Dark - Willingham has hinted at too many possibilities to stick with this direction beyond the two years already spent.

Even so, this is a very, very effective installment of the long-running Vertigo series. The brief jumps off to the children of Snow White and Bigby Wolf are a bit odd, but one has to assume that there is an imminent purpose. (A sequence toward the end of the issue also reinforces that notion.) Miranda is also a very effective substitute for Mark Buckingham, and while it's always easy to miss the series regular, knowing next month we'll be getting a ton of the artist's signature excellence makes this month's absence excusable.

It's a definite testament to McDuffie's writing skill that he was able to execute this premise as well as he did. It also helps that the artist was Paul Pelletier, who has worked hard to eliminate most of his bizarre character quirks (huge, pouty lips being the most notable). Pelletier's depiction of the action in space is excellent. Bottom line, how much you enjoy this series will depend on whether you can accept the plot. For me it was a bit of a stretch but not unpleasant.

I love Mark Millar's Fantastic Four, I really do. He's given the team a different feel than they've had in recent memory, with more hard edginess and less goofy whimsy. I say it almost every time an issue comes out, but for the first time ever I'm actually looking forward to each new issue of FF.

There is relatively little else to say about Fear Agent (particularly since most things I would comment on regarding this issue would spoil things). Rick Remender does a very capable job in balancing action with emotion, and this series is also remarkably accessible for being issue #18, the second part of the "Hatchet Job" arc. If you're looking for rough, sci-fi battles, you really aren't going to do better than this. However keep in mind that what you see is what you get. This series is nothing if it's not consistent that might be a bad thing depending on your tastes. I have fun visiting this one here and there, but a break is definitely not discouraged now and then. John McClane wore out his welcome too.

The biggest problem with this issue is the art. This is a dark series, and PJ Holden's work just doesn't fit the style. Even more to the point, Holden's art is far too plain and ordinary to visually entice. It doesn't help that the coloring in this issue is incredibly basic. Combine these facts with the average writing and you're looking at one hell of a poor start to a fantastic idea. What a shame.

Overall, despite a silly plot and some poor character choices, Peter and Williams don't stumble too much. This is a solid creative team; their styles fit well together. However the core of this series is still critically flawed. Incredibles and Fantastic Four did this already, and have that formula nailed. Flash is having to stretch too much to be different, and where it is different, it fails. It's odd to be somewhat upbeat in this review and still completely dislike an issue, but that's where I'm at. This reads well, but things are a mess beneath that shiny exterior. You're seriously better off checking out what Millar and Hitch are doing.

I suspect this team could do a good job, but this plot is just ill-conceived and boring. The next issue might switch things up a bit, but I'll have to see if the Flash can brighten up.

I'm not opposed to fictional horror, but I want to read intelligent works. This team-up is terribly cliche and lumbers along much like its hockey mask-wearing monster. Nothing strikes me as terribly original or compelling. If you're a fan of these franchises and strictly want what you've seen before, by all means step on up. The rest of you deserve something more, and I'm not getting the impression this mini-series is going to deliver.

Once again this series offers nothing new. It repeats the same bits - Jason kills people, Freddy harasses him and random people have sex and strip naked. Ash's involvement is generally limited to him bitching at people and explaining his purpose in life. We've heard it all before and nothing here is presented in any new fashion. This is a simplistic, repetitive, boring, low-brow book that really isn't worth your money. There certainly are better gory films out there and I'm sure you know where to find porn. Don't expect a review on issue #3.

By now the themes are old. I've moved on and I can't bring myself to care about this situation one bit. Even if I could, I'd still be annoyed that JMS and Joe Quesada feel the need to spell everything out as if I'm some sort of simpleton. "I will do anything!" Thanks! I got it the first time. You can almost sense that Straczynski and Quesada are trying to regain lost momentum and justify whatever insanity they're about to unleash. Hitting that same theme over and over is unlikely to work. Either there's a good idea in here or there isn't. Don't waste my time retracing themes that have clearly been around for the past eight months in all three Spider-Man books.

Fringe the television show could be an entertaining heir to X-Files that also brings in some of elements that made J.J. Abrams' Lost so successful. Sadly the book doesn't do as well, mostly because it fails to really introduce its characters. Sometimes it seems on the verge of getting there, but then the plot leaps away to dazzle the audience, in hopes of giving the eventual television fans something entirely new. With any luck future issues will strike a better balance and figure out if this is going to be about expanding the show or exploring areas the show can't touch while still providing a complete experience.

This early, I'd still recommend readers take a look at all of IDW's Joe books in 2009. There isn't enough material here to allow for any final verdicts. Of the three though, the core book seems to be in safe waters while the art in Origins and plot structure of Cobra leave something to be desired. We'll see what's down the line. Again, my final score here is partly a reflection of the content provided as well as my overall enthusiasm for the projects heading forward. We'll see what '09 brings.

Only two concerns really stand out to me at this point, and neither are significant enough to dampen my enthusiasm. The first is that the artist, Agustin Padilla, struggles at times with framing Hama's action sequences, both from a clarity and layout perspective. There were several times where I was wondering where characters were in relationship to each other, where I didn't realize two people were close enough to do X or Y. What saves Padilla is that, generally speaking, his character composition and knack for kinetic movement is solid. If he can mend his layouts while preserving his strengths, I think we'll be okay. The only other reservation I have is based more on the fact that I don't want the status quo of Cobra being in charge to be changed any time soon. It's a great dynamic that I find very engaging. That the Joes are already breaking down the doors to Cobra's HQ is a little worrisome… but we'll see where things go from here.

Despite my few problems, I'm enjoying this event so far. This is certainly the most fun I've had with a G.I. Joe title and I hope that trend continues. The franchise has always had the potential to expand beyond being a simplistic, flashy kids affair, and this event is beginning the prove that. Even non-Joe fans might consider this one.

A well-placed swerve, a drastic shift in tone and consistent art could go a long way in redeeming this arc. As it stands, it feels like any other G.I. Joe storyline. It's all the more frustrating as this seemed like it could be the first Joe event in a long time to really deliver upon the potential of this entertaining franchise.

G.I. Joe has often been a franchise that suffers in comics due to its extremely simple premise. There's also the small problem that anything not involving Cobra feels insignificant and anything with them feels tired. World War III might have been the definitive take on Cobra/Joe clashes, but at the moment it's just sub-par.

The title for this chapter is "War Without End." How appropriate. I cannot think of a storyline that has proven more monotonous or needlessly complicated. So much is happening here and yet there is no sense of excitement or power behind anything that is going on. It doesn't help that the standard "Invincible Joe" mantra applies. None of our fearless heroes have been hurt despite being "on the edge of defeat." It takes away any suspense to know that the vast, vast majority of these characters will be just fine, and it cheapens Cobra's so-called victory.

I guess if there is some ray of light here, it's that I felt like the plot was headed towards some sort of resolution. Or at the very least it's moving. Slowly. Regardless of that, I don't see this one getting any better. Don't be surprised if you see this one off the reviews list for a month or two. I'm just tired of saying the same thing over and over and over again. Clearly this series is intent on repeating its glaring mistakes.

The best element of this series has nothing to do with its content, but the issue number. I'll be more than happy to read next month's double-sized special as it's the last I'll need to read before what will hopefully be a stellar relaunch in October. I'll have my fingers crossed that the finale to World War III isn't too lackluster and that IDW doesn't disappoint this Fall.

At any rate, this is another rewarding episode of Cobra, though I wouldn't mind skipping past some of these one-shots and moving back to the larger concept at hand. Sadly it seems we're in for another one of these next month...

Still, I'm really digging this book, even at its most disconnected. That surely means good things are coming when all the threads start to work together again.

But Cobra and the Coil only work when examined from a proper angle with the proper amount of grit and proper artistic scope, which is perhaps why this latest arc, which is meant to bridge what was originally a mini-series with the rest of its ongoing saga, has struggled a bit. The organization hasn't taken its proper center stage here. Instead we're reading about a journalist and his struggle to find himself upon escaping the Coil's clutches. On some levels it works well but the more Costa and Gage pull awawy from Cobra to examine this man, the less the engaging the story becomes. It's probably just because I'm a sadistic bastard, but I find the dysfunctional layers of this terrorist group far more fascinating than this reporter. Also, as I've said before, the art just isn't what it used to be. A few tweaks and we should be good. Next month starts a new arc, so I anticipate a return to form.

Whether or not you should buy this book depends on how rabid a Gears fan you are. I'm not the biggest, so characterization and story took the point as opposed to precisely what was going on with Character X or Y. Without that dedication, this series just doesn't carry as much weight for me. That said, fans of good stories should be wary as there isn't much going for this one, and the lack of interactivity definitely hurts as well.

I think my ire is really coming from the fact that... this book doesn't need to exist. I understand that ongoing books can struggle to put out consistent content month after month. It happens. But to me a one-shot needs to justify its existence. And yet, here we are. Also, I was rather expecting this to be some sort of entry point for the movie-goers (about a month too early, but that would at least justify the special). Don't bother. There are a hundred better options out there such as the Essentials line or anything collecting Peter David's run. Honestly I could only recommend this as a cruel prank to keep people from enjoying the Hulk. Or use it to sedate a small child. I think that'll be its most effective use.

All in all this series fumbles, and it fumbles greatly. Ellis's knack for the dark and disturbing instead comes across as a desperate attempt to shove excessive violence in the readers' faces. The mythology and magical elements are too vague and inaccessible to be interesting, and mixing guns into the equation further dilutes the potential for this new series. Gravel may be an old character, but he needed a revamp. It's a shame this fantastic author (along with co-writer Mike Wolfer) couldn't do something better with this franchise.

You really don't need to bother with this one, despite the fact that it does tackle the genre from a slightly fresh angle. Wait for the next promising concept and see if that one takes off.

If you haven't read this series, it's basically some sort of mixture of old buddy cop movies like Lethal Weapon or perhaps Die Hard 3. You could probably throw films like Speed in there to some degree as well... and a bit of James Bond. That's basically all there is to it. This is a love letter to all of those classic action films, featuring great chemistry and gripping action. I was impressed with how familiar these heroes felt, though I'd pin that on the fact that this is very much an homage. But it doesn't feel too derivative either. If you skipped this, and don't want to hunt for back issues, pick up the trade. You won't regret it.

I shudder at thinking what's going to come next. Judging by the last few pages, and the cover that's shown for issue #3, I'm really not optimistic that this series is going to return to the calmer mood of the opening installment. I wouldn't blame anyone for avoiding this series from now on.

Yes, we're a little late to the I Kill Giants bandwagon, if such a thing exists. But we're not too late. You need to give this series a try. It's once again a reminder to the fans and soon-to-be-fans that comics are not just superheroes. Those books are just fine, but a little diversity is definitely good for this industry. Expand your horizons, and give this charming independent book a shot. I suspect we'll all see a little bit of ourselves in these characters, from the comedic elements to some of the more tragic.

Though a drastic departure from previous chapters with its emphasis on action, this issue of Giants continues to weave its blend of truth and fiction as it moves towards its final issue. Giants continues to be one of the most entertaining and fulfilling experiences on the stands today.

By and large this isn't going to piss you off like the big screen sequel did earlier this summer. But in playing it safe, this series hits beats that are far too familiar, making this an unrewarding experience on chapter in. Fortunately Indiana Jones's life is anything but predictable, so here's hoping the Gods throw us a twist or two in the next issue.

Tomb of the Gods isn't bad, it just isn't as good as it should be. Though the plot works well enough, they are far too entrenched in past ideas. This series should be exploring new ground and open new doors, not using old sequences from the films to recapture lost magic. The series is almost to the point where I'd be pleased despite the dull, generic art. I guess I should be thankful it's better than the last movie (and its comic book adaptation) though. That's one experience I'm definitely not eager to visit again.

This series has seen near-unanimous praise from us over the past year, and this latest chapter is yet another example why. If you want fine superhero adventures, look no further than the world of Iron Man.

As stated before though, Manapul makes up for that. Though I'd probably prefer to just flip through a sketchbook or two, I'll gladly pick up anything this artist does. Once Maiden concludes, Manapul will be joining Jim Shooter on DC's Legion series. Guess what I'll be buying?

Ordinarily this is the point where I'd declare Francis Manapul saves the day. Sadly Manapul's considerable talent can't compensate for the writing travesty on display, and it's also a shame that aforementioned talent isn't entirely on display here. Much of Manapul's kinetic action isn't entirely evident as most panels are relatively average considering what has been displayed before. There are also several sequences during the battle that look at bit awkward - people shooting at nothing and so forth. Fans of the artist should simply wait for his work on Legion. There's no conceivable way it will be worse than this.

Above all else, this book is boring. Stark's age could have made for any number of compelling threads, but this reads as any other adventure, with the caveat that Iron Man throws in the towel this time. Characterization is completely arbitrary and utterly lacking in far too many places (Stark's ludicrous companion features the worst traits of any Robin-esque sidekick I've seen). In other words, this is about the worst "final tale" I can imagine for this character. It's absolutely unbecoming of the character and these two acclaimed writers.

Joe Benitez doesn't help matters much. The artist clearly has a love for Todd McFarlane and Greg Capullo's work, but draws too heavily, bringing their flaws along for the ride. Characters change proportions from page to page and there's not much energy in any panel. John Stewart is probably the most noticeable of these - you'd swear he was the Hulk. All in all, "Unlimited" doesn't quite live up to its potential. There are still plenty of entertaining moments however, particularly between JLA teammates.

This is a remarkable start to a series that is shockingly fresh despite revolving around a very basic premise. I guess the one thing I really wonder is if I can continue to empathize with Dave enough to continue to care about the series (you identify with his character enough, but he's also a bit of a jackass), but with Millar proclaiming his already working on a third arc, there must be more tricks up this ingenious book's sleeve. I can't wait to see what's next.

As a lead character, Dave has lost my interest. He seems to hit the same themes, with little progression. No other characters are filling that void. The plot seems to throw more of the same in the way of sharp weapons and buckets of blood. It's all mildly entertaining, but not what I hoped it would be when I finished the first issue months ago. Kick-Ass can either be a fascinating analysis of culture and heroism, or simply another tolerable slaughterhouse. Unfortunately it seems to be leaning heavily in one direction.

What changed? Millar adds a second voice to the scene, one that isn't simply there to cut off heads. By doing this Millar is able to approach a scene from two angles, creating what has to be one of the poignant moments of the series so far, and remarkably it has nothing to do with blood or a body count. Ironically Kick Ass is most effective when no asses are being kicked. Go figure.

While many of you probably only have the funds for a handful of funny books, I sincerely hope you take some consideration in branching away from the typical fare that is offered. Don't get me wrong, I love super heroic adventures with colorful characters, but every so often it's great to read about a comedic robot built by Tesla or about doors that lead to wondrous new places. Locke & Key doesn't reveal enough potential, and suffers from a few simple storytelling flaws, but it is thoroughly engaging, from its strong character dynamics to the future it only hints at. I have a really good feeling about this one definitely check it out.

All in all this is a fascinating series with a great sense of atmosphere and premise. I just hope things will get to the point where there's something concrete that attracts me rather than a fairly decent chance that this will turn out to be something special.

Despite a few repetitive themes and notes, Locke & Key is turning into an incredibly original fantasy/thriller. I know I tend to say this about any halfway decent independent title, but it's so unbelievably refreshing to want to read a book that doesn't feature superheroes. I love Captain America, but it's great to be able to read about families being threatened by psychopaths. ... What?

My complaints about this series are done with full knowledge that they can go either way. Some will appreciate the methodical nature of the series and some will find it irritating. Some will love the art style and some won't think it works. Still, as a package it's hard to deny this series is one of the stronger new properties to hit the industry. I'd highly recommend you give it a shot and see if you are willing to enter the world of Locke & Key.

The bottom line is this - Locke & Key is absolutely one of the best independent books on the shelf. It is also unlike anything else out there. At this point though, given the nature of the ending and the fact that more installments aren't due until the end of this year, I wouldn't blame anyone waiting for the trade. Just try not to forget about this one. You'll be missing something truly special if you do.

Consistency is simply the name of the game here. Marvelous carries on the excellent standard set by Wonderful. The same drawbacks are still here as well. Individual issues end in very awkward spots and obviously the story and characters are very basic in depth and motivation. And yet none of that really matters. Marvelous Wizard of Oz is easily one of the most charming, visually stunning works in the industry. Readers of all ages and tastes should once again feel free enter the world of L. Frank Baum.

Templar is definitely different enough from Guard at this point that I think each can sutain its own audience. However I belong in the Guard group as its artistic style and approach to storytelling work better for me. You have to respect the ambition on display here though as well as the "legend" being developed.

Don't bother with Mirror's Edge. Much like Wildstorm's Gears of War comics, you're far better off with the source games - no matter what you think of them and how bored you are with them.

As it stands, both Modern Warfare 2 products on store shelves are lacking when it comes to their ability to communicate emotion and plot. But Wildstorm doesn't have the luxury of engrossing gameplay to distract from some bizarre creative decisions. David Lapham's story avoids working with elements that could have instantly made the origin of Ghost an exciting, compelling read for gaming fans who would definitely want more. And the art fails to truly be visually exciting in a way that demands a reader's attention. All in all, this is simply an unfortunate missed opportunity. I hope subsequent issues can manage to find some sort of characterization while visually turning up the heat. Sadly, given this first chapter, I'm not too hopeful.

Beyond that, there's not much to say. The writing is improving, the tension is improving, the art is (somehow) getting even better than before, and this book is repeatedly topping itself. (Points have been knocked since the delays inevitably screw up the impact of the final scene - I didn't know why it was supposed to be so shocking.) How that's possible is beyond me, but anyone not reading this series should definitely mark it down on their pull list - or pre-order the Winter 1152 trade when that is an option. Mouse Guard is an indy gem that anyone - mainstream or not - should be buying.

The polish is off of Mouse Guard, but it's still a fantastic purchase, one definitely worth being on your list. Even if you're bothered by the slow or seemingly insignificant pacing, you'll love what you're looking at.

Unfortunately this, much like the Indiana Jones movie books we saw in the summer, is the perfect example of why publishers need to stop cashing in on movies simply because they can. A good adaptation is just fine, and we've seen some very effective ones lately (albeit focusing on prose novels, not movies), but the industry is worse off when stuff like this is on the shelf. Casual readers are attracted to these books because they recognize the branding. It'd be a shame to turn them away with poorly produced material like this.

New Avengers is turning out decent issues these days, but doesn't seem to deliver on its promises. A noir-esque concept like the Hood shines in the hands of Bendis, and should have been a slam dunk. Mix in plausibility problems and clunky art and it's easy to see why this issue just doesn't hold up. I'm really hoping the Skrull concept can come back and really focus this series into something powerful again... so long as our heroes aren't standing around bantering about who is a Skrull. I've had enough of that, thanks.

This series fails to impress because it's not in a hurry to actually give us anything. For some reason the notion of a Viking action/drama is supposed to be enough, but it's simply not. There needs to be a stronger sense of character and plot to really give Northlanders the strength to stand alongside some of its classic Vertigo peers.

If you love ninjas and their kin as much as I do, Okko will prove to be mildly entertaining. Otherwise there are just too many problems here to truly justify a purchase. This series is so close and yet so far from where it needs to be. If it can establish a credible set of characters with meaningful relationships and balance that with a faster, more complex plot, we'll be well on our way to a great series. Here's hoping that happens soon.

Despite some blemishes in pacing, depth of character and illustration, Peter & Max is still an entirely recommended purchase. It would be a stretch to suggest any faults in this project are more than mere bumps in the road – products of high standards set by years of excellence. Readers of Fables should know this novel pulls in the spirit of the comic books while playing to the advantages of prose, developing a backstory and atmosphere that eludes the vast majority of illustrated stories and comic books. Despite narrowing his cast of characters, there is no doubt Willingham has crafted a memorable adventure here, one that I hope finds its way into the monthly adventures of these refugee fairytales. I dare say Bill Willingham has set yet another standard for himself that will not be easy to surpass – but I hope he tries. Peter & Max has whetted by appetite for Fables novels. I want more.

Programme belongs to a camp of storytelling that bugs me to no end. It's sophisticated for the sake of being sophisticated. This story could be told well. It could be told cleanly and logically. But the creators don't want to do that, and are masking a simple story under needless layers of complexity that only serve to make something fancier than it really is. I'm done trying to figure out their clever game. I'd rather read something fresh anyway.

Aside from a few blips, Proof is mighty entertaining. I don't know if its good humor and sense of fun will fade eventually. I don't know if the concept will cease to be told well and melt into cliche after cliche. What I do know is I enjoyed this first issue enough to hunt down the second next month. I suggest you do the same.

On the whole, a fun start to a surprisingly strong licensed product. It's tough to get excited about videogame comic books these days, but if more of them were like Ratchet & Clank, that disposition would certainly fade quickly. There are simply a few too many odd issues to completely recommend this one just yet.

Just like last month, our heroes find themselves in over their heads, confronting the evil Artemis Zogg, who eventually ships Ratchet and Clank off to prison. It's here, in the Vartax Detention Center, that the bulk of this issue takes place. In a sense this issue feels a bit unnecessary, but it retains the energetic pacing and reasonably amusing humor that made the first issue a strong opener. The strong personalities of Ratchet and Clank play well off of the various characters they run across, no matter how brief. Again, the comedy could probably be amped up, and the expressiveness of the characters could use some work, but it's tough to find anything substantial to complain about here. A solid comic book for a great videogame franchise - quite honestly, given how some of these spin-offs work, we're quite glad to see such a capable and entertaining product.

But I'm not holding my breath.

Freddie Williams is the other strong element here. Though many of his adults look rather young, Williams still has a very kinetic style that really fits this book well. When he leaves, this title is going to struggle to be even remotely the same. Williams seems born to work on that teenage era title. On some pages I completely ignored the rampant captions and simply enjoyed the visual narrative. If that's not a sign of a great artist, I don't know what is.

All in all, this is a decent book. The art is relatively solid (aside from an awkward first page; the expression on Wayne's face is bizarre) and the writing, though dull in terms of plot, hits the right characterization notes, which will please fans of the Boy Wonder. All in all a better tie-in issue than I was expecting.

Simply put though, the best thing you can do as a Batman fan is read RIP, brace yourself for whatever changes are coming, and wait on everything else. Oh, and see Dark Knight some more.

Part of me wants to like this series. I've been a fan since day one. I love the characters. But the story isn't one that interests me in the least and the art is so poorly constructed that it makes me not want to bother. The situation with Karolina, particularly as it develops later in this issue, also strikes me as really awkward and untrue. It seems like Terry Moore moved the character's thought process about five steps ahead of what seems logical given the situation. Not a good sign considering my fondness for this cast is the only thing keeping me around. My only hope is that the Runaways I remember slowly reappears long after the aliens get the hell off of Earth.

Samurai is a book you can pretty much judge by its cover. Takeo wanders the lands helping innocents while in search of a greater destiny. Mix in an effective supporting cast, a capable plot, a strong balance of action and development and a great art team (which you can get a sense of from the cover), and you're set. If you dig feudal Japan, chances are you should give this a shot.

Samurai might seem like an odd fit for Marvel, but don't assume that because it's different it's not worth your time. That couldn't be further from the truth. If you dig action/adventure stories set in feudal Japan, and don't mind some mystical stuff thrown in, Samurai is definitely something worth a shot. It comes at a steep price tag at $5.99, but with 46 pages of story, it's as reasonable a deal as anything else out there.

I was ready to write off this whole book as a missed opportunity. I'm so glad I didn't. This is a fascinating, textbook example of the power of the medium, and its ability to execute something as bizarre as an ocean-bound bear and a land-bound shark. No other format could make this work, and there are few creators even then who could bring the right about of gravity and levity to this kind of concept. This is worth its $5 price tag just to see both sides of the coin in full effect.

In short, this is a blistering, well-staged opener to the "Eyes of the Dragon" arc. It's everything you'd want from Secret Avengers and everything you'd expect from two top talents like Ed Brubaker and Mike Deodato. Even if you weren't completely sold with the first four or five issues, I'd urge you to check this one out before completely passing judgment on the series as a whole.

Though the heart of this series is clearly still strong, it may not have the legs to make it to the finish line. Secret Warriors may end up being remembered as a fascinating idea that didn't quite reach its potential. Hopefully the cylinders can fire as well as they did in the previous arc... but that needs to happen soon.

Shadowland #1 is a simple-minded book, pursuing one goal and one goal alone. Admirable as that might be, its methodology of trying to get to said goal is wholly questionable in reasoning and utterly flawed in execution. And because it's so focused, those failures ripple through this entire first chapter like an earthquake through a skyscraper. Nothing here worked for me. And it's a shame because this event seemingly has all the right ingredients. They're just not on display in this first installment.

The one-shot basically features Ben Urich's account of a biker gang enamored with Bullseye, and how this gang proceeds to force various citizens to conduct a funeral for the man they hold in high esteem. The fact that none of these characters, or their fabricated interactions with Bullseye, are of great importance only compounds the useless nature of the entire affair. By the end of it, you'll feel the same way you did when you got to the end of Shadowland #1 - hollow, frustrated and bored.

I've said multiple times, and read it countless others, that originality is overrated. The telling of stories original or not is what matters. Shark-Man doesn't do either well until the last minute. If you're willing to spend $3.50 on a Batman/Waterworld concept that doesn't really provide a strong moment until the last couple pages, then by all means check this out. It's also worth a peek for the excellent painted art. Despite that, I'd advise most of you to definitely wait and see or possibly not bother at all.

And that is the biggest challenge facing Zubkavich. The humor is effective at times, but this isn't the funniest book out there. The fantasy elements are present, but I'm not seeing anything completely fresh, something Huang could probably bolster with bolder designs and more energetic compositions. While there's nothing overtly negative for me to say about Skullkickers, I'm waiting for everything about the book to really kick into a higher gear. There seems to be a strong potential here... whether this creative team gets there fast enough to keep readers hooked... that's the big question, isn't it?

All said in done, Spawn is likely not like this every month. This was the start of a new arc, and one can only hope that this was just an unlucky draw from the C-tier pile of ideas that David Hine had around the desk. I'll check back in on my friend soon, but I'll be certain to stay away from this laughable arc first.

Together the stellar art with the solid storytelling make this an enjoyable effort. It's hasn't made me eager for what's to come, but I didn't regret taking the time to read the issue. One can hope future Spawn issues are more like this rather than the one I read a couple months ago.

So Vector is worth a shot, most definitely. Star Wars fans of all levels of experience and enthusiasm can step aboard and find a pleasing experience, albeit one that won't entirely compel you to keep going. At this point, given the lack of suitable television or film material, I think all fans should be willing to take a small leap of faith (only $3 to check out the next chapter) to see if things become more rewarding.

Dedicated Street Fighter fans will likely be of two minds here. Some will simply eat this up as the latest offering of classic characters. Others will feel like they've seen all of this before, wondering if anything new will come along to shake things up. I'm definitely in the latter category. Here's hoping something changes.

How much you enjoy this series depends on what you want to read. If you simply want to see Capcom's fighters beating the hell out of each other, you'll get that. However without a decent story to back that up, I wonder why interested parties wouldn't simply fire up one of the videogames (particularly the soon-to-be-released Street Fighter II HD game that's nearly here). Yes, it is true that comics can go after a singular purpose, say action with little or no reason, but it has to do it well, and Siu-Chong's script is not effective at setting the fighting stage, nor does it simply aspire to be that. He tries to add depth, and his attempts fall completely flat, marring what could be a simple beat 'em up. Moreoever, these characters could certainly benefit from more in-depth histories. They're practically blank slates at the moment, begging for a capable writer to develop them into engaging, three-dimensional creations. Thus far, fans of the franchise aren't so lucky.

At this point, Street Fighter II Turbo isn't delivering, even if your expectations are merely for a comic book that features lots of punching and kicking. There are better books out there for that, and the excellent Street Fighter IV videogame is certainly a better investment for that sort of activity. Steer clear of this one, folks. It certainly isn't improving as the months roll on.

Ultimately, Street Fighter Legends: Chun Li is exactly what you'd expect from a book like this, but perhaps not everything you'd want. It effectively operates on a check list, so while it's satisfactory, it's likewise unmemorable. Part of that is due to the fact that Udon is operating with a license, but it'd be great to see the writers and artist try to anticipate what we expect and surprise us now and then.

Bottom line - pick this up if you're uncertain about where Udon is headed, but you can probably just flip through it in the store and figure things out. We assign a rating because we have to, but this is one case where functionality far exceeds form. It's not really meant to be a complete experience. If this were far less expensive, I wouldn't hesitate to recommend it for fans of the franchise.

Leinil Yu turns in some mighty fine work, even if the lack of scope from something like Secret Invasion almost makes it a little disappointing. Yu has never been the most dramatically inclined artist, but the fact that no emotional beats ever seemed to suffer from the art is definitely a mark in the win column.

The rest of the issue is spent reflecting on previously established situations or recently wrapped storylines. Points for attempting some storytelling here, but by the time we get to the kick-off of the next arc, I was so uninterested in Superman that it didn't really matter. I'm sure he'll be just fine. Now if you'll excuse me, I need to go see Hal Jordan dish out some lethal justice.

Check this one out. You won't be sorry.

I read a lot of comments about our reviews, and one thing that is mentioned here and there is why we bother to review books each month. Why bother when it's only a segment of a story? This is a good example of why that can be important. Last month's issue of Superman/Batman was a superb realization of a simple concept. This month changes course completely. Each component is good in its own right, but I think each is worth discussing separately. For better or for worse, the Li'l JLA is used for more than just comedy. It makes for a complete story, but not the routine I wanted to see.

TMNT fans will have a fun time here if they can look past some of the stilted writing. If anything this issue proves that this style works really well with the Turtles. I definitely wouldn't mind seeing more of this as long as it's balanced with some of the darker material as well.

But that's part of Van Lente's genius here. The somewhat-grounded tone of the situation is stirred in with the manically absurd, resulting in one of the most thrilling and entertaining reads I've had all year. And in Palo, Van Lente has the perfect partner-in-crime, someone who can capture anything that's thrown at him, mixing carnage and comedy in equal amounts. It's a thrill to read something that's so well-executed.

Not much to write about here. It seems as though my writers weren't avoiding this book because it was bad, but because it's rather boring. With any luck an arc will come along soon that breathes some life into this teenage team.

It's been a while since I've disliked something this much. Read it at your own peril.

Team-up stories are a fact of life in superhero comics. However without a reasonable (or entertaining - see Superman/Batman #51) storyline to justify them, I'm not a fan. Brave and the Bold is the most formulaic and dull way of forcing team-ups to happen, and the results prove that isn't a suitable method. This is a case where the concept, not the talent, is hindering a series.

If anything is holding back this series, it's that so far it hasn't distanced itself too much from all of the classic spy and espionage films that have come before it. I saw a train stolen in Goldeneye. I've seen clandestine agents outrun governments before. I've seen characters that fit these archetypes. I'm waiting for Reed and Hosfeld to move in a direction that's fresh. Despite that, for the time being, they're telling familiar beats incredibly well.

Slight art issues and characterization aside, this is still a very enjoyable book. Some of the best Bond films weren't packed with drama, so despite these problems, I'm having a lot of fun. This is definitely worth a look.

The Circle is better than a lot of the books out there. You're probably reading so many series out of habit that it would do you well to find one you're merely picking up out of habit and try this out instead. The worst case is next week you pick up that back issue you missed and move along. But I think you'll enjoy this one if you dig the genre (and I can't stress that enough).

All told, this is a fun series, but I'd like a bit more from it. Fortunately this arc wraps next issue. I think this will be a solid introduction to a very strong series so long as it is willing to take a breather before plunging into another chaotic adventure.

And I hope it doesn't feature superpowers.

Marvel's vampire era has finally arrived. Whether strictly engaged as a way to install a new threat on the level of Hydra and the Hand, or as a way to tap into some of the Twilight fever, the publisher has tapped Victor Gischler and Giuseppe Camuncoli to generate fresh civilizations, fresh incarnations and fresh rivalries for one of the oldest concepts in literature. It works well for the most part. Though heavy on the action and light on character, the special certainly sets the stage in an energetic and well-paced manner. Camuncoli must be commended for his spectacular art and design sense. Ultimately this one's a bit simple and predictable in its execution, but it does feel like a breath of fresh air. Let's just hope these "new" additions to the Marvel Universe are used in clever ways.

The rest of the issue depicts our hero running around attempting to gather the latest gadget that will make our good object work again. I feel like creators Brian Churilla and Jeremy Sheperd were trying to create some sort of Fear Agent-esque book here, but the humor is sadly absent. The art style is completely wrong for comedy and the tone is off as well. All in all this book sticks itself firmly in mediocre territory as all sorts of elements contradict each other while the rest just positively radiate their average qualities.

All in all this is a spectacular product. Since two issues shipped to stores today (whatever that's about - not that I'm going to complain), check out the other review for further gushing about what is easily one of my favorite titles in the industry.

I haven't disliked an issue of The Killer yet. In fact I haven't even come close to thinking any issue is anything less than excellent. I read dozens of comic books a week and in the timespan of Killer's publishing schedule in the United States, I've read hundreds. This is among the best of all of them - and it has absolutely nothing to do with superheroes. Put down that Green Lantern, yes I know it's good, and check this out. You will not be sorry.

With the extensive delays, it's difficult for me to say if you need to return to this series. Honestly, it might be better to just wait for a hardcover. It'll be here... eventually. Regardless of your purchase pattern though, know this series is as good as always - but you'll definitely be happy it's winding down. I can't wait to have the two collections sitting side by side. It's something I'll eagerly recommend to friends looking for something different to read.

In the end The Killer is much as it was before. It's a wonderful character analysis of a wicked man doing deadly deeds. But through the skilled writing of Matz, and the dazzling construction of Luc Jacamon, this never resorts into something you feel like you've read before… outside of the previous Killer series. If you're looking for more of what you experienced a few years back, step on board with no reservations. If you're expecting Modus Vivendi to reinvent the wheel… I'd probably take pause. All in all, despite some of its curious trappings, the Killer is still a thrill to all of us bastards who take sick joy in seeing the bad guys work their way through the innocent and guilty alike. Hey, someone has to root for them.

The bottom line here is that this story is so polarizing that you will know what you think of it before you read it. You either want this or you don't. The Final Score here in this case reflects my general hatred of what's being done while acknowledging the overall skill with which it's being executed. Take my word for it - this was a weird review to write.

This is a revenge story mixed with some mystical elements. I don't know where it will go necessarily, but I'm looking forward to the road ahead. The Luna Brothers seem to be hitting a slower pace if this issue is some indication, so I'd be prepared for that. But I'm expecting some great stuff ahead. What impresses me most is that the characterization isn't being lost in the midst of the action. I hope that trend continues. This is a great and very promising start. I'd highly recommend you check it out, despite the fact that you'll be wondering if Bill is around the next corner.

Case in point is this month's issue. Yes, the larger "Cause of the Plague" plot is nagging at the back of my mind, making me eager for Kirkman to hurry up and get to the point. But so long as I get to see Rick and Abraham clash over the future of their rag tag group of survivors, I'm good. Kirkman is so effective with the development of this tribe that I actually don't entirely care where they go, what they do or whether they actually get to the their destination. At least not yet. In an industry full of titles that are far too slow, it's rare to find a methodical series that wholly embraces a decompressed strategy and benefits massively because of it.

Aside from a couple awkward scene transitions, all is well in the world of zombies. What's truly remarkable here is that the weakest elements of this current arc come when Kirkman tries to keep us updated on all of the fascinating subplots he has brewing. I'm legitimately engaged by all of them, but some tend to become forces of nature at times, demanding and devouring all of the attention in the room until they naturally calm down. Shifting away prematurely can be jarring and confusing at times.

The Wonderful Wizard of Oz could have been a capable and faithful translation of a classic story. That's all it really needed to be. While the writing certainly is just that, the art team really runs wild, delivering one of the finest visual experiences of the year. And it's likely that, with seven issues to go, things will only get better from here. Marvel's endeavors with its adaptations have been quite outstanding; Oz is yet another example of this publisher growing its business and doing it in a way that is both respectful and incredibly entertaining.

Thor is a bit of a confused project. It's trying to be grand in its treatment of the Asgardians yet rolls out a plot that can best be described as "sleepy." It wants a large cast of characters but fails to properly give them proper face time, if only to effectively establish their basic personality. Even Thor is being robbed of proper character development. The bigger picture holds a lot of promise, but I'm not sure I'll care when we get there. That's a shame, particularly with the brilliant work of Coipel attached to this lagging title.

Thor has the distinction of standing alongside books like Green Lantern and Captain America as one of the best the superhero genre has to offer. The series also has an entirely original tone that sets it apart from its top tier comrades. Best yet, it seems to set the stage for some very, very strong issues in the coming months.

I do have to say one thing though. I love the art style. Its charm is downright infectious. The Beast Boy puppy is about the cutest thing I've ever seen. If you're a sucker for chibi-style designs, you're going to fall in love with what's being done here. Sadly it's not enough to keep me coming back. If only I could take this art and match it with the maturity and nuance of a Pixar film. Then DC would have me hooked. Take comfort in knowing you can easily hand a copy to your children however, even if you have to explain to them where the penguins come from.

Enough with the boat and bird metaphors. This book needs to find a purpose and fast. It has a stellar art team, but the plot is nowhere near that creative level. I can only hope McCarthy has something powerful right around the corner. He has a lot of catching up to do.

Before you freak over the score, consult our rating scale. This issue is "Passable" and I mean that. I suppose the opening scene is important to establish a connection with this new character, but the rest is completely forgettable. Even the fun, animated styling of Mark Brooks couldn't turn around my enthusiasm. I suspect we might be treading water here until Thanos shows up again.

Time to pull the plug on these tired concepts, Marvel. They've been run into the ground and served their purposes.

This annual is noteworthy in its ambition even though we've been in these quiet character studies before with this series. Bendis delivers some great lines and moments, and even though some might wonder what the whole point of this was, it's still a very sweet, more romantic side to this series that's entertaining. It's hard to ask for much more.

All in all, this issue completely falls apart and derails the entire arc. It's not as bad as the "dark ages" from a few years back and it's not the worst thing I've read this week (far from it). Mostly it's just a huge disappointment (as if I haven't said that enough). I hope "Amazing Friends" will lift my spirit in a few weeks.

All in all this was a lively, amusing beginning that reminds me of some of the classic moments from older arcs of this series. I feel like things are on a bit of a linear, simplistic path, but I'm still entertained - so I can't complain too much.

And that's all we have here. My entire assessment of this issue has to rest on whether I care about Venom's path of destruction - and I don't this time. Perhaps this arc will swerve back into relevance with some shocking twists or quiet moments that have yet to play out, but for now I sit back, waiting for this series to return to the heights it had reached just a few months back. I have no doubt it will be there soon.

By the time the action wraps, I was done caring about Venom and his plight. Bendis created a fantastic introduction for the creature some 100 issues back, but it's clear to me now that the symbiote isn't going to be able to sustain more arcs than his Core Universe counterpart. He's different, and his origin is better, but subsequent storylines have not been. Time to let this one go, I think. Let's explore other villains and, more importantly, facets of Peter's life.

This issue tries to push the "team" into a new direction, but does it in the strangest fashion possible. I like breaks from action, but the aftermath of Messiah wouldn't seem to be the time to show a jungle adventure. There's just something off about it to me. And the ending/cliffhanger is even more bizarre, making me wonder if we're treading water until the landmark issue #500, which hits in just a few months. If that's the case, I'd love a little more clarity. If Logan, Peter and Kurt go shopping in Russia next issue, I'm not going to know what to do with myself.

This industry needs independent books. It needs them to grow future blockbuster talent and it also needs them to continue the diversity of ideas that exist within this medium of expression. What this industry does not need are bad ideas piled atop of poor execution that are then shoveled out to the masses as something worth reading. Books like this remind me why so many of you call on IGN to review more independent books like this. You need someone to push in the way of that semi so you can protect your shiny car. Consider it our pleasure... sort of.

Despite my grievances, I find myself intruiged as to what comes next. Though I'm not fond of the approach used to introduce the characters, I still find myself amused with their interactions. (To be clear, I didn't need their biographies to be entertained, and I would have preferred those details spell out over time.) The plot is a little worrisome as I don't see how it will really stand out from the 5 million other stories that deal with insane people. Vertigo's latest is a competent piece, but it doesn't immediately impress me the way others like Y, Fables, Swamp Thing or DMZ did.

If you hate Mark Millar, keep on walking. There is absolutely nothing here that will change your mind. But those of you who enjoy all the elements and concepts I listed about, hop on in for an insane tale about the U.S. Army creating superheroes for soldiers. You wouldn't want to miss the explosions, would you?

There are many brilliant books out there that will be outsold by this. Why? Because it's Captain America holding the dead body of Iron Man. Because readers and retailers expect a certain level of quality from a publisher that by some estimates holds 50% of the industry. Where is Marvel's quality control? Product like this is just inconceivable in my mind and, as both a reader and reviewer, I sincerely hope Marvel takes a good, hard look at the model it's adhering to for its What If line. I'm just thankful I don't read garbage like this every week.

In a perfect comic book world, Wolverine would only be a supporting character. In a recent interview, Ed Brubaker told me that writers like Wolverine because he's cool. I can't say that I really disagree with that idea. Logan is a brilliant character - but he's built for a team. His solo adventures don't deliver that often. I really hope that despite this Annual's flaws, writers will be encouraged to break the mold a bit with this series. It's certainly paying off, and I'd rather read about Smitty than Sabretooth any day.

"Old Man Logan" is one of the best examples I can think of where what's old is suddenly new and interesting. Don't dismiss this because you think you've seen it before. You have, but that's not necessarily a bad thing.

Oh and wait until you see the last page… I'd almost be shocked, but that sort of madness is typical in this arc. One can only wonder what's next.

While this isn't quite the waste of time that Giant Size Hulk was, the stories don't justify the extra attention. Again, we're talking about something above and beyond the normal Wolverine series, so it ought to be something really worth the time and money. I realize it's just $4, but when I go to the shop each week and run up a total that's over $100... those books add up. Ultimately the bizarre writing and poor art really made this one a letdown. Check out Aaron's work with Wolverine and Mystique or just wait until Whedon's Giant Size Astonishing hits. I promise that will be worth the money, and I'm certain it will have the proper dosage of our clawed friend.

Bottom line - this isn't worth the wait and it's not a particularly brilliant story. It's saccharine and simple. However Terry Dodson's art is so crisp and energetic that I found some redeeming value in what I was reading. If you don't like his art… I'd definitely walk away.

At this point World of Warcraft seems to merely be going through the motions, delivering a worn out plot in a very mediocre manner. The art, though stylish, really doesn't enhance much at all and isn't worth the price of admission. You can do better reading fan fiction.

The only reason I can recommend this book is because of Ludo Lullabi. There are still some storytelling flaws with panel flow and such, but Lullabi does have a vibrant, energetic style that really draws in the reader. I might not care about the characters or the plot, but at least the journey is pretty. I suppose that's something.

As far as videogame adaptations go, Warcraft is a barely tolerable. Looking at the source material, it's baffling that a better story couldn't be constructed. Maybe Blizzard's writing teams should just tackle the next arc themselves.

All in all, Ashbringer is a very capable title that will serve fans of WoW as well as it serves those new to the universe. The art is crisp and very attractive and the characters work well despite a reliance on exposition to catch readers up on the elaborate history of Azeroth. With a little more fine-tuning and balancing, this series could be very memorable. In fact I'm actually wishing it would be a bit longer. Here's hoping Blizzard directly contributes to more Warcraft comic book efforts.

Ashbringer works on a couple limited levels - if you care about the finer details of Warcraft lore or if you want to see some kick ass artwork. If you're looking for a powerful, accessible, character-driven story... those elements are a bit lacking.

At the end of the day, Worgen is actually one of the better videogame comics I've read. It's shockingly free of too much continuity while no doubt delivering the details many Warcraft fans crave. Though fundamentally the story isn't all that remarkable, it's engaging and allows the powerful art to do a lot of heavy lifting. Gamers and non-gamers alike should get a kick out of this one.

The art stumbles quite a bit, and yet I'm thrilled with this issue. This was the turning point in the event for me, where it went from "solid" to "fantastic". Now that some things are clearer going forward, I think it's clear the momentum is about to heat up. "Messiah Complex" isn't just one of the best X-event in decades (that's not saying much), it's one of the better comic book events period.

Messiah Complex has been a revelation for me. Though I enjoyed pieces of the X-Men Universe prior to this arc, most of the core titles didn't interest me. I could take them or leave them (and preferred to leave them so I could worry about other books - I have too many to think about as EIC). Complex has changed all of that. Each and every title in the franchise now holds promise. I might cry at the prospect of buying into several new series, but I can't think of a better result for an event. There is a very good possibility that we're heading into some incredible creative runs for Marvel's mutants.

Look, there's nothing wrong with vampires if they're portrayed correctly. American Vampire proves this every month, and Gischler's own Death of Dracula one-shot for Marvel was a solid endeavor as well. But this opening arc of X-Men has completely forgotten about character development, simply opting for non-stop action and mindless posturing. Turning Jubilee (and, for now, Wolverine) over to a vampire state was potentially a bold move, but Gischler doesn't seem interested in examining what that could mean for our heroes, playing out the plot with better dramatic effect. A story is only as epic as its characters allow it to be - if you don't feel any emotional resonance, there's no reason for the battle to exist at all. There have been countless examples of this type of failure in recent years, and X-Men is adding to that pile so far. The action and art are certainly well done, but there's simply nothing behind it. Head to Vertigo's corner for your dose of fanged foes.

I have to make a quick comment on the art, as long-time First Class artist Roger Cruz isn't present for this issue. Julia Bax takes the reigns. Again, speaking to departing from the norms, I was immediately skeptical. Don't mess with the formula! I want Cruz! And yet Bax has an incredibly similar take that fits Parker's energetic tone very well. In some ways I even prefer her to Cruz. Overall you'll have a lot of fun here provided you're willing to take a quick, light-hearted trip with Iceman and Beast. The villains can wait for another day.

In order to continue to be worthwhile, First Class absolutely has to avoid doing what most Marvel books are doing. It also might consider stringing some issues together for arcs to create a little more character development. There's only so much you can do if your characters effectively restart with every new chapter.

Like Sub-Mariner: The Depths, I have no idea how this series will turn out in the long run. Small twists or changes in pacing or attitude can rapidly move a storyline down a path of no return. We've all seen this before. It seems, and does feel, a bit premature to be in love with a series so quickly, but that's pretty much where I'm at right now. With its reserved but powerful nature, Magneto: Testament is easily one of the best books of the week, month... and quite possibly year. (We'll see how the next few months shake out. In all honesty I haven't been blown away by much thus far.) You just don't expect this sort of thing often, and the fact that it's working with one of the industry's most recognizable, and sympathetic characters, makes it all the sweeter.

Testament is the definition of "must read" material. Do not miss this modern classic.