I only picked this issue up for the promotional ring, so I guess I got what I paid for. However, considering you can buy the individual rings at

This issue is a strong contender for least successful issue of the year. Not only does it do a poor job of capping off Steve Rogers's return thanks to very strange characterization, but it also leaves me less excited about Siege than I was beforedespite the fact that the purpose of the issue is clearly to take care of these two items. It doesn't help that this is perhaps the weakest issue from Brubaker in any book this year and, quite frankly, the worst issue I've ever seen from the usually awesome Butch Guice.

This reeks of editorial mandate as I can't imagine that Craig Kyle and Chris Yost would push to write a story that is so utterly unnecessary. Marvel should be ashamed of themselves for producing this book, as it reveals nothing, sets up nothing, and does nothing more than to waste your $3.99. I hate to say it because I do really enjoy this creative team, but this is one of the few comics I've ever simply regretted buying. You need to avoid this at all costs. Go buy a backissue of XForce insteadthat way you can support the talented Kyle and Yost without succumbing to this mindblowingly unnecessary comic.

The previous issues were a lot of fun and had a great story. If you go back and reread those, you can just pretend that the villains were defeated at the end of issue #4 to avoid yourself the trouble of reading this train wreck. The haphazard plotting, disappointing art, and simply weird ending simply cannot compare to the actual great moments in this series, including the returns of Kid Flash and Superboy.

This story has a lot of potential, were it fleshed out into a miniseries or a full story arc in the regular title. As it stands, however, you get a few cool scenes of Helix training and a good sense of voice with Duke, but nothing else. The stories comes and goes quickly with little reverie and in the end the reader is left with a horrible climax and a character that probably won't show up again until well after fans have forgotten that they picked this issue up.

I was tempted to bump this issue up to "Byrne It" status because it does give some insight into the future of the Fall of the Hulks storyline, but the predictable twists and incredibly uneven nature of the art are just too hard to swallow. I really hate to jump on the bashing Loeb bandwagon because I know how ridiculously talented he is, but this is a far cry from the brilliance he was exhibiting while at DC.

I really liked James Robinson's work in the 90s, but since making his big comeback recently, I just can't seem to get into his work. That being said, all of his recent work that I haven't really liked read like Shakespeare in comparison to this issue. Things aren't much better for Mark Bagley's art. I really hate being this harsh, especially with a creative team that I know is talented, but this is probably the worst comic I've read in 2009.

There is almost nothing to enjoy in this issue. The dull plotting is perhaps the high point of the issue, especially when compared to the very rough and rushed looking art and the simply horrid characterization. Unless you've been waiting for the "triumphant" return of Vibe, chances are you'll hate this issue. I know I did.

After being pleasantly surprised by the last issue, I was really blown away by the poor execution of this one. The only saving grace for this issue that kept it out last place on the Rankings was the fact that Felicia Henderson is the worst writer in comics today. If it weren't for that, this stinker would definitely be holding down last place as there is almost nothing I liked about it.

I was really intrigued by the premise of this comic, and still am, but the lack of a coherent plot and the haphazard art completely derails the train just moments after it leaves the station. As a preview issue, this should leave me extremely excited for to pick up the full graphic novel, but I think I'm honestly less interested after reading this than I was before. I hate to trash a review comic that was sent to me, but this one just doesn't work (sorry, Radical folks!).

This is a dull, lifeless story that is mostly violence for the sake of violence with absolutely nothing to back it up. At least Millar's KickAss had some heart to it and Wanted was an interesting commentary on the postWatchmen comic book industry. This, on the other hand, is just an uninspired mess that is nowhere near the level of quality that readers can normally expect from Millar and McNiven. Do yourself a favor and avoid this one at all costs. I wish I had.

If there was any reason whatsoever for this team to exist, I think there would be more to like about this issue beyond Stuart Immonen's art. Unfortunately, the formation of the team is completely ignored in favor of cracking a few jokes and building up a plot about

As a huge fan of Jeff Lemire's presuperhero work, I really hoped that his awesome writing ability would transition well into his work for DC. While I do think that he has a strong take on Conner Kent as a character, the poor pacing of this issue and the very weak art hold this one back and bring it down. With more careful storytelling and a lot of polish on the art, this book has potential, but there just isn't enough here for me to recommend purchasing or reading this comic. I had hopes, but this one let me down.

Written by Duane Swierczynski

The horrendous art, lack of clear direction, and recycled scenes make this book even worse than I was expecting. Given that Garth Ennis is easily one of my alltime favorite writers, I hate to be as harsh as I am here; but, its my duty as your reviewer to be truthful. This book should only be picked up by hardcore completers (since apparently completists isn't a word) and even then it should be bagged and board without being read. Trust me on that one. This Burrito Book is not meant for human consumption.

I read one reviewer online say that this issue made him feel "dirty" and I'm inclined to agree for a lot of reasons. This issue is very dark for the sake of dark to the point that it is, at times, an uncomfortable reading experience. When you add in the very poor character writing and haphazard art, this one is a total stinker, especially for the ridiculously high $4.99 price tag. I can't think of any reason to buy this, even if you are a hardcore Deathstroke fan. In fact, if you are a hardcore Deathstroke fan, you probably need to avoid this issue even more than the casual fans. Needless to say, this has killed all interest that I had in the new direction of the Titans series, even if Ravager shows up (and y'all know I'm a sucker for

I'm assuming that the purpose of this issue is to set up major story beats for the crossover, but the stories do very little to setup anything, so this is certainly not required reading. This issue should come with a disclaimer for casual readers warning them that they may get lost, though the biggest offense is still the very shoddy art.

First issues of Star Wars comics are always a hard sell because you have to do so much setup to introduce the characters and era while, balancing against developing a sense of familiarity to tie it into the greater franchise. Even looking back at the first issue of the modern classic

With

I was hoping this would fill the void left in my pull list after the end of

Eight stories and eighty pages for $5.99 is a pretty good deal, but nothing really stands out as none of the stories really capture the "total package" of strong art and great writing. The Veil, Catwoman, and Commissioner Gordon stories show a lot of promise, but lacked the oomph to make this one worth buying.

God Complex is a very interesting premise that certainly has potential to be a can't miss book, but the poor setup in this issue makes it very hard to get invested. Additionally, the unevenness of the art is hard to swallow, especially considering how dramatic the shifts in style are. This book could be a huge hit and that's clear after reading this issue, I'm just not sure how patient I can be as it finds itself.

I'm way more in love with the idea of this issue than I am with the actual execution of it. James Patrick puts together a nearperfect story for Harley Quinn, but fails to find the character's unique voice to flesh that story out. Harley isn't like

In my review I mentioned an old saying about things that ain't broke, I'd like to supplement that with the old saying, "what's a good plate with nothing on it?" That about sums up this issue. JT Krul does solid character work here and I know that his talent is going to shine through the stories that have yet to come. Unfortunately, the storyline leaves such a bad taste in my mouth that even the quality of the writing craft can't overcome the content of the story. It's an ugly, dirty, disgusting story that honestly feels like a slap in the face to the people who love the character of Green Arrow and his supporting cast. Even though I'm sure everything will end up back at an acceptable status quo in the end, this isn't enjoyable or intriguing or exciting to me. As much as I love Green Arrow in the spotlight, I want the Green Arrow that I know and love, not the Emerald Punisher.

The first story in this collection would be really great if it were three or four pages shorter. The second story was spot on, even if the art doesn't live up to the Dan Jurgens/

After the cancellation of Hawkeye and Mockingbird, I was really hoping that this brief miniseries could continue my enjoyment of Jim McCann and David Lopez's take on those fantastic characters. Unfortunately, this issue really falls short of my expectations. There are certainly things to like and the mystery behind the new Ronin is intriguing; unfortunately, the issues really overwhelm this book's strengths and hindered my enjoyment of it.

With glaring pacing problems and disappointing art, the fun mysticism and enjoyable character work of this issue get lost in the shuffle and so does my interest, sadly.

. This one just barely missed out on a "Mildly Recommended" rating. To me, Annuals should be stories that can't be told in the flow of the regular series or offer some sort of extras. Storywise, we get nothing more here than a rehash of the Aunt May wedding stuff and the implied return of a character that I'm just not that into. There are a few cool moments that keep this one fairly enjoyable, but in the end, the disappointing aspects outweigh the good.

I think that Phil Hester has a cool concept here that could be really interesting once it is fleshed out a bit more. Unfortunately, there aren't enough specifics of the plot of the series in this issue to really suck the reader in and, quite frankly, the art just isn't that good. This book has potential, but it just isn't living up to it in this issue.

This is all setup and at that, its really not that great of setup. Clearly there are some stories here that are going to be a big deal down the road, so you might want to check it out for that. You might also want to check it out if you really dig some of the characters (I personally was most drawn to the

Other than the fact that there is very little being offered in this issue that we haven't seen before, there isn't much technically wrong with the issue. The writing isn't terribly offensive and, despite not appealing to my own personal preferences, the art isn't bad either. The problem with this issue is that it is just incredibly boring. The lack of a single focus really brings the issue down and the uninspired reuse of elements from Brightest Day #0 really kept me from enjoying this issue to the fullest. I'll stick around for a few more issues to see where they are going from here, but as far as first impressions go, I'm not impressed with Brightest Day.

I really want to like Brightest Day. It is a cool idea and it has talented creators backing it, but after three issues, I'm just bored. I'm all for the slow burn, but you have to meet me halfway with better characterization and stronger art. I considered sticking around for the fate of Firestorm, since I'm a HUGE fan of the characters (I'm probably the biggest fan of Jason as Firestorm that you'll ever find), but it's just not worth buying, especially on a biweekly schedule.

If you are a big Deadpool fan, this issue will probably be a little bit like Christmas for you; after all, it is 104 pages of nonstop jokes and action featuring a wide range of talent and a good mix of approaches to the character for a reasonable price. Unfortunately, the quality ranges from simply abysmal to pretty good, so if you aren't 100% vested in the character, it's probably not worth your time and money.

. I really wish that this issue wasn't so expensive ($5.99) and didn't feature such horrible art. This is easily the best use of Obama in a comic that I've seen and an interesting story in general, but the overall execution betrays all of the things that could make this one a must read.

This issue is going to sell like hotcakes because of the creative team, though the numbers are going to dwindle quickly if this is any indication of the remaining issues in the miniseries. Kirkman's writebynumbers approach to the characters and dull plot undercuts the interesting premise for the characters, while the unevenness of the art takes what should be a gorgeous book and turns it into an unpolished mess. The series has potential, but it comes nowhere close to realizing it in this issue.

This issue was the perfect opportunity for one of the best writers in comics (Jason Aaron) to flesh out one of the most interesting new Marvel characters of the last few years. Instead, he rambles on and on through heavy exposition, making Fat Cobra the kungfu version of

I've always found that horror is a difficult genre for comic books to tackle due to its limited delivery. In this issue, however, the onetwo punch combination of Cullen Bunn's strong script and Ban Brereton's atmospheric art does a great job of working the genre into the larger Iron Fist mythos. The end result is an enjoyable look at the mysterious Bride of Nine Spiders that certainly justifies purchase, but is held back from being a must read issue due to the weakness of the back up story.

The good points about the issue are few and far between, despite the interesting premise behind Dog Brother. The uneven art, poor coloring choices, uninteresting backup, and reliance on clichd archetypes unfortunately keep this one from living up to its potential and, in the long run, hold it back from being good.

This issue just barely missed out on the Buy It plateau. There is great character work and Fernando Pasarin's art is top notch, but in the end, there really isn't enough story here to justify the increased page count and price. If

If you replaced the art and cut out the Creeper/Croc stuff, this would be a pretty decent issue thanks to the fun twists with the Black Lanterns. Unfortunately, there isn't much else going on here beyond Halo becoming a major Blackest Night player and that's something that could easily be told in a oneor two page synopsis in another book. With the jackedup price tag of $3.99, I need a bit more here.

This issue has a lot going for it, but it fails to bring it all together. The end result is a clunky, disjointed read that shows promise in its craft, but the enjoyment factor never really kicks in. When I finished the issue, I was interested in seeing how Didio would progress as writer over the next few issues and not in where the story was going; that's not a good thing by any means.

. This issue is completely unnecessary unless you are a diehard

If this were a oneshot issue that only featured an expanded version of the Crystal story, it would be ranked much, much higher. Unfortunately, the weakness of the back up and the ridiculousness of Adriana Melo's topheavy artwork hold this one back.

The only part of this issue that I really enjoyed (other than the awesome cover by Skottie Young) was the art by Dennis Calero. His clean character work and strong expressions really carried this story when the loose plotting and thin dialogue fell flat. If you are a huge Calero fan (like me) this is worth picking up, otherwise, you can pass.

Verdict

This week's issue of XMen Legacy is the epitome of a mixedbag. The plot isn't doing much for me, but Carey's strong handle on the characters keeps it readable while artist Daniel Acuna continues to struggle with the same issues that have been plaguing him for years. There's some to enjoy, but don't say I didn't warn you.

As excited as I was to get back into reading this series regularly, the dullness of this storyline and the fact that Mike Carey is trying to stretch five pages of story into several issues is killing a lot of the interest I had in the book. Something needs to happenanything, even if it isn't interesting as long as it is something newand needs to happen soon if there is any hope of this book remaining on my pull list.

There really isn't a whole lot going on here that is worth reading, truthfully. You get a handful of cool character moments, but most of them come in the epilogue when it is far too late to save the issue. I really like the concept of this book's new direction and I'm a huge fan of Rogue, but if this is how things are going to be executed, I'm not sure it'll be worth reading for much longer.

I wouldn't consider this issue a misstep or even a bad issue, but it is most certainly the weakest issue thus far in the Second Coming event. Carey struggles a bit to juggle the large cast while maintaining clear personalities and Greg Land is still, well, Greg Land. There are some great moments here though and it is entertaining, so if you can overlook some of the issues with the craftsmanship, this is still an issue worth reading.

I was excited about the direction of this crossover before this issue and I'm excited to see what happens next, but I really couldn't care about what happen (or rather, doesn't happen) here. This is just a dull comic with almost no plot movement and some of the most boring characterization I've ever read from Mike Carey, who is normally a fine character writer. Plus it is filled with the lazy tracings of Greg Land, which ruins everything it comes in contact with.

Writingalone, this issue could easily be considered a "Check It" comic as Mike Carey is doing some very interesting things here and I dig the way he writes Hope. Unfortunately, everything that works about this issue is ruined the moment that Greg Land touches it. It's unfortunate, but there is no artist that can ruin an issue faster than Land.

This issue is definitely a "one step forward, two steps back" situation. There are some great things going on with the characters as Carey once again shows he has the chops, but some aspects of the plot are really lacking and the art is a major misstep for me. I'm not ready to give up on this series yet, but I think there is way more potential for greatness than what we are seeing here.

Aside from some personal issues with the plot of this story, I was actually pretty pleased with how well written it was. Carey did a solid job of developing the characters and their relationships, which is a major plus. If there was something to balance out the negative image of Indian culture and a stronger showing from the art, this could've easily been one of the best books I picked up this week.

There are some positive aspects of this book here and there, but it ultimately misses the mark and misses it hard. Pacing issues, shallow character writing, and simply disappointing art are the main culprits with this book as the creative team turns an interesting plot into an unfortunate mess. Unfortunately, this might just be the last straw for this title as I'm really tired of giving it second chances.

I know I shouldn't really hold this against this storyline, but I feel that the timing is off. This storyline spins directly out of Second Coming and should have followed it immediately, rather than after the recently concluded Mumbai/Children of the Vault storyline.

This issue was really close to bringing in a Buy It verdict, as it is easily one of the best XMen comics that I've read from Carey in quite some time, but the art inconsistencies were just too overpowering to ignore as they bring this one down. If Davidson can focus more on his consistency, there is some fantastic things going on with his art. There is definitely potential there, we just aren't seeing it come together.

In the end, this issue is simply a boring affair with little to offer in terms of both the art and the writing. If you considered dropping the title after Geoff Johns left, that might not be a bad idea at this point.

I've developed a real lovehate relationship with this issue. There are moments of greatness with both the writing and the art that had me really pleased with the creative team. Unfortunately, there are also interchangeable characters, unimpressive new characters, and an uneven delivery with the art that do not instill much confidence in the title's new direction. I'm not saying you shouldn't pick it up, but I am saying that you've been warned if you do.

This issue was a fun read with some interesting ideas, but it seemed to be so wrapped up in how neat the concept was that it lost its purpose as part of a larger story. I think this would make a great

This is a huge step in the right direction over the incredibly uneven first issue. Morrison puts together a really great Batman tale here that I found myself to be very engaged in...until the Superman and the Time Masters stuff got started up. That really pulled me out the flow and is a major reason this didn't quite make it to a Buy It verdict. The rest of that blame rests firmly on the shoulders of the art, which has its moments, but is mostly a big miss for me.

There is a lot that I really like about this issue, which says quite a bit considering how much I was on the fence about the two previous issues and how disappointed I was by the lack of high seas adventure in this issue. Morrison is definitely on the right track with this issue, which is the strongest so far in the series, but it was, surprisingly, the art that held this one back from attaining a Buy It verdict.

Return of Bruce Wayne has been full of ups and downs from the beginning, but this is definitely the lowest point that the series has reached so far. Between the unfocused writing and the unpolished art, there is little about this issue that works for me. I can't help but feel like this is a majorly wasted opportunity given the quality of the creative team and the strength of the premise.

I'm sure there will be several anonymous posters that complain about me hating Morrison (which, for the last time, I don't), but I can honestly say that every other Morrison comic I have complained about looks Eisnerworthy in comparison to this mess. This is easily the word comic I've seen from Morrison since the Joker prose story that should have never seen the light of day. The worst part is that Morrison could've phoned this story in and nailed it. Bruce Wayne would be perfect in a noirstyle detective comic, but instead we get a piss poor conspiracy comic that highlights all of the ridiculous retcons that Morrison has been jamming down our throats for the last several years filled with simply horrendous dialogue. I had high hopes for this comic, but its lack of clarity, cohesion, and quality killed those.

I really hate to Rank a book this low and give out this harsh of a verdict when the art is so strong, but in the end, the abysmal writing simply overwhelms it. Morrison goes off on a wild tangent here, but simply outpaces himself, delivering underdeveloped ideas wrapped in shoddy dialogue. With more time and stronger focus, I think the concepts here could actually work and work extremely wellwhich is the same argument I had for

Between the disappointing art, disjointed plot, and ill-executed twist, this is easily one of the more disappointing issues of this otherwise impressive series. The events are really too important to miss if youve been following the series, but be warned that the money you spend on this issue would be better spent elsewhere.

. There are some interesting and welldone moments hereandthere in this book, including some strong character development for Annie and the first time we really see what Butcher is capable of, but ultimately the issue's excessiveness feels stale and the poor art destroys all hope for the issue to rise above

I was really hoping that The Boys could use this issue to turn around some of the unfortunate trends that have stricken the series in 2009. Unfortunately, the unfocused writing, rambling plot, and simply horrible art only make things worse. I really hate to say it, but unless something turns around for this series pretty quickly, I won't be continuing on much longer. Unless you are a hardcore Boys completeist, you'll want to stay away from this

In terms of writing and story, this is one of the best issues in some time for this struggling series. Unfortunately, the art simply does not live up the standards that Darick Robertson set for The Boys and the issue as a whole suffers for it.

My reaction to this issue is a perfect microcosm of my reaction to the series right now. The Boys is a lot like a veteran athlete that you've been cheering on for so long that you feel extreme loyalty to him, even though his better years are behind him and you aren't all that interested in watching him play anymore. This series needs a big kick start and, honestly, revealing the back story of characters that have served as little more than panel dressing for the last 30odd issues really isn't going to cut it.

This is one of the strongest issues for The Boys this year and would have easily jumped into Buy It status if not for the poor execution of the last few pages. So much of the issue builds up to that moment that its failure reflects poorly on the issue as a whole. Still, it is a good reminder of how strong this series used to be and promises some interesting twists in the future for this oncegreat series.

The flaws in this issue very apparent, but in spite of them, I really found myself enjoying this charming little story. Its one of the most absurd things we've seen in this series, which is good because if there is one thing that The Boys has lost, it's the sense of fun that permeated the early issues as a nice reprieve from the grim, sadistic world that the characters live in. Plus, even though we don't know any more about him than we did in the previous issues, Frenchie is now one of the coolest characters in the series just because of his insanely ridiculous "origin."

I had really, really high hopes for this series after being tremendously impressed with the opening storyline. While there are cool concepts here and as a big

This is a big step up from the previous issue in a lot of ways as the story of The Coil and the origin of Serpentor are two of the most interesting additions to IDW's GI Joe mythos that we have seen thus far. When you add in the very craft storytelling and plotting, the writing is top notch. Unfortunately, the art really brings this down. The best way I can describe it is "awkward"which is a total bummer as this issue had a lot of potential.

I will definitely say that

There are a lot of great ideas here in what could be consider one of the stronger plots in any of IDW's GI Joe plots that we've seen thus far. Unfortunately, it is betrayed by haphazard execution that relies far too much on exposition to tell the story and features art that remains subpar. I love the ideas presented in GI Joe Cobra, but without an improvement on its execution, I can't justify sticking with this series.

Despite being the lowest ranked Buy It title, this is still a fantastic comic and well worth your time and money. Keiron Gillen picks up on the stronger aspects of the recent

This series was off to a solid start last issue, but really faltered in this week's installment. Kieron Gillen struggles to find the right voice for his characters as he trudges through a repetitive plot. While Salvador Espin does showcase some strong work at various points in this issue, the majority of the book sees him having just as much trouble finding the right look for his work. There is promise hidden in random panels throughout this issue, but in the end, I was disappointed.

Gillen and Espin continue to show promise, but fail to consistently live up to their own potential in this issue. The saving grace is that both creators do a solid job handling Hope, the main character, but the inconsistencies in the art and the lifeless plotting keep this issue from earning a stronger verdict.

For every step forward that this issue takes, it takes several steps back. I have faith that Kieron Gillen can do some really great things with these characters, but I'm not sure how much longer I want to stick around to see what these things are. With greater focus in both the writing and the art, this would be a dynamite book, but as it stands, it just isn't living up to its potential.

After two very strong issues, I had high hopes for this week's installment of War of the Supermen as the battle finally reached Earth. Unfortunately, for every step forward, there was an equally as large, if not larger, step back. This is definitely a major miss in comparison to the other issues and a big part of that is the fact that we have more than 4 issues of story and it doesn't have the room to breathe. Next week's conclusion looks promising, so hopefully this issue doesn't end up derailing what had been a very enjoyable story.

Despite the low Ranking and poor verdict, the majority of this issue is a fun actionpacked conclusion to what has generally been an enjoyable storyline. Unfortunately, the reliance on the Phantom Zone yet again and the disturbing suicide of General Lane nearly ruin this issue for me. I just can't overlook the lack of creativity and the desperate attempts at cheap emotional reactions. When you add in the inconsistent art, I can't justify Ranking this one any higher.

With Paco Medina putting in a solid effort (aside from Pixie) and some great character writing from Victor Gischler, I strongly considered giving this a Buy It verdict, even though it is falling prey to the current vampire craze (thankfully none of these vampires sparkle). Unfortunately, there are some nagging issues and the unjustified high price tag holds this back. I'll gladly pay $3.99 for a comic with solid extras, but one page advertisements for the other XTitles are totally not worth the extra buck.

The stuff that doesn't work in

I know that I do have a lot of harsh things to say about this issue, but it was definitely an improvement over the last two issues and could easily make it to a Buy It verdict with some tweaks. I think that there is a lot of potential for this series because of Gischler's ability to write the characters with such strong personalities, but it might take an artist shift or, at the very least, a plot that doesn't involve vampires.

This is really just not a very interesting comic. Aside from the subpar art, there isn't a lot to complain about here in terms of craftsmanship, but the lack of personality keeps this one from being entertaining enough to justify a purchase. I think we are on the cusp of some cool plot twists with Wolverine and Cyclops battling it out (plus whatever it is they are planning with

With an uninspired plot and artwork that is so badly traced its hard to believe it made it to print, this weeks Uncanny is a dud on all counts. This is the epitome of the Burrito Book, so please do yourself a favor and avoid it.

. If you read last week's Utopia oneshot, there isn't much of a need to read this issue. You can look at the cover and see who the members of the Dark XMen are, which will fill you in on the only info of relevance that hasn't already been covered. If you didn't read the oneshot, then you will probably enjoy this issue a bit more. Fraction's character writing is solid, but his storytelling is a bit iffy, which is about how things go for the art by the Dodsons as well.

This issue definitely has its strengths, but as part of the larger crossover it falls flat as it offers very little new content, with the exception of the basics of Cyclop's illdefined plan. You can certainly do worse than pick up this issue, but I'm really only prepared to recommend it to folks who skipped the last installment and even then I'll only recommend it with some warnings.

The story isn't the most exciting thing in the world, but Matt Fraction does some interesting things by approaching the story in ways that most writers wouldn't (I know I certainly wouldn't have though to address how Asteroid M would get fresh water). The problem is, and always will be as long as he is allowed to pretend to be an artist, Greg Land's poorly traced art. It's gotten to the point that Land isn't even thinking about what he is tracingcharacter's expressions rarely match what they are saying and he is using the same faces/poses over and over again. I'm not even sure why I bother anymore.

I've been threatening to drop this series for some time now, but it always sucks me back in with a decent issue with art by Terry and Rachel Dodson. However, now that I'm back on board with the vastly superior

There are so many great things about this issue when you look at the big picture that I would love to give this a "Buy It" verdict. Unfortunately, there were an overabundance of things that didn't work at all, including the completely unnecessary backup story. I can't help but feel that this is a wasted opportunity in a lot of ways, though it does serve as a nice segue for lapsed fans like me between the current state of the XFranchise and next week's

I'm not a huge fan of how Fraction writes Cable and Hope, as it is a bit too simple for my taste, but otherwise this is a really solid issue from start to finish. Fraction's character writing is solid, while his tight plotting is just phenomenal. When you add in a stellar art effort from the Terry and Rachel Dodson, you've got a very enjoyable issue that is a great followup to last week's Book of the Week, the XMen Second Coming oneshot.

This is, by far, the strongest issue of the Second Coming crossover. Fraction takes a break from the action and gets very character focused in this issue, which is to its advantage. His great interpretations of the characters and how they interact is the key to this issue's success. I'm bummed that Nightcrawler, a great character, had to die for this story, but this issue makes up for that as Fraction sends him off in style.

After taking a week off, the XMen Second Coming crossover is back in full force this week with another solid installment. While the story just barely moves forward, Matt Fraction does a great job of raising the stakes and the intensity while Terry and Rachel Dodson continue to do a solid job with all of the characters involved. The story does spin its wheels a bit, but the craftsmanship is so solid that I really don't mind.

Both stories in this issue feature some strong characterization, which nearly earned this one a Buy It verdict. However, the briefness of the backup (it was done long before I was ready for it to be) and the extreme weakness of the art in the main story pull this one down into the Check It range. It is definitely a step in the right direction for Uncanny XMen, which had severely lost its way prior to Second Coming, but it still has a way to go before I'll be totally jazzed with it.

My love of the

Once again, I feel like I am at a crossroads with this title. I love the

The writing would earn this issue a strong recommendation, but the art is simply horrible and that makes me want to tell you to avoid this issue. Taking both into consideration, my advice is to read with extreme caution.

. This was really the only book this week that I would consider to be "bad." Winick's spotty dialogue, illogical story beats, and stale overall plot keeps me from getting interested, while Mark Bagley fails to live up to the hype with equally as disappointing work. If it weren't for the fact that I'm a completist with this title, I'd consider dropping it after this one. Do yourself a favor and be smarter than me; avoid this week's

Winick is clearly capable of writing a better story than this and his strong character voices in this issue are evidence of what he is can do if he applies himself. Unfortunately, the dull plot and unnecessary exposition betray any attempt at doing so. Mark Bagley may be a fanfavorite, but having never seen his Ultimate SpiderMan work, I'm not really sure why. His art is good, but nothing to go crazy over and it has a lot of glaring issues here.

This issue simply continues the downward spiral for Judd Winick and Mark Bagley's run on this title. I'm beginning to think that I made the wrong decision in dropping

The best thing about this week's issue of Batman is that it isn't this week's issue of Uncanny XMen. I loved Judd Winick's run on Batman a few years back and I had liked what I've seen of Mark Bagley's art prior to his jump to DC, so, in theory, this should be a great run. Unfortunately for us, the execution hasn't really come together and this issue is really a culmination of everything that has been wrong with the run thus far.

Tony Daniel is still coming into his own as a writer and so he stumbles a bit with dialogue pacing and, while he has a great take on Dick Grayson, he seems to be struggling to find the right voice for Dick as Batman. Still, it is a vast improvement over the Winick/Bagley issues and no matter how rough the writing can be, Daniel will also comes through with topnotch art.

Tony Daniel is really starting to come into his own as a writer and this issue is a great example of how far he has progressed since Battle for the Cowl. His take on the characters and his plotting is very strong. I'd still consider him a better artist than writer, but he is on his way. Oddly enough, as great as his writing is here, I wasn't as thrilled with the art as I normally am. Let's hope that is not indicative of what's to come as I'd hate to see his superb art suffer for the sake of his bourgeoning writing career.

I find it really interesting that the events other Batbooks are referenced here despite the fact that Daniel has crafted this like a Bruce Wayne story. I could be blowing this out of proportion, but there needs to be some consistency across the line for how Dick is presented and this feels like a step in the wrong direction to me. There are some great character moments worth checking out, but otherwise this one falls short.

This would be a very fun issue with solid art were it not for the unclear direction of the story and the utter lack of a voice for Dick Grayson. Tony Daniel is crafting an excellent Bruce Wayne story with some of the best uses of Catwoman that we've seen in years, but that isn't what he is actually going for, which really holds this one back.

This is, by far, the strongest issue of Tony Daniel's run thus far and, quite frankly, the strongest issue for this title in a very, very long time (of course, other than Gaiman's one issue as part of

For everything that I loved about this issue, there was another thing that I hated. In a lot of ways, this is the best issue of Daniel's run, but in others it is one of his worst. That is incredibly frustrating as I'd really love to see Daniel live up to his potential on this series and this issue honestly could have been where that happened. Don't get me wrong, this is enjoyable, it just doesn't come together as nicely as it could have.

I've been one of the few vocal supporters of Tony Daneil's run on the internet, but even I can't find much to like about this one. The writing is really stiff with poor characterization and haphazard writing, which is only made worse by one of Guillem March's worst issues since breaking in at DC. I'm really hoping that this one is just a fluke, but it just does not work for me at all on any level.

Tony Daniel really misses the mark with his writing in this issue as he presents a story that never really comes together in a coherent way. His characterization is just as bad. In fact, if it weren't for the fact that Guillem March is doing some interesting things with the art in this issue (and Titans left such a horrible taste in my mouth) this issue definitely would have been the lowest Ranked book of the week based upon the poor quality of the writing alone.

There are some really cool concepts here as Grant Morrison does a solid job of paying tribute to the Batman concept and characters through three (plus) stories with a strong central theme and plot point. Unfortunately the uneven effort from the Alist artists and the horrible characterization in the "tomorrow" section cut this one off before it can meet its tremendous potential. I feel like this is definitely on the right track, but ultimately it ends up in the wrong station.

There isn't a lot of depth in this story and I'd definitely say that there is an air of toolittletoolate hanging over it as this story fills in a lot of the gaping plot holes left from Batman RIP and Final Crisis, but what it lacks in timeliness and relevancy, it makes up for in quality craftsmanship. As I said a few bullet points back, this is everything that RIP wasn't and while I thoroughly enjoyed this issue, it does make sad to know what RIP could have been capable of if Morrison would've tightened his focus as he does in this issue.

When this issue works, it works in spades. Morrison's outsidethebox plotting is his biggest weapon and his most consistent downfall here in this tremendously inconsistent issue. I think there is a lot of potential for Morrison to be able to finally tell a complete and coherent story out of two of his most holefilled and incoherent stories of his career, but instead he creates more problems in an issue that, quite honestly, reads like a halfassed apology. If you are going to plug the gaps that you are admitting exist (which is clearly the point of this storyline), plug themdon't drill more holes.

This issue has a lot going for it and definitely has the makings of a Must Read storyespecially in terms of how well Fabian Nicieza handles the relationships between the Batfamily, particularly the strong bond that is developing between Damian and Dick. There are a few missteps with the writing, but the biggest issue is the art by Cliff Richards's that has very strong moments, but ultimately falls a bit flat.

I really debated whether or not I should rank this issue higher or lower than where it currently sits. I feel like Tony Daniel is putting forth a tremendous effort, both in terms of his improvement as a writer and his incredible amount of ability as an artist. In terms of craftsmanship, I can't deny the quality of his work. The problem is that, as a storyteller, he still struggles. He can't seem to find the right voice and visuals for Dick Grayson as Batman, often times putting himself at odds with himself as the writing doesn't always mesh with the art and vice versa. So, although this is a Buy It, it's a Buy It with an asterisk. The moment Daniel finds that voice, though, he is going to blow us all away.

I really can't fault Tony Daniel when he is clearly putting forth a huge amount of effort for this comic and is showcasing a great amount of talent as both a writer and an artist. Technically, this is a really sound comic. The problem is that, creatively, he is missing the mark. Daniel just doesn't seem to be meant for writing or drawing Dick Grayson as Batman. If you turn off your brain and pretend that this is actually Bruce Wayne, you'll probably love this comic. If not, you'll only love the totally awesome last page.

I'm always going to pick up this time, if for nothing else than the fact that I'm a huge Batman fanboy and I've always picked up this title. That being said, it is getting to the point that I'm only picking this series up for the art. Tony Daniel has a lot of talent as a writer, but he isn't working to his potential yet and so my main enjoyment of this series is coming out of the art. Of course, I think that this book would be considerably stronger if the Dick Grayson was replaced with Bruce Wayne, as Daniel clearly seems more comfortable with the latter despite writing the former.

This issue just barely misses a "Mildly Recommended" rating due to its inaccessibility. Despite his simple, straightforward storytelling (both in writing and art), Howard is working on a massive scale and, in this issue's case, that gets to be a bit too daunting. Howard really needs to dialit back a bit, drop more clues on what has happened previous, and focus more on current action rather than current reaction. As a whole, I still strongly recommend this franchise, but I think that this particular issue will fare much better when in a collected format.

As a big fan of the franchise and of Howard's work, I loved this issue. However, when I switch into reviewer mode, there are a lot of storytelling problems in this issue that need to be tightened up before I can strongly recommend it to the general populace. In terms of sheer enjoyment, this one is a winner, but beware that under closer inspection, its got some kinks to work out.

The superb character studies and powerful art nearly carried this issue to the top of the Rankings this week. Ordway's artwork is underwhelming and the main story is a bit heavyhanded, but don't let that stop you from picking up this issue. Blackest Night #1 may be getting all the attention this week, but this issue is still worth your time and money.

This issue had some high points, including great art by Gene Ha and a somewhat interesting origin of Bleez. Unfortunately, the issue simply falls flat in the end thanks to the humdrum art and storytelling that is way more about telling than showing, taking away a lot of the power from the delivery of the previous issue.

There are a few momentary flashes of greatness, particularly in the opening story. Unfortunately, the overall lack of depth in the issue and the senseless reprint can't be overcome. In the end, the bad simply outweighs the good, making this the Burrito Book for the week.

If this is your first exposure to Toy Story or if you are a youngin', you'll probably enjoy this issue a lot more than older, longtime fans will. The flaws, especially in regards to how the nonmarquee characters are handled, are simply too apparent and outweigh a lot of the good that Snider begins to build here. This series has potential, but this isn't the best start.

There are still some pretty major wrinkles that need to be ironed out with this comicmostly with the artbut it is a major improvement from the last issue. Snider is clearly getting into the groove when it comes to his take on these very iconic characters as he increases his authenticity and authority when it comes to handling them. Writing alone, this is a really fun comic; I just hope that between issues #1 and #2 the art can make the same strides that the writing did between issues #0 and #1.

Even though this issue is Ranked fairly low, it is still a massive improvement upon the previous issues and was an enjoyable read. Snider is making leaps and bounds in terms of capturing the spirit of the films with his solid character work, but the clunkiness of the story at times. The biggest problem for me, though, remains the art. I want to see this turn the corners that the writing has already done. I could be expecting too much out of a comic that is intended for kids, but this has a lot of potential and I want to see it live up to the high standards of the franchise.

Even though I am a HUGE fan of the Toy Story franchise, I think I might not be the right audience for the Toy Story comic. I understand that this is meant to be a kid's comic, so the standards are different, but I can't help but feel like the attitude of BOOM! is that the comic needs to be "just good enough." You are going to get that from the writing as Jesse Blaze Snider is clearly busting his ass to capture the voice and spirit of the original films in his script. This issue is definitely the best so far in that regard, so kudos to Snider for that. His continual improvement is what keeps me coming back. The art, on the other hand, just isn't good enough. It's incredibly flat and minimalistic, which is a big shock considering the Toy Story films are amongst the flashiest animated films ever. I know that this is a kids comic, so I shouldn't be expecting

The solid dialogue and character work (with the exception of the crushing of Lily's character) kept this readable, but the plot didn't work for me and kept me from really enjoying this issue. When you add the motley art execution, there is little hope of the issue Ranking any higher. I wouldn't say that I wasted my money on this one though, so despite being ranked dead last, this issue escapes the fate of being labeled a Burrito Book.

I've been pretty hard on Mark Waid's SpiderMan work as of late, but this issue shows that he still has it. This is a great reintroduction for Mary Jane and could have been a major contender for book of the week if it hadn't been for the art in the main story. If you've been looking for a reason to come back to Amazing SpiderMan, this issue could be it.

This is a solid effort from both the writer and the art team. Mary Jane's return has more substance here than previous and the development of the Chameleon was a good fit for the shifting identities of the characters. A fun issue that will hopefully keep the interest of readers that came back for issue #600.

This story certainly has its faults, but it does leave SpiderMan with an interesting new set of problems to deal with, which does have me excited for the next issue. Fred Van Lente's strong character writing and Barry Kitson's solid storytelling efforts kept this one from really bombing and so we are left with an uneven but enjoyable read. It's certainly a good sign for the week when a comic of this caliber is the worst book I read.

. There is a lot of story in this issue and normally I have no problem ponying up $3.99 for an expanded page count, but too much of the issue was fluff. It is interesting to see exactly why Peter and MJ broke up and the last story was forgettable fun, but the vast majority of this issue is "Avoid It" worthy and the strength of these better moments can only carry the issue so far.

This is an entertaining issue that is held back by some nagging issues with the writing, including plot holes, odd characterization, and an opening scene that needed more elaboration before it devolved into a shouting match between Michelle and Norah. The Black Cat/SpiderMan interaction works well, though, and is the focal point of the issue. It's worth checking out, but don't get your hopes too high.

After a serviceable, but ultimately disappointing romp last week, Amazing SpiderMan is back with a solid issue this week. Joe Kelly's character work is a lot of fun and the art team puts in a solid effort. There are some nagging issues with the craft and plot at times, but this issue certainly redeems the rest of the arc. Plus, there is a surprise appearance in the end by my favorite new postOne More Day SpiderMan villain, which always helps.

Guggenheim has generally been the strongest writing in the Amazing SpiderMan stable, but there is only so much his good character work can do with this issue's completely uninspired plot. I suppose if you are totally into nostalgia comics and loved the Clone Saga, you might be able to get into this issue and enjoy its very datedlooking art, but for the rest of this us, it's best to pass on this one and buy a delicious burrito instead. It's been a while since we've had a definite

If you are a huge fan of Kaine, you may enjoy his return here, but for the rest of us there isn't much to like here. Guggenheim does his best, but his solid writing is undercut by the uninspired plot.

I will give this story kudos for ending stronger than it started, with all involved stepping up their game. Unfortunately, between the lack of a real resolution, the major plot holes, and the dated looking art, the stronger effort can only carry this issue so far. It's too bad considering Guggenheim has been the strongest member of the ASM writing team; I would have much rather seen him go out on a better story.

Chuck Dixon is doing some very interesting things with the writing in this issue, including some great steps forward in the Scarlett storyline as well as some awesome buildup in the mystery behind Cobra. Unfortunately, SL Gallants art is so ill-fitting that it cripples the entire operation.

While there are some problems with the lead story (mostly with the art), this issue would have Ranked considerably higher if it did not contain the backup story. It serves almost no purpose and is so haphazardly crafted that I'm really not sure why Marvel would want to print it at all. I'd much rather have paid the standard price for this issue and only received the story that actually made sense.

Everything I enjoyed about last issue was completely undone in this one. The character work isn't bad, but considering it erases everything that worked just one issue ago, I'm not going to cut it any slack.

Had this been my jumping on point for the thricemonthly

After the major misstep in the previous storyline, I was really hoping that Fred Van Lente could step things up in this issue to salvage the Gauntlet storyline before we get much further into it. Unfortunately, this issue is incredibly predictable and lifeless, with fairly humdrum artwork. Things are not looking good for the Gauntlet at this point.

I will admit that this is a considerably stronger issue than the previous installment in this storyline thanks to more definition in the plot and a stronger effort from Javier Pulido on the art. Unfortunately, there are simply too many issues in the plotting and the art is simply too inconsistent to Rank this one any higher.

Is it too early to say that we have a major

This issue was really close to jumping up to the Buy It range, but for every few steps forward it took, it had to take another step back. There is a lot about this issue that works really well, including some of my favorite Marcos Martin pages sine

This is a reasonably fun issue that is bogged down with a lot of minor faults that add up to the point that I can't justify ranking this one any higher. Slott and Martin both flex their creative muscles well though, so when this issue is on, its really on. Unfortunately, its hard too look past some of the more glaring problems like the posed look to the art and the lack of a concrete direction in the story.

The best way I can describe this issue is that it is "just there." Nothing stands out to me, positive or negative, other than the odd scene with Carlie. It isn't bad enough that you should avoid it, but not really good enough that you should seek it out either. This is the perfect definition of an underwhelming comic book.

Having dropped Amazing SpiderMan a few months back and only marginally following it through other reviewers, I was completely floored by how much Dan Slott and company pack it not his incredible debut issue for the new status quo. This issue hits all the right notes in terms of craftsmanship and entertainment value in a way that should appease disillusioned SpiderMan readers while still exciting those who've been following SpiderMan for the last 101 Brand New Day issues (and beyond). When you add in a superb backup, this is a great jumping on point with and incredible amount of new twists and turns that shows just how exciting the future can be for SpiderMan. It's a hard fought week, but this issue could not be denied the

I was really impressed with the first issue of the new

I really want to give this issue a Buy It verdict because I did enjoy the fastpaced action of the lead story and Stefano Casseli's artwork was really impressive, but the pacing in the lead was off at times and I simply didn't care much for the backup. Unfortunately, despite this issue having many impressive qualities, it was dragged down by these weaknesses.

While I've been on fully board with Amazing SpiderMan since the start of Big Time, this is the first dualstory issue where I was excited by both the lead and the backup. You get two great stories in this issue, both of which very finely crafted and have me really psyched for the directions they take their respective characters. The lead story cuts deep with its shocking and emotional ending, while the backup perfectly sells the new Venom ongoing series. It is a great time to be a SpiderMan fan thanks to comics like this hitting the stands!

It may sound weird saying this about an Ed Brubaker book, but you really need to approach this issue with the mindset that the writing is secondary. The story is a bit messy and doesn't really reflect the quality we expect from Bru. However, Colan's unparalleled style and grace with his line work is something to behold, especially given his age. This isn't the finest Captain America story by any means, nor is it the best example of Colan's work, but its still worth your cash and an issue you should probably pick up.

At its barest bones, this issue has the makings of two good stories. Unfortunately, the execution leaves a lot to be desired as both writers, Ed Brubaker and Sean McKeever, have uncharacteristically weak outings here that don't get much support from relatively humdrum efforts from the art teams. You can tell by reading this issue that it is just an offmoment for the creative teams, but that doesn't make it any better.

I am incredibly grateful that Com.X was kind enough to send me this review copy. Cla$$war is an intelligent, actionpacked story that is well ahead of its time and features incredibly fine craftsman ship from an excellent creative team. It is easy to see why writer Rob Williams and artists Trevor Hairsine and Travel Foreman all went on to do work for Marvel and DC after the release of this series. The only major problem that I had with Cla$$war is that it ends long before I was ready for it to be over. This definitely a story that Williams and Com.X should revisit and one you should definitely seek out.

. I know that Frank Quietly is a fan favorite, but his lack of artistic discipline on a number of levels kept this issue from being a "mustread" book. That being said, Grant Morrison is does an amazing job of character development here, showcasing skills that have been completely missing from his work over the last few years. This one is a ton of fun, despite some fairly major flaws.

This issue is solidly paced and features some of the best writing of Dick Grayson as Batman that we've seen yet. Unfortunately, the art by Quitely is simply badperhaps the single worst issue I've ever seen from him. Then, of course, there is the problem of Morrison falling back into old habits of haphazard dialogue, unnecessary filler subplots, and insanity for the sake of insanity. As I've always said with this aspect of Morrison (after basically being called an idiot on another board), it's not that I don't get what he is doing, I get it enough to understand that it isn't good.

This is, by far, the weakest issue of this fledgling series. Philip Tan's disappointing performance on the art and Morrison slipping back into horrible habits, combined with dull characterization leaves very little to like about this issue. This is the epitome of what I like to call a "Burrito Book"a book so lacking merit that you should skip it entirely and use the money you saved to buy yourself a burrito, which you will most definitely enjoy more.

This issue could have easily jumped into Buy It or Must Read status if Morrison would focus more on continuing to tell a good story that making unnecessary retcons and describing how awesome his pet characters are. He does a great job with the rest of the issue and Philip Tan really steps up his game here. If you can overlook the ridiculousness of these moments, this is a great issue; unfortunately, I can't.

After a very, very strong start earlier this year, this title has really started to spiral downward as Morrison continues to fall back on his least impressive ways. After all the buildup in this storyline, I expected a lot more than whining characters and a twobit villain in a story that backtracks over everything Morrison had been building. Blech.

This issue is very much a "one step forward, one step back" situation as there seems to be a negative aspect to counter every positive aspect in this issue. The end result is a very middleof theroad issue that features Morrison at his best (the Talia/Alfred scene) and at his worst (the Batwoman business). Along the same lines, Stewart's art wasn't quite what I was hoping for, but he makes up for some design issues with some very solid layouts and panel choices. In summation, you'll neither hate nor love this issue, but you'd probably be entertained if you read it.

This series kicked off in a strong way with Grant Morrison writing like Classic Morrison. You know, the good one. Since the first arc it has quickly devolved, all culminating in this mess of a comic that should never have been approved by editorial. Of course, if interviews with Dan Didio are any indicator of DCs editorial approach to Grant Morrison, this was probably approved without anyone looking at it. Im thoroughly convinced at this point that Morrison isnt even trying to tell competent stories and more, which means that Im not even going to try to read the drivel he is producing. Im done. Im dropping this steaming pile of crap (which is too bad because theyve brought in some quality artists that deserve to be drawing better books than this). Save your money, True Believers. Avoid this one like the plague. There are better places to spend your cash, like root canals or paying someone to punch you in the face.

This issue was really close to earning a Buy It verdict, but the flaws are too noticeable and too jarring to justify it. For Clarke, it is just a matter of tightening up his consistency and, honestly, not drawing that horrible splash page. For Morrison, however, it is all about quitting when he is ahead. There are flashes of his trademark brilliance all over this issue, but he tarnishes it by falling back on his unnecessary inserts and nonsense writing.

For every big step forward that this issue takes, it takes an equally big step back, which has become the norm for this title. There is a lot about this issue that I really like, as it features some of my favorite moments from the entire series thus far and hints at the complex genius from his early work that Morrison has built his reputation on. Unfortunately, the lack of polish and, at times, downright lazy approach to plotting mucks up everything positive about the issue. I've said it before and I'll continue to repeat it until the issue is resolved, Grant Morrison needs to go back to basics and focus on the mechanics of telling a good story. Once he gets back into the hang of that, then he can go for the "genius" moments and absurd twists.

There are a lot of things that go absolutely right in this issue, a few things that work but could be done a lot better, and, unfortunately, a lot of things that completely miss the mark. In terms of writing, this is one of Morrison's best efforts since the opening story arc, despite some missteps and strange plotting choices. On the flipside, this is not the Frazer Irving I'm used to seeing at all. I hate to speak so ill of such a talented artist, but this is some seriously bad mojo that pulls this book from what could potentially be a Buy It book to just barely making the Check It range.

This is a prime example of the type of Grant Morrison comic that I thoroughly enjoy. It features the crazy offthewall concepts, but doesn't sacrifice the sanctity of established characters. It's focused and clear, but still delivers the unexpected and the unusual. It's just good writing. In fact, it would've catapulted this book to Must Read territory and a potential Top 3 finish if not for the fact that Frazer Irving's art is just too inconsistent. Yes, some pages are beyond awesome, but some pages are equally as dreadful. Overall, however, I'm calling this a win based upon the strenght of the writing.

And so the door closes on of the most divisive storylines in recent memoryGrant Morrison's multiyear, multititle epic that saw Bruce Wayne at his highest and lowest points as he battles the mysterious Dr. Hurt. In the midst of this, Morrison wrote some of his best and worst work, but he ends on a very strong note with this issue. When you had in superb efforts from Burnham and Stewart, you have a simply phenomenal comic, even if Irving's work is simply abysmal.

This issue moves fast through a lot of twists and turns as

If you can live with the piles upon piles of ridiculous details and implausible concepts in Absence's origins, you might enjoy this issue more. Unfortunately, I simply couldn't get over all of the things that don't work about this issue, which really distracts me from the things that do. Of course, this wouldn't be so bad if Scott McDaniel and Christopher Jones gelled better or if either artist brought his Agame. The end result is a surprisingly weak issue that simply misses the mark on a number of levels.

This issue is definitely on the bubble between Check It and Buy It, but falls just a bit short. I will openly admit that I might have gotten too excited about this creative team's debut and that could be clouding my judgment, but I was a bit let down by this issue. There are definitely flashes of everything that I hoped for and more, but a lot of it fails to live up to the high standards this team has set for themselves.

While I was underwhelmed with their debut issue, the Toamsi and Gleason team really work to their potential in this issue, which is a great mix of action, mystery, and character work. With an intriguing plot and great art, you really can't go wrong with this issue. There are some nagging problems, most notably the fact that Gleason's weakest character is Batman, but overall, this comic is worth your cash.

This series clearly has what it takes to be one of the best books out there. It has one of the best writers in the business at the helm, features a great cast, and has a futuresuperstar artist attached. Unfortunately, none of this seems to be coming together thanks to odd characterization, still developing artwork, and some extremely odd plot choices. This could eventually be a can't miss book, but its got a long way to go before it can live up to its potential.

This one is more fluff than anything else, but for a standalone fillin story, it is a lot of fun. There are problems with the craft and I think that Lobdell was a bit too focused on aping Dini's style, but it is certainly worth a read, especially if you enjoy the new direction of the Riddler.

The odd storytelling choices and the "workinprogress" art hold back this otherwise fun story. If you are a big fan of Harley and Joker, you should get a kick out of the Joker's typically overblown reaction to her being out on the town with Hush, but otherwise you aren't going to find a lot to love about this issue. It has its moments and shows promise, but ultimately falls flat.

This series has a lot of potential given the creative team, but has struggled from the getgo. In this issue, though, Paul Dini seems to be getting back to his style of characterfirst storytelling and it certainly helps, as does the fact that Guillem March is moving away from the stiff, cheesecake style art that he first displayed when working with DC and beginning to find a style that is much more suited to his talents.

This issue is far from perfect, but its still a great read. It's mostly setup and two of the main characters spend a lot of time in the backgroundbut it still gets the job done and is a great reminder of why Harley is such a fun character. I was on the fence for a while, but this issue really solidifies a place for Sirens on my pull list.

This is a really, really fun issue that is full of charm and life thanks to the superb character writing from Paul Dini. Unfortunately, the art is a major misstep and distraction for what would otherwise be one of the best books of the week. I strongly suggest that you pick it up for the writing, but don't say I didn't warn you about the art!

This issue comes incredibly close to earning a Buy It rating, but falls just short as the rough ending and lack of artistic consistency hold it back. Still, as it stands, I will say that this is one of the strongest explorations of Poison Ivy in some time and its about time that Marc Andreyko is given the reigns to a fulllength issue again (this Manhunter backup stuff is great, but not good enough).

Dini and March come together for a fun little mystery with some great surprises and incredible character work that showcase exactly why this is becoming one of the best titles in the Batfranchise, alongside

This is a really fun story, but some of the mechanics are really lacking. It has been a while since we have seen a Paul Dini comic that I would consider unpolished, but this issue really fits the bill, unfortunately. It doesn't help that the art was a bit of a let down after Guillem March's solid improvement over the last few months. This one is still definitely worth reading and nearly made it to a Buy It verdict based on entertainment value alone, but I felt just a bit short overall.

This is a fun little issue that plays to Paul Dini's strengths as a character writer. I dig the quirky plot and the interactions between Catwoman and Harley. The only thing really holding this issue back is the unpolished and inconsistent art. The issue was definitely on the cusp of a Buy It verdict, but the art doesn't justify this issue reaching the next level.

This is a fun issue with a really cool premise, especially if Maggie can remain a "rogue" for Catwoman in stories after this. Unfortunately, the issue isn't without its flaws and they are rather glaring. Tony Bedard doesn't quite live up to Paul Dini's standards, but its actually the massively inconsistent art from Peter Nguyen that drags this one down.

The premise of this story is interesting and Bedard does a solid job with the characters, including setting up

I really like this series and I want to continue to pick it up, but without Paul Dini at the helm fulltime, it is just going to continue to go downhill. Its not that I don't think that Tony Bedard has the chops to tell a good story with these characters, because he does, but his work can't reach that Dini plateau. Of course, it doesn't help that this is one of the weakest issues I've seen from Bedard.

I can forgive a lackluster plot if the character work is strong and if the artwork is engaging. While there are moments that Tony Bedard does well with the characters, for the most part, the character writing is just as shallow as the plot. When you add in a very disappointing effort from the art team, you have an issue with few redeeming qualities. Truthfully, from this point forward, I think it would be best to avoid any issue of this series that isn't written by 'regular' writer

This is an incredibly impressive issue for a book that really needed it, as Teen Titans had been floundering for some time now. After this issue, Sean McKeever moves to the co-feature slot with Ravager and I cannot think of a better way for him to kick off her story and to say goodbye to the main title. Do not miss this one!

After this issue, Felicia Henderson has her work cut out for her. After a series of mixedresults runs by various writers, Bryan Q. Miller has brought this series back to the levels it reached under writer Geoff Johns. This, along with the strength of Sean McKeever's Ravager cofeatures, has given the series a lot of momentum. I wish her all the best, though, as this issue is going to be a tough act to follow.

Truthfully, the main story in this issue earns a big fat Avoid It verdict, with Henderson having a very unimpressive debut that isn't helped by the art team having one of their worst outings in some time. The only reason it was bumped up is because of the Must Read nature of the back up, but a handful of awesome pages can only do so much to save such a weak main story.

For the second issue in a row, the only good thing about this issue is the cofeature.

This comic is pure awesomeness from cover to cover. Not only does JT Krul have a simply awesome take on two of my favorite characters, but his story brings out the best in the art team. Joe Bennett has done some great work recently, but this is definitely his best work in a very long time. This series has been a little rough lately, but this issue belongs in your collection.

I'll admit, I am coming to this issue with some biasI'm a HUGE fan of Deathstroke and Ravagerbut that also means that hypercritical of how the characters are presented. I can honestly say that this is one of my favorite issues for the duo. Even Jericho, who has basically been ruined by countless writers in the last few years, comes across well here. Plus, as a bonus, we get some sweet action and solid art. The only downside? JT Krul isn't sticking around as writer after this issue!

Aside from the strengths of the backup story, this is an embarrassingly bad comic. The main story is, quite frankly, horrible. I tried really, really, really hard to find some positives, but the lack of focus, the incoherent plot choices, and the single worst character writing this title has ever seen defeated all attempts at optimism. I'm honestly baffled by the fact that no one in DC Editorial threw up a red flag when this script came in. As much as I love Sean McKeever's take on Ravager and want to finish that story, this issue leaves such a bad taste in my mouth that this very well could be my last issue of this series until Felicia Henderson is as far away from it as possible. Seriously, this comic is that bad.

It is really hard to provide a proper verdict on this issue because the quality of the two stories couldn't be more different. Henderson's lead story is beyond bad. It is the epitome of an Avoid It comic and it pains me that I paid $4 for this issue because of it. There is no reason that DC should be printing a story that is so fundamentally flawed nor why one of the company's most recognizable titles should be of this low a quality. The second story, however, is a total Must Read. McKeever and Cinar nailed it and the end result is one of the best stories of the week. So, the bad is so bad that it really does outweigh the good, but only really because of the high cover price. Don't be a sucker like mewait until the Ravager story is released in a trade and get yourself as far from Henderson's abomination of a lead story as quickly as possible.

There are a lot of really awesome things about this issue. The cofeature is tremendously well done and the art the lead is really strong. Unfortunately, the blatantly horrible writing in the lead story overshadows at all. This could easily be a high ranking comic were the writing not so bad. I really don't get why DC would allow someone who so clearly does not understand how to put together a good comic script to be the ongoing writer of one of its premiere titles. Honestly, I'm a little embarrassed for them. It's time for a change!

This issue features the last of the Ravager storyline, which means that there is a very good chance it will be my last issue until Felicia Henderson is relieved of her writing duties. Her work is simply painful to read and is an embarrassment to DC. At one time, Teen Titans was one of the strongest titles that DC published, but now it has been reduced to simply amateurish storytelling. The only bright side to how horrible Henderson's writing is here is that is shows that just about anyone has a chance at writing for DC, even if they have absolutely no place writing comic books.

Writer

Krul and Scott's revitalization of Teen Titans continues this week with another fantastic issue that features a strong mix of personalitydriven character writing and simply gorgeous art. There are some plotting drawbacks that keep this from jumping further up the Rankings, but the great work from the creative team keeps this fresh and exciting throughout. If you jumped shipped on this title at some point in the last few years, now is the time to come back as it hasn't been this good since Geoff Johns was at the helm.

JT Krul does some really fun things with the Teen Titans here as he continues to establish himself as the right man for the job on this titleespecially after the last writer was pretty much the worst possible choice. Unfortunately, guest artist Georges Jeanty struggles to find his place on this issue, which drags this otherwise Buy It level book down .

This issue just barely squeaks in a "Buy It" verdict thanks to the strength of the NohVarr/Tony Stark sequences and the epic feeling of the story. There are definitely some places where the script could be tightened up and I'd like to see more rationale behind the team following Kang's warning, but overall I have to say that I enjoyed this more than I have most Avengers books in the last few years.

This issue is (very slowly) moving the Avengers in an interesting direction and there are a handful of moments that I really enjoyed. For the most part, however, it is a surprisingly weak effort from the creative team, with some of John Romita Jr.'s most unpolished work in years and a meandering plot from Bendis that spins its wheels through most of the issue before heading off in an unclear direction. This series has an incredible amount of potential, but unless it starts living up to it, I'm not going to stick around.

This is definitely a step up for this title and was close to making it into the Buy It range thanks to some solid character interaction and cool action scenes by John Romita Jr. Unfortunately, there is simply too much of this story that isn't being told, which is getting very aggravating. I like the overall plot, but with so much left unsaid, I'm beginning to wonder why I should bother sticking around. If some of that plotting can be tightened up and something can be done about how lifeless the colors have been, this series could be a major win for Marvel. Instead, we are left with a surprisingly mediocre title.

This is the first time that I've really felt like this series is something special, which is how every Avengers issue should be. These are

In theory, I love Avengers and the direction that it is going in. You've got a great cast, big threats, a dynamite creative team, and a guest spot for one of my absolute favorite characters in the Marvel catalogue. Unfortunately, somewhere between the theory and the execution, things go astray. The craftsmanship from both Bendis and Romita is subpar considering their histories and the entertainment value suffers as well. This should be a Must Read book every month, but instead I'm scrambling for reasons to justify the purchase.

This issue is really, really close to making it into the Buy It range. I love the epic scope of the plot and the final spread is easily one of the coolest moments of the week, but the rehashed fight scene and the haphazard art really drag this one down. I definitely feel like this series is finally heading into the right direction considering its ridiculously impressive creative team, but there needs to be more focus and greater consistency if this book is ever going to live up to its potential. There is no reason a Bendis/Romita Avengers book isn't always near the top of the Rankings.

This is much closer to the type of comic that I want Avengers to be, but still a far cry from the type of book that the combination of Bendis and Romita Jr. are capable of producing. This story has the making of being the biggest nonevent Avengers story of the last few years, but instead we get a brilliant creative juggernaut running at halfspeed. Lesser Bendis and Romita is still better than most, but I want this to be so much better than it is!

I bought this one mostly for the art and, in that regard, I can't say that I'm terribly disappointed. The thick inks take away from the overall aesthetic quality, but the writing does make up for it some with a great characterfocused exploration of Taskmaster, who has never really been the most interesting character to me. In the end, it is a fun read despite its flaws and with relatively middle of the road overall quality.

I was really on the fence about picking this issue up but ultimately decided to because I'm such a huge fan of Fabian Nicieza's writing. Not surprisingly, he does a great job of developing character and plot in his story, which was nicely complimented by the great art by J. Calafiore. Unfortunately, the Lil' Gotham story was far too short and the final story was completely worthless, meaning that you are really paying $4.99 for just the lead story. While it is a fun read, it isn't worth nearly double the price of a regular comic. If you were to dump the last story and lower the price, this issue would shoot up the Rankings on the strength of the main story.

This is fun little adventure comic with some great character work. With all of the overlapping stories and megaevents going on in the regular DCU, its nice to have a story that doesn't aim to be something larger than it needs to be. Plus, its great to see Lady Blackhawk again; since

While I'm very harsh on the specifics of this issue, I will say that it was still pretty enjoyable in the long run. The framing device and mystery surrounding Ivan's death is a good choice for revisiting Black Widow's origins and makes the character all the more intriguing. Unfortunately, the pacing is almost too brisk to be effective and the haphazard nature of the art keeps this issue from fulfilling its potential.

It's a good sign when a book of this caliber is the worst book of the week. The success of the book really hinges on Rucka and Scott's interpretation of Wonder Woman, both of which go a long way into making up for the pitfalls of the plot. However, I can't help but feel a bit burned that was should have been a major storyline is brushed aside in favor of what is essentially a standalone fluff story.

If you haven't been following the Cable/Hope saga at all since Messiah CompleX, this issue is a good primer for what has been going on. It's a fun, characterfocused tale that achieves what it sets out to. Unfortunately, the cyclical plot and unevenness of the art prevents it from living up to its full potential.

. I'm going to hold off saying that you should avoid this issue because there are seeds planted that could bear interesting fruit and I'm a bit intrigued by the predicament that Steve Rogers finds himself in at the end of the issue. It's all setup, so there is still the possibility that the next issue could redeem this one. However, you should approach the issue knowing that the plot device to bring Steve back is unnecessarily complicated and doesn't appear to be as wellthought out as recent interviews with the creative team would have you believe. Plus, if you are expecting

This is definitely a HUGE step up from the previous issue. The art is much stronger and the plot is much more fluid. There are some extraneous moments and some of the character dialogue is fairly interchangeable, but there is still a lot to like here. I'd recommend taking your time with it due to its denselypacked plot points. This is certainly not as strong as Brubaker's best Captain America stories, but it does show that there is some hope for the story after all.

This issue is so incredibly well put together that it does more than enough good to salvage was turning to be a really, really disappointing story. Ed Brubaker returns to form by reminding us why his Captain America run was so addictive. When you combine some of the strongest work ever to come out of Bryan Hitch, you have a book that excels on all levels and really should not be missed. Captain America Reborn just sent from teetering on the edge of epic failure to mindblowingsuccessthusfar in just one issue.

This series was off to a very, very rocky start, but the last two issues have been great. This issue features the biggest advancement in the plot and answers a lot of questions that have been lingering since Steve was "killed" a few years back. If you've been following the Captain America saga since then, this is building up to be a great payoff and, this issue in particular, features some of Ed Brubaker's best superhero character work.

It seems like for every step forward with this issue, there is another step back. The Cap/Red Skull stuff is very cool, but the rest of the issue really doesn't live up to it. A big part of this is because the action scenes rely heavily on Bryan Hitch's artwork, but his less than memorable performance here doesn't give these scenes the jumpstart they need to put this book any higher on the Rankings.

This miniseries had a lot of ups and downs, but up to this point I'd say that the good ultimately outweighed the bad. However, this issue screams quite loudly that the story went on for one issue to long. There isn't enough story here to fill the issue while the art team looks like they blasted through the finish on this one just to wrap up the story (I don't know if that is the case, but that is how it looks). By this point, we all know that Steve Rogers is alive again, so I can't see any reason to pick this up other than to be a completist on the miniseries.

Fraction puts on a show here with great character writing and a very compelling plot. I had my doubts about this crossover after the last installment, but this has me excited moving forward. The art was hard to take at times, but the strength of the dialogue and character work kept the issue from derailing.

This issue has a great plot and left me extremely excited to see how the story finishes out in the

This is a fun actionpacked comic with some cool fights and interesting character moments, but it is completely betrayed by an absurd choice in art teams and the fact that nothing really happens despite the $3.99 price point. There is potential for more awesomeness here, especially given the strong effort from the creative teams, but ultimately you can probably get away with stopping after the last issue of the crossover.

This is a fun issue that reminds you how cool some of the mad genius villains can be. I really like the idea of a intelfocused villain's group like this, even if it meant some pretty major retcons. I wouldn't say that this is the best way to kick off Fall of the Hulks because it is such a limited tiein, but its still a fun read and the encyclopedia style biographies of the villains in the back are a nice extra.

First of all, I'm a little annoyed that this comic has Iron Fist on the cover, but there is no Iron Fist inside. He gets named checked, but that's it. I wants me some more Iron Fist. Beyond that, this comic is a major mixed bag that scoots by on the strength of a shocking final few pages. Huge fans of Dan Abnett and Andy Lanning's recent work will be disappointed by how this one builds up, though Brad Walker's art does a solid job of making up for the writing shortcomings. I'm not sold by a long shot, but I'm intrigued. Approach this one with caution!

. Marvel Divas is considerably better than it really has any right to be. The story is asinine and the style is a ripoff of what I consider to be the least interesting original programming in HBO's history, but AguirreSacasa seems to achieve everything he is working towards both in terms of plotting and execution. I'd love to see more variety of Tonci Zonjic, but as it stands the art is pretty solid. This issue really isn't my thing and so it's unlikely that I'll pick up #2, but if you are the target audience, you are probably going to love it.

These anthologies are always a struggle to review because they do often cover a wide range on the quality spectrum. However, as it stands, this is worth at least flipping through for the Colossus and Nightcrawler stories. The Iceman story is pretty soso, but the horribleness of the first story is just too cruddy to bump this one up the Rankings any further.

This is a very fastpaced and direct story that ends almost as soon as it begins, so don't approach this one expecting a lot of meat. Ortega has a good take on the character and, as always, it is great to have Mel Rubi back even if he seemed to be more focused on twisting the issue towards impressive splash pages than he is in telling a good story.

You can't ask for much more than cool swordfights and interesting interaction between warring kingdoms in a Red Sonja comic, so in that sense, this issue really delivers. On the flipside, the story is pretty thin and this isn't the best outing from Mel Rubi.

Tony Bedard does his absolute best to make this accessible and enjoyable for new readers, but in the end its clear that this one is really meant for hardcore fans and hardcore fans alone. Or, at least I hope that is the case, because if not, I see no reason why anyone should care about the adventures of a total jerkbag and his crew of lessthaninteresting comrades.

This issue is a fun read that sets forth some interesting premises. Fans of Marvel's cosmic books and the brilliant work that DnA has done on them may be a bit shocked to find that this is very different than anything they may be used to. The execution isn't as strong as I expected, but the concept is interesting. I can't say that I'm not disappointed by the quality, but I'm digging the ideas.

This would easily jump into Buy It territory, but the fact that this doesn't really tieinto Blackest Night other than a few random pages about a former Suicide Squad and Secret Six member that just happens to be a Black Lantern really didn't work with me; plus there is the problem of the very forced Band/Scandal scene. Other than that, this is a really solid issue with some awesome character work and it serves as a strong reminder of why the Suicide Squad was such an awesome concept and comic (and, now, why this creative team should be given the reigns to these characters once again).

This issue was very, very close to Buy It territory, but couldn't quite make it because of its major lack of a point. Big fans of the creative team or the characters will enjoy the issue, but nothing about this really demands that it be read by the casual fan. The story never gets off its feet and despite taking place during Siege, it really has nothing to do with the main story. I like the craft and I love the characters, but there isn't enough meat to justify a stronger verdict.

The first story is mostly fluff and the second story is far too heavyhanded for my tastes. The two make for an interesting comic that is helped by a solid effort from the art team, but it is by no means an essential read as the issues most interesting concepts are likely to be explored with more depth and precision in the regular issues of the series.

This is a fun issue with lots of action that is fairly accessible to new readers. Unfortunately, for the $3.99 cover price, I'm expecting a bit more meat and this issue isn't offering any. If you can swallow the high price for very little story and no extras, it's certainly worth checking out.

I have a few hangups here and there with this issue, but it is still a very engaging and wellcrafted read that has me extremely excited to be exploring the Ultimate Universe and to see what Millar has up his sleeves for Nick Fury's new team. In fact, I was so impressed with this issue that there is really only one reason that it wasn't granted "Must Read" statusthe price. Quite frankly, there really is no reason for this book to be $3.99 and until there is, it's going to be held back on the Rankings.

Ultimate Comics Avengers continues to be a pretty mediocre comic spinning out of a superb creative team and premise. This issue compounds that with a cast that is a poor mix of dastardly and dull, which really turns me off. I like the hunt for Captain America and Pacheco puts together a few strong pages, but ultimately, there isn't enough for this series to stand on much longer.

I really don't know what I expected from Uncanny XForce, but it certainly wasn't something as characterdriven as this issue was. Between Angel's war with himself and the bold personalities of Fantomex and Deadpool, Rick Remender offers a new spin on the XForce formula that works very well. I wasn't blown away by this issue, but I was impressed enough that I'd say it is well worth your money. There are a lot of really interesting concepts coming together here under some damn fine craftsmanship.

As long as you can overlook the continuity nightmare that is Apocalypse and his Horsemen, there is plenty to enjoy about this comic.

The interesting concepts and the strength of Opena's art is certainly enticing, but the faults of this issue are simply too much for these to overcome. For every step forward that this issue makes, it takes another big step back with an overwritten script, a move backward for Deadpool's characterization, and coloring that simply doesn't work. This book has a ton of potential, but issues like this make me wonder how long I'm willing to stick around to see if it will live up to it.

I'll admit that I'm really biased towards Dan Slott's work with the new Venom, which does cloud my judgment some, but in general this is a solid first issue for Rick Remender, who does a good job of introducing the new Venom and the world he operates in. There is a missing xfactor that Slott had and, hopefully, Remender can find that over the first few issues. The weak link here is Tony Moore, whose inconsistent artwork shows flashes a unlimited potential, but ultimately keeps this issue from reaching a Buy It verdict, though it was a closedecision.

Most astute readers already know what they are getting into with books like World War Hulks #1, as these postevent anthologies are usually filled with upsanddowns and rarely ever truly justify the investment. This issue is more of the same with some stories that are simply forgettable, a few that our downright deplorable, and a handful that are actually pretty awesome. While there are stories that are worth avoiding, it is worth checking out the issue for the Wilcox/Stegman SheRulk story and the simply dynamite art from Aluir Amancio, Terry Austin, and Val Staples on the Cosmic Hulk story. IF youa re anything like me, you'll be clamoring for a reunion with this art team after checking it out.

Mike Carey and the artists do a serviceable job on this issue which effectively begins to set up the new direction for the series. As a huge fan of Rogue, I'm glad to see how well she is portrayed here, though I have my doubts about some of the other aspects of the series that are presented heremost notably the choice of villain and Daniel Acuna's ability to carry the book as the regular artist. However, the good does outweigh the bad here, making it worth a look.

The highlight of sorts is Chris Yosts character writing, as he nails the voices of each character here, but it simply isnt enough to save this ultimately forgettable and easy-to-skip issue.

The plot in this issue is a bit hard to take. In a general sense, its something we've seen countless times in various forms; but in terms of specifics, this issue is completely inaccessible to new readers. The art by Choi and Oback is the saving grace, but even it struggles with some major issues.

While some of the same issues that nearly caused me to drop this series are present (most notably the lack of accessibility), the character work ahs really tightened up and the art team puts forth a very strong effort. While there are a lot of things I'd like to see the creative work on, I have to hand it to my Twitter followers for steering me back towards this issue. The only problem is that I've got a sinking feeling that the upcoming Necrosha storyline could derail my enjoyment of this seriesit just doesn't appeal to me in the same way that a standard black ops XForce story would.

There are some cool things being set up here, but the plot moves too quickly at times, undercutting the character work, which is traditional Kyle and Yost's strong suit. The art looks good, but has some stiffness. The main problem is that you really have to be continuity hound or an Xencyclopedia to get the full impact of some of the story beats, otherwise you might be a bit lost at times.

This issue caps off the story arc well and provides a solid leadin to

The decision to kill of a major character in this issue, which has been telegraphed since the first issue of Second Coming, is going to be talked about a lot more than the craftsmanship will, which is a shame because the issue is very well executed. There is a lot that I really like about this issuealmost enough to bring this to a Must Read. However, there are a number of very minor issues that all added up to keep this one from reaching that highest echelon. You really can't go wrong with this issue though and I do highly recommend checking it out.

The pacing issues are really the only thing that kept this issue from making a stronger run at the top spot than it did, but I really can't emphasize enough how great of a comic it really is. Choi and Oback put on a clinic here and the superb chemistry that they have with Kyle and Yost make this one of the most compelling XMen comics in quite some time. Even if you haven't been reading Second Coming, I highly recommend this one just for the craft of it.

Outside of the Batman family, Green Arrow is, by far, my favorite character in the DCU and so I've had a hard time with some of the choices that have been made in how to present the character this year. I've been very vocal about my displeasure and was very nervous going into this issue. That being said, I could not have been more wrong about how this issue was going to turn out. Krul and Neves do a solid job of crafting a new world for Green Arrow that is very engaging and very excitingI just hope that it isn't ruined by the more fantastic elements of being under the Brightest Day banner.

Given that this series spun out of some of the worst storytelling that Green Arrow has ever been a part of, I'm simply floored by how excellent this series has been so far. JT Krul has found the perfect tone for Green Arrow in the midst of a premise that really suits him. When you add in the stellar efforts of artist Dioenes Neves, you have a book that, in just two issues, has come a long way towards redeeming Green Arrow after some truly horrid stories.

The art is definitely the saving grace in this issue, as I feel that the plot really betrays the quality of the character work and the strength of the new Green Arrow status quo. To me, Green Arrow always works best as a "street hero" and the best runs he has are always firmly planted in that idea (even the "

If this issue were a bit more cohesive with a stronger underlying focus, it could easily vault into Must Read territory. The twist ending was a great shocker that has me super pumped for next issue, while Diogenes Neves is making leaps and bounds forward with his art. I still wish we'd see a more grounded take on Green Arrow that skips over the Brightest Day mumbo jumbo, but even with that present here, this is an issue that is wellworth your time.

This fastpaced issue offers up some solid action as Green Arrow fights Nyx though the big focus is Ollie's confrontation with his father's former lover, The Queen, who now runs his former business. While

This issue squeaks in at a Check It verdict on the strength of Mike Mayhew's art, which might be the best interior work that I've ever seen from him. His hyperrealistic style is a great fit for Green Arrow, even if the story wasn't. While I'm sure that this series will return to being more grounded once

I really feel like my love for Green Arrow is being tested with this book lately. I know that JT Krul can put together some amazing stories and he has a great artist to work with in Diogenes Neves, but the more this book features demons, mad men of the Round Table, and enchanted forests, the further it gets from both Green Arrow's roots and the types of stories that Krul does well. This issue is a prime example of that, as we get with a disjointed mess with decent art (that would be really solid with a single inker and tighter colors).

In their debut, Jonathan Hickman and Dale Eaglesham waste no time bring highconcept crazy scifi coolness to this serieshopefully setting the stage for more great stories to come. I feel like the Fantastic Four have lost their edge and become a bit dull over the last few years, but this issue seeks to remedy that and does a great job of it. I see great things in the future for this book.

After a very strong debut, the creative team of Jonathan Hickman and Dale Eaglesham up the ante with an even stronger followup. The creators have a superb take on the characters and their scifi roots. This is the pulpiest and most high concept take on the characters that we've seen in a long time and it works incredibly well. After the disappointing Hitch/Millar run, Hickman and Eaglesham have once again returned Marvel's first family to level of quality that they deserve.

I knew that I could expect great things from this creative team's tenure on Fantastic Four and I thoroughly enjoyed the first few issues of this arc, but they cranked it up to 11 with this week's issue. There have been few Fantastic Four stories in the last few years that have been this good. Hickman and Eaglesham have latched onto the key to the success of

This issue really is the epitome of a "Check It" book. Nothing really major happens and it doesn't really push any major storylines forward, however, the writing and art are enjoyable enough that you won't feel like you wasted your time reading it. It's a decent read, but keep in mind that there are many much, much stronger comics out there this week.

This is definitely a step down from the rest of

This one is almost entirely setup for what is clearly going to be a major storyline. In that sense, mission accomplished, although I would have liked to see more of an actual plot than just plot devices. There isn't much movement here storywise, which is disappointing, especially after the dramatic entrance from Mole Man, who largely disappears from the issue after he sets things in motion for the Fantastic Four to set more things in motion. It is certainly worth reading if you've got the time, but I wouldn't drop everything to pick it up.

It's amazing how quickly Jonathan Hickman has energized this series from a once middleoftheroad title to one of the strongest books in Marvel's catalogue. High concept issues like this with bold storytelling choices have become the norm, which is most definitely a good thing. This is definitely one of the best Suecentered Fantastic Four stories in a long time and well worth checking out.

This issue is clearly meant for patient readers looking for highconcept scifi. There isn't much plot movement and almost no action, but the concepts and character work are fascinating. Hickman has brought back the scifi curiosity and sense of unending discovery to this title that made the

This week's Fantastic Four is definitely the weakest issue of Jonathan Hickman's run so far. It is clear that he is setting up big things and I'm excited to see them play out, but this issue's haphazard plotting and horrible transitions keeps me from fully enjoying the ride there. Things don't fare much better for Dale Eaglesham and Paul Mounts, whose art simply does not live up their own standards. Perhaps my expectations were just too high, but I feel totally let down by this issue, despite being excited to see where the series goes next.

The lack of transitions and seemingly unnecessary "distraction scenes" mar the fantastic concepts that Hickman is building here. He is clearly taking a slowburn approach to this series which will read better in a trade format, but as a monthtomonth reader, I can't help but feel like there are just as many misses as there are hits in this issue.

Even when I'm reading a comic that I don't particularly care for, it is very rare that I'm actually bored while reading. Unfortunately, this is one of those rare occasions as Hickman and Edwards present a forgettable and ridiculously predictable story whose most notable moment isn't the relatively interesting twist ending (which can't hold up the issue on its own), but instead is a two page spread that has nothing to do with the issue and is only memorable for how poorly timed it is and the adverse affect it had on the rest of the issue. I'd highly recommend passing on this one as it is definitely the weakest issue so far in Hickman's run.

This is the best example I can think of for how NOT to start an event storyline. There is really nothing of substance to hang onto in this haphazard, incredibly rushed issue. The craft is ridiculously below the standards for the creative team and there is really nothing here to come back for (especially with Steve Rogers in his

This issue is so ridiculously close to being a Must Read that it really comes down to problematic details that keep it from making the jump. The biggest problems are those few fundamental issues with Coipel's art, though the reliance on a few clichs here and there from Bendis doesn't do the issue any favors either. However, as a whole, this is still an awesome comic and a HUGE improvement over last issue. I lost all interest in Siege after that issue, but I'm sucked in now in a big, big way. If the same strides can be made in the next issue, this one is going to be epic.

Is this issue a little too simple? Maybe. Is it a little too cheesy at times? Definitely. Is it an epic of awesome battle scenes and cool explosions? Hell yeah. This is what an event comic should be. You don't buy Siege for character, you buy it to see sh*t get f*cked up, which is exactly what you get here. A total improvement on the first two dismal issues.

The fanboy in me that loves bigaction and hero camaraderie found enough to like in this issue that I can't say it was a total waste of time. Unfortunately, the toocozy ending and paintbynumbers approach is a bit of a letdown, especially with certain bits having no setup or context clues for fans that didn't read all of the tieins. This issue came in with a good amount of momentum, but I can't help but feel like this ending is a bit of a misstepa misstep with the best of intentions, but a misstep nonetheless.

While there are some issues with the art and the pacing (and the fact that this Halloween issue is coming out in May), this issue is a simply fun read that shows a lot of promise for Hader and Meyers, whom I hope we see more comics from in the future.

Sometimes it is fun to just cut loose with big mindless action and that is precisely why this issue works so well. Jeff Parker keeps it simple, focusing mostly on quick character interaction in between punches, which works well because of the fantastic art in both stories. It may not been deepest or most meaningful issue of the week, but its well worth picking up so you can check out the work of rising stars Chris Samnee and Veronica Gandini as they continue their ascension through the ranks.

Unless you are a huge fan of the Agents of Atlas or you plan on following Assault on New Olympus very closely, you can take a pass on this one. It's fun for the action, but there really isn't anything else here (other than the awesome art by Chris Samnee); and, quite frankly, there are better action books out there this week.

This is a strong debut issue with

Much like Thor #616,

This issue squeaks by with a Check It verdict, but just barely. If you take a giant step back and start to see the forest from the trees, this issue has a lot going for it as the story begins to transition into its next phase. When you get down to the issue itself though, there are plotting and pacing issues that are hard to get past, especially with surprisingly weak dialogue and an inconsistent art effort. It's enjoyable enough, but the issues aren't easy to overlook.

When Emerald Warriors launched, I was really hoping that it would simply take the place of the once nearanddear Green Lantern Corps on my pull list, especially with Peter Tomasi spearhearding the book. Unfortunately, the last few issues have really spun their wheels without going anywhere, which had me ready to drop the title. An improved effort from Fernando Pasarin and a very intriguing final scene really elevated this issue, though, and has earned this title a reprieve for a few more months. I just hope this momentum can continue to carry this book in the right direction.

In a lot of ways, this issue really encapsulates the struggles that this series has had since launching last year. The story is drug on a bit too long with too little concrete information being given, too much is forced to make things fall together "nicely," and the issues with the art drag down the fact that Pasarin's a fantastic artist. This series has all of the makings of being on of DC's best comics, but it falls short in the end.

This is yet another fun read for the Slottera Mighty Avengers. The addition of Christos Gage as scripter has a smooth transition here, thanks to the solid plot and strong characterization. The issue is almost too dense at times and the art is a mixed bag, just barely keeping this one from jumping up a level to "Don't Miss..." territory.

There are a lot of the hangups with the execution of this issue, but it does features some of the most important developments in the "return" of the Scarlet Witch, which could potentially have ramifications for all of the Marvel Universe. The issue also features a really strong cliffhanger that implies that taking on Loki and the Unspoken could mean a teamup of ALL Avengers teams, so it is worth checking this one out to get on the ground floor of these events. Otherwise, this one can definitely be avoided.

This issue is a great reminder of why superhero comic books can be so fun. You get amazing characters, strong art, insurmountable odds, and a bevy of unexpected twists and turns. Too often major threats lead to a superhero comic being a major bummer, but this one will have you excited to see what comes next and cheering as the Avengers head into battle.

Mighty Avengers has steadily gotten better over the last few months, all building up to this very impressive issue. The writing team of Slott and Gage bring back the fun that superheroes are known for without sacrificing the action or the impact of the story (the latter is especially true in the highly emotional epilogue). This issue will remind you what made the Avengers so addictive for the last several decades.

The character interaction in this is fun, but the breakneck pace of the issue undercuts the plot considerably and the art simply isn't up to par with Khoi Pham's standards. Chances are, you already know that the Mighty Avengers and Dark Avengers don't like one another, so there isn't a lot for most readers to latch onto here.

Gail Simone picks up where she left off with the Birds of Prey, reminding us of exactly how awesome she is and how perfect she is for writing these characters. This issue has something for everyonegreat action, amazing character interaction, and an intriguing cliffhanger that has me clamoring for the next issue. When you add in the best art I've ever seen from Ed Benes (big props to Nei Ruffino on that one), you've got an easy choice for

Despite a few setbacks with the art, this is an amazing comic book and just one more sign that Gail Simone is at the top her game and perhaps the best superhero comic writer out there today. Every single page in this issue features Simone doing something brilliant and, as a whole, it simply destroyed every other comic out there this week, including the phenomenal issue of The Spirit that came in at number two on this week's Rankings. If you only buy one comic this week, it absolutely, positively must be this one. For the second week in a row, Gail Simone owns the Rankings with one of her brilliant comics, which also happens to be the second

While not as strong overall as the first two issues, the third installment of the new volume of Birds of Prey is still an excellent read. Gail Simone's writing is topnotch throughout as she twists and turns her way through this thrill ride, though the shortcomings of the art do hold it back some. Still, when taken as a whole, the highest definitely outshine the lows and you get an issue that should not be missed.

I really suspected that the identity of White Canary would be the big talking point of this issue, but in reality, I'll be surprised if most readers even know who the character is or what her connection to

This issue is definitely not what I was expecting. Gail Simone's writing is nowhere near the level of quality that she is known for, with poor pacing and uneven plotting standing out as the major issues. When you add in some wildly inconsistent art, you get an issue that simply does not live up to the high standards that Birds of Prey has set for itself. There are a few shining moments that will remind you why this book is normally so awesome, but for the most part, this one misses the mark.

I was really on the fence about assigning this book this strong of a verdict given some of the flaws in the art and some issues with the development of the plot, but the strength of Gail Simone's Huntress and the fun action sequences won out. The entire White Canary epic has been weaker than could be expected based upon Simone's recent output on

I'm really torn on this issue. There are a lot of really interesting things going on and I'm really looking forward to seeing what Gail Simone has in store for Oracle's endgame against the Calculator and her many enemies who are aware of her presence, but there is also a lot about this issue that simply doesn't work for me. I think I might be more forgiving if I could get behind Adrian Syaf's art more. In the end, I don't think you'd regret reading this issue by any means, but I don't think you need to run out to buy it.

There is a lot that I really like about this issue, but in the long run, there is a lot more that I didn't care for. Writer Gail Simone seems a bit off of her game here, which is surprising considering how consistent of a writer she normally is from month to month. The issue is compounded by the fact that artist Inaki Miranda has a very uneven effort here that, while showcasing potential, is more of a hindrance to the issue than anything else.

In terms of writing alone, this could probably be a Buy It level comic thanks to the strong character interaction and the surprising moves made by Oracle. On the other hand, the art is...shocking, really. There is only so much the writing could do here and, unfortunately, it just wasn't enough.

. This issue features extremely solid art and an insanely epic scope that makes it the perfect leadin to Blackest Night. The poor conclusion to the Ion vs. Mongul subplot left a bad taste in my mouth, as did the usage of Kyle Rayner, but the rest of the issue was fantastic. Green Lantern Corps is amongst DC's strongest titles and this issue is yet another fine example of the quality you can come to expect from it.

This one is a mixed bag. You get some strong character moments and a few great scenes from the writing and an uneven showing from the art. There is a lot to like, but just as much that will make you cringe. It's fun to see the rise of the formerly Green, now Black Lanterns, but some of that fun is spoiled by the execution.

Despite gallant efforts from the creative team, this issue is held back by the fact that there is simply too much going on for it to be effective. Sometimes it is best to walk a bit instead of run and this issue is a fine example of why. Of course, there is also the problem of the

There's not a lot going on in this issue besides the hitting, so it certainly isn't required reading if you've been following the title for the last few issues. For what it is, though, it's a fun romp with strong character voices and good art. Sometimes all you really need out of a comic is good action and it works well for this one.

We've seen some pretty great moments and some strong issues over the course of the Blackest Night event thus far, but this issue is really the game changer. I say that not only because it features really the first death of any consequence (no offense to the links of Hawk,

This week's only "Must Read" issue and the easy choice for

This is a fun actionoriented story that skirts by more on fanboy excitement of seeing things like Guy as a Red Lantern and Mogo in action that it does by the actual tension and intensity created by the action. Between the ease of the Black Lantern's defeat and the unevenness of the art, this issue runs into a lot of issues that really take away from how much fun it could be.

There are a handful of moments in this issue that really had me super excited, but the predictability and the fact that Mogo seems to have the magic resolution for the second issue in a row are just too big of issues to ignore. Plus, there is the problem of the art being so uneven once again. After rocking out really hard for several years, the art on this title has really been slipping over the last few months. I really hope that trend reverses sometime soon.

If you are into big action, this is the issue for you. This is one is pure battle from start to finish and is one of the most exciting fights that we've seen since Blackest Night began with some of the more creative moments. The problem is that this is really undercut by the fact that this battle has been raging forever and the story itself is nothing new. This feels tacked on to the story to fill time, especially when someone like the AntiMonitor is dispatched fairly quickly (despite at one time being the biggest horror ever faced in the DCU). As a standalone issue, this one is fantastic, but as part of the larger story, it feels unnecessary.

This issue was the easy choice for

This issue isn't necessary bad, but its not that great either. The best way to describe it is to say that it is "just there." If you are hardcore fan of Ganthet or even John Stewart, you might get more out this issue than I did, but I was just tremendously underwhelmed. I didn't hate it, but I'm not sure that I'd ever want to read it again either.

Other than the issue with how John is drawn, Ardian Syaf's art is what really kept this otherwise uninteresting issue out of last place on this week's Rankings. I'm sure you can get more out of it if you are fan of the main characters, but I just couldn't get interested in this issue no matter how hard a I tried thanks to the lackluster plot and lifeless characters.

I had a good feeling about this series, but I really did not expect it to be quite this good. Brubaker flexes his mysterybuilding and characterwriting muscles to draw the reader in almost immediately; while Mike Deodato puts in one of his better efforts as of late (I can't say that I've ever been a huge fan). This issue is worth it alone just for the Beast/Steve Rogers interaction, but beyond that I can't see any reader not finding something to love in this one.

I like the mystery that is building here and the character writing is strong, but the overall execution of the issue is a tad too uneven to earn a Buy It verdict. There isn't much of a teamdynamic with characters like

Much like Uncanny XMen #526 before it, Secret Avengers #3 came very close to jumping into the Buy It range thanks to some cool things going on with Nova and a very strong effort from Mike Deodato. Unfortunately, the colors were a bit weak and, quite frankly, I'm getting very annoyed with how poorly the ensemble cast is being handled in this series. While I'm glad to see my favorite members of the team being spotlighted, there is no reason for the rest of the team to be written off so casually. If they are going to be part of the team, they need to be part of the story.

This is a major step up from issues #2 and #3, which were complete bombs (despite the strength of the debut issue), but it still suffers from a lot of the problems that held those issues back. I really dig Captain America being a momentary Nova Corps deputy, but the ease in which he takes on and controls the Worldmind's power really undercuts how special Nova is. This was a cool moment and I definitely want a Captain America Nova action figure, but I feel like it could have been handled in a way that built up both characters. The character work on the supporting cast is a bit shaky, though it doesn't help that characters like

This book is completely lacking in energy on all fronts and screams filler story from beginning to end. Even if you are a die-hard fan of the series, feel free to avoid this weeks Burrito Book (instead of picking up this issue, buy yourself an enjoyable burrito instead).

The wellexecuted and interesting introspective story struggles to overcome the shortcomings of the art, but eventually wins out with strong character work and a clear effectiveness. This issue isn't making strong claims to be a turning point in the seriesit doesn't have to. Instead the story speaks for itself as the series enters a new chapter naturally, rather than using some sort of sudden, majorly traumatic event to push things forward.

You can always count on Star Wars Legacy for an enjoyable story, but its not very often that it rises above simply "good" status into something great, but with this issue it finally begins to live up to its potential. The impressive character work and the great chemistry between the writing and the art helped make this issue incredibly compelling, while the amazing amount of story crammed into the issue gives it the best value of any story this week. I just hope that Ostrander and Duursema can use the success of this issue to keep the momentum going for this series.

Unless you are the world's biggest Hondo Karr fan (if there is such a person), I can't think of any reason you'd want to trudge through the haphazard writing and very inconsistent art. The series takes a break from the main story and also apparently takes a break from the quality it had showcased over the last few issues; I would recommend that you also take a break this week and pass on this issue.

The brisk pace of this issue allows for

Despite some cool things going on in this story, it's a bit of a rough read at times because there is too much going on and not enough pages to contain it. The story in this issue could easily be spread out over two or three issues without being spread to thin, but as it stands, it's a bit messy and the uncharacteristically weak art from Jan Duursema doesn't help the issue's case.

I am really, really, really impressed by how much story Ostrander manages to cover in this issue. I can't think of the last time I read a comic that was so densely packed. This issue is just as much fun to deconstruct as it is to read. Some minor troubles keep this one from jumping further up the Rankings, but as it stands, it is a supremely enjoyable issue and definitely one of the strongest this series has ever seen.

This issue is a really fun read and definitely worth checking out, but it is actually too dense for its own good. There is way more story in this issue than the confines of its page count can successfully handle. If Ostrander dialed it back a little bit and only focused on half of what he does here, it would still be a tightly plotted and full comic, but the story beats would have the room to breathe and the entire reading experience would be that much better.

I really struggled on giving this issue a verdict. On one hand, it is the single best issue of Star Wars Legacy since the book started, but on the other hand, the Cade/Deliah "I can overcome anything because I love you" scene was so incredibly insipid it makes me want to scream. To be totally honest, this is a really awesome issue and almost everything about it rocks so hard. Unfortunately, I can't overlook that single plot point and that really holds this one back. I'm giving it a Must Read, but just barely and only because Ostrander and Duursema clearly busted their asses here. Don't say I didn't warn you about that scene though!

This issue was really close to earning a Buy It verdict and I flipflopped on the issue several times before finally deciding to stay at Check It. The plot is very engaging and the action is fantastic, but ultimately the lack of real character writing and the unpolished art pulls this one down. If you read it, chances are you will enjoy it, but the flaws are simply too overbearing to ignore.

It amazes me how much story is packed into this issue. I know that I've said that about the last several issues of Star Wars Legacy, but Ostrander and Duursema outdo themselves with this incredibly intense and densely packed issue that brings together threads from the very beginning of the series up through the present. The only downside? The creative team has clearly hit their stride and only have two issues left on this title before its cancellation.

It's hard to believe that there is only one issue left of this series, but I'm glad to see that Ostrander and Duursema are still going out in a big way with another fantastic issue. It still amazes me exactly how densely packed, yet emotionally charged this series has been over the last several months, all of which carries over here. This issue leaves a lot of unanswered questions, but does leave the characters in prime position for an explosive finale. Star Wars Legacy has never taken home a Book of the Week honor, but with the strong buildup in this issue, next month could finally be time!

With two other great Thor titles being published by

This issue is definitely teetering on the edge of Buy It territory thanks to the strong sense of atmosphere in the writing and the always awesome work of Pasqual Ferry. Unfortunately, the lack of plot movement and the repeated beats from last issue drag this one back into a Check It verdict. Its still a fun issue and I've got a feeling that, given time, this will be a muchtalked about run for the title, but it needs to start picking up a little before it starts losing readers (including this one).

This is another squeaker. It seems like every time Fraction and Ferry take a step forward, they have to take another step back. The biggest problem lies in the fact that Fraction's head seems to be in the clouds on this story. The big picture is welldeveloped, but its time to raise the stakes by closing the story in a bit. Now that we have Loki back and the threat of the WorldEaters is closer to Earth, we might just get that. I certainly hope so as I'd love to see what this creative team is capable of once they really get going.

I hate giving this a Check It verdict, because I am really enjoying the story and the creators are clearly putting a tremendous amount of effort into making this an epic storyline. Unfortunately, it seemly doesn't work in a serialized form. I can almost guarantee that this comic would be a Buy It if I were reviewing the storyline as a whole in trade format. As a single issue, though, it's not working. Plus, I'm just not happy with the output from Ferry. This is a step down for him and a far cry from some of his strong works (like my personal favorite, his adaption of

Between the massive fight scene and the great confrontation between Wonder Woman and Tom, this was a fun, but brutal issue. There are some glaring problems and nagging issues, but this one is still worth reading and earn itself a solid recommendation.

Gail Simone's roller coaster run on this title continues to be a series of peaks and valleys. At times it is brilliant, while at others it is uncharacteristically weak. The incomplete looking and wildly inconsistent art from Lopresti doesn't help things any. This book shows a ton of potential and we all know what Simone is capable of, I'm just not sure how much longer I'm willing to wait for it.

The biggest problem with Wonder Woman #600 is that it simultaneously tells readers that Wonder Woman is a beautiful, timeless concept that embodies some very strong ideals, but also that she is completely broken and needs to be reimagined for a modern audience. In one corner, you have the heartfelt story by Gail Simone and George Perez that sums up everything that we love about Wonder Woman, but then you have the story by JMS that blatantly tells readers that they are wrong. The war between these two stories is what firmly plants this issue in Check It territory. The Simone/Perez story is a definite Must Read, but its downhill from there in varying degrees before the Avoid It finale that reminds us that if it ain't broke, don't fix it (Remember how well that worked with

I came into this issue expecting the worst and was pleasantly surprised with what the results. There is a lot about the "new" Wonder Woman that I don't agree with an see as highly unnecessary (something that I believe to be JMS's calling card), but it all works really well here as Wonder Woman seems fresh. Much of the credit belongs to artist Don Kramer, though, as he makes the most of this high profile gig. He has been one of my favorite artists for years and this issue is a prime example of why.

I never thought there would be a day where I would like anything written by JMS more than I did when it was written by Gail Simone, especially not a Wonder Woman comic, but I am very pleasantly surprised by how strong this run on Wonder Woman is thus far. With a great sense of mythology and mystery, this storyline has me hooked. Of course, it helps that the art is (mostly) done by Don Kramer, who remains one of DC's best artists. He does a great job of bringing this story to life and, hopefully, will be taking on this series solo in the issues to come.

This issue definitely made a run for a Buy It verdict thanks to some really interesting concepts presented by JMS and strong efforts from all of the artists involved. Unfortunately, the lack of cohesion in the art and the very rushed concepts in the writing held this one back just enough that it stayed in Check It range. I'm still really enjoying the new direction for Wonder Woman, but unfortunately this issue isn't quite up to par with the previous offerings in this run.

Phil Hester makes the most of this new highprofile gig by immediately going for an iconic take on Wonder Woman and absolutely nails it. It's too early to count chickens, but there is a ton of potential in Hester's run being the first real defining take on the character since Rucka's run ended. Unfortunately, the strength of the art is counter by some frighteningly bad art that brings the issue down hard. Not every page is problematic, but there are some that are just plain shockingly bad. I really want you to read this comic because the character work is so great, but I want you to be warned before you crack it open.

This is really, really on the fence between Check It and Buy It. The writing is superb as Hester has firmly established his take on Wonder Woman and is doing a phenomenal job with the character. Unfortunately, he is still trapped in the plot that JMS built before he abandoned the title and that plot has some holes that need plugging. What sends the book over the edge to the Check It level, though, is the art. This is not up to Kramer's standards by any means and, as a huge fan of his work, its hard to swallow!

While this isn't the strongest issue thus far of Phil Hester's run at the helm of JMS's Wonder Woman, it is a solid read that continues to showcase how strong Hester's vision for the character is. The cliffhanger was a great way to end this actionpacked issue and has me more excited than I have been at any point in this story arc. While I do wish that Kramer were drawing this book without fillins, Borges does a fine job of taking the reigns, despite a few hangups.

As a huge fan of Manhunter, it pains me to say that this issue would actually be higher on the Rankings if it weren't for the cofeature. The disappointing art by Jeanty and the illeffects of the page count keep the story from reaching the levels of quality achieved in the lead. Dini and Nguyen seem to have hit their stride with this issue and have convinced me to stick around for a while by simply mimicking what they were doing on Detective Comics before the postRIP shift.

Much like Blackest Night, Streets of Gotham was in desperate need of a pickmeup this week after a few interesting, but ultimately mediocre issues. If this issue is any indication of what's to come, this won't be a problem this series will see again anytime soon. Paul Dini's amazing character development, Andreyko finally finding the right pace for writing a cofeature, and great work from both art teams came extremely close to propelling this issue to the top spot on the Rankings and helped make this a book you absolutely should not miss.

This week's Streets of Gotham featured not one, but two strong stories. Chris Yost makes a strong case for him to write more Batrelated stories in the lead while Marc Andreyko continues to show more comfort with the shorter page count in the cofeature.

This issue really brings the goods on all levels. You get two fantastic stories with solid plots, great character writing, and simply superb art. There is very little to complain about in either stories, which makes it all the more impressive. What really sealed the deal for this issue though was how much fun I had reading them. These were just solidly entertaining stories and the superb craftsmanship is icing on the cake that earned this issue the

Both stories in this week's Streets of Gotham are fantastic reads with great twists. Paul Dini and Marc Andreyko have hit their strides with the writing and are helped out with really great art. Plus, and perhaps most notably, Damien is written as an interesting character for what feels like the first time ever.

The fact that this isn't an Avoid It book and didn't pull in a Burrito Book dishonor is really a testament to the strength of the backup story. Essentially, if you pick this up, you are paying $4 for the short Manhunter story and, while it is a great story, its hard to justify that!

I was really excited for this issue, having really dug the original Heart of Hush storyline. Unfortunately, the complete lack of focus in the main story (which seemed way shorter than the backup) combined with subpar efforts from the creative team left me baffled. There are some neat concepts here and I'd love to see more of the young Waynes, but that is definitely not enough for me to recommend this issue.

Andrew Kreisberg takes some storytelling risks in this story and it pays off huge. The lack of dialogue couldve backfired, but I cant blame him for giving it a shot when hes got Mike Norton to back him up. This issue was incredibly close to taking the top spot and I cant emphasize enough the fact that youre a fool if you arent reading this series right now.

. This one has two strong stories, a unique take on the DC's new co features, and superb art with two amazing inkers finishing up great work by Norton. There are some shortcomings in the stories that held the issue back a bit, but the talent of the entire creative team still manages to shine through and make this one a great read.

Again, I cannot emphasize enough how well handled the cofeature concept is here. This approach won't work with every book, but it is something that I think other writers should take notice of. This quality layered storytelling and a fine example of how Kreisberg could turn this series into a can't miss title. Of course, it helps that he has the art of Mike Norton to back him up. Despite only handling "layouts" (if you've seen Norton's layouts, you'll understand the need for quotation marks), Norton shows here why he is amongst the best artists of the year. The quality craftsmanship and inventive storytelling from cover to cover make this an easy choice for

This is another fine example of why this is one of the best books DC is currently putting out, as Kreisberg's inventive approaches to the cofeature and the strong work by the art team are incredibly impressive. The plot holes and uneven work from Sienkiewicz hold it back slightly. As a fan of Mia, her return was a highlight of the week for me and it really helped propel this issue into a strong showing this week.

The main story on this issue is a definite winner with Kreisberg doing a great job of spinning out of his previous arc into a new story in a very natural way with great art by Norton and Sienkeiwicz. Unfortunately, the backup story completely derails the issue with a nonsensical narrative and simply disappointing art. If it were just a "bad" backup story, I wouldn't mind as much, but this one is horrible enough that by the time I was finished, I forgot how good the lead was. That's not a good thing.

Andrew Kreisberg continues his impressive run on this title with more of what has made it so addictive this farclever use of the format, a solid plot, and simply awesome character work. The dual art teams continues to be a problem for this series, perhaps more so here than in previous issues because of the connection between the stories, though I'm glad to say that Guedes is fixing a lot of the issues that have bothered me about his work.

This is a wildly inconsistent issue that features some of the best and worst moments for both the writing and art that this series has seen (but more of the worst than the best). The character work was phenomenal and all of the artists show moments of great promise, but the issue simply can't overcome the ridiculousness of the Cobalt group, Cupid's back story, and the inconsistency with the art.

Andrew Kreisberg ends his run on the title just as strongly as he started it with a very solid close to what was a very enjoyable story. His take on the characters is incredibly solid and the twists he introduces were a lot of fun. I was really impressed with his work as a whole here. When you add in great art from the team of Sienkiwicz and Norton, this is a very solid issue despite a handful of frustrating flaws.

There have been some really great issues in the Blackest Night event that have subsequently topped one another, but as the story ends next month, I can honestly say that I don't think there will be a better tiein issue than this one. This issue balances the action and horror elements of the story with brilliant character work. I can't think of any issue that I've ever read that so perfectly captures the spirit of Green Arrow the way that this one does. This is not only the easy choice for Book of the Week but is also leading the shortlist for Best Single Issue of the Year.

This issue is a failure on so many levels. It is really sad that Green Arrow #30 was an easy choice for Book of the Week, only to have it followed up by an issue that completely misses the mark in almost every single way. I don't want to fault JT Krul because he is an immense talent, but he does very little to make this mess of a storyline compelling. I can honestly say that I was able to approach this issue objectively (despite my previous unhappiness with its direction), but even looking at this with a clear head and no baggage isn't enough to make it enjoyable. Green Arrow is one of my alltime favorite superheroes and, much like Batman, I have a heard time fathoming a world where I wouldn't be reading his starring title, but this is so bad that I'm probably going to drop this book until this stupid storyline is dropped and forgotten.

The term "Epic Failure" was invented specifically to describe things like this comic. Almost nothing about this story works on any level, unless the end goal was to make you dislike Green Arrow and lose all interest in the June relaunch of the title. I really do not blame writer

This series keeps getting stronger and is getting close to the level of awesomeness that Devil's Due's

Chuck Dixon continues to prove that he was a great choice to helm IDW's relaunch of the GI Joe franchise, though it is painfully clear with this issue that his strong writing can only take the book so far. The haphazard art of S.L. Gallant nearly ruined this issue for me. We may only two issues into his run as artist, but is it too early to call in for a replacement?

Aside from some character design problems and the horrible Scottish accents, this is a pretty solid issue and an entertaining read. There is a nice balance of action and character moments, with the Mainframe/Snake Eyes scenes stealing the issue. It definitely needs some polish, but is otherwise another strong issue for this great series.

While I'm glad to see that this issue kickstarted some of the action that has been slowly building since this title launched, the uneven pacing and poor art by S.L. Gallant completely kills any excitement that I should have gotten from Snake Eyes taking on a whole bunch of Cobra by himself and the first appearance of a major Cobra operative that wasn't Baroness.

While I'm glad to see that this issue kickstarted some of the action that has been slowly building since this title launched, the uneven pacing and poor art by S.L. Gallant completely kills any excitement that I should have gotten from Snake Eyes taking on a whole bunch of Cobra by himself and the first appearance of a major Cobra operative that wasn't Baroness.

Chuck Dixon is doing some very interesting things with the writing in this issue, including some great steps forward in the Scarlett storyline as well as some awesome buildup in the mystery behind Cobra. Unfortunately, SL Gallant's art is so illfitting that it cripples the entire operation.

This week's GI Joe is a very solid effort and one of the stronger issues of the series thus far. After a full year's worth of issues, I'd say that this series is definitely hitting its stride and quickly approaching the quality of the

This issue is a lot of fun if you are a big fan of GI Joe. The character work is great and Robert Atkins absolutely knocks it out of the park. More casual fans might be turned off by the nonmarquee characters and the lack of a plot, though.

Anytime Robert Atkins handles the art on GI Joe, you can almost certainly count on it being a Buy It or above book and this issue does not disappoint. It's a solid mix of characterfocused storytelling and action that works on a number of levels with only handful of issues, none of which are especially major. Could it use some polish? Of course, but that doesn't mean it is isn't worth your cash.

This is a very solid, straightforward issue that showcases a lot of the strengths that have made GI Joe such an excellent series since it was relaunched with IDW. Both Chuck Dixon and Robert Atkins have hit their respective strides with the series. I absolutely love the way that they are building up both Scarlet and Destro, two of my absolute favorite characters in the franchise. This issue works on a number of levels and is well worth your time and cash.

The biggest flaw with this issue is that it simply isnt necessary. If youve read Battle for the Cowl, you arent getting much new information here (except the introduction of a new stalker character), so this one is easy to skip, despite it being a strong effort from the creative team.

This is definitely the strongest issue of the miniseries in terms of story, dialogue, and coloring, but the strong work by Brubaker and Staples cannot fully overcome plot issues and the unevenness of Sean Phillips's art. My recommendation is to wait for trade and hope that this issue can help salvage the miniseries when taken as a whole.

Incognito wraps up in style with this excellent final issue that features some of the best writing Ed Brubaker has produced this year. This great character work and pulpy plot are accented well by the colors by Val Staples and could have easily earned the book top honors this week if Sean Phillips was just a bit more consistent in his output.

This issue was ridiculously close to being a Must Read, but fell just short, mostly due to its inaccessibleness to new readers at a time when there might be an influx of unaware newbies and the super thin plot of the backup. However, when you've got two artists that really bring their Agames, it goes a long way. Pelletier and Stegman's work are worth the purchase price alone.

There is a lot going on in this week's Incredible Hulk, but unless you've been closely following the story, you might get lost in the multitude of twists. That makes it really hard for me to appreciate this issue to the fullest extent It also doesn't help that Paul Pelletier, normally a superb artist, has a really rough go here. The solid character writing from Greg Pak and great backup art from Ryan Stegman go a long way, but its not quite far enough to bump this into Buy It territory.

This is another issue that was a lot of fun to read, but in terms of craft and clarity, falls short. There is too much going on here that isn't set up well, making a lot of the action and twists totally unclear. The ride is fun, but to be wholly satisfying, I need something more to grip on to. However, it is good setup for the upcoming World War Hulks story, so mission accomplished in that regard. The backup story lives and dies by the art, so it is a good thing that Stegman bring his Agame. I just wish he had a more substantial story to draw here.

Brian Reed and Walter Geovani have had a great run thus far, but this issue really shows the potential that they have when they pick up the pace and start piliing on the story. There are some issues that come with this shift, but if they can iron out these wrinkles, this series will close out on a high note. This just barely missed being a "Strongly Recommended" issue.

The hype surrounding this issue was pretty huge, but the creative blows that away with a takenoprisoners approach to Marvel mythology that simultaneously flies in the face of everything you thought you knew about the Marvel Universe and captures the sense of wonder that makes Marvel's Silver Age comics so timeless. This is a beautiful book that is going to be divisive, but if you can stomach the retcons and playful approach to history, there was no other book that could even come close to this one this week.

While I'm still digging the concepts and the characters in S.H.I.E.L.D., the storytelling gaps and unnecessary avoidance of anything grounded makes this a huge step down from the previous issue. Hickman is jumping head first without making sure that there is water in the pool. Thankfully there is enough to keep him from metaphorically perishing, but there isn't really enough to have that great of a time. I'd like to see better focus and more control from Dustin Weaver in the next issue of this series. For something that was so great out of the gate, I can't help but feel like this series has taken a sharp turn in the wrong direction.

This issue came very close to a Buy It verdict and, in a lot of ways, has characteristics of a Must Read book. Unfortunately, for everything this issue does right (which is a lot), there are so many missed opportunities, poor transitions, and a severe lack of focus that pulls it down. I love so much of what is going on in this series, but with nothing to ground the unbridled plethora of ideas that we are seeing here, its hard to get invested. I feel like Jonathan Hickman has so many great ideas, he is in a rush to put them out on paper before he loses themunfortunately, that means we get a lot of fantastic ideas that will make for amazing stories, but there is no cohesion or focus to turn them into a great story now.

This issue is a clinic on how to pull off an event comic. It has a massive scope yet doesn't alienate the characters. It builds tension immaculately. It wastes no time in disrupting the status quo. It even manages to make character deaths not feel cheap, even though those same dead characters come back just moments later. This is the perfect setup for the event and features some of the best character writing and most gorgeous art of the week. We are only one issue in and already Blackest Night is worth the wait and has exceeded the immense amount of hype that surrounded it. This is sick brilliance and I cannot wait to see where they go from here.

This issue is more flash than substance, especially with the writing. I am did definitely enjoy the issue, but don't expect the character depth or the gripping plot of the first issue. Instead, you'll get a series of strong moments with little connect beyond the inclusion of undead superheroes. Don't get me wrong, I enjoyed the crap out of this issue, especially the artwork, but I didn't feel tremendous satisfied with the story in the end.

Aside from the allpowerful nature of the Indigo Tribe and the principle behind Gehenna's death, this is a ridiculously wellput together comic. Johns does some of his best writing of 2009 and Ivan Reis's artwork is amongst the best work of his career. Under normal circumstances, a comic that hinges on a cheap shock death like this would be condemned on the Rankings, but Johns does such a great job writing the characters and their raw emotions that even I can't fault him and I am probably the single biggest fan of this version of Firestorm on the internet.

It's not that I'm tired of Blackest Night, I'm just tired of the fact that every single tiein issue is doing the exact same thing. We get it, already, Black Lanterns are horrible and we should be sad because they used to be our friends.

If more energy was put into explaining the "big shock moments" and telling a good story and less was put on building towards flashy splash pages, this would be a considerably stronger issue. It's totally worth getting your hands on it for the art as its features some simply amazing work, but don't say I didn't warn you.

This is really lives and dies by its last few pages, which introduce the 24 hour Lantern deputies. On one hand, its really cool to see characters like Wonder Woman suit up as a Star Sapphire, but on the flipside there isn't much else going on in this issue and this scene is filled with major plot problems (it really opens up a can of worms about the powers of the Guardians and the Lanterns themselves). In the end, its great to see the new Lanterns, but by now you've probably seen the images on the 'net or on the revealed covers for

This is AWESOME. This issue is absolutely epic in every way possible, from the strong writing to the absolutely gorgeous art. This is definitely on the best single issues from a major event that we've seen in a long, long time. The highlight, of course, is the reveal of Sinestro as the longawaited White Lantern, which is a great new twist in one of the most intriguing character histories in all of DC's holdings. I cannot wait to see where

The last issue of Blackest Night is pretty epic and full of awesome moments. It's a popcornflick style comic that delivers up to expectation on almost every level. It certainly could be more and there is a lot that could've been done better, but as far as event comics go, this certainly beats out the finale of the last several events we've seen from Marvel and DC in the last few years. I enjoyed it and I'm sure you will too, just don't dissect it too much or the flaws will ruin it for you.

This is a fun issue that features some cool characterization, but the poor pacing and the very uneven art really hold it back. While this issue does feature some of the coolest scenes and concepts we've seen so far, it feels so haphazardly put together that I can't justify giving it a stronger verdict, even if I did still enjoy it as a whole.

There are a lot of things that I really, really liked about this issue. Unfortunately, for everything I dug, there was something else that I didn't care much for. It was one step forward and one step back throughout the majority of the issue. When you add in the lack of plot substance, I can't justify ranking the issue any higher, despite its many admirable qualities.

The strength of the writing in this issue definitely propels it up the Rankings, but SL Gallant deserves a lot of credit for stepping up with the art. This is definitely the highest quality art that we've seen from Gallant and he chose a great issue to showcase it as this is also one the strongest GI Joe issues that Dixon has produced. You really shouldn't miss this great doneinone.

When this issue works, it really works. Unfortunately, it only works part of the time and the rest of the time, it is wallowing in mediocrity. The biggest problem that this issue has is that SL Gallant is still struggling with consistency. When he tightens up his work, he is capable of some really great work, but too often he is plagued with problems like his inability to draw Scarlett the same way twice. This isn't necessarily a bad comic, but I know that this creative team and this comic can do so much better!

This issue has lots of cool concepts and does a solid job at introducing a few new Joes (including one of my favorites, Shipwreck), but is fairly mediocre thanks to some nagging issues that just didn't click with me. When you add in the humdrum art, you get an issue that is mostly just "there." You won't hate it, but you won't love it either.

This is perhaps the most fastpaced issue that this series has seen, with

This is probably the strongest non

Slightly shallow character writing aside, this issue's flaws are few and far between. The entire franchise ramps up with this issue as we get closer to the inevitable fullon war between Cobra and the Joes. That will only serve to elevate my enjoyment of this tremendously wellthought out series, especially if Robert Atkins sticks around. Plus, any issue both Helix and Storm Shadow is that much more awesome by default. Don't miss this one!

As IDW's take on GI Joe reaches its twoyear point, things are looking as good as ever. Chuck Dixon finds the right mix of action and character work and gets a fine assist from artist Robert Atkins. This has the makings of a Must Read comic if not for a few hangups here and there, but overall, it's one of the strongest issues this series has seen since the relaunch.

It was extremely difficult choosing this week's

This volume of GI Joe is on its way out (a relaunch is planned for later this year after Cobra Commander was killed a few weeks ago in

Compared to the first two issues, this one is a noticeable step down in quality, but it is still a very solid read. The character work is fun, but it quickly takes a back seat to the confrontation between Osborn, the Dark Avengers, and the Fantastic Four, which is problematic when the art struggles to carry the action. That being said, it is very cool to see Daken's schemes in motion and the ending has me excited to see what sort of madness he is going to pull off next.

This is a fun read, even with the plot holes. While this issue is a step down from those previous, it does set up a lot of great beats to be picked up next time. Plus, it features one of my favorite scenes in the week in which Daken causes a girl to run in front of a moving bus, only then to help an elderly bystander. That alone is worth checking out.

Dark Wolverine remains one of the more intelligent and thoughtprovoking books on the stands with this issue, though the skipped details and muddylooking art hold it back from jumping up any higher on the Rankings. This book has a ton of potential and some of that shows here, but too much of it just misses the mark.

This issue is a bit hokey and a bit heavyhanded at times, but is ultimately a sweet tale that is an interesting character study. Given how "damaged" and downright unlikable Supergirl's personality became over the last few runs prior to the Gates/Igleera. The one could use a bit of polish, but is still a great read.

I'd like to amend this by saying that it should be a Check It status if you haven't read the Action Comics issues, but if you've been following the whole story, this is a great payoff that sends both Supergirl and Flamebird into interesting new directions. The strong character work carries this one, but runs into some snags with the art.

This issue was very, very close to make it to "Must Read" status, with the adjustment towards the art and the confusing background characters really being the only major problems that stood out to me. After being bogged down by crossovers through most of the year, this is the type of issue that can put Supergirl back to the status it held in the latter part of 2008. This is definitely my favorite Superbook in some time.

The biggest problem with this issue is that

This issue has all of the makings of a great issue, but falls apart in execution. There is simply too much story to be contained successfully in one issue, so neither of the two major story beats ends up really being that successful. Matt Camp does his best to salvage the issue, but struggles with his own major inconsistencies too much to save this one.

The price of this issue is a bit high, even for an oversized story and a backup, but the creative teams certainly do their best to give readers the most bang for their buck. Not only do you get two really fun stories, you get some of the best looking Supergirl art in ages, as both Jamal Igle and Cliff Chiang really step it up here. This issue took me by surprise, but really impressed me with how it turned out.

After the last year or so has meant that Supergirl has gotten lost in crossover after crossover, I'm glad to see that the book is back on track and hasn't missed a beat. As a transition story, this isn't my favorite issue ever, but it shows that Gates and Igle have not lost a step and that Supergirl could easily become DC's best nonSecret Six book once again (of course, now it has to tangle with the ridiculously underrated Batgirl).

Supergirl #54 is not inherently a bad issue, its just an issue that should be considerably better than it really is. Sterling Gates and Jamal Igle do showcase a lot of what has made this series so great under their watch, but the repeated plot elements, awkward anatomy, and poor coloring drag this issue down further than the high points can really bring it up from. With Kara back into action at the end of this issue (well, sort of, but I won't spoil it for you), I'm hoping next issue will be a step back to form for this title.

There are definitely some cool things going on in this issue that make it worth a word; unfortunately, the craftsmanship around those things simply isn't up to snuff for this title. For starters,

In a lot of ways, this issue is a step in the right direction. Jamal Igle's work continues to be very strong, especially with inker Jon Sibal on board. The concepts that Sterling Gates presents for Bizarroworld are really cool, even if there are some missteps in the execution. My biggest problem is still the ending, as I feel that Supergirl is a strong enough character to stand on her own and this issue would be a great way to bring her out of the funk that the character has put herself into over the last few years. It could be a turning point, but I feel like Gates is backpedaling too hard.

This issue is simply brilliant. Sterling Gates does a wonderful job of stepping up his Supergirl to an allnew level that really revitalizes her (just in time for Nick Spencer to take over in a few months). Between the amazing art, fantastic story, and great character writing, this issue really showcases just what Supergirl is capable of as a character and how complex she can be. It's not often that a single issue is a game changer for a character without resorting to gimmicks, but this issue is just that, which is precisely why it tipped the book over the edge to make it my pick for

This is one of those few issues where the sum of the parts really outweighs the individual achievements. If I nitpick, there are quite a few little things in this issue that don't work for me, but when I step back and look at the issue as a whole, it really comes together quite nicely in spite of the development of Cat Grant, some art inconsistencies, and a headscratching final two pages. When you take it all in, this is a great way to kick off Sterling Gates and Jamal Igle's final storyline as the Supergirl creative team, bringing together a lot of plot threads they've left hanging while encapsulating a lot things that made their run so enjoyable.

While this is a far cry from some of the best issues in the overallstellar Gates/Igle run on this series, it does close out their time on the title on a strong note. The creative team did a fine job of giving Supergirl a strong supporting cast and in fleshing out the character, both of which are on full display in this finely crafted comic. While this is by no means groundbreaking, it is fun, well put together, and definitely worth your money.

The main purpose of this issue is clearly to build tension for the remainder of the miniseries and on that level, this issue works very, very well. The stage is set for the big battle and the ante is upped with the destruction of New Krypton. The strong character writing and expressive art do a great job of sucking the reader in, which is precisely what this issue needed to do. There has been a lot of buildup towards this story and I'd say, so far, it seems worth it.

This issue was very close to earning a Buy It verdict as well, but the lack of focus in this fartoo briskly paced issue drags it down. Much like Siege, we are getting a big picture look at a major conflict, despite the fact that it has a very personal significance to characters that are being written compellingly when they have do get a chance to shine. I try not to review comics based upon what they aren't, but I can't help but feel like this issue does not live up to its potential despite hints of exciting action and some engaging character work.

Longtime Titans fans should really enjoy this one. It's shocking, violent, heartbreaking, and, at times, a lot of fun. It's really all that I expected, but with better art than I had anticipated. In fact, for most of the issue, I was so impressed with Benes's take on Hawk & Dove that I wouldn't have minded seeing him handle the art chores on a miniseries starring the duo. That is, of course, until the end of this issue ripped through any possibility of that.

The shockandawe of characters returning from the dead in Blackest Night is starting to get a bit tired, but JT Krul and Ed Benes put some fun spins on it in this issue. It's nothing too far off from what the other creators have done, but Krul and Benes really sell it, especially for longtime Titans fans. Plus, you may not find any comics outside of this series where the female Hawk and Dove actually catch on (even if Hawk is deadish).

Given the strength of this miniseries first two issues, this one is a bit of a letdown. The art isnt nearly as strong and the treatment of Terra is simply ridiculous and unnecessary. There is a lot to like, but for every step forward the issue takes, there is something bad going on to bring it back a step. If you arent following this title, you may want to check this one out anyway simply because of the revelation regarding Doves powers and how it affects the Black Lanterns.

This could have jumped to "Strongly Recommended" were it not for the less than stellar art from Scalera and the plot moving far too quickly. This issue shows a lot of potential for Dynamo 5's "comeback" in the realm of mustread books; I look forward to where Faerber and Arar take the series from this point forward.

Hooray for steady improvement as Dynamo 5 drops its second solid issue this month! This is the Dynamo 5 that I've been missing. The issue does move a bit too briskly for my tastes; I just wanted to revel in the goodness a bit longer, I guess. Were it not for the outofcharacter dip in quality from Mahmud Asrar, this would definitely be a can't miss issue and a fine return to form for the series.

Dynamo 5 was once one of the hottest titles on the stands and, while things might have cooled off for it in 2009, this issue sets things in motions for a comeback in a big way. Jay Faerber works with a slew of great artists to establish an exciting new status quo as he closes one chapter for the series and begins a new one. The only bad thing about this issue? It is Mahmud Asrar's last as the regular artist!

This week's Runaways is a perfect example of "middleoftheroad" quality. The character work is good, but is countered by an unfocused plot. The style and storytelling of the art are strong, but the expressions are not. It's a lot of giveandtake that shows tremendous potential, but is a noticeable step down from last issue.

If you can get passed Immonen's often unfocused narrative style and Pichelli's lack of backgrounds, you've got a wonderful issue on your hands. This is clearly a capable creative team and they have something great going here, they just need to fix those glaring issues to make this can't miss book once again. I've got faith that they can do it, I'm just hoping it happens sooner rather than later.