Amazing to see Gage unleashed. This is not what you'd expect from him in terms of tone and story, but perfectly fits with his talent. Would like to see stronger art with more consistency, but the story still carries it.

Given the last minute creative team switch on this issue, I'm not surprised that this isn't the strongest issue of Paul Cornell's that I've ever read (Marc Guggenheim was originally solicited as the writer), but there is still a lot to like about this issue and enough to show that the concept has a lot of potential. It is a bit unfocused and the logical leaps are a bit much to swallow, but I think it is still worth a read if you've got a chance.

I picked this issue up knowing how great the Jimmy Olsen backup feature was (after it had been posted on Comixology last week), but was pleasantly surprised to see that the Lex Luthor main story was leaps and bounds ahead of the first (and only) installment I had read a few months back. With clever writing from both Cornell and Spencer, as well as fantastic art from both Chen and Silva, this is a definite "can't miss" comic.

If you have the patience to follow the lead story carefully,

You get a brilliantly written Lex Luthor, a fantastic guest appearance the Secret Six, the insanely enjoyable Jimmy Olsen by Nick Spencer, and art from two of the finest creators in the business today. You cannot go wrong with this issue of Action Comics, which is definitely a Book of the Week caliber comic and would be a shoein if not for the fact that this has was such a great week for the industry (which, in all honesty, featured five Book of the Week caliber comics). Don't miss this.

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

I'm a fool. Knowing how much I loved the original Agents of Atlas miniseries and knowing how capable of a writer Jeff Parker is, I should've been reading this series all long. This issue is all about achieving balances and the creative really pulls it off. This one is pure fun.

The price tag on this issue is a bit hefty ($4.99), but with 40+ pages of story content and superb presentation quality, this issue is still a strong value. Fans of the Aladdin legend should really enjoy the way that Edginton keeps things familiar while still taking ownership with his intriguing changes and strong character work. The art doesn't exactly wow me, but when you've got a story this good, you can always make exceptions. This one might be a bit hard to track down for some readers, but if you run across a copy, it is well worth your time!

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!

. 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.

As grumpy as I was regarding the massive delay between issues prior to picking this up, I walked away not caring. Seriously, if this is the level of quality that I can expect, Ellis and Percio can take all the time that they need. This one is great fun on a purely visceral level if that is what you are looking for, but a closer read will reveal a multitude of layers and thoughprovoking concepts if you are looking for something a bit meatier. In that sense and in terms of sheer quality, I'd compare this issue to Image Comics'

This issue excels in every aspect of craftsmanship and should not be missed under any circumstances!

This issue just barely sneaks onto the Buy It plateau. At $4.99, it is a tad pricier than most comics, but you get two extended stories. The first really didn't do much for me this week, but I've got a lot of faith in the writing team and I know they can bring it back around. That alone is probably a Check It level story, but it is balanced out by the Must Read brilliance of the Rocket Raccoon and Groot second story. So, although I do say Buy It, I want to forewarn you that the lead is a bit of a letdown.

Comic book readers are constantly complaining about comics not being fun anymore, but then often overlook comics like this issue that are precisely that. Seeley's playful tone and great character work make this a highly enjoyable issue that has a decidedly different feel than any other book that Marvel is currently publishing. Its oldschool superheroics with a newschool attitude presented through fine craftsmanship. While not quite jumping into Must Read territory, I still highly recommend it.

Tim Seeley makes the best of this great opportunity to bring something a bit offbeat to the Marvel Universe while simultaneously showcasing his skills to an audience that may not be as familiar with his awesomeness. This issue features some extremely creative concepts while remaining grounded with strong character writingall wrapped up in some fantastic artwork. While the title characters may keep some readers away, don't let them discourage youthis is a can't miss comic.

In all honesty, I'm sad to see this miniseries end. Tim Seeley is absolutely superb on all levels in this incredibly fun issue. You get big crazy concepts, great characters, and fantastic artyou really can't go wrong with this one. AntMan and Wasp is a really wellcrafted comic and one of the biggest surprises of the last few months.

I can't say that there have been many major event storylines that are good jumping on points for new readers, but with a little bit of Wikipedia research, this is a great place for newbies to start out in the Top Cow Universe. The characters are introduced well and the concepts seem to unfold naturally as it builds up to a great conclusion that has me excited for the next issue. Am I newfound Top Cow junkie? Not yet, but I'm certainly on board for this exciting story.

Honestly, when the kind folks at Top Cow sent me a review copy of

Artifacts #3 is a weird beast. In some ways, the flurry of character introductions puts you in information overload, but on the flipside, the lack of story movement makes you wish there were more meat in the issue. This draws and interesting parallel with the absurd number of artists who touch this issue, but don't seem to touch it enough. I'm intrigued by where the story is going and I want to know more about the characters we are introduced to here, but I need something more than what we are getting here. This issue is on the right track, it's just not going anywhere yet.

Jeff Parker and Company bring their Agame on this very unusual first issue that taps a pulpy noir vein and manages to make one of the least interesting characters in all of Marvel one of the most intriguing. You get a great mystery and fantastic art in this issue, which has me clamoring for more. You can't ask for more from a debut issue.

After being let down a bit by the last volume of Agents of Atlas (I loved the original miniseries), I'm glad to see that Jeff Parker's pet team are back to form with this new ongoing. I had high hopes but did not expect this issue to be as fantastic as it was. When you take a character as lame as 3D Man and make a story compelling around him, you know you are onto this one. I wouldn't recommend missing out on this issue as it is well worth your time and money.

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'm a sucker for teen superheroes, particularly those that are presented in a complex and reverent manner. This issue takes cues from some of my favorite teen hero runs as it presents some of the most interesting and intriguing new characters that have come from Marvel in quite some time. Gage and McKone have a ridiculous amount of potential in this series, which says a lot considering this is already a wildly entertaining and finely crafted issue. The sky is the limit on this one and I highly suggest that you get in on the ground floor before its too late.

The first issue of Avengers Academy really blew my away with his quality craftsmanship, especially the strength of Christos Gage's new characters. This second issue shows that the first was definitely not a fluke as he builds upon all of the strengths of the first issue and throws in a slew of new twists as he focuses on Finesse. When you add in another strong effort from Mike McKone, you have a comic that you'd be insane not to buy.

After three straight second place performances on the Rankings, Avengers Academy finally snags its first

I've been a huge fan of Christos Gage for years, but with Avengers Academy, he has completely redefined himself as a writer and jumped into the upper echelon of characterwriters. His work on this issue has just been superb and this issue might be his best effort yet. The way that he has turned Striker into the most interesting and complex characters in the series is just phenomenal. Jorge Molina does an admirable job stepping in for Mike McKone here, as well. Honestly, this one had Book of the Week written all over it, but was just barely edged out for the top spot.

It's really hard not to compare this issue to the previous efforts from this awesome series because the quality of those issues was so high. On its own merits, there is a lot to like here, but knowing the potential that Gage and McKone have, it doesn't add up. Of course, it doesn't help that the multiple inkers on McKone's art give it an uneven quality. This isn't a horrible comic by any means, but its definitely a step down for this otherwise brilliant series.

This week's Avengers Academy made a strong run at the top spot this week through a great combination of exciting action, strong art, and brilliant character writing. This will be the defining Hank Pym story for years to come and with good reason, Gage does a great job of redefining the character in a way that opens up a lot of potential stories without fundamentally changing anything about the character that has come before. Oh yeah, and you think that

Avengers Academy has been simply amazing from day one, but Gage and McKone take it to a completely new level here. This is one of the finest issues I've ever seen from either creator. The Taskmaster/Finesse situation is incredibly intriguing and the way that it plays out here is simply incredible. This will be the new standard for this title and for these creators. Not only is this an incredibly easily pick for

Are you reading Avengers Academy? No? Why not? Seriously, this is the best comic that Marvel is currently releasing and probably the best comic that they have released in years. You need to read this book, including this issue. Seriously, go buy it right now. You won't regret it.

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.

While there are some occasional missteps for both the writing and the art, Batgirl continues to be an impressive series in its second issue. Miller is doing a good job of building some credibility and depth for Stephanie, which is something she drastically needs and will be the lynchpin to the success of this series long term. However, as it stands now, the future looks bright for this series.

Despite a few missteps here and there, Batgirl #3 is a very solid issue and does a great job of cementing Stephanie into the role of Batgirl. There is a lot of grumbling amongst fans that she is replacing

As this series continues to settle into "its place" amongst DC's other titles, I'm really pleased with how things are coming together for the creative team. Lee Garbett struggles at time, but has good chemistry with Bryan Q. Miller who is doing some simply amazing work as he makes Batgirl one of DC's most engaging characters. The unlikely duo of Batgirl and Robin in this issue only fuels that and makes this a really enjoyable issue.

As this series continues to settle into "its place" amongst DC's other titles, I'm really pleased with how things are coming together for the creative team. Lee Garbett struggles at time, but has good chemistry with Bryan Q. Miller who is doing some simply amazing work as he makes Batgirl one of DC's most engaging characters. The unlikely duo of Batgirl and Robin in this issue only fuels that and makes this a really enjoyable issue.

From cover to cover, this is a finely crafted, incredibly entertaining comic. Miller is getting stronger with every single issue and this one showcases exactly how strong of a writer he is. I would not be surprised if you start seeing him take on more prestigious projects by year's end. When you add in the excellent art from Garbett, you've got an excellent comic on your hands that is likely to be criminally overlooked. Don't be one of those fools, go pick this one up!

This issue was really, really close to pulling in a Buy It verdict, but the inconsistent art performance really killed the momentum built up by the strong writing. You'll may still want to check it out so that you can be prepped for this week's issue of Red Robin though, which you'll read more about later on in the Rankings.

Stephanie Brown as Batgirl was a hard sell for a lot of readers, but with issues like this, that debate seems totally unnecessary as Bryan Miller and Lee Garbett do such amazing work that I can't imagine any reader wanting it any other way. The craftsmanship in this issue is amongst the best you'll find in any superhero comic and its incredibly fun to boot.

As a longtime fan of Stephanie Brown and off the Batgirl legacy, I had high hopes for this series, but I don't think I could have ever imagined that it would so quickly become one of DC's strongest titles. Issues like this are a perfect example of why this might just be the best solocharacter series that the company is producing today. Then again, I can't argue with high quality storytelling, polished craftsmanship, and fun characters in an engaging plot (of course, that could just be me).

Another month and another win for what is probably DC's single best straightup superhero comic (the only comic they are publishing right now that is better would have to be Secret Six). The ridiculous amount of charm and personality in both the writing and the art should win over most readers, which the strong action and intriguing work in the rivalry between Oracle and Calculator should win over the rest. I know that Stephanie Brown has been a tough sell to a lot of readers, but there is no reason this comic isn't on everyone's pull list and this is another example of why.

In a week that featured five Must Read books, you'd think it was a hard fought battle for the

Batgirl is easily DCs second best book after Secret Six and, with issues like this, it is going to give that title a run for its money. This issue is filled with heart and personality while delivering a very strong done-in-one story. Its not filled with shocking revelations or major twists, but its highly entertaining and features one of the best endings from a single-issue story that Ive read in a long time. It was simple, but very powerful and highly evocative of the type of storytelling that made Batman: The Animated Series so amazing. Simply put, Bryan Q. Miller is establishing himself as one of the best character writers in the business. This is Pere Perezs first full issue on the series and, while I wouldnt say he is as sharp as Lee Garbett yet, he makes the most of it. The art isnt flashing, but its paced incredibly well and does a brilliant job of establishing the tone of the story. Its solid work that is perfect for this story. I cannot recommend this series enough and this is

I've seen a lot of reviews trash this issue for being a silly doneinone story, which is absolutely ridiculous. This story is meant to be brief and fun and selfcontained; these are strengths, not its weaknesses. This is a bit silly and it is inconsequential, but it is also a ton of fun and extremely charming. This is one of the more entertaining comics I've read all year.

I really hate to see Lee Garbett leaving this title because he had amazing chemistry with writer Bryan Q. Miller and the two did such an impressive job of bringing the adventures of Stephanie Brown to life, but it's hard to be upset when his replacement is the alwaysimpressive Dustin Nguyen. Nguyen and Miller make an excellent team here and continue the winning ways for this insanely charming and addictive series. Another month, another big win for Batgirlthe best superhero book that you probably aren't reading.

Another month and another fun issue of Batgirl, one of DC's top titles. Between Miller's superb character work and Nguyen's clear storytelling, this issue is as technically sound as it is entertaining. I've been singing this book's praises nonstop since its debut and this issue continues that winning trend, despite a handful of stumbling blocks that keep it from reaching a Must Read level.

In a week full of wellcrafted comics, what really gave Batgirl the edge was the fact that, not only was it supremely put together thanks to some amazing work from the creative team, it was also extremely enjoyable. The charm of this series is turned up to eleven in this issue. I never thought that any comic featuring Klarion the Witch Boy could top the Rankings, but this issue earned the spot easily thanks to the stellar work of Miller and Nguyen. A lot of folks still scoff at the high praise that this series has earned from its devoted fanbase, which is unfortunatethis is one of DC's finest comics. Everything about this issue screams

While this isn't the strongest issue of Batgirl in recent memory, it does feature all of the wit, charm, and personality that make this DC's most underrated book. Miller does a lot of setup work here, so I expect the next issue to make up for some of the more awkward moments in this one, though the big thing that keeps this from being a Must Read is the uneven effort from Ramon Bachs. This is a great comic, though, and it just barely falls short of reaching that next level.

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.

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 one is going to be a hard sell due to the $4.99 price tag, but the creative team does their best to make it worth the high price. Azarello's work is very strong as he introduces readers to this new universe and his new take on the classic characters. Unfortunately, the unevenness of Phil Noto's artwork does hold the issue back at times, despite the fact that there are a handful of simply jawdroppingly awesome panels in the issue.

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 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

I have to be totally honest, this could have been the Book of the Week or a very strong runnerup if the art was just a bit more under control. Grant Morrison absolutely shines in this issue with his cleveryetclear approach to the characters, concepts, and plots. There is so much about this issue that I absolutely loved, it just kills me that the inking holds back the art so much. Inkers are often considered the unsung heroes of the business, but here, the inker is definitely the villain! A great performance from almost all around earn this the Must Read verdict, though it clearly had the potential for so much more!

When Grant Morrison manages to inject some fun into his weird and builds that out of a strong plot and great characterization, he is hard to beat and that is exactly what we get here. This issue features some great development as the Batman, Inc concept is fleshed out more in this highly entertaining issue. Paquette's art is a strong fit for the series, especially with the improvement made from last issue, though the inking is just a terrible fit. The sooner this is fixed, the sooner this book will be a contender for the top spot on the Rankings.

There are a lot things that work really well in theory in this issue, as Grant Morrison has some fun, wacky ideas that could work really well with the tense plot, but the execution from both the writer and artist Yanick Paquette here just aren't up to snuff compared to their usual work. The great cliffhanger has me excited for next issue, but I can't help but feel like this one should've been stronger than it was.

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.

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.

This issue just barely misses the Must Read verdict. You have writing from Grant Morrison that easily earns the verdict, but the art just barely falls short and, when combined with an unjustified $4.99 price point, I can't rationalize bumping this book to the next level. That being said, it's still a very strong comic that has me extremely excited for the future of the Batline and, perhaps most importantly, Grant Morrison's participation in it. He casts aside the chains of his convoluted highconcept Batman versus Dr. Hurt epic in favor of a more directed and grounded approach that should appeal to both his loyalists and his fans that were disenchanted with his recent output. It's not quite a Must Read, but it's still a winning comic.

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

This year saw the release of number of highprofile original graphic novels like

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.

To tell you the truth, a lot of the comics that are sent to reviewers really aren't that good. We get bombarded with PDF files each week and only a handful of the comics are worth the mass email that their publishers send out. I've spared you the agony of reading me trashing a good number of them myself. Hotwire, however, stands apart. It is a fastpaced, complex, and incredibly engaging action tale with some of the smartest character writing I've read in a long time. The art is lush and exciting. The extras are superb. This is the type of book that I'm glad to find in my email inbox. In fact, this is a book that I'd be proud to have on my shelf and you should too (in other words, if anyone at Radical is reading this, I want a hardcopy of the actual print release!).

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.

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.

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.

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.

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.

. I think this book would benefit from swapping the lead and the backup. Sturges, Norton, and Rapmund put together the much stronger story, but clearly need more space to do everything they are trying to accomplish. The lead story was interesting and had a lot of potential, but ultimately falls flat in comparison to the "second feature."

The cofeature is still the highlight of the series for me, but the lead story made me feel much better about picking up the entire book than it has in the past. This is the first time it seemed that Dan Jurgens was comfortable back in the writingseat. I'm still a bit confused about Blair Butler's cameo, though. Unless you are a big fan of G4, her appearance on the cover is a bit baffling and her onepanel cameo in the issue does little to help that. It makes you wonder why DC even bothered.

With a fun, adventurous leadstory and strong art throughout, this issue of Booster Gold is another win for the book since adding the Blue Beetle backup. The cofeature was a bit simplistic, but the character work was solid enough for me to overlook that. The only thing that really held this one back was the unacceptable discrepancies in how Black Beetle was portrayed between the two stories.

Both stories in Booster Gold are a bit light on plot, but feature strong character writing. For once, the lead is actually the stronger story as Dan Jurgens does a wonderful job of reflecting on his run thus far and makes me wish that he'd have more chances to write Dick Grayson as Batman. The cofeature is a fun little romp, but ends far too quickly for my liking.

This issue really has it allsuperb character work, gorgeous art, and a gripping plot. I've been complaining a lot about how stale the Blackest Night formula has becomeBlack Lantern comes back, hero is shocked, hero is overwhelmed in fight, rinse, and repeatbut this issue shows that even a very tired concept can be made fresh with quality craftsmanship. This could very easily be the best issue of Booster Gold since the heartbreaking Killing Joke issue and that says a lot!

This is easily my favorite issue of Booster Gold yet and one of my favorite Blackest Night tieins. The interaction between Booster and the two Blue Beetles is simply priceless and the tribute to Ted Kord is incredibly moving. When you add in the gorgeous art you have an incredibly strong issue that shouldn't be missed.

The two great stories in this issue are nice payoffs to readers that have been following them for a while, but remain accessible to new readers. The Booster Gold story felt a bit phoned in at times, especially with the opening sequence that dragged on a bit. I would much rather have seen less time focused on Booster pounding the Royal Flush Gang and more time given to Blue Beetle's latest adventure.

I never thought I'd say it, but this issue is held back by the Blue Beetle backup. Although its clear that this is meant to be a sendoff for the character and a payoff for longtime fans, it is far too rushed and there is no dnouement to give it any impact. The Booster story is solid and might have made it into Buy It territory on its own, but the Beetle story falls flat, which is a major disappointment for a HUGE fan like me.

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.

With a solid effort from artist Ramon Bachs at his back, Fabian Nicieza is able to ramp this one up the Rankings with his great character work leading the way. Nicieza has established himself as the single best writer when it comes to Tim Drake and this issue is just another fine example of that. Are there issues? Of course, but none of them so prominent that you shouldn't pick this one up.

It has been a long time since I've had this much trouble choosing a

Every time that Fabian Nicieza takes a step forward with his high quality writing, the art forces the book to take a step back. Unfortunately, those backward steps tend to be a bit longer than those going forward. There is a lot of neat concepts being developed here and it is required reading if you want to follow the return of Bruce Wayne (even if you don't read the other Road Home oneshots), but it isn't the strongest comic, despite Nicieza's best efforts.

The majority of the issue features fairly lifeless and lackluster writing, but the issue as a whole jumps up to a Buy It verdict on the strength of the last two pages and the very impressive art. This issue was a nice reminder of how effective a grounded Gotham City story can be and really makes me wish that DC would dust off the

There are a lot of reasons that this book could have jumped up to Buy It territory, including some interesting new concepts and some of the stronger points of Peter Nguyen's art, but ultimately the flaws are too numerous and too glaring to bump this issue up. If you are following the Road Home storyline, its necessary reading, but I'd recommend not setting your expectations too high.

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.

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'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.

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.

There isn't much I can say that I haven't said in the past about this seriesit's a phenomenally crafted and supremely enjoyable series and this issue follows suit. Were it not for the uncharacteristically uneven art from Sean Phillips, there is a good chance that this one would be #1 on this week's Rankings!

Writingwise, this is one of the best issues of Criminal in some time. Brubaker's tightplotting and strong character work combine for intensely deep issue. Unfortunately, this is a major misstep for artist Sean Phillips. His work is still good, but is not up to par with what I'd expect from him.

Criminal was once the King of the Power Rankings, but the last few issues stripped the title of its crown (don't get me wrong, it was still awesome, just not as awesome. With this issue, though, things are back to the levels that made this series the single best comic on the stands. In any other week, this would have been the easy choice for Book of the Week, but the competition was just a tad too fierce for this one to take the top spot. Don't let that stop you from picking this up, though, as this is still require reading, True Believers.

This volume of Criminal has been a lot of fun but, for the most part, hasn't been quite as amazing as some of the earlier stories. While things had picked up over the last few years, I wasn't expecting to really be blown away by this issue. How foolish, I was. This issue is amongst Criminal's finest and closes out this storyline so well that it is immediately catapulted to the level of my favorite Criminal stories, Lawless and

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.

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 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.

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.

This issue is a great followup to the last Dead@17 miniseries that should please fans of the franchise. Howard does a good job of playing to his strengths while clearly pushing to improve in certain areas. It is great to see that growth. I would like to see a bit more meat to the story, as well as a better reminder of what has already happened. As a long time fan, I found a lot to like here, though I really must stress the importance of reading the entire epic to this point rather than trying to hit the ground running as a new reader.

If you are a Dead @17 fan, then Howard delivers in a big way on this issue. You get great characters, very clean art, and some great twists. The problem is that Howard has settled into his comfort zone, especially his art. He is dealing with very complex issues and a very dense story, which opens him up to try new things, but we aren't seeing any. If this series is going to make as a Must Read, which I know it is capable of, Howard is going to have to start bringing something new to the table creatively.

This issue came really close to snagging a "Must Read" verdict and certainly would have it the love scene had better setup. That is really all that it came down to as Josh Howard puts forth one of the best efforts of his career in this issue. His character writing is amongst his strongest and, as always, his art is top notch. I don't think I've enjoyed one of Josh's comics this much since

This is a great ending for the most unique chapter in the Dead @17 franchise yet as Josh Howard packs the story into this issue before bringing it to a close with perhaps his best cliffhanger yet. It isn't perfect and there are bits that certainly could be done differently, but its immensely satisfying and highly enjoyable. Having follow Howard's work on this franchise for years, I'm sad to see it all coming to the end that this issue ushers in, but if this is any indication, we are in for a real treat as this epic story reaches its conclusion.

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.

Scott Snyderwhose

This one just barely inches into the highest verdict bracket despite some issues that were hard to ignore. However, when Jock is one he is damn near unstoppable, Snyder has a great ear for his characters, and Francavilla is amazing; when you add these up, you get a superb comic that should not be missed. It's hard not to be impressed by a comic with so much talent involved!

Scott Snyder does a wonderful job developing the complex relationship between Jim Gordon and his psychopath son in this issue's main thread. This story is powerful in its simplicity and one of the finest things I've read from Snyderwhich makes up for the faults in Batman's place in this issue. The show stealer, though, is artist Francesco Francavilla, who absolutely shines here with his clean, atmospheric artwork that is evocative of Tim Sale and Darwyn Cooke. The stumbling block for Francavilla, much like Snyder, is the Batman sequence. If the two could have replicated the success they had with Jim Gordon on these scenes, this would've been a major contender for the top spot on this week's Rankings.

Fans of

. 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 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!

It is always great to have Dynamo 5 back, even if it is just a oneshot story. Much of this issueaside from the epilogueis fairly inconsequential, but is rather heartwarming and is a great way for Jay Faerber to tackle something less weighty with his superhero team. When you add in a solid effort from Marcio Takara, you get a great little issue that overcomes its faults to become quite the enjoyable read.

I'm so glad that the hiatus has not meant a dip in quality for Dynamo 5. It has been far too long since we've seen a new issue from this always awesome series, so it is so good to have it back. Faerber has absolutely no rust with these characters and with a bit more polish, Brilha could easily become the next big thing like Asrar was. This one was close to a Must Read, but a few nagging issuesincluding a really uninteresting backup storyheld it back, but just barely.

This issue is just as strong as any of the previous Dynamo 5 issues, as Jay Faerber and Julio Brilha bring the goods on a number of levels. I was a bit worried that we would see some rust, but I'm just as pleased with this issue as I was with the original run of the series. In fact, were it not for the relatively uninteresting backup feature, this would definitely rank as a Must Read and would've taken a strong run at the Top Spot in this week's Rankings.

If this issue was $2.99 or even $3.50 without the backup story, I think that it could have easily been a Buy it level book. Unfortunately, when reviewing the issue as a whole, I have to include the simply uninteresting backup feature. The backup alone is bad enough, but when you add in otherwise forgivable issues in the main story (they wouldn't be so bad if they were the only problems I had with the issue), this one tumbles back down the Rankings. I think that this issue is going to seem a lot better in trade, truthfully.

This one squeaks into the Buy It range on the strength of its art mostly. There are some great moments in terms of writing, especially in the latter half of the issue, but in a lot of ways it feels like we are treading down the same path, which is frustrating. That's not to say that I didn't enjoy the issue or that I wouldn't recommend it, because I think you should read it, but don't say that I didn't warn you!

Brutally intense and viscerally pleasing, this week's issue of Elephantmen marks a dark turn for the series, but continues to encompass the thought provoking characterization and themes that make the series such a brilliant work. Because this issue does cover so much of the series' essence and explains much of its back story, it is a great jumping on point for new readers. However, under absolutely no circumstances should that be taken as an excuse for new readers not to track down all of the back issues or trades to fill themselves in. As much as this issue is a Must Read comic, so is every other single issue of this series and its spinoffs/offshoots.

Elephantmen tends to jump directly into plot points and develop back story parallel to the main narrative, so I was a bit off put at first by the fact that this issue is mostly setup to looming larger conflicts. However, upon further reflection, I really enjoyed how controlled the pace of the issue was and absolutely loved the character interaction. Andrew Szymanowicz puts forth a strong effort here and shows great potential, though his work lacks the polish that fans of Elephantmen may be used to from the work of previous artists like Moritat and

Elephantmen closes out a fantastic year and a great storyline with this really solid issue that lives up to the high quality standards that this series is known for. There are a few missteps in how the story unfolds and the coloring is tremendously distracting, but as a whole, it's another great issue for this fantastic series. As well as this issue kicks off the next storyline, I have a feeling that 2010 is going to be just as prosperous for this series.

I'm really running out of ways to talk about how great Elephantmen is. This issue is no different than any other issue from this franchise. It is incredibly brilliant, thoughtprovoking, wellcrafted, horrifying, and beautiful. There is no other title in the industry that is this consistently intelligent and entertaining at the same time. Every issue of Elephantmen sticks with you after reading and this is no different. Reading Elephantmen is an experience and should not be missed.

It is really hard to explain why this issue works as well as it does. The concept is simple, the storytelling is straightforward, and the splash page concept is gimmicky. None of that is detrimental though as it all combines into a powerful and fantastic issue that really sums up why Elephantmen is perhaps the single best comic book being published today. This is the type of comic that makes you glad that you are a comic book reader.

This slightly disjointed issue of Elephantmen may not be the strongest that this series have ever seen, but buy now you should know that even the weakest issue of Elephantmen is going to be lightyears ahead of most comics you'll see on the stands. Starkings throws a lot of plot points out there this week, which opens the story up to go in a number of different directions and does so with the help of a cadre of talented artists. Could it have been better? By Elephantmen's standards, possibly, but its still an awesome read that you should definitely check out.

It's getting harder and harder to write justifications for Elephantmen's Must Read verdictsnot because it doesn't deserve thembut because I'm running out of ways to praise this series. I think it is wellknown at this point that Elephantmen is my favorite comic and this issue is another great example of why. You'd be a fool to miss it, True Believers.

This week's Elephantmen features all of the characteristics that make this series such an addictive seriesgreat characters, quality action, complex themes, and superb craftsmanship. On a purely visceral level, you get a great comic about giant animal/human hybrids and robots battling it out, but under the surface, as with all Elephantmen issues, is a haunting history and multifaceted conflict that makes it all the more engaging. Plus, on top of that, you get another fun Charley Loves Robots comic. Who could ask for me? Not me, that's who.

Once again, the Elephantmen crew put together a powerful and incredibly wellcrafted comic. I've made no secret of my love for this series; it is issues like this that have earned that praise and adoration. I've told you this over and over and over againyou absolutely must read Elephantmen.

In terms of nudity, this is

Verdict

As impressive as the Battle School miniseries was, Yost, Ferry, and D'Armata really outdid themselves with this issue. I would say that this is a pictureperfect adaptation of the original story, but even that doesn't seem fitting. The creative team does an amazing job of presenting and, most importantly, enhancing the original story with this brilliant issue earning it my pick as

This is probably my favorite issue thus far in Marvel's adaptation of Ender's Game, including both this miniseries and the Battle School series from earlier this year. Chris Yost has found the perfect storytelling rhythm and is packing in the plot elements in a way that rewards longtime fans of the story while remaining accessible to firsttimers. When you add in the finelycrafted art by Pasqual Ferry and Frank D'Armata, you've got a simply superb adaptation that shouldn't be missed.

I really cannot put into accurate enough words exactly how great of an adaptation this issue is. Chris Yost and Pasqual Ferry perfectly capture what Orson Scott Card had original created, but actually enhance the original story by emphasizing the importance of certain story beats and bringing it to life through gorgeous artwork. This is simply stunning craftsmanship and something that should not be missed by anyone, whether they be fans of the original novel or not!

There is no reason that the internet is not abuzz with readers and reviewers talking about this issue. There was no other issue this week that could touch it. The creative team simply knocks this one out of the park, not only crafting an awesome adaptation of a great story, but succeeding by its own merits and, in some cases, actually exceeding the awesomeness of the source material.

I'm sure this verdict is going to confuse some based upon how harsh my comments were about how the ending was handled. I really need to make it clear that this is a beautiful done comic. The craftsmanship is superb and the entire creative team should be commended for not just their work here, but on the miniseries as a whole. The ending is a misstep and I'm really focusing on it because this series has had so few of them, one like this is a bit of a shock. However, as a standalone story, this still works. Does it work as good as it could? Of course not, but the strengths of the issue really come through to pull this one up to the verdict it received. I'll put it this way, you'd be a fool to miss this one, but I'm really hoping you'd check out the novel as well for its shockingly brilliant ending.

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.

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.

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.

As a fan of the pulp style and of how seamlessly Azzarello can work his magic with it, I had very high expectations of this comic. I was not disappointed. While I would like to see more of a focus on the plot, this is an excellent "hitthegroundrunning" approach to developing a new universe as Azarello gives the reader just enough plot to be intrigued while putting a big push behind the characters and concepts of the new world. Rags Morales and Nei Ruffino make a formidable art team here that compliments the story incredibly well. This is definitely a great start and I can't wait to see where the creative team goes with this momentum.

Brian Azzarello is definitely writing towards his strengths in First Wave and because of that, is writing to a niche market. The average superhero fan may not care much for such a carefully plotted and slow burning story, but mystery buffs and fans of classic pulp stories should find a lot to dig here. The ambitiousness of the project does come back to haunt Azzarello a bit when the scope becomes cumbersome here, but if you've got the patience to sort it out it is well worth the more careful read. Plus, seriously, Nei Ruffino is a freakin' rockstar on this issue, bringing Rags Morales's art to a whole new level.

The issue does drag a bit towards the middle, but that is really the only major complaint that I have on this one. This was definitely one of the most entertaining comics of the week and the creative team did a great job with the craftsmanship. As a lifelong

I really did not expect much out of a series focusing on Barry Allen as the Flash (lifelong fan of Wally as the character), but Geoff Johns and Francis Manapul are making a fan out of me with high quality issues like this one. The strong pacing, interesting characterbased twists, and fantastic art are enough to win over just about any cynic. I know I can't be the only naysayer about Barry Allen's return and I urge my brethren to give this series a shot as issues like this are likely to change their minds.

Another issue, another big win for The Flash. Geoff Johns and Francis Manapul are working perfectly in synch to build an exciting story here with a slew of twists and turns while remaining extremely character focused. This series is a ton fun and this issue really should not be missed.

This issue is practically exploding with awesomeness as there are a ton of cool concepts going on and another amazing effort from artist Francis Manapul. I wasn't quite as thrilled with the short backup on the

It isn't often that I can say this, but I really feel like there is too much of Geoff Johns in this issue. Francis Manapul does a superb job of carrying this issue and telling the story, but Johns has a tendency to overwrite here and that hijacks a lot of what Manapul is accomplishing. There are some major issues that would keep this from being a Must Read comic, but with a minimal approach to dialogue, Manapul could have run this one a few more spots up the Rankings!

The first storyline for this series wraps up just as well as it began, with Johns and Manapul showing that they both have the goods to make Barry Allen a compelling and exciting character (as a Wally fan that hated

For every step forward this issue makes, it takes another big step back...over and over and over again. There is a lot that the creative team does really well here that is at war at all the things they could have done better. The end result is a wildly uneven ride that, while entertaining, can't overcome its flaws to be the comic it has the potential of being.

Clearly the Reverse Flash has a major role to play in the upcoming Flashpoint storyline and this issue is an entertaining way of bringing readers up to speed on the character's history. I really dig seeing Geoff Johns be playful with how he unfolds this story, even if the ending does seem to miss the mark. The biggest downfall for me, though, is the art of Scott Kolins, which simpy isn't up to par on his previous work. A stronger outing from Kolins and this issue would be much higher up on the Rankings.

Technically, other than some issues with the coloring, there isn't a lot wrong with the craftsmanship of this issue. Manapul's art is impressive and Johns has a good take on the characters. The biggest problem that I'm having is that the issue is that it's simply too much like the first issue of this relaunched series and it really wasn't the most entertaining book. Sometimes it just comes down to how much fun you have reading a book and this one felt a bit flat.

When I first starting writing the Rankings for this week, I had Freedom Fighters at #5; then, every time I flipped through it, I found something else that I loved about itnext thing I know, it's the

It's clear that

Remember when Jimmy Palmiotti and Justin Gray launched

The creative team behind Freedom Fighters has not let up on the throttle for even a moment since the first page of the first issue. That has been a major reason why this series has been such a great read but, as this week's issue shows, that can work against them. Some of the intricacies of the plot and a lot of Travis Moore's storytelling gets lost in the densely packed issue because the creative team is pushing too hard to put so much in the issue. It's still a great read and highly engaging, but it could easily be so much more!

Its business as usual, as the highoctane Freedom Fighters delivers another denselypacked issue. The issue is walltowall action and a great cliffhanger. There are some small issues that just barely keep this issue from reaching a Must Read verdict, but, as a whole, the comic is highly entertaining, wellcrafted, and definitely worth your money.

Once again, Freedom Fighters is all about value. This denselypacked actionoriented comic gives you more story per page than nearly any other "big 2" comic with Palmiotti, Gray, and the fantastic art team giving you more for your $2.99 than you'd expect. There are some faults and inconsistencies, but for the most part, this is an awesomely crafted comic with bold memorable characters and an engaging highenergy plot that is definitely well worth your cash.

This issue is a prime example of why it is a tragedy that Freedom Fighters is being canceled later this year. The awesome pacing, great character work, and superb art make it one of the finest comics being produced, while its density and focus on huge action makes it unlike any other superhero book currently on the market. This is a can't miss comic, even if you only have a few more months to catch it!

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.

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

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 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.

This is a prime example of how a backup can hijack a great comic. The lead comic in this issue is easily Must Read material and could be a contender for Book of the Week on its own. Unfortunately, the longwinded prose story takes up the majority of this issue, bumping up the page count and adding to the price. At $2.99 for just the main story, this comic could take home the top spot on this week's rankings (granted, IDW's standard price point for GI Joe books is $3.99, but I think we'd probably get more story pages at full price, so I won't complain). Unfortunately, I feel like I've paid a few extra bucks for something that has very little to do with the lead and, ultimately, drags the book down.

When I first read the solicitation for this comic, I expected something edgier and blunter in its explorations of the origin of the Baroness. While the end result is absolutely nothing like what I had expected, I can honestly say that I would never want it any other way. This is a subtle and vulnerable exploration of one of the franchise's darkest and most impenetrable characters, which makes it all the more fascinating. Everything about this issue works almost perfectly as Andreyko and Templesmith turn the readers' expectations upside down while still staying true to the core of the character. This is a brilliant comic and should not be missed.

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.

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.

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

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.

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).

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

Verdict

If this issue was only comprised of the main plot, it would've been a major contender (if not winner) of the Book of the Week honors. Instead, the haphazard subplots and ineffective cliffhanger left a bad taste in my mouth. Thankfully Martian Manhunter and Doug Mahnke finally getting the attention they deserve evened things out a bit. Although, it is really sad that it took his death and subsequent return as a zombie before someone finally got J'onn J'onzz right.

I think that Johns is overextending himself in this issue and, by extension, cracks are now starting to appear in the overall execution of Blackest Night. This issue would be all the stronger if its events took place over several issues, which would allow Johns to apply greater focus to each scene. The saving grace is Doug Mahnke's simply superb art, but it takes the back seat to an overambitious and ultimately unfocused story.

Geoff Johns brings his Agame for writing both action and character development in this issue, giving Doug Mahnke an amazing story to work with. While Mahnke's usual level of quality would have been enough to make this a Must Read book, he too steps up his efforts and produces what is easily one of the finest issues I've ever seen from him and certainly my favorite issue of his since Final Crisis Requiem or his great work on StormWatch P.H.D. This is an incredibly intense, incredibly wellthought out, and incredibly executed story that brings the goods in terms of action and doe such amazing character work that you'll be cheering on Sinestro by the end of it.

This week's issue of Green Lantern is the polar opposite of this week's Blackest Night thanks to its tight storytelling, big action with a purpose, strong storytelling, and simply gorgeous artwork. In fact, the two are so different that it is hard to believe that the same man wrote both issues. Of course, this issue was also helped by Doug Mahnke's superb artwork. I've been a fan of Mahnke's for years and I'm glad to see that he is doing such an amazing job on this highprofile gig.

This issue is everything that Blackest Night #5 probably should have been, but wasn't. Not only does it feature some jawdroppingly awesome art from Doug Mahnke, but also simply awesome character interaction between the various Lanterns. This is an issue that you'll want to read again the moment you put it down.

This issue nearly jumped into Buy It range, but the thin plot in the main story and the unnecessary backup story drag it down. I will say, however, that this is the best John Stewart has been written in a very long time and that this issue is worth a read for that reason alone.

It's not very often that the Book of the Week honor is earned on the merits of the art alone, but even if Johns had an off issuewhich he doesn'tI think that Doug Mahnke and his pantheon of artistic helpers could have still been number one this week. I've been a huge Mahnke fan ever since StormWatch PHD, but I've never seen him step up his game like this. I know it is early, but this could easily go down as this single best looking superhero issue of the year. You'd be a fool to miss it.

After how awesome Green Lantern #50 was, #51 was a bit of a letdown storywise. The Spectre is defeated all too easily, we get some repeat scenes with the nonmarquee Lanterns, and a totally unnecessary scene with Nekron threatening to kill everyone. Tighter plotting certainly could have given the story the room it needed to flourish, but I suppose that really doesn't matter when the art is so good that it earned this issue a Buy It verdict on its own. Mahnke owns this issue and Johns is really just along for the ride.

Is this filler? Yes, but if you are going to have a filler issue, this is the way to do it. Geoff Johns may be dragging his feet, but he does it with style. What makes this the

I'm having a really hard time with this issue. When I first read it, I really liked it because of the fantastic character work and the intriguing plot points are set up. The more I think about it, though, the more frustrating it is that the issue is mostly filler and then a reminder that the character's stories will be told in other books. That just doesn't work for me. I'm never 100% sold on the issue, but my opinion does fluctuate every time I think about the issue. I suspect your mileage will vary.

This issue has some flaws, but the strengths definitely overcome up it. I'm absolutely loving what Geoff Johns is doing with Atrocitus and I hope there is some connection between him and the character revealed in the cliffhanger. I could have done without the repeated scene at the beginning of the issue but once things pick up, this one is great. As for the art, Mahnke is earning his keep here in big ways, though I think something needs to be done if his work is going to be drowned out by the White Lantern in future issues to avoid the poor quality of those pages in this issue.

Green Lantern pulls in its third

Green Lantern maintains its postBlackest Night momentum with another incredibly strong issue this week. This issue really is a total package, excelling in nearly all aspects of craftsmanship. Plus, it features some downright hilarious scenes with Larfleeze that are easily amongst the most memorable moments I read this week. You really cannot go wrong with this issue, but you definitely shouldn't go without it.

This issue really rocks on a number of levels with Geoff Johns putting together some great character work that adds a ton of credibility to the Star Sapphires that the group had been lacking when compared to some of the other Lantern Corps. Add in some very strong work from Doug Mahnke and his pantheon of inkers and you've got fantastic issue despite some nagging flaws that bring it down.

I'm tempted to give this issue a Must Read verdict on the strength of Doug Mahnke's art and the awesomeness of Larfleeze alone, but the somewhat haphazard plotting and the lack of urgency in the plot stuck with me long after reading. A bit more focus and a tightening up of the pace would go a long way, potentially even making this issue a contender for Book of the Week.

Is this the best issue of Green Lantern that we've seen lately? Not by a long shot, but that doesn't mean it isn't worth the cover price. The seams are starting to show in this is current storyline as Johns circles a bit in this issue, but when he does take a step forward, it's practically a leap. In terms of story, this issue nearly earns a Buy It verdict on the strength of Black Hand's appearance alone. When you add in a solid, but not quite up fantastic, effort from Doug Mahnke and crew, you get another issue of Green Lantern that is worth your cash.

This issue features some of the most excitement Green Lantern moments of the year, but falls short of being a Must Read simply because so much of the issue is Geoff Johns covering the same ground that he has covered countless times since

While I am disappointed that this issue doesn't directly pick up on the

You already know that Green Lantern is a Must Read for Doug Mahnke's art alone, but Geoff Johns does a great job of establishing the threat of Krona while giving Hal Jordan something more personal to worry about in the midst of this crisis. It's a setup issue, but Johns keeps it fresh with his great character writing. Chances are this is already the mostread title on this week's Rankings, so you probably already bought this comic. But, in the off chance that you didn't, you need to!

This series has lost a lot of steam over the last few months and this choppy issue does nothing to alleviate that problem.

This comic is as charming as it is heartbreaking with Geoff Johns and Brett Booth working together to create an intelligent, emotionally complex Christmas special that does wonders for expanding upon the character of Larfleeze in a way that should really resonate with readers. Holiday comics are normally fluff pieces without substance, but they break the mold here and produce not only one of the finest comics of the week, but one of the best comics of the year.

. 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.

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.

While this is a minor step down in terms of quality for this amazing series, a less-than-stellar issue of Guardians is better than almost every other book out there and still comes with a very strong recommendation.

If you are a fan of the old Guardians of the Galaxy, you'll probably love this issue; if you are like me and your only experience with the Guardians is the new characters, this issue isn't going to be as effective. I don't say this very often with this series, but you may want to prepare yourself for disappointment before picking this one up.

Guardians of the Galaxy has been Marvel's single best time for quite some time, but with this issue, the creative team really kicked it up a notch. This issue excels in all aspects, with the end result not only being the best comic of the week, but also one of the best single issues of the year. You want to know what all the fuss is about with this title? Then pick up this issue and simply revel in its greatness. In a week filled with awesome comics, none could touch Guardians of the Galaxy, my easy pick for

This is undoubtedly a fun issue, but is a step down from the usual level of quality that I've come to expect from Guardians of the Galaxy. It still has all of the charm of the title, but the execution leaves some to be desired. The most prominent example of this is Wes Craig's new looser style, which shows a lot of promise, but is still clearly a workinprogress.

This should be one of the biggest and most important issues of the series, but, unfortunately, the unfocused dialogue, rushed plotting, and simply horrendous art completely derails the importance of the moment. You'll very little of the many, many, many things that make this one of the best comics on the stands in this issue, which is a damn shame as I hate to criticize what is normally one of my favorite titles.

The lineup may see some dwindling after the deaths of some of the team, but the quality holds steady on this issue. Pacing issues aside, this is a solid read with a lot of the trademark personality that makes this series so irresistible. Plus, now that Wes Craig is off the book (hopefully for a while), this issue is a step in the right direction to bring the series back to "Must Read" territory.

This is a fun little action comic that is by no means an offensive read, but also isn't that exciting of one either. There are a few bits of fun personality and good action with serviceable art, but in the end, this is a pretty underwhelming issue. In the end though, I'd rather be underwhelmed than disappointed, so I can't complain too much, I suppose.

After spinning its wheels for the last few months, Guardians of the Galaxy comes back in full force this week with one of its most exciting and intriguing issues yet. I'll admit that I've been disappointed with the direction of the series as of late, but this issue really brings back my faith in this series. This issue nearly took the number one spot this week and really should not be missed.

It's hard to believe that not too long ago, any Guardians issue that was drawn by Wes Craig was immediately docked a few spots in the Rankings. He comes a long way in this issue as the chemistry between his art and the scripts from Abnett and Lanning continue to build. This is a total package issue where every single aspect of the craft and every single panel of the end result click. There are few things about this issue that don't work and don't entertain. It has been far too long since Guardians has snagged a

Thanos makes one hell of a comeback here, just in time for the series to take what could be its final bow. Dan Abnett and Andy Lanning continue to amaze me with their awesome character work and superb plotting in this actionpacked thrill ride of an issue. Brad Walker keeps pace quite well with his strong art, especially in his chaotic layouts. I'm really hoping that this isn't the final issue of this series, but if it is, I'm glad to see it go out with a

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 just barely missed the mark for a Buy It verdict, mostly because of the awkward pacing that made it hard to trudge through on my first readthrough and the prerequisite knowledge of Mockingbird's history that you really need to have to get the full extent of this issue. I really dug McCann's approach to the characters through and the art team worked well with him. This is certainly a fun issue that has me convinced to come back for more as this series has loads of potential.

One step forward, one step back. Great character moments, followed by less than pleasing plotting. Awesome action sequences, followed by horrible looking civilian identities. The good definitely outweighs the bad, which vaulted the issue up a few places, but the series could definitely use some polish before I'm going to commit to anything beyond the next issue.

This is a great issue that builds upon a lot of the many, many things that have worked over the last few issues. McCann has been dropping threads leftandright, many of which start to come together, giving this issue multiple levels of conflict that are tremendously interesting. There are some pacing issue with the dialogue and certain aspects of the art still grate on me, but overall, I'm calling this one a win (albeit just barely) and a book that way too many people are missing out on.

I had been generally enjoying this series over the first three issues, but with this issue it has officially solidified its place on my Pull List. Jim McCann's spot on plotting and great character writing are complimented perfectly by David Lopez's engaging and exciting art in one of the more thrilling issues of the week. There are still kinks that need to be worked out, but with this issue, Hawkeye and Mockingbird has vaulted up to the echelon of Marvel's best titles.

The first storyline in this series rockets to a conclusion in the much the same manner it has operated from the beginningstrong character work, highoctane action, and an anything goes approach to storytelling. Jim McCann pulls a major shocker here that completely changes the game for this series and the art team led by David Lopez makes it look fantastic. I never thought I'd see the day that a comic starring Hawkeye and Mockingbird would be one of Marvel's strongest books, but issues like this have shown me the error of my ways.

I absolutely hate that this series is going to go away, especially since the recent Runaways hiatus has shown us that hiatuses are just cruelly mislabeled cancellations. Jim McCann and the art team led by David Lopez play to their strengths here and bring their Agame in doing so. This issue encapsulates everything that has worked incredibly well for this series and turns it up to 11. I'm not okay with the fact that this series is ending, but I'm so glad that it is ending on such a strong note. If you are going to go, go out on top, right? This is the first

The biggest problem with this issue isn't anything about the actual story itself. I don't really take issue with what this issue is, but rather with what it isn't. Mignola has a killer concept here and a fantastic story that demands more time to percolate and develop than what we are seeing here. This feels like a pretty cool trailer or pilot to a much, much more awesome and engaging larger tale. As a standalone issue, I'm not disappointed, but as a fan that knows what this story is capable of, I am a bit let down.

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!

Boldly unique and unflinchingly creative,

Boldly unique and unflinchingly creative,

Despite some scriptdensity issues and a few stiff facial expressions, this was easily one of the most entertaining and wellcrafted comics of the week. You do have to overlook some flaws, but the fact that this comic is so thrilling makes that much easier to do than you'd expect. Steve Pugh has an awesome character on his hands with a superb premise and does not disappoint in the execution. The only problem? I want more of Alice's adventures now!

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.

The big problem with this issue is that it contains two stories, one of which is totally unnecessary. Jesse Blaze Sinder's lead story is an incredibly strong characterfocused tale that is honestly one of the best Hulk stories I've read in a very long time. He absolutely nails it. It would earn a Must Read verdict on its own. The problem is that the second story is the complete opposite and drags this one down. You still need to read the first story, which is why I'm recommending that you buy the issue, but it might be best if you stop halfway through.

There are comics Ranked below this that have better stories, stronger character writing, and more consistent art, but this issue is worth picking up for the sheer awesomeness of its collaborative process and the fun that oozes from every page. It's easy to see from looking at every page in this comic that it was a labor of love and that a lot of hard work went into it, which makes this issue that much more enjoyable than the comics Ranked below 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 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 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.

As if there was any question, the brilliant creative team of Brubaker, Phillips, and Staples come together again for a topnotch issue that hits all of the right notes in this pulpy thrillride. This creative team is as good as they come and continue to showcase that in this issue. If you aren't reading this book, you should be.

It has been way too long since we've seen an issue from this series, but that doesn't stop this one from being immensely enjoyable. Brubaker and Phillips both play to their strengths and the issue is fantastic for itthough Phillips does make some strange detours along the way. I still would prefer this series in trade, but the episodic nature of this issue definitely made it work better as a single issue. It's gritty, it's pulpy, it's fun, and it's worth your cash.

Another fine issue of

While I definitely prefer to read Incorruptible in trade and feel that it flows better that way as opposed to an issuebyissue read (which is rarely an issue with superhero comics), I was really pleased with this issue and the developments that it sets up. The series is turning a major corner here as the Plutonian is no longer a major issue hanging behind Danger's actions from this point forward. I look forward to seeing where Waid takes this and I'm glad to have Takara along for the ride, even if some tweaking is needed for him to meet his potential.

I know that I'm a late comer to this series, but issues like this have really made me a huge fan. Mark Waid has done a great job of adding depth to the character of Max Damage and this issue really highlights that as Damage finds himself going in a very different direction than his protg, Headcase. When you add a solid effort from artist Marcio Takara, you've got a fun and enjoyable comic that I give a solid recommendation to.

I do feel that the story was unnecessarily convoluted in its setup, but once it hit its stride, it was a ton of fun and featured some great art by Stegman, whom I hope we see more of in the future.

I told myself that I was only picking up this series to check out Ryan Stegman's art, but this issue has me convinced that the series has improved enough to warrant becoming a full time reader again. Well played, Pak and Van Lente. Plus, the art by Ryan Stegman is simply phenomenal. I know I've been gushing about it for the last few issues, but he brings his Agame here and the end result is fantastic. It's not about potential anymore, its simply about Stegman getting the recognition he deservesthere are big things in his future and I can't wait to see someone give him that shot he needs.

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.

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

I'll put it bluntly for you, friends. If this issue is any indication of the quality of Jonah Hex, then I'm stupid for not picking it up sooner and you probably aren't doing much better for not reading it either. We seriously need to remedy this and the first step is by picking up this incredible issue. In a week full of topnotch comics, this was the easy choice for

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.

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.

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.

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.