Marvel came out swinging this week introducing Battle of the Atom #1 and pushing it forward in All New X-Men #16, this is shaping up to be a high-quality, cohesive event.

Not to be outdone by the stellar writing, Nick Brokenshire is firing on all cylinders in this issue. The aforementioned Corgi/Golem battle is proof of his ability. You would think that some of the anatomy might be a little wonky with that kind of set-up, but it's all spot on. The way Puppyzilla (as he is so awesomely named) goes from ferocious beast to tuckered out little pup is great. The small moments, however, are what really stand out whether it's the determined glint in Amelia's eyes to the uneasiness of Hector's face after confronting a creature complete foreign to him. The book gets it all right and is definitely worth your money.

Amelia Cole has always been a light-hearted book tempered with just the right amount of darkness to keep the issues interesting, but with this issue Adam Knave and D.J. Kirkbride have started peeling back the layers a bit and it's definitely paying off.

On paper Finney and Henry seem diametrically opposed, but the best part of Stockman's art is that it highlights their shared struggles. Both characters are overwhelmed with stress: it shows in their faces and the way their shoulders hang just enough to show their growing weariness. It also provides the necessary pathos to keep Finney from being a character that isn't completely shameful. Stockman, along with colorist Paul Little, manages to keep a talking-heads issue lively through great use of body language, facial expressions, and bold coloring. If you have a dollar to spare, Anti-Hero #1 is definitely worth every penny.

Ivan Reis might have ushered Aquaman into the New 52, but Paul Pelletier has made the book his own. The art in this issue is fantastic. Pelletier brings the ocean to life with incredible detail, helping to heighten the scope of Johns' script. There are a few splash pages in this issue that have such a massive scale and technical detail that beg to be pored over. The smaller, close-up moments are great as well; the strain on Arthur when he's using his powers is palpable, as is the look of terror and despair on Mera's face towards the end of the issue. But Pelletier can't get all the credit; Sean Parson's inks are confident and clean, and Rod Reis' coloring is spot on, lacing a variety of blues that really help the panels pop. Also, as if the art in this issue wasn't amazing enough, we finally get to see the return of a bearded Aquaman, and that's something everyone should be excited for.

Clayton Henry is back in the penciler's seat after a few month hiatus, and the book looks as good as it ever has. Henry marries ancient Mesopotamian architecture with surreal alien creatures in a way that seems 100% natural and is a joy to look at. I found myself occasionally taking moments to pause and really appreciate all the details, whether it was the expansive backgrounds or the meticulous detail of the plant-life in the Garden of the Sun. The icing on the cake is David Baron's coloring. Everything is so rich and vibrant; if there's one thing this book is not, it's drab. There are only so many ways to express how beautiful this book is month-to-month.

However, the true star is Losq and his art. The exaggerated features and use of shadows are amazing. Even better is the sparse use of color which helps to accentuate just how beautiful the art is on its own. The splashes of blues, red, and greens really help set the tone for a panel providing a very cohesive feelings throughout. It's an issue that will make you swipe right back to page one just so you can see it all over again.

Sometimes a menacing horror itch needs to be scratched, Bedlam is for those occasions.

Remender gives this arc an ending that could lead to some truly exciting things and it's something to definitely look forward to.

However, no matter how witty or fun a script is, without the right artist, it's just words. Luckily Akkerman brings this world to life in cartoon-style glory. Akkerman's storytelling skills are on full display, and are strong enough to stand on their own. But the true draw is the fantastic character designs; in particular, the amount of glorious facial hair on display alone is worth the $.99 price. The clever sight gags only add to the fun. However, Akkerman isn't alone; Ed Ryzowski's vibrant colors make each page pop, and Adam O. Pruett's lettering only serves to emphasize the awesome action on each page.

The art is great too. Robinson not only writes this issue, but draws and letters it as well. This is his world and the level of confidence his art shows elevates his story and characters. There are a bunch of great sight-gags throughout (my favorite being a throwaway sign in the background of a panel saying, "Don't be that guy," showing a decapitated body) as well as some cool visual signaling and foreshadowing that make for a great, cohesive package. Meanwhile, Paul Little contributes some great colors and keeps the red and white motif of the book from being boring.

While Grindhouse #1: Bee Vixens From Mars isn't perfect, it still manages to be a solid tribute to the films that inspired it, and fans of B-movie horror should definitely check it out.

The art looks as good as the book reads. Moustafa takes a dialogue-heavy issue and gives it a sense of movement, bringing the characters to life. The faces and body language tell as much of a story as the dialogue. Every panel seems deliberate and carefully orchestrated to tell this story, and it's a thing of beauty.

All of this character work is made all the better by Moustafa's art. He gets to really showcase just how versatile he is in this issue ranging from quiet, contemplative moments to some great action scenes that pay homage to classic John Woo movies. The way the violence is juxtaposed with quieter moments is incredibly effective, as is the non-traditional panel structure which makes for some gorgeous pages. However, the best is the attention to detail in every panel. There are small touches that would probably go unnoticed if they weren't there, but their presence just makes everything else feel more genuine.

Not to be outdone, John Toledo's art is striking. The battle scenes showing John decimating a battlefield are a real treat, and Toledo knows exactly how to use the full page to his advantage not confining the art to strict panels. Some of my favorite touches are the backgrounds; stain-glassed windows in a church or just a starry sky while Riley leans on a friend for comfort really help bring this world to life. My only complaint it's the lack of color in the book. The black-and-white art is excellent, but I can only imagine how great this world would look in color.

Brian Winkeler and Robert Wilson's Knuckleheads #2 is a bit uneven, but it's the kind of goofy nonsense that only works in comics. If you've got an extra dollar lying around and want a quick read that'll give you a few chuckles, you could certainly do worse.

Keeping with the noir aesthetic, the book is done in black and white, with Kotz uses bold lines and shadows to excellent effect. The style is very reminiscent of 1940s Hollywood, helps sell some of the exaggerated emotions that are commonplace in earlier pulp-noir fiction. The one gripe I usually level at black-and-white books is that sometimes it's hard to take in, with lines melding into one another to create a confusing mess. Luckily, Kotz has no problem making art that is clean and easy to follow, while maintaining his own distinct style.

The art is still great in this issue as well. The world is an awesome example of Deco-punk (think steam-punk but set between the 20s-50s with an art deco focus) with its era-specific wardrobes and innovative gadgets. Kotz knows how to make a furrowed brow or a dropping of the eyes really help tell a story. Flipping through the panels of this book is like watching a surreal take on The Maltese Falcon, and that's a good thing.

As if there weren't enough great things about this book, Kotz kills it with the art. Body language and facial animations serve the story so well, whether it's a look of shock when the twist is revealed or the devious smile on Squirrel's face when she finally gets her own blade. If I had to nitpick, the only faults I'd find are that a few of the scenes have sparse backgrounds. Other than that, the art is top notch.

Issue 2 also greatly benefits from a new artist. J.C. Grande's art is much easier to follow than in the book's first issue. Grande is also more willing to take a few gambles with panel layout, and, while much of it is standard format, it's nice to see that page composition is something that he is taking into account. Overall the book has a distinctive look which fits the story, but it's slightly lacking in detail and polish. The color palate also leaves a bit to be desired, sometimes the colors really pop, but overall they feel a bit muted.

Confusing timeline aside, Michael Avon Oeming's art is gorgeous. It's an exaggerated style with bold, inky lines and harsh, dark backgrounds that making Nick Filardi's colors pop. A few pages suffer from awkward proportions"I found myself wondering why Director Lange towered over everyone by at least two feet early on"but overall the action is fluid and the dialog-heavy scenes keep you interested by not re-using the same static shots throughout.

You can't really go wrong when you're drawing a 30-foot tall snake with three heads that are on fire. Even the dialogue heavy pages work because Ringuet makes sure that his character's faces and motions are telling as much of a story as their words.

Sebastian Mejia is a law student by day and freelance-guide writer for IGN by night. Comics keep his insanity at bay, also, demons are scary. Follow him on MyIGN or on Twitter @The_Sebass, or not, but, seriously, please do.

While the story is great, the art stumbles in this issues. Like some of the previous issues, Shadowman #10 simply has too many pencilers and inkers. The result is an issue that feels uneven and cobbled together. None of the art is bad, in fact much of it is quite good, but the sheer amount of different artists leads to an inconsistent art style. Luckily, the two colorists on this issue, David Baron and Matt Milla, manage to create a semblance of consistency throughout. However, even the colors switch from page-to-page in some instances, particularly with the Darque twins' eye colors. If it wasn't for the fact that the twins have pale white skin the change might not have been so distracting, but as one of their main features the change from golden brown to icy blue was quite noticeable.

Sebastian Mejia is a freelance guide writer for IGN Wikis, an IGN All-Star, a first-year law student, and lover of all things comics/games/etc. He wishes there was a real-life angel that acted like Tobias Funke; if you want to watch him be disappointed until this happens, follow him on Twitter @The_Sebass.

But the epic scope doesn't just apply to the story, the art provides massive breadth making Guy Allen's art shine. The setting has some pretty heavy art-deco-meets-steampunk influences and it looks great. Long shots depicting aerial battles, artificial suns, and giant asteroids with satellites stand alongside closer-framed shots with solid character work to great effect. The attention to detail is spectacular and shows how much a labor of love this book is. The icing on the cake is the addition of 7 pages of concept art and cover breakdowns that are great to look at. If you have a dollar, you owe it to yourself to buy this book.

The icing on the cake of an issue of Wonder Woman is typically Cliff Chiang's art, however he's not on hand for this issue. The artist, Aco, however does a very serviceable job. The art doesn't quite have the same polish as Chiang's, but it does a solid job of emulating Chiang's style. One of the stronger aspects of the art is the body language that Aco gives the First Born. He always brings the character back to the same pose, reaching for the heavens and taunting them with the carnage he's created. It really helps nail home the theme of abandonment throughout the issue in a great way. However, while the majority of the pages look great, the repetitive panel layouts get a bit tiresome as the issue unfolds. Fortunately, Matthew Wilson is on hand to color the book, helping to keep the look of the book in line with previous issues.

If you haven't been reading this book, this issue is a great jumping on point. It gives you everything you need to know about Aric and his struggles, and sets up the upcoming event in such a natural way that new readers won't feel lost. You can't do much better than X-O Manowar if you're looking for stunning action with epic scope.

And then there's Lee Garbett's art. This book has looked gorgeous ever since he took over as the primary artist, and this issue is no exception. The art is a delight to look at, and Garbett's facial work really shines throughout. Whether it's the look of contemplative peacefulness on Aric's face as he admires a familiar species of bird or the conviction in his father's eyes when he insists that he stopped sucking his thumb at the age of 3, Garbett manages to inject a level of personality into all of the characters that is truly great to behold. As usual, Garbett's art is made all the better by Moose Baumann's colors that tie everything together nicely.