Grummet and Erskine have a clean style that recalls the lamented Power Company, while the departed Kitson still supplies the covers. The final silhouette of Hawkeye with an arrow poised is an excellent example of their skill. Unlike a recent silhouette I complained about by Bart Sears that muted a powerful moment, this one captures the mystery and ambiguous nature of Clints decision, underlining an already powerful cliffhanger.

Will even Galactus fall to Krona's mad quest? At the end of this issue, I have no idea what to expect next, and that's the best place I could think of to be. Bravo!

Basically, it's the best ever JLA/JSA crossover, only with the Marvel heroes along to darken and deepen the ride. Clark may not have much use for 'em, but we fans have been dreaming of this meeting for many, many years.

Busiek also has Krona admit, under prompting from a dubious Metron, that he no longer really seeks knowledge, only domination and conquest. Which is a pretty major character flaw, to reveal your villain to be just an angry and vindictive boob. And then theres the unlikely denouement that allows a TNT arrow to undo all Kronas plans. But why quibble over the comic-book gears grinding away as is their job? This month, they delivered us a whole heaping helping of heroes, villains and time-lost moments. They all did what they do best, and some even stopped to reflect on it as they did.

Is Davis on a nostalgia trip, harking back to a kindler, gentler DC-verse complete with nave sexism? Or does he have something else in mind, as many of his males (especially Ultra-Man, his costume in shreds post-battle) are just as sensually coded as his females? Hard to say with this transitional issue, as the vignettes move by so quickly, each one overloaded with affection and playful lore.

Moline's art is better for me in static splash pages than in action sequences, which tend to lose detail and coherence. Still, he achieved memorable designs for Gunther, Melaka and Urkonn, and also had a lot of fun imagining a world of future tech every bit as grubby as our own. Dave Stewart's colors are as ever definitive, setting the tone for Melaka's violent, fluid future (notice how her pink skin and the red blood on the axe on Moline's striking cover contrast with the greenish background). This is one series, despite the many delays, that was worth the extended wait.

This volume doesnt go on to discuss yet another round of revivals over the last decade, perhaps wisely. Dan Jurgens created a new team that ultimately reiterated ties to the earliest days, followed by an 80s-style reunion by Devin Grayson, and then by the current Geoff Johns team that folds in Young Justice and a newer generation of heroes. But those can wait for a planned second volume. The fascinating history recounted diligently in this organized volume is more than enough for hours of reading about the lives of beloved characters behind the scenes.

None of it. Oh, its as schematic as can be, and a clichd oft-told story at that, but its not the story itself that matters so much as the way of the telling. By the end of the issue, were fully on the side of our cybernetic refugees, not least because of that heart-tugging cover that makes it clear who the real bad guys are. This is Lassie Come Home for the 21st century. Dee-comm-ish-ond? No, Bandit, dog gud!

Sadly, we learn that even our samurai-armored Cyborg friends are just as vulnerable as the hapless soldiers Morrison shreds organ by organ in several brutal encounters. This story, the last moments of a doomed experiment gone awry only slightly decompressed for the audience, continues to build. Nothing in it promises a happy ending; but, then, considering the nature of the crimes committed, perhaps a final ending is the best any of the players can hope for.

And it's here in this story in a crucial scene where Jean plays hooky from Xavier's first Academy and ends up embroiled in another car accident in Westchester Center, where she uses her considerable telekinetic gifts to save the day. Mayhew probably uses a fair amount of photo reference for some of these unique faces and figures, but he integrates everything quite seamlessly into his whole vision for the story. Jean looks like Jean throughout, and in this nuanced and detailed exploration of her psyche in her early adolescence, McKeever too has painted a fascinating portrait of one of Marvel's major mutant stars in her formative years.

Bagley is excellent in depicting the cockiness of an over-confident Jewel, walking head-on and unprepared into the Purple Man's nightmare. His hatred of costumed heroes makes her his whipping post, and Bagley's panel of a mind-controlled Jessica wearing the clothing of a sexual plaything is all the more tragic because it's Bagley drawing such a scene rather than Gaydos. Suffice it to say, under Killgrave's control, she pisses off the Avengers, leading to a very imposing Thor threatening her on the last page. Great work by all parties involved.

All this, and the Purple Man face-off is still delayed till next issue. I'm getting a very Clarice/Hannibal feeling about this, not to mention Kira Nirees from DS9's "Duet." Ol' Purple is safely locked away; but he can still talk, and words have always been a weapon to Bendis.

I hope so, because otherwise, the poor thing just can't win for losing.

Jean, Bobby, Angel, Cyclops, the Four, Thor, Quicksilver and Murdock all put on stunning displays of their powers and abilities in this issue, the most action-packed and best-paced one of the story thus far. And Scott McKowen turns in another classic cover, this time a war-torn Gothic nightmare.

Theres one more beat to play in this darkening story, and signs point to it being a bravura display of Gaimans talent. His take on the Marvel universe got off to a slow start, but hes picking up all the threads hes been laying down, at an ever-increasing pace.

Whats less interesting: Well, its clear that the time loop ending allows for both the restoration of the Marvel Universe and the continuation of this one, but, what the hey, if they can keep the world of Sandman going in Gaimans wake, why not 1602?

Thanks to a few useful allies (a sympathetic Father, his cat Teekl), Klarion has an edge on the other kids. But also thanks to his own innate cleverness, hes more prepared than others when real true evil rears its deadly and hideous head. Good cliffhanger, and yet another example of Morrison creating his own self-contained multi-title crisis with help only from some of the best artists around. If DC was only Vertigo, this is how it would look.

If Zatannas adventure shows the appeal of Morrisons cleverly adaptable concept for Seven Soldiers, Klarions tale blasts it into the stratosphere. Theres not a foot placed wrong.

Grim visions: Irving outdoes himself with this issue, somehow mixing up dire, macabre irony with a real sense of fun and beauty, even in a palette thats mostly black and blue. Its not been a particularly easy ride, but it has been a fascinating, stylish, gloomy and Gothic good time. And if the last installment was a little too Lost Boys for me, well: Even mothers can make mistakes, offers Klarions, in a very nice little summation of all of Grants subtext.

In fact, one thing she's deciding on doing is committing to a life's work of service at this crucial juncture and boyfriend Matt seems way out of his element as she lets him closer than she ever has before. But she has her reasons and they're revealed this issue in a stunning sequence that uses cosmological energy as a backdrop to the sort of conversation that any two young people might have when an issue of trust comes up. Busiek writes a story of young hopes and dreams clashing with the crass and exploitative interests of popular media culture and, if he fashions no real surprises in the story beats, he does fashion a compellingly heroic character in Astra. She's strong and wise beyond her years, and while that doesn't save her from human emotional pain, it does make her story a bright and hopeful display in the often shadowy firmament of Astro City.

Anderson also turns in his usual affecting job on the ground level. His characters brim with emotion, wear appropriate costuming, and find their moods reflected in their postures along with (this being a pulp comic) their deformities and cartoonish exaggerations. What makes it all work is the series of small moments that Busiek orchestrates (featuring brief but powerful glimpses of Hellhound, Tommy Gunn, the Platypus, The Incarnate, the Irregulars, the Jade Dragons an abundance of richly colorful street fighters to fill out the gritty urban milieu) into a remembrance of things past, and times bygone. One gets the feeling he could keep doing this forever, and in fact there are two more Books planned. The only drawback I can think of is the infrequency of the issue. But thats because theyre always, like this one, worth the wait.

Of course Anderson's art and Alex Ross's covers are as perfectly in synch with Busiek's words as always. This series remains the best justification for Wildstorm's continued existence. It may be infrequent, but the quality remains high. This is a surprisingly happy ending for a series that focused so often on murder and death and criminal betrayals and conspiracy theories. As a capstone for a dark and unsettled interlude it makes perfect sense in Astro City.

This one is all about the ladies, and its all for their fans.

Also not to be missed is a letter from the famed Arnold Drake, who writes in to correct a misconception about a character he co-created, Deadman, that saw print in a previous issue. Though firm about his version of the facts, the letter is gracious throughout, and I take it as a symbol of the goodwill that TwoMorrows has built up. Drake seems quite proud to have his work acknowledged so lovingly, and the frank dialogue here is evidence of the soundness of the TwoMorrows policy (across its publications) to quote their sources in full and leave any editorializing largely to those self-same creators. A stance of worshipful awe wont do a critic much good, but its a fine policy for curators compiling a catalogue raisonn, which is what the TwoMorrows publishing operation amounts to for comic book artists and writers.

Of course, we got that insight into her mind while Batman had intruded upon her boudoir, with Silver clad only in a towel for the whole sequence, so that might have something to do with her lasting allure, too.

Satisfying: The best thing about this series is how distinct each issue has been as a complete package of entertainment. The first issue set up the basic conflict between Bruce and the Joker (as it needed to, so convoluted has their relationship become in other books), the second played with the Scarecrow's role (linking this series thematically to the recent film), the third caught up in Two-Face's machinations, the fourth a choice between illusion and reality relating to love, the fifth a mysterious flashback to childhood, and now this final one a haunted funhouse and climax. It does go a bit off the rails with the Joker losing his focus and descending into chaos for the fiery climax, but even that fate is one that effects him more than anyone else, leaving all the pieces in place for a sequel.

Hudlin has taken what seemed like an editorially mandated alliance aimed at propping up flagging sales (Storm's popularity has far outshined the Panther's for years) and turned it into a believable relationship, here one with believable offspring, diplomatic allies, and challenges in making sure a Wakandan son can safely marry the daughter of Luke Cage and Jessica Jones. The future developments are believable and many of them compelling in their scope. Apparently, this marriage is a positive for both characters.

This fight is horrifying, both in its desperate, elaborate verbiage and in the eerie glow of green that illuminates the afflicted Lantern and flashes off Batman's black leather. J.G. Jones has always had a singular ability to merge realism with expressive special effects, and here with colorist Alex Sinclair he achieves storytelling that is cinematic not in the sense of trying to look like a movie, but in the sense of being dramatic, crystal clear, well-edited and visually surprising. His sequence of images creates a seamless montage. When a certain character returns chasing a bullet through time, you realize that this short mini-series may just be the epic we were promised, for once.

And, yes, glimmers of hope, too. Because Darkseid always forgets one thing; in a pantheon, the darkest god always has a counterpart.

It seems the Legion survived the 52 onslaught just fine, only not in either of the two main books. Maybe the focused tone of this miniseries will reverberate.

The assassin is deadly, and when he targets one of the multiple Madroxes, the question becomes, just which one is the copy, after all? Endless permutations possible on this concept, and an interesting plot challenge in that the main character can easily be two or more places at once. Not sure when David will have room for this supporting cast with so many leads, but this launch is an entertaining yarn already.

Most interesting: David puts the definitive spin on Madroxs allies Rahne and Guido, yes, better than Claremonts recent attempts. Like Jamie, theyre talented people who dont quite fit in anywhere else. Their dialogue is funny. In fact dialogue has been a great strength of this series. As in any good film noir, everyone converses quickly and often. Things only slow down for dramatic effect, as when Jamie turns the tables on his ex-girlfriend and her mobster allies. Ive got nothing against a femme fatale introduced for that purpose. Sheila may not stack up to Bridget OShaughnessy in looks or style, but Jamie does a dead-on Bogie homage as the series winds down to a typically witty, action-filled conclusion. Great pulpy cover by David Lloyd, too, which perfectly captures the goofy wittiness of the series. More please!

Perfect issue, heres me salivating for more.

But what a grand show it was. And a real achievement, as Elliss words and Cassadays art, though delivered so infrequently, now comprise a body of work that is unassailably whole and complete and consistent from start to finish.

After all the setbacks and losses, all the misery that the Four fomented in their greed, the good guys are finally whole and fully functional again--and they're not planning to be nice about it.

I refuse to see Jo Chens cover as anything other than a Superman homage, updated for the audience this book deserves. Rather than a stalwart ubermensch lifting a pickup truck, we now have a little girl with children of the damned eyes holding up (of course) an SUV. Chens covers have followed the Marvel rubric of dramatic solo shots while also managing to tie in pretty well with the events facing the young characters inside. I wait impatiently for each new issue, and am so glad the first digest finally came out in Marvel Age.

This book is as fresh as anything on display in Marvel right now, and thats without a naughty Greg Horn cover in sight. Oh, yeah, brilliant shock ending as the mole is revealed. See, I managed not to review the whole issue without giving it away!

If it all seems like a lot to mix up in one issue, Spencer's pacing and Craig's creatively jagged and dynamic layouts (either the panels are skewed, or the perspective inside them is, in dramatic variations from page to page) keep it all quite clear. This book has a long history, but Spencer is using it to tell new and thrilling stories.

Well, he finally takes the first step towards doing the right thing, and it gives me hope that when he returns to the team, Butcher's worst may have as much effect on him as he or the mysterious Mallory (alluded to in this story very intriguingly) have ever had on Butcher. Which is to say, by joining the Boys, Hughie's become something more than a wronged victim seeking vengeance. He's actually become an adult, and it's wonderful to read about.

Since this is the city of Shamballah in the land of Skartaris (where time doesn't pass as it does for the surface world: watches don't work and no one seems to age), Grell gets to indulge himself in drawing beautifully tattooed and bejeweled bodies in actions of both love and war. This issue is a kind of Kama Sutra of wistful memory and lustful entreaty, so free flowing that you almost glide by the resurrection of an old and horrific foe by the villainous Kate Archer. Or would if Grell hadn't cleverly made it the last page. This wily character is reborn to a hero's physique and you just know he's going to clad it in something devilish very, very soon. Grell has achieved that status shared by artists like Byrne, Perez, and the late Gene Colan--you try not to interrupt the master's flow, because you know it's going somewhere good.

We have visual: Peterson is surpassing all other instances Ive seen of his work on this series, recalling the work of another ideal Ellis collaborator, Chris Sprouse, in his precision and attention to detail. The technology created by Reed and the X-Men is complex and convincing, and hes picking up on the nuances of McNivens Ultimate Captain Marvel design while delivering several stunning action sequences.

long-running story. Though Captain Marvels role (initially he seemed set to be a showcase character) is minor, Ellis whips up a multi-pronged attack that does hinge on believable sci-fi conventions and gives us a fuller picture of the Ultimate cosmos. Character moments are muted, but he still gets off a few good one-liners.

Which is to say, this series has been a lot of fun, and despite the dramatic costs, plenty of ways to undo things and move in new directions remain for the inevitable sequels.

And that doesnt even touch on Vaughans bit of meta-commentary, a third plot where a team of disgruntled former child stars (including Chamber from Generation Next!) is being set up to take on our young upstarts. Basically, theres enough story for three minis here already in issue one. Were lucky enough to have Alphona and Yeung still on board for their unique spin on manga-style, so its a winning package for all concerned.

Jo Chens haunting cover, of the effervescent Karolina in a black lace mourning dress, perfectly captures the mood of the issue. R.I.P., Gert.

Joss loves last-page reveals/cliffhangers, and this one is complicated by mixing in new characters with familiar faces. While this isnt the same book produced by the previous creators, its a great start that avoids shocking changes in favor of elaborating on and expanding the ever-evolving complications that seem like destiny for the starring cast weve come to love.

The final cliffhanger stopped me cold, as I really predicted Joss wouldnt go there again so soon. How does Cassaday manage to make a vertical slit of red on Cyclops visor look wide-eyed in shock?

The cover is the sexiest image I can remember in ages from Marvel, since Quitelys drool-worthy Emma from New X-men at least. Cassady makes a brilliant visual argument for why these two characters belong together, with Peters stoic impassive form merging with Kittys quite literally. His hand over her belly makes me think of babies.

Theres both success and failure all around here, and perhaps some lesson gone unheard in the contrast between the X-men seeking positive press while a child suffers. Of course, it may not all be their fault, as there are hints of a nefarious presence at school. Whedon hasnt dropped any of the threads from his first arc, remaining intent on examining what it means to be gifted, or cursed, by power. Cassaday backs him up with epic style. Hes quite gifted himself at dramatic compositions and unique point-of-view shots.

Real meat: If the last page reveal is true, Whedon is mucking about with Morrisons work to a greater extent than anticipated. And if he can make it work, more power to him. I have no idea where its all going, but Ive been waiting to see this group revitalized for some time, and this teaser will put us squarely back in the territory of Whedons strengths for the next arc: compelling and articulate antagonists and protagonists confusing even us about who

This is, on one level, an issue in which nothing happens. Thats as it should be; its a re-introduction, and a new starting place. Things are poised to go in exciting directions, and one feels a certain streamlining in effect. The X-Men have lost their dead weight. As usual, it was Charles.

I get the feeling the X-Men will recover from this. Well, maybe. Unless Perfection is really bad news. Until then, most of the fun this issue comes from Wolverine playing around with the students, who have some surprising responses of their own. As always, Whedons sympathies clearly lie with the kids more than the corrupted adults.

Things have definitely gone cuckoo in this book at any rate. But this is the best issue yet of this arc, despite the unwelcome return of Danger. @#$%ing Shiar [tech] as Agent Brand grouses.

Brilliant issue, raises the arc from "average" back to "great."

Agent Brands role is crucial to this issue, and Whedon effortlessly morphs her from more annoying than S.H.I.E.L.D. Director Hill (whom she already outclassed mercilessly in a previous issue) to a woman doing her job in true Nick Fury style. Why did she kidnap the X-Men? Because she needs super-heroes to save Earth from aliens, and didnt have time to ask politely. And its not even against the Kree or Skrulls, but new aliens created just for this tale. Fingers crossed for bringing on the epic!

I'm not sure if I can say that this is the issue we've been waiting for, where Ellis does more with the mutants in his charge than throw insults at them. A lot may depend on the surprise semi-reveal at the end, which either picks up on some threads left by Whedon or throws a wild curve ball into the works. This issue, though, shows he at least knows who the X-men want to be.

The large cast of intelligent uber-beings keeps our interest as we move to a truly surprising cliffhanger, one of those good ones that though it is a legitimate reveal only deepens the larger mystery. This one looks like a winner, and an un-billed Countdown tie-in that may actually amount to something.

He awakens where he began, mourning the loss of a generation of heroes and villains he knew so well. And so should we, but never more than if the events of this series don't stick. Maybe it's time for a Fifth World, though Darkseid and Orion live on. Will the new world equal the glory of all that has passed? That's a daunting task.

At the end, as Zatanna picks up an unwanted sidekick, it seems Morrison has fit her into a fairly Constantine-like role, which is a fair, if not groundbreaking, direction to take with the character. The problem remains, at the center of it all, how to define this beautiful young woman with more power than she knows how to use, and who remains much less naughty than nice.

Still interesting: The third great thing about Seven Soldiers, by the way, is that each issue is also a self-contained story. Last issue an out of sorts Zee tried to figure out her dilemma, only making it worse. This issue she solves part of it, in a way that feels final but leaves the door open for whatever comes next. This is an ideally conceived, if not yet epic, comic book.

The scenes of graphic violence are quite graphic, but Sook makes the violence hit home with the shocked expression on Mistys face. And I love how, in the presence of Neh-bu-loh, as Zatanna comments about the charged air, that the womens hair starts rising in a snaky dance of its own volition. As bad as Neh-bu-loh is, though, the Faerie Queen sounds worse. Poor Misty.

The real one where they hopefully all dont die, as in the hat trick first one?

Allred has outdone himself this issue. His inks are light and detailed, leaving a lot of room for Laura Allred's bright colors. The result is more fluid and expressive storytelling than his usual more static compositions. Robbie's passion, his fear and his navet all come through clearly along his instant learning curve. It's a powerful issue, the X-Static world in capsule form, and a perfect jumping on point.

It's unfortunate, because the cover is brilliant, and the story is ambitious if frenetic. Poor Dead Girl; a mediocre spotlight issue ensures she remains somewhat in U-Go Girl's long shadow.

Allred is back on form this issue, inking himself (despite a mysterious credit to one "Bone" on the cover) after his disappointing match-up with Phillip Bond last issue. Thanks mostly to the art, this issue is good but not great.

In the last pages, Henrietta possibly manifests a lethal new power, and she does it with a ghastly smile that would melt the glass of the TV screen. Which is where we used to watch her after all.

This book skates lightly over a lot of serious material, but as always it's the core characters (as old school as that may be) that keep our interest.

Dead Girl especially shines in this story, as the one perhaps fully immune member of the danger-prone team. Milligan and Allred have recovered from the company interference, and seem to have gotten the book cleverly back on track.

In the skewed logic of this hyper-saturated corner of pop culture, the feeling ultimately is that Miles deserves nothing better, as the proper fate for one who betrays no one so much as himself.

The guest art this issue by Dragotta isnt up to Allreds standard, though it does have a certain crude directness that befits this most Vertigo-esque of Marvel books.

And I love Allreds old-school cover, reminiscent of so many old conflicts of the Avengers, the X-men, et al. The narrative explicitly references the Defenders, too (nice tie-in to the recent TPB?), but this old-school conflict goes to the core of both teams.

This is shaping up to be the best story arc in some time on this title, and if its the final one, Im all for going out on a high note.

Next up, Guy vs. Iron Man, though Im unsure what Thor and Vision will be doing. So far, its a tie, as each battle has shown all the characters to good effect.

Other threads percolate under the radar: who Amys lover was (still held in reserve by the military), what that weird chest scar means for its recipients, which of Buffys old paramours is still haunting her dreams. No telling which one will come up first, but this issue was definitely familiar ground, full of intriguing incidents, funny quips, deadly danger and characterization galore. Welcome back, Buffy! You were missed!

The potential is there to make this season crucial to the Buffy canon. In fact, I dont even have to cross my fingers: Im sure it will be.

This is how youre supposed to feel when Buffy meets Faith. Confused. But in a good way.

Back to the demon lair, the creature reveals some harsh truths about Willow to Buffy and vice versa. Both have selfish and very human reasons for recent questionable actions, and finding them out doesnt drive a wedge so much as reveal an ongoing estrangement, despite their evident closeness. Soldiers in the same army dont always share the same goals, and the same girls who can together defeat their crafty oracle (Buffy slices him up with a blade of Willows magic fire, pretty nifty) with such ease and power can sadly stumble when it comes to just talking things out honestly.

Whoever Twilight is (and the merciless teasing about his identity continues apace, good one, Joss!), he's not as clever as he thinks. Because if Buffy didn't doubt, she wouldn't still be human. But she doesn't just doubt, she learns. And she'll get her foe's information yet, though I'm sure the price will be as high as ever. As Buffy says to ruefully conclude the excellently paced issue, "Yay me."

Surprising murders do not instant classics make, but great dialogue and beautiful art still make this an above average read. The momentum of Season Eight rolls on.

Buffy is a bit overwhelmed by her sudden visit to 200 years from now, but at least she's wearing a hot dress. I get the feeling, as both Slayers are fighting with the same scythe, they'll work things out sooner rather than later. Merging Joss's TV phenomenon with his first comic book hit is an inevitable idea; I'm sure next month will be more about surprises than nostalgia.

One more conversation, as Buffy and Melaka's sister find themselves kindred spirits (a real cop and a cop for demons), before Melaka gets the drop on Buffy. Which was probably a really bonehead move, but a great cliffhanger in Joss's completely entertaining merging of his two Slayer franchises. Amidst all the other danglers, the lack of closure and information might be more frustrating, but we know this series, at least, tends to come out on time.

Where all these refugees turn up is on Oz's doorstep, and Espenson and Jeanty channel the full-on Seth Green irony within an inch of their lives. Oz is, as usual, fairly copacetic with the arrival of a nuclear sub in his mountain retreat, but as he points out, "You just made my home into a very big target." Buffy's doing her unavoidable thing of endangering her family and friends again, because her lifestyle choice leads her to oppose some pretty nasty characters. Luckily, being a family of werewolves might give Oz's folks a bit of an edge over, say, Joyce and Dawn.

As is usual in a Whedon series, surprise alliances and last-minute reveals up the stakes of the battle in ways that thrill and evince a long term plan. Clever stuff. I almost hate the idea of Twilight finally revealing his whiny self because there's no way that issue can be as good as this one was.

Ray Tate: Not pesky at all. It's been a pleasure, Shawn. We'll have to do this again.

I don't remember where Faith is (probably fisticuffs), but Giles and Buffy get a tender reunion moment where they both acknowledge that they've become grownups and peers. Which Buffy has heard before, but she's always been one for extra dollops of affirmation. Jeanty turns in one of his top attempts at character recognition, losing the details as always in widescreen but zooming in for several effective close-ups. I'd actually like to learn more about Angel's (and Buffy's) god-like son, and I'm worried that solving the Hellmouth/Seed riddle might lead to shutting down the Slayer Army again, but this issue is balls out rushing to the finale, and it's a rollercoaster of fun!

There are hints that Season 9 won't try so hard to be epic. I'm in favor of that. I only hope there's a way not to punish Buffy for saving our asses again and again, too.

I won't decode the Aklo, though the lisping was just a minor perceptual adjustment (easy enough to substitute all those esses back in). If I start to understand Mer-demon, though, as Brears seems too, time to lock me up. This time I have more of an idea where next issue might go. Predictably, I still want to see it.

Honoring the early titans of the industry that began sixty-some years ago leads inevitably to obituaries and eulogies in a publication like this, but TwoMorrows always makes an attempt to celebrate the work and life achievements rather than just mourn. Two heartfelt dedications to Dave Cockrum are included in this issue, mostly attesting to his humility and passion for his work, while sharing lovely splash pages from Superboy and X-Men with us. And the letters page, Re:, is as usual full of interesting clarifications and corrections regarding previous issues, including comments from the mouths of pros like Marv Wolfman and Mike Esposito. Alter Ego is an invaluable resource for the most dedicated collector.

Nikolaos seems to have all the cards at the end of the issue, but thats how cliffhangers work. I expect even more action in next months finale. And then I expect them to move right along adapting Hamiltons series of books featuring the stalwart Anita.

I've got a stake in whether Wanda is healed, or forgiven, or exiled further. But that's not the only reason I'm sticking around. This isn't just the Big Guns, or big catastrophic demonstrations of power (you'll find that in the Bendis titles, which are actually best when they're funny). And it isn't espionage. It's the tapestry of the Marvel universe, full of charismatic heroes and those who believe in their legacy.

Avengers: The Children's Crusade #6Posted: Thursday, July 14, 2011By: Shawn Hill Allan HeinbergJim Cheung, Mark Morales (i), Justin Ponsor (c)Marvel I simply can't believe how many great things happen in this issue. I'm having a hard time taking it all in, or taking it all seriously. It's surprising to get everything you've hoped for, all at once. I don't want to get my hopes dashed again. Smashed to the little bits they were left in after "Avengers Disassembled."

This book has been the place where Leviathan grew and grew. This, and Batman and Robin, and Batman itself, have been the place where Damian realized he was a hero, not a villain. All in-born arrogance to the contrary, he liked beating the bad guys, without an agenda of domination of his own. In these stories, Damian took the risky position of siding with his father against his mother, thus making an enemy of an insanely vindictive criminal. These are risks that heroes take every day, and Damian has proved his bravery many times over. He even gets a touching moment of bonding with Dick, celebrating the team they formed while Bruce was time-lost, which was pretty great, he's right about that.

The issue reminds me of nothing so much of those extra loopy old Morrison Doom Patrol issues that took cheap but hilarious shots at a variety of the Marvel, DC and Image superhero teams of the time in barely concealed homage/rip-off/extravaganzas that made Crazy Jane, Cliff and Rebus all the more poignant and dramatic in turn.

Another pleasure in this title has been the many cameos from the past; so far we've seen Gertrude Stein, Man Ray, Jean Cocteau, and Hemingway. This issue we get Josephine Baker, who, like much of frivolous Paris, has gotten caught up enough in Creeper mania to don her attire. I'm not sure if anyone else would have thought of merging Ditko's mad character with French Surrealism, but it turns out to have been a great idea.

It's the closest we come to seeing inside this enigmatic, reserved figure. Because, as it turns out, despite the title, she wasn't the main character after all, and neither was Judith.

I recently added this book to my sub, after noting Id bought the last four issues in a row. While the art team has yet to settle down (I prefer Adrians crisp style to either Benes or Bennet, for the record), one only wishes the failed TV show featuring the same characters had had scripts as tight as Simones.

That ending seems rather oddball, but I guess it relates somehow to last issues ghost in the machine Huntress cover by an inspired Land. I much prefer this issues wonderful emblem of friendship and support by Texiera. If that guy ever painted a decent story I might actually enjoy it, though I usually avoid painted art like the plague.

The Way She Looks: Not worth it to distinguish inks and pencils here, as Phillips looks to be providing breakdowns to anchor Sienkiewiczs emotionally expressive inks. Seans figures are a bit squatter, but thats about it; its a good formula, avoiding Bills sometimes obscure layouts while taking full advantage of his moody drama.

Im subscribing to this title, in the hopes that the series can keep up with this stunning debut. And that Johns and Jurgens stick with the title for at least 24 issues. Make that 26; half of 52 is good enough.

Griffin has found a way to siphon off the various Destine powers for his own use. Its not too often when you can blame a whole story on a bad genie, and mean it as a complement. But for Davis fans, seeing him let loose on a dream pet project is a simple endorsement: its watching the master at work.

Where else are you going to get a line like this: The Mole Man has so much bling and no one to share it with? Youre also of course going to get Colleen baring her boobs to her sparring partner the American Samurai at a crucial moment, and sex that breaks the furniture when Misty reunites with long-time lover Iron Fist. But brace yourselves for the final issue, because girl, theres going to be all kinds of kung fu up in here!

The Legion Lost crew (who were formerly the Reboot Legion) choose to remain lost, while the "eat it grandpa!" team turn out to have Superboy Prime's legacy to cope with directly. Meanwhile, it seems the Levitz/Giffen League (from just before to the five-year Gap) are back to being our main team--with a revived Superboy (Conner Kent) set to share some new adventures with them.

And what a bonus that he's doing the covers, too. Without reading the story, you're not sure why Mary Marvel's gone all Savage She-Hulk on Cap Atom, or what the female thumbs down on the monitor might mean, but you know you're in for a show. The brutal battle inside, when it comes, doesn't disappoint. As the pitiful excuse for an infomercial (drawn in winning SuperFriends style by Maguire) says in the intro, "not quite Supergirl, but close!"

The gags do come amidst the drama, visual jokes that Pelletier pulls off despite his Bagley-esque command of anatomy and facial expression. I wont tell any of them, and they are funny, but be prepared for a deeper comic than advertised.

Less interesting: No, its all good. The less we see of DUrge the better, and it turns out Slotts ideas work even better without Mr. Immortals blinding optimism to mask the obvious: this team is doomed. Maelstroms two-page rant is old school fun, and if Ive learned nothing else this issue, I know this much: I need my monthly Monkey Joe fix!

What a final splash page! The exact opposite of the downer endings of so many recent stories, and a counterpoint to the maudlin (but still somehow giggletastic) cover art. Does everyone recognize Bertha's fashion inspiration? What a brilliant last minute realization in six panels!

I find myself intrigued by the changes in Star City over the one-year gap (if confused by the ease with which Oliver apparently reveals his secret identity to his foe). The final payoff splash page is a vicariously thrilling moment as only comic books can deliver.

It's a good tale, solidly told by creators talented in this medium. Let's hope we don't lose them to the telly too soon!

He shoots one arrow, two coins and a playing card in this issue -- and throws a bunch of punches, only some of which land -- but I've got no worries. If this is how these guys do a slice of life, they're going to be just fine when the stakes get higher and the big targets start popping up.

That unwelcome return on the final (title) page is the punchline to one long joke-filled read, one that just isnt as funny given the DC Universe it now has no part of. Oh for the days when he was the worst of these heroes worries.

Poignant final coda: Thats what this issue is. And you get the sense, in several seemingly offhand comments, that Giffen, DeMatteis and Maguire are completely aware that theyre putting these toys away for perhaps the final time. Im upset about that, but these guys at least have nothing to be ashamed of.

Art-wise: No doubt, this is the element keeping the book on my buy list. Garcia-Lopez and Janson are the definition of storytelling consistency, and Id never pass up a rare chance to see Garcia-Lopez draw Superman.

7. Finally, this is the way a team book should be done, with attention paid to every character and a humanistic, lively tone to the proceedings. While there is a signature Johnsian cliffhanger splashpage, this one substitutes whimsical mystery for the violence to which his epilogues are often prone.

Is any of this deep? No, but it sure is pretty, and full of incident.

Superboy-Prime is the excuse to rifle through and endanger a history that the character doesn't understand, but we do. And it seems that so Johns does, too--though the storytelling is the writers popular method of alternating between expository scenes and violent murders that informed his Infinite Crisis.

Brian Douglas Ahearn's drawings for the board game are irreverent and goofy, but I think it's probably indispensable as the best guide yet to just who is who and what is what in Legion lore at this point.

I won't reveal Machine Man's partner, but he has another new teammate by issue's end, and we're well on our way to another wild ride.

The great moment this issue is that transition from "old footage" (billed as a 1956 prologue) that occurs with a radically weird zoom into the Don Lawrence Miracleman's impossibly perfect shining smile. We get lost in the glint in his eye, and when we turn the page, Gary Leach has brought us into a realism that seems to make the past Mike remembers so vividly all the more unlikely. And thus begins our exploration of the superman, Nietzsche model.

Things get really weird when Rogue and Gambit reach their goal, a hidden room in the complex that Magneto doesn't recall building. Inside are some really strange time effects, and even weirder spacial anomalies. We still don't find out what's going on, or who "X" might be, but the mystery just deepened in very interesting ways.

Also interesting: Niciezas baroque interest in the fringes of Marvel lore is showing again, as what an odd bunch of fish-men he dredges up for the attack. He and Busiek are lucky to have Grummett on hand, as he especially excels at differentiating crowded fields of combatants. That visual busy-ness fits well with the story, which wouldnt be the Bolts if it werent full of deceptions, doubts and lies, right from the start. These are flawed people, and as reality TV shows us, flawed people make drama.

Also interesting: Niciezas way with words, giving a satisfying voice to narration by Purple Guy, running commentary by Swordsman, and the requisite convincing gruffness to Wolverine.

The central players in this new title are fittingly the newest members. Radioactive Man proves he possesses the potential for nobility in a world of changed political fortunes and allegiances. Speed Demon pretends a detachment he doesnt show in his actions, as heroism seems to be calling to him. The others push Blizzard to his limits, and even the frivolous adrenalin junkie Joystick is finally beginning to show some nuanced levels as she performs a crucial military action against the armies of Hydra. I thought Id miss Karla (a.k.a. Moonstone, the star of the Avengers/Thunderbolts mini that served as the bridge between v.1 and v.2 of Thunderbolts) more than I do, but perhaps Nicieza has said all he could with that character. The one constant in this title is change, so though weve set a few players on a righteous path by the final page, weve still got the need for new funding, various ongoing ruses, Atlass deteriorating sanity and Mimis unresolved health issues to keep t

Also interesting: Grummett and Sienkiewicz alternate art chores, splash page profiles for the former and the newscast talking heads format for the latter. This works surprisingly well. Ill take Bills expressive inking over full narrative clarity any time. However, I do wonder about Nicieza including actual people as his commentators. When Black Panther provides Dondi Reece, does the Marvel Universe also have room for the actual Condoleeza Rice?

Visually: Guest art by Cliff Richards is strong, if not my ideal choice for this title. He masters all the characters, however, including a recognizable Tamara and other familiar faces from the near and distant past.

Niciezas device of introducing each character (I count eleven) with short capsules about their motivations is effective shorthand, and while this issue is more setup than plot advancement, its a fun read for all the potential conflict it portends. The book finally seems to have shaken free of a year of crossovers, and to have returned to its primary theme, character studies of muddled, gifted people who might be heroes, if only they could escape their villainous impulses and pasts.

EDITOR'S NOTE: Ray Tate also reviewed Next Men #6. Read his thoughts, too!

Next Men #8Posted: Thursday, August 4, 2011By: Shawn Hill John ByrneJohn Byrne, Ronda Pattison (c), Neil Uyetake (l)IDW I did not realize until I went back and checked (did you know that the most collectible issue of Next Men volume 1, by the way, is #21, which features the debut of Hellboy?), but Byrne has picked up this comic exactly where the first series left off. I mean exactly. All that has happened in these 8 issues thus far is what he was planning back then, so, for long-term readers, we're getting a full story that just happens to have a 17-year-long blip in the middle. Will someone someday come along and fill in those issues that would have been, just as Byrne himself once attempted with X-Men: The Hidden Years? No need, I suppose, because his plotting is air-tight. And the art is just as good.

Lets not kid ourselves about subtlety here: General Anger leads the Highest Anti Terrorism Effort, the Captains actual name is unprintable, and the corporate goons (who are testing Marvel Universe-style WMDs) are actually poking Foom with a big stick and thus must be stopped. But the clever lines are clever, even Machine Man has a personality, and the pared-down team seems to have a varied power set for taking on their foes. Theres a lot in place here that could guarantee some fun, in yet another entry on Elliss drive to update stupid heroes for real world (or at least currently cinematic) threats. Its all about the synergy.

If Barbara Gordon is anything, though, its clear-headed--and this issue gears Barbara up for an epic confrontation with the old Batman foe. Who knows what the results will be?

So this comic seemed like a Marvel NOW! sure bet, and #1 comes pretty close, with a few caveats. There couldn't be a more Bendis-derivative Avengers comic since he's finally off the franchise. This issue picks up threads from The Initiative, from Civil War, and even Secret War. It has a very heavy dose of Maria Hill and even the palpable off-screen presence of Daisy Johnson. Nick Fury has well and truly become Samuel Jackson in 616 (yes, I believe how they did it in continuity, but it's still ripe for humor), and Phil Coulson is all over the place.

These were the exact questions I had about the Skrull components of two of my favorite teams when this invasion began, and hats off to Yost for answering them. The issue is beautiful, action-packed, and full of consistently accurate character moments. Let's hope the whole series is like this.

Whats refreshing within that stereotype is that Shellys a writer, and thus the authors most immediate stand-in, the everywoman at the heart of this installment. While not quite thought balloons, the narration clues us in to her feelings, fears, doubts and hopes. That sort of interior monologue, being privy to their thoughts as they act, is something thats been denied so many heroines lately, and this flow of thoughts is the vine that roots and grounds the unfolding petals of this story.

This issue is all in the details, but theres no point describing them. Its Easter egg after Easter egg on page after page, and whether it all fits together with the tragic mystery that began the series or not, its a real page turner.

And we all know, even the most beautiful gem has its requisite flaws.

There are some intriguing plot machinations dealing with the One Year Later theme, as the heroes seem to have entered the blood shield and never come back out. Leaving it standing for a year where a town used to be seems unlikely for a world with a JLA, but Im very intrigued as to where this is going. I may lose interest if Willingham steps back from the art, but so far big thumbs

Note that the issue offers four alternate covers: one by Byrne, one by Zach Howard, a photo cover from the episode itself, and an uncolored sketch version by Byrne.

The issue comes with the choice of several promo covers (depending on what your shop orders), as BOOM! debuts often do, and while I was partial to those that homage the more famous Hellfire Club of the X-Men (including parodies of Uncanny X-men #134 and New Mutants #39 by Josh Corvey), I ended up picking the cinematic one by Mike Perkins that features the Union Jack. It’s the most like what you’ll find inside.

Hmm, I did say the dread name Arcane above. Not sure if the adherence to continuity is going to lead to a revival of that damned nemesis, but theres plenty more Diggle can throw into the mix from all over DC continuity if he wants. Breccia seems the perfect partner for a newly horrific journey.

Most of that place, wisely, is Tefe, the youngest and least tried member of the group. Its a hoot to see Sargon (especially Breccias devilish, wizened and levitating version) ply his wares on young Tefe. Its like a seedier, less powerful Dr. Strange forcefully conscripting a student. Now, if Tefe stays this dumb for long shes going to outlive her usefulness as a character, but Vaughan found levels within her teen angst, and Im confident Diggle (who writes a fairly hilarious Constantine, no easy task) can do that too.

Diggle is drawing from the work of Moore, Veitch, Collins, Millar and Vaughan, all the eras of the past, to create this latest chapter in the saga. Breccia, on the macabre scale, is easily as creepy as Bissette and Totleben; the final splash page is both goofy and horrifying. Next month: when monsters clash!

I'm not sure how to feel about a story that wants me to empathize with Thanos. In tracking his early development on Titan, Aaron's bildungsroman is part Damien: Omen II and part Portrait of the Artist as a Young Man. With a bit of Dexter thrown in.

This is as obvious and straightforward as a backstory can be. Billy comes from a classic dysfunctional family, one where he's the black sheep to his younger, smarter, more delicate ("He's a bit of a little girl, if the truth be told" declares dear old dad) brother, and the would-be protector of their imperiled mom. There aren't really a lot of answers for a kid in that predicament, but Butcher's smart enough to realize there's little way out, and to resent his fate.

Ennis is a cruel one. He's really getting ready to jab the knife in, hard. This is the issue where we meet her. The lovely russet-haired beauty on the cover, fit to be played by the likes of Rula Lenska (if anyone remembers the old shampoo commercial). Name of Becky. She and Billy meet cute on a train, and it's all downhill from there.

Shawn Hill knows two things: comics and art history. Find his art at Cornekopia.net.

We've seen Butcher become the cold killing machine he was almost raised to become, and understand clearly how Becky's death (and the insane way it happened) inevitably placed him on this path. We'll cheer when the Homelander finally pays for his crimes. But is Billy's revenge the best we can hope for? Becky lived her final days in silent suffering in order to keep him from this path of violence as long as she could.

Jae Lee has become a master of style who also delivers the solid meat of a story, and here while backgrounds are conveniently blurred masses of colorful fog, the principle players have such character and the expressions and details of costume and posture are more than enough to bring each figure to vivid life. Theres a little bit of a sense of seeing a series of frozen tableaux, but the eerie stillness does befit the classic multi-genre hero quest, anchoring Kings pastiche of sources into a convincing world of its own. The covers for this Marvel-produced corner of the Dark Tower mythos have all been memorable, and this second volume of tall tales seems poised to repeat the success of the first.

Is it heavy-handed and simplistic that the fight between good and evil merely involves choosing sides? Yes, but it's also by turns thrilling and frightful. This team remains as surefooted as ever in depicting small-scale human triumphs and tragedies within the framework of an epic disaster.

That's a compelling character, King's own spin on the femme fatale. Sure, she's Eve and Lilith and every other betraying temptress. But she's also the Magdalene without a redeemer, the Earth Mother with no children to call her own, and one of King's best ever examples of updating a stereotypical role to the detailed specificity not just of the modern day, but of distinctive traits of culture and character, all wound into a tight knot called an individual. Her story, once again, is a tragic one, not least because the battle she's losing is really against herself.

Is it heavy handed and simplistic that the fight between good and evil merely involves choosing sides? Sure, but it's also a sound strategy. This story is about an impossibly extreme situation that forms a crucible for every character. Whether the goals involve finding love or safety or growing up or gaining power or wisdom, the paths taken have universal applicability. In this story especially, the personal and the political are inseparable.

Ordway keeps everything clear and has a few funny ideas of his own, as far as background costuming and the diversity of heroes who pop up as styles change and careers evolve. A particular change of nationalistic loyalty is especially clever. The multiple inkers let him down occasionally, but not too jarringly. Top it off with a pristine cover by Chris Sprouse, and you've got a solid, action-packed issue of excellently self-referential comics entertainment. Darn that Alan Moore, up to his old tricks as always. You'd think he created his own private playground for just this purpose!

I know about Carol Danverss early life, how shed risen in the military only to be disgraced by Captain Marvels conflicts on her watch. But I wasnt old enough to read those issues, and shes become Warbird (forever changed by her exposure to Kree culture) and her Captain Mar-Vell is long dead. Now I get to relive that seminal first contact in the Ultimate Universe, with updated sci-tech and all-fresh versions of characters freed from the history of our world. The cover promises many more players (most of the Ultimates weve met save for the X-men and Spidey apparently), but at least in this installment, Ellis has achieved something unexpected: a fresh update on some timeworn ideas.

That is to say, it doesnt matter that nothing happens this issue, because the plot thats hatched is great and the words are magic.

Epting is the perfect partner to tell Brubaker's story, his slightly retro realism grounding the very introspective nature of Velvet's life. She's acting alone, planning alone, existing by her own rules and the few people she calls friends are either at risk or capable of jeopardizing her along the way. And Breitweiser keeps the colors on a low burn, not settling for sepia but never overwhelming Epting's dark inks. Velvet's story is already a tragedy; but if she's going down, she's going to do it her way. No more compromises.

This oddity may not be for everyone, but at $5, its a charming curio.

For fans of the Countdown series, this issue repeats the strengths of that title while escalating problems to a whole new scale. But not without hope, and never without visible humanity, even among the darkest of alliances.

Except one of them is in love with Sofia, and has been across time and space! Ouch! Bad luck after all, Ali! Which is to say, this is Grant Morrison madness on a very human scale, grounded in a soap opera love story and the mundane, not usually so deadly, non-ultraviolent world of family life. Its cool.

This one-shot idea for ongoing Marvel titles has been a bit scattershot, but this is another good one.

In one issue Brubaker and Fraction capture what was essential about Iron Fist before (mysticism, action-packed battles, robot foes like Mechagorgon) and promise to up the stakes on the very colorful life led by a fairly normal, bland young man. The last page reveal is suitably enigmatic, promising more to come from Dannys newly mysterious heritage. There are challenges ahead to keep this rather reactive character vital, but this is a solid beginning that could lead to a new era of greatness.

Im still hoping for Master Khan to be behind it all! His villainy certainly wouldnt compromise the formulaic nature of the storytelling thus far, but stories like this are the reasons formulas work.

They have jettisoned one aspect of the old days that I miss, though. Jeryn Hogarth has been kidnapped, and his mother is being tortured; Dannys chosen CEO seems completely without resources of his own, and that wasnt the case back in the day. Maybe it was a cheesy James Bondian bit of fluff, but Jeryn always traveled with his own bodyguard cadre of deadly supermodels. If the writers can reinvigorate everything else about Dannys pulpy, contradictory roots, surely they can update the femizon police force. It would have been fun seeing them kick Hydras ass, too.

David Aja is fully on board with his grounded style, perfect for an action/spy/exotic locale sort of tale. Hes proven surprisingly spry in coming up with inventive designs for the quasi-mystical combatants in the escalating competition. This book has about seven things going on at once, and each is balanced and clear with through-lines and narrative climaxes hitting not predictably, but satisfyingly exactly where they should. Immortal Iron Fist continues to be one of the years revelations, proof that theres life in the old dogs if theyre revived in style.

This title is currently without equal. The imaginative scope is breathtaking!

Im curious enough about the main character to wonder what motivates her. What dark secret from her past sets her so against the super-criminal element? Theres not even a hint of an answer yet, but there should be if the series is going to build momentum and interest. The old way to do a series of this type was to have volumes of interior monologue as the main character works her way through her problems. This issue is fully second-person, and barely omniscient narrator at all. Still, at least this is not an example of decompression, in that we spend half the book watching the hero decide to take an inconsequential action. This Manhunter acts quickly and decisively, as if coming to a decision long in the making.

Saizs art has the efficient clarity of Ivan Reis, or of any of the JSA pencillers. He finds a darkness appropriate to this series, a film noir tone that befits his hard-boiled gumshoe leading lady, and especially the extreme villains Manhunter is starting to attract. In fact, hes almost reaching a J.H. Williams level of expressive clarity in certain panels, though he still falls short of the style Jae Lee masters on the covers.

Yeah, this is how the road to hell is paved, which I imagine will come into greater contrast when Kate confronts the JLA next issue for the first time. Jonn is likely to see right through her. But this walk on the seamier side of the DC-verse, so far, is refreshingly frank, and while Manhunter is pretty much already a criminal herself, her unwavering confidence is a pleasure to read.

Final word: This title is a sleeper. It deserves a wider audience. Andreykos look at an unpleasant flawed character is deeper than it first appeared, evidenced here by a tender passage where she and her ex start acting like adults regarding the welfare of the child she put in danger. This is a unique spin on a solo female title, miles away from Wonder Woman, more like some odd mix of (mortal enemies) Ms. Marvel and Mystique.

Pinas art is serviceable, but not up to the usual standard of Jesus Saiz. Palmiottis familiar inks help maintain a sense of dark, realistic continuity, but Blancos are a bit more sketchy. Still, these revitalized players are all familiar from their IC incarnations, and this is the perfect book to give them a memorable workout.

While losing Jesus Saiz to Infinite Crisis was a big blow to this book, DC seems to be putting in the effort to at least find artists capable of a similar style so that his absence isnt too jarring. All the characters he created are still recognizable, and Im still happy to count this among my favorite monthlies.

Gaydos, a welcome new addition to the Manhunter team, has dealt with struggling anti-heroes before, both with Daredevil and with Jessica Jones. But while Jones, in her post-Jewel private eye phase was equally determined to succeed despite frequent setbacks and missteps, Kates approach is not so fraught with insecurity. If anything, her greatest dangers come from her recklessness -- she takes on the big boys, whether shes ready or not. Shes a trained lawyer, after all. Who knows, she might just get lucky. Im sticking around in hopes it never runs out.

The issue begins with Kate and the Beetle both having trouble with their super-suits, which seem to think theyre natural born enemies. Thats the sort of quasi-humorous, mundane oddity (what kind of heroes arent fully in charge of their own arsenals?) that keeps this series grounded. This is another solid new tale of an intriguing revival for the long-suffering but smart title character.

Bachalo adds complicated backgrounds, scenic vistas and even actual facial expressions this month, and the arc promises to look very cohesive when it's done. Not that I know what will happen next, except maybe Scott getting it together. Morrison's characteristic move is to make everything look as bleak as possible for the defeated heroes, and then pull off a hat-trick of a last-ditch effort in the subsequent issue, turning the tables from out of left field. For all we know, Weapon XIV is all daisies and happiness and can turn off Weapon XV with a smile.

The fact is, while the focus and intent of this surprisingly workable teamup of Scott and Logan is clear, dealing with only the boys away from the Mansion just isnt as fun as having the full-complement of teammates on hand. Morrison has written an action-heavy X-men side adventure, but hes dropped all sub-plots to do it. Its time to end this little offshoot of his odyssey and get back to the big picture.

Not to worry, though, because Phoenix has been back for some time, and she's no longer bothering to power down.

Which is to say his success is hollow, and probably fleeting as well.

Too bad there's no Beast as the cover implies, but I'm assuming Scott, Emma and Hank have roles left to play in this darkening, intensifying and openly savage arc. Morrison's achievement, more than perhaps anyone else who has taken on Marvel's mutants, is to show our heroes as victims. Not whiners, mind you, but sufferers on an epic scale. Not just from each other, and not just from prejudiced humans, but of their own powers, of the implications inherent in their own particular gifts and burdens. This issue, more than even the horrors in "Ambient Magnetic Fields" or in Cassandra Nova's ruthless first arc, builds to the level of compelling tragedy.

Jiminez outdoes himself this issue. His scenes of hapless humans falling from the sky are chilling, and his understanding of both Xorn and Charles is compelling. Chuckry's toned down his colors for this gloomy issue, another fitting touch. This is gonna make one lovely TPB when the arc is collected. While it's a shame ostensible Morrison-partner Quitely won't be around to wrap up the run like he began it, I can't think of better choices than Jiminez or Silvestri to take us out.

That tragic tone, the real sadness running through these pages, is a wonderful echo and re-imagining of a seminal X-men event, Jeans death at her own hands while Scott watched in #137 of the original title. The reverberations of that event echo through this entire arc, and seem intent on informing the final futuristic impending coda as well. Thats okay with me; Im still mourning that first of Jeans infinite deaths myself.

But Bad Beast is a clich, and Skylark (at least this issue) is a complete cipher. Much more emotionally powerful is the flashback coda, where Emma and Scott ponder the mystery that was Jean. Its a complete echo of her Byrne/Claremont funeral, but even Byrne didnt draw ultimate Bond-babes like Silvestris chic and sexy take on Emma. His Image-style art makes a welcome return, and even if the story is mediocre, at least we know from the cover that no matter what age, Wolverine will always have a hot ass!

While theres undeniable coolness in the were walking splash page where the rag-tag remaining mutants begin their final stand, Im really looking for more than small details as the reward for following this run to the end. I want to know whats going on with Jean, Emma and Scott, dammit!

In Morrisons dystopia, the one remaining Sentinel has converted to aiding the mutants, as if too horrified to go on otherwise. Morrison clearly celebrates the diversity Sublime is (has always been) threatened by, and thus showers us with a kaleidoscope of magical mutant moments. A green-haired be-winged angel. Tito (one of Beaks more kick-ass descendants) employing an emblematic fastball special with a still fearsome Wolverine. Jean showing up in a variation of her Goblin Queen getup. Old bats Cassandra and Martha reminiscing about old friends and surrealist painting. That last reference, to an image called Europe After the Rain is the key to this entire story. Like many of his compatriots before him in the field of science fiction, Morrison is enacting his own nightmare of a fallen empire, caught in the death-throes of decline.

Silvestri excels here; upping the mystery and the sense of whimsy in this surreal Phoenix summit (they all wear the glorious unisex original I am fire, and life incarnate! Cockrum design), alluding to pivotal moments from Jeans past like the Mkrann Crystal (the first time she jump-started the universe). The promise of what might have been, had Morrison and Silvestri been fated to spend more time as a team, is thoroughly apparent in this visually stunning issue. Finally theres some synergy between their divergent styles (and, for long-time readers, many allusions to the last time Silvestri led a tour through Jeans psyche, as Madelyn Prior died at the end of the Goblin Queen saga). His rather pronounced tendency towards symmetry doesnt impede Morrisons view askew concepts, and his work on emotional expression at pivotal moments is greatly improved over previous issues.

The creators seem to have gotten the hang of translating a complicated series--and its contradictory main character--to our chosen medium. Hopefully they'll be as good at the action scenes when they come as they are at instilling a sense of creeping dread in this issue.

I'm not sure if this series is still attracting new readers. It may not pick up more with an issue like this, which lacks either sex or violence. But hang in there, because it's more like Anita Blake herself than ever, and those two activities are an unavoidable part of her lifestyle choices.

These sorts of intense sequences are what draw readers to Hamilton's series (well, that and the explicit romance, which has been happily on hold for this arc for the most part). She alternates intense emotional confrontations with the impediments of police bureaucracy and the thrill of supernatural attacks. Though this arc is billed as a conclusion, it ends on a cliffhanger like every other issue, so one can only hope that the Ruffner/Lim team of adapters will continue when the story does. They are channeling the novels with near perfection at this point.

There are definitely enough Legionnaires to fill two books, and they will hopefully do so in a flexible but interrelated fashion.

No one really has the charisma of Chuck and Luornu, whose powers (think Multiple Man and Mr. Fantastic, on a smaller scale) aren't all that but whose successful marriage and confidence and bravery have made them heroes many times over. Levitz does some good work connecting Chemical Kid to Chemical King (who died in the line of duty), and the adventure on the Kid's homeworld (where his wealthy family is attacked and the kids get in way over their heads) could become interesting. The book just needs the time for the new concept to click in. All the pieces are there for a home run, they just need a few more innings.

Over the course of the inevitable collected edition that will come from this series of issues, it will probably make more sense. But in a monthly comic, it's clear the creators still haven't really mastered the transfer of this story to a serial format. The story breaks and the ever-changing titles seem quite arbitrary.

By my guess, she's got three more issues in this arc to make her point. With Lim providing the art, it's going to be creepy and witty and fun, usually at all the right times.

That's definitely the implication at the end of the issue, as the thug without the knee injury arrives to make a rape threat to the bound Anita. He's way too stupid to realize he's just making her mad.

On the way out of the cemetery, Jean-Claude appears, called by her power. He's too strong to do her bidding like the other undead, but their dance has begun, and it's one that will ultimately make them the power couple of St. Louis, at least amongst the ghouls, goblins and demi-gods. For this reader of the original novels, Marvel has clearly found a team capable of interpreting them for the comics world.

In fact, the horizontal compositions echo classic funny papers formats, but the tale doesn't seem dated--just cheerfully nostalgic. The whole is an essay in storytelling, but it has to be completely formulaic in order to get the job done so quickly.

George Perez turns in the art on the main story, and thus turns back the clock to 1985 effortlessly. The back-up feature may be even better, as it is a 100% Silver Age type tale of several time and space travelers who have been kidnapped to do battle on an alien planet, illustrated by the amazing Walt Simonson. It's fun to see these guys (including Adam Strange and Tommy Tomorrow and Captain Comet) both follow and break the rules of old conventions, in a manner as entertaining as it is goofily artificial. One of their foes wields a deadly vacuum cleaner!

We've got a group here at this late point in the series who know each other's secrets, but who act as a unit despite their curses, so when werewolf Quentin allows vampire Barnabas to feed, you know it's just a way of powering up to face Angelique. Her confrontation with Caroline in the town pub is well-played, a war of the blondes between the good human one and the reanimated porcelain doll.

Campbell doesn't hold back on the blood and gore, but is almost better on the simple eeriness of levitating witches, glowing possessed eyes, and the flutter of batwings in the many looming inky black shadows. When Angelique fails, things return to the normal quiet gloom of Collinwood, but it looks like the ghosts of Barnabas' many victims will be showing up next issue. That's the right move now, as we need to be recaptured by his plight in this new medium as his original fans once were two generations ago.

The Stooges Avengers! The Bert & Ernie Avengers? The Lenny Bruce Avengers!

New Avengers #5 would be less palatable without an artist as gifted as Stuart Immonen to sell every mood, every glance, every line of dialogue, and every glancing beam of power. This work may not be his best ever (I think I'll let the more expansive Nextwave stay unchallenged on that front), but he's a vital part of a team clearly capable of creating a book thats equal parts fun and violence.

Superia has injured Mockingbird, and we've been waiting three issues to see if she survives. They've been flashback issues illustrated by Howard Chaykin, so the wait has been somewhat ameliorated, but I was getting a little tired of all the hand-wringing.

I'd like to welcome everyone to a personal love letter from Bendis to the character that put him on the Marvel map, Daredevil. C'mon in, it's okay, they know you're watching. They're ready to share their intimacy with all and sundry.

Only, as she'll never actually understand the real Jessica, it's not as entrancing as she hoped. Jessica is in an even more dire situation by issue's end than she was at the beginning. She's also in too shell-shocked a state (following her Skrull captivity) to be open to seduction from any quarter. But she does somehow, just barely, seem to be on a path of staying true to herself. This book is alternately horrifying, creepy and (at weird moments) funny. Maleev's realistic style with lurid colors makes it easy to identify with a character who hardly knows herself. You have to decide if that weird mix works for you.

As does a funny line from Agent Brand (funnier than her trying too hard sign-off, anyway) reminding Jessica not to be a spazz: "If I wanted someone bouncing off the walls I'd have hired Spider-MAN." Bendis ends the issue with Jess at last coming in from the cold and that works for the series as well.

The mounting sense of calamity leads to a pretty abrupt cliffhanger, but its a good one that gives me hope that this six issue series, though stylishly decompressed, will do the job of covering all the ground of a heroine who had several guest-appearances and a 50-issue series before her first death (of the many revivals since, this is the big one).

Summation: This has been a compelling, coherent if downbeat series that has followed a main character and a limited supporting cast through escalating predicaments. It looks fit to make sure all the guns left on the mantelpiece during the story will be fired in the final chapter.

The real ogre behind it all is Henry Bendix, as always, the megalomaniacal mad scientist that created half of them and repeatedly endangered them all. Its indirectly his fault when the inevitable happens and two heroes are grievously injured. This cliffhanger promises even worse consequences next issue. Of course, Gage also might want to let us into that bunker before the mini-series itself is over.

The individual battles are cool, with Apollo and Midnighter facing nightmare versions of themselves, the speedster proving especially challenging for many of the heroes, Rose Tattoo coping with her serial killer guilt, and the Engineer using her web interface to crack some of Bendixs defense systems. Its a logical, solid fight, shown step by step, and though it gets us to some clichd places (everythings fine, except for that wily stealth traitor) it does so with style and gusto. Midnighter makes some dirty jokes, Apollo takes everything seriously as always, and Hawksmoor kicks the hell out of his opposition. This is what you want from an Authority tale, especially if youre nostalgic for the good old days.

This is a rock-solid winner. Dialogue-driven Bendis writing a story set on an urban newspaper? A no-brainer.

Third issue, third Spider-Man cover, still no Spider-Man inside. We do at least hear his name, though, so he might actually justify the marketing yet.

Bendis has mastered the ensemble concept, giving spotlit moments to each of his heroes and villains. Its a bit like watching Lou Grant: Homicide, which cant be a bad thing.

Prognosis: This second arc is starting off poorly. Bendis needs to pick up the pace (and stop milking his own other projects, especially quarterly ones that already emerge at a snails pace) if he hopes to equal the first arc after this rocky beginning. And somebody get Anderson an inker!

The last-minute rescue by SHIELD comes as a welcome release, and Jessicas as happy as we are to see old ally Clay Quartermain (what a great comic book name) again. At the end, in the rain-soaked post-traumatic wrap up so central to hostage situations (enlivened by agents with jet-packs lifting away), weve learned no more than we already didnt know about that damned titular problem. But weve been reminded of who Jessica is, and who her friends are, and why were reading this talky title in the first place.

Sexism watch: Well, cmon, Night Nurse, but otherwise Bendis realizes Misty is the voice of reason over at Heroes for Hire/Daughters of the Dragon, and if anyone is sexualized on the cover, it is Wolverine, because Mayhew takes full advantage of the new leather costume that leaves nothing to the imagination (unlike the Byrne one from the X-men cover, with shadows). Good job, then! Logan might as well be Emma!

This is the book where Bendis can afford to be talky and ruminative, without having to worry about the genre-required action scenes. This title is about words and thoughts, and, as such, its generally well-suited to character pieces. Larks art is a perfect match. This character piece enhances and develops an important role in House of M, and targets yet more ire at Magneto (rather than just at Wanda). In fact, Clints thoughts on Wandas possible uses for him are actually quite intriguing, and more nuanced than anything that appeared in Chaos itself.

This was also billed as the issue we actually see the baby, but instead its another cliff-hanger on that front. Thats perhaps the most frustrating thing about Bendis-world; to produce so many books, they all end up on such wonky schedules, and his plotting doesnt seem to ever take publishing dates into account.

Best moment: While its nice to know the real Avengers are still unofficially active, nothing confirms Lukes rightful presence among their number better than Lukes awe-inspiring leap into action to get to his girl.

The sub-plot about D-man concerns another hero left too long out in the cold, and the importance of Daredevil to this tortured soul makes for a poignant scene. Ben Urichs one of the good ones.

Did I say fianc? Yes I did. Jessica comes to the right decision, and ends her admittedly uneven second series on an upbeat note. That kid is going to have some mouth on her, though!

The issue starts off a bit slow, but, man, those last four pages or so, totally what I expect from Remender. WTF is up with the Red Skull's new cronies? A giant sea-turtle and a chick with a bag of talking wind? I'm so hooked. Just like Xavier, this comic has me a bit out of my mind.

The tone throughout (with Warren and the other child Apocalypse in deep hiding) continues from Remender's Uncanny X-force, on an even grander scale. The mix of mutant and human on this team's makeup isn't as important as the mix of heroism and temptation. Which choice will Wanda make? When did the Wasp get so sassy (and possibly a little kinky)? What are the adult Apocalypse Twins actually up to? It's clear by the end of the issue that they don't have much forgiveness for what Kang did to their lives; every issue has been nearly as full of wild cards as this one, but Remender has laid the groundwork well, and that's what keeps this my only current Avengers read.

Koblish and Decastro do a non-shabby Byrne/Austin impression, all clean lines and expressive shadows, but with enough style of their own to keep the visuals fresh and to make those dayglo costumes pop. The Hykonians, by the way, take on Nick Fury and his Heli-Carrier just for an added thrill. They're way too powerful to persist in this way, and I'm sure next issue Lilandra will just happen to know their one weakness, but the old formulas are sometimes the best, and this series of new adventures from the old bi-monthly era is having a lot of fun with beloved memories what once made the X-Men matter.

The issue ends with a further info-dump from Corbeau, one that offers a retcon that may not even be necessary regarding those old days. It also may not make much difference, but I don't mind trying to tie-in so directly with events of the past if it's well-done. This issue reminds me of those old Classic X-Men backups, and that's a good thing.

Anyway, with the Doom Patrol, I'm in. We've got the core team, we've got a lot of bad attitudes, now all we need is the right art and some good stories. Weirdly good.

Clark is already up to the challenge. He channels all the flashbacks with accuracy, somehow making sense of the Doom Patrol at their wackiest in several different eras. I especially like his look for Larry. Bandages, sure, but also jodhpurs and a bulky green sweater, suspenders and combat boots. It's an adventurer's garb, and Larry is still addicted to adventure.

Its still a superhero book, and current foe Thayer Jost is trying to use that against the team since DC humans have been so traumatized by Blackest Night that all metahumans look evil. I dont think Giffen is moving towards healing any of these fractured psyches. So instead were reading an in-the-trenches scenario of soldiers who evince a precariously balanced madness in the face of an unbalanced, mad world. Thats not a bad take on the concept, and its brave of him to attempt to integrate the unusually complicated Morrison characters. Im all about a New Brotherhood, so Im sticking around to see how this confrontation plays out.

A deus ex machina of a sort saves them, but not before everyone learns a little bit more about not just their angst causing alienation, but also their anguished but deep familial ties. It'd be fun to see this group interact more with the rest of the DC universe, though painting them all as unrepentantly surly Wolverines is certainly another valid way to go. This title is under appreciated.

Their only port in the storm is an old acquaintance of Cliff's in Vegas, and his proposal is the worst of all worst-case scenarios: it happens their host knows General Immortus, and Immortus wants to lead his former enemies in the Chief's absence. The most pitiful thing is our gloomy losers actually consider his offer. I wouldn't put major crazy blow-ups and kiss-offs out of Giffen's purview at this point, so I'm definitely on board for whatever's left of this underrated series. I hope it goes out with a bang!

You'd think the Doom Patrol would work fine in a darker, more realistic era, and that Giffen would be able to keep updating a 50-year old property for a modern audience. Well, aesthetically, he has, as I declare this run the best since Morrison's, and the run most steeped in the DCU proper. Cliff decides, as he always does, to regroup the team and retake the island. Even as he admits his own complicity in the Chief's manipulations over nearly every iteration of forming and reforming the team, it's still a cause he believes in and a way to use what's left of his life. It's all he knows how to do, and that makes him the codependent heart of one of the DCU's most intriguing band of weirdoes.

That there is no next issue doesn't mean the Doom Patrol is down for the count; somebody is sure to remember how much fun hermaphrodites, robots, schizophrenics and gay islands are again, before you know it!

Gaack! I can even forgive the unfortunate choice of Greg Horn as cover artist. THIS month. Can we have Mayhew back please?

Earlier days: This issue may only be the third, but its also the 100th issue of solo She-Hulk stories (Im glad someones counting), and so we get two pertinent reprints, the first issues of her first and second series. One features beautiful art by John Buscema and her origin, the other is John Byrnes comical approach that innovatively broke the fourth wall. Byrne has always drawn the sexiest, most accessible Jennifer Walters, and Slott has managed to retain that appeal while giving her comical stories that also possess poignant drama.

All girls have to do today is read this book to get the same thrill.

So while Im not blown away by this odd issue, Ive got a lot of faith in David to figure out what hes going to do to make it his own. Hes quite rightly been lauded for writing some of the classic Hulk tales over the years, and his psychologically convoluted X-factor remains a favorite title. I just hope, along the way, he figures out how to do it without bumming Jennifer out permanently.

Deep stuff about loss, disappointment, rebellion and self-flagellation here, all in a little comic about a sexually permissive green giant, whose every cover emphasizes her figure whether its by Deodato, Mayhew, Granov or Horn. Pretty solid stuff from Peter David, and the unanswered questions mean the plot is still far from unfolding.

Humor remains paramount for David, but he mixes it with drama so most of the laughs are more like uneasy chuckles. When Monet stops tearing up the real estate, she locates Darwin and scans his friend (but these Skrulls are immune to mutant telepathy, remember?). The way the Skrull Talisman (he's sort of their version of Silver Surfer, pre-world-conquering horde arrival) is ultimately revealed is as a hilarious manifestation of Darwin's power. So while X-Factor has an off-month (they're in a state of flux at the moment), She-Hulk is better than ever. Let's hope the crossover ultimately benefits both books, as it heads back to X-Factor next month.

There is one story that finishes in this issue: Jenn takes note of a Skrull transport herding humans to a concentration camp, and frees the prisoners with her usual directness. And the art team continues to turn in impressive work; the cel-shaded look is a fresh one for this title, and their She-Hulk captures the delicate balance between sexy and strong. But otherwise this title has a case of "serialitis"; all the crossovers have impeded ongoing development, and it's time to focus on the title character again. Soon, anyway.

The plot complication here isn't really just a Macguffin, something like it happened all too recently in China, and it's a powerful point for superheroes to bring up. David has kept this title fresh since taking over, and proves it this issue by already forgetting the Skrulls were ever a problem.

Buy this now. Everyone involved is at the top of their game, and the fact that David acknowledges all the recent mutant mayhem without bothering to try and justify it is just as good. You get the sense hed make this book work whatever the editors threw at him; the ideas strong enough to withstand a lot, precisely because the characters are so clearly differentiated.

David, much like JMS on Amazing Spider-Man, has taken crude editorially mandated concepts to new levels that impact character. X-Factor is its own quirky territory, though, and David has managed to preserve that vital tone in the midst of too many shifting currents. With Raimondi on board, Year Two is off to an auspicious start.

If this is the format for this title from now on, Im not going anywhere.

This book has found its stride, and its ideal creative team. Now if it can just find its way through the mine-field of the next Marvel mega-event.

Its time for M-Day to be over, though. In the back-up feature, Henry finds no more help in magic than he did in science, but theres a sense that a new hope is right around the corner. Thatd be great for this book, because these doobies are depressed enough with all their personal issues without contemplating the death of their species as well.

Eaton does the best Patrick Stewart Ive yet seen when it comes to Charles. While his work isnt as showy as most of the other artists on this crossover, its very competent in delineating a complicated and broad field of characters. Messiah CompleX continues to impress with a clear vision that has clearly been understood and acceded to by all the talent involved.

This title isn't earth shattering, but it's still Jaime's book despite the larger events that limit his world (and may have rendered his homebase, Mutant Town, meaningless), and this returning villain is an inspired choice for the film noir world that Jaime seems meant to inhabit. David maintains a unique and entertaining corner of the X-Men that's no less interesting for being off the beaten path.

These guys need a shot of fun, soon. They need for something to go right. The quirky oddities of time travel, anti-mutant foes, terrorist cells and malevolent future selves all provided entertaining distractions, but the villain post-Skrulls seems colorless, and the misery is just getting masochistic. Wanda, please, it's time: some more mutants!

The cover is an old school classic Sentinel panic moment (something every X-book needs periodically) by David Yardin, and De Landro does fine with the Madrox/Miller scenes, too. It's not easy to keep the visual interest up in a team book where everyone's attire is mostly jeans and t-shirts, but this issue is a good looking one that seems set to deliver some action to distract our heroes from their recent tragedies.

Getting nosy with one of the Madrox dupes can't be a good idea. But it's fine for this title, which seems to have received its stimulus package and is back in the swing of things again. Jamie can't feel guilty over abandoning Layla if he's fighting alongside her again, and that's great, because a guilty Jamie means a glum time for everyone.

Those wolves. Theyre always so impatient. And hungry.

Yet its all succinctly and even cheerily portrayed by Howards clear graphic designs. He evokes a bit of an Oeming feeling, and Kirkman is evoking a bit of Bendis feeling as well with his nebbishy novice hero surrounded by more kick-ass threats. But the feeling here is that the Wolfman is the only one unaware of all he can become, and thats an interesting place to be. Lets hope he figures it out soon.

As Zechariah explains it all to his doomed acquaintance in the hospital, Gary heals from a brutal training technique in the woods, a dismembered secret agent gets his partner to start putting his missing pieces back together, and Gary's daughter seeks Zechariah's help to defeather father, whom she thinks killed her mother. This title balances nimbly on an edge between wild fantasy and grim fatality, and thanks to Howard it always looks as great as it sounds.

The end of the issue finds Gary in a holding pattern, but it's one with a plan and with some clear goals ahead. That's a nice spot to be in rounding out the first year of a title which has provided consistent entertainment, always offering a fast pace of action and emotional turmoil.

Howard's art maintains a grim clarity, cartoonish and expressive without being humorous, and the colorists stay in the realm of blues and browns for Gary's incarceration, appropriately so. Another solid installment, full of such incident it seems to fly right by.

Another solid installment. The only sad note is that you can feel Kirkman winding up for his endgame.

In other words, things are as messed up as usual, Gary just doesn't know it yet. Great cover and interior art by Howard, whose storytelling is better than ever.

Maybe the wolves can do something about it, because they pop back in, too. One way or another, it all ends for Gary next issue. It's been a great, dark, bloody ride. Howard is great as always. I'm not sure why pages 4 and 5 are a full splash of the elder wolf, who as usual says nothing useful in a very menacing way. But I think it'll all be clear in a month.

The dudes are by definition badass in Chaykin's noir-ish period, and the femmes are usually fatales. The first scary sequence is when Fury has to defend himself from a samurai streetwalker. She ends up impaled on a pointy parking sign. The second is when Dominic Fortune has to push his date and himself out of his airplane because it's getting strafed. They're both wearing nightgowns.

Chaykin cheats us of another scene where Namora and the Blonde Phantom subdue a freak in a robo-wheelchair (whom we already saw fenestrate Sabretooth), but it does make for a funny reveal. Skul's attack on Wakanda is literally powered by Count von Blitzkrieg, and the rabid racism on display earns serious payback, surely coming next issue. I mean, it's called "The Exquisiteness of Battle," after all! Chaykin has taken a kernel of a flashback idea from one of Bendis' main Avengers titles, and turned it into winning and inventive lost Avengers classic.

Oh well, they're all big kids, and this was a story for big readers. If we do it again, can we have even more fights? You get the sense that, when Victor slams a foe into a wall, or the Blonde Phantom kicks her tormenter in the throat, that's where Chaykin's heart really lies.

My favorite arc of Morrison's Batman run was the Black Glove story, so I'm all about further detective work with colorful allies, and I have a feeling Damian may surprise us yet.

I remain mystified at the logic-defying antics of Thomas Wayne (aka Dr. Hurt?), and I dont really think the Bat legacy can survive such a paradigm change to the mythos. However, Morrison is all about tweaking that mythos to test what still works and what doesnt, and when it comes to the major properties like these stalwart characters, its always good to run them through their paces to see if theyre still fighting fit. Morrison is really performing a service on Batman, giving us new ways to appreciate him in his ostensible absence.

Irving's fight sequences, while intriguing, seem to fragment the action into bits and pieces, but that's part of his truly unique style, which is forgivable since the whole package is so coherent and entertaining. This entire arc is reading like a terse, elegantly choreographed stage play, and it's about time to get your bravos ready.

But for heaven's sake, at least get an inker and colorist, ASAP! The art undermines the words at every turn, and including a selection of fan art celebrating the new look (or comparing the recent Dodsons-illustrated Avenging Spider-Man issue where she debuted) serves only to underline the disconnect.

Almost as interesting as the book is the letters page, which has quickly become one of those classic ones were fans and creators are sharing with great openness and sincerity. All you have to see is the young woman from North Carolina who made her own costume, and poses in front of the pilot school she attends, to know that DeConnick is really onto something, and whichever artist partner she gets is going to have to face equally high expectations.

Carol's a little too gung-ho to sacrifice herself and there's an extended reference to the birth of Phoenix herself in the face of outer-space mishaps in there somewhere, but you know what? Forget about Infinity, and just enjoy the fireworks. With Pat Olliffe drawing them, they're pretty awesome.

This is the fun potential inherent in The End: final takes that are character-defining on all our favorites, and Davis is ideally suited to expand his cast as broadly as he needs to. Without much editorial interference (which he suffered on his unimpressive X-Men run wrapping up The Twelve storyline shouldnt be a problem in this Elseworlds-style tale), hes free to play with the toys with love, respect and creativity. His impressive dialogue promises to keep the emotional lines (as sorrowful as some of them seem to be) intact. This first issue is something the Fantastic Four (and their fans) need right now: a love letter.

This is the sort of jam-packed issue that is usually the penultimate one of a mini-series, but theres no sense that Davis is rushing. Rather, hes got even more to wow us with in the last two issues. The only reason for the one-bullet deduction is that this is a project designed for the long-term reader. Not that new readers wont find a lot to love and entertain, but the resonance of the concept and Davis meticulous details grows exponentially for those who get every reference along the way. This is an homage to all the Marvel was and can be again.

A predictable Alan Davis comic is still a beautiful comic. He chose this ambitious amount of characters, and he doesnt stint on them, keeping track of nameless spandex suits as well as the heavy hitters. He also manages to use the title concept in a new way, as this isnt really the end of the team as we knew them. Rather, its been a look at what became of them after a particularly tragic ending, and how they got better eventually. This issue sees an end to their suffering, with hope back in the picture at last.

In sum: There are two books featuring Superman's cousin on the market right now. Both are trying to formulate an origin that makes sense and explore the character of Superman's fun loving and more innocent distaff partner. This is the one that isn't crap.

Conner plays on this problem by never showing Supergirl up close in the airplane rescue sequence. Shes just a squeaky voice in the distance that Clark quickly dismisses, but Karens problems are beyond his means, too. I take a lot of solace from the final panel, though, as Ive enjoyed many previous appearances of PGs revealed tormenter. Second issues are good places to get the villain in place; lets hope their antagonistic tussle results in more, rather than less, definition for our threatened heroine.

Remember when there used to be two of everybody?

Ryan is a one-man argument for the potential of this new virtual inking process, as hes the only yet whos made it look good. The colors and computer-finishing look great on his art, enhancing rather than obscuring his solid command of anatomy and his effective storytelling, most notably in the dramatic high-speed action sequence. Hes a great match for this story, and even cover artist Mayhew works well enough on this arc. Mystique is the last person to object to pin-up exploitation, after all.

Less interesting: Mystique is diverted from concerns over how the DermaFree company may be using her own cells by an extended fight sequence, and its unclear whether her ending confrontation with a mutant traitor will lead her back to it. Still, as I said, theres a very satisfying and efficient manner to the storytelling that keeps this book at the top of my reading list each month, and thats certainly better than bad.

Still interesting: This book is on its way out, and McKeever, even with his changes in focus, has preserved the appeal of the title as an energetic spy yarn featuring a memorably inventive anti-hero. This weeks battle sequence, Mystique v. military helicopters, is brilliant mutant vs. ammo action. McKeever has understood her powers from the start (if not always her personality), and this book will be missed.

While colorist Rainer Beredo keeps things shadowy, there's a sense of vitality and direction that instantly galvanizes the team in a way that serial-killing antics never could. Some new faces, but some old--because, as Hank says, "once an Avenger and all that."

So this is a good, solid issue, but it's a bit of an anti-climax to the fears building up around the Serpent Crown, which is veering off on a tangent by issue's end. Maybe it will all add up, but I wanted more of a story advance than one cool moment involving Cap.

Moonknight and the Beast don't get much play this issue, but it's no surprise to see the Widow and Ant-Man succeed at stealth maneuvers. The inspired team up of Valkyrie and Prince of Orphans (invading an enemy stronghold at night) shows versatile subtlety on the part of the former and further wellsprings of wisdom from the welcome presence of the latter. It's all apparently being orchestrated by some sorts of demonic creatures, but that hardly matters as it's the excitement, action and character interplay that attracts, the typical best weapons in Brubaker's inventive arsenal.

Jumping from origin to origin to betrayal to setback makes this issue a bit uneven, as one senses Simone had a lot of agendas to fulfill at once, and she doesn't do it seamlessly. But, then, her title characters are full of scars and old resentments and crucibles of terror and patchworks of incomplete healing anyway. She's uncovered a fresh corner of the DC world by exploring the tattered lives of these secondary villains, and it's a consistently intriguing one with all the potential an ongoing series needs.

There's a bonus of an inspired sequence with Ragdoll, who has his own counterpoint to play to the pretty people's story. In this strip, Amanda Gould's charming cartoons just make Simone's smart words all the more biting. This series is a nasty piece of work, and it better keep it up!

And maybe most telling of all, when the team is literally dropped into a nest of gun-toting guerillas, their effectively simultaneous leap into action (if hemmed and hawed by a lot of nervous verbiage) is the truest sign of all: for all their sins, this group has formed a formidable collaboration. And their clients better watch their backs.

Or maybe I just love how difficult it is for Ragdoll to make any sense at all of his surroundings, as his own moral judgments are as alien as they are consistent to a logic all his own. His position as ironic Greek chorus is always amusing.

Seems she's joining the team (at least for the short-term), which pisses off Scandal and turns Ragdoll on. After months of battling slavers and demons, Simone lightens things up considerably with a lovely tale of mentoring and promise. Sure, mostly of more carnage, but that's a promise!

Ahh, who'd want it to anyway? Life's so much more interesting on the dirty streets and the battlefields of the fallen.

Remember when Winter rammed the Skywatch full of Aliens into the sun in the final arc that ended that team and was magnitudes better than it should have been? Expect as dramatic a final solution out of this series, too.

At least the comics regular-priced, as Id be expecting much more from a more expensive issue besides just the shiny cover. Enjoyable, but slight.

Even better: Whats great about the Ultimate Universe is what can be done to refresh old concepts. Elliss wild recombination of Galactus with the Red Guardian and other formerly divergent mythologies is genius here, and culminates (also solving the central mystery) in a brilliant usage of a certain character who has been treated shabbily in the main books for far too long. While the ending may or may not make one long for the next chapter in this decompressed tale, it does deliver on what this series promised all along. Not only does Fury chide the mutants, but they chide themselves for their ignorance. Clearly, in this bleak tale, we should all know better.

The Thor mystery continues to unfold, with this tech-heavy team still seemingly unsure about its faith in the supernatural. That their big problem so far seems to be a credibility snafu doesnt point at all towards the future threats they may face; but Im confident Millar and Hitch have a few things in mind. After all, the sequel needs to top the original just to keep up, right?

Now if we can just figure out whats up with Thor.

On the art front, Hitch has fun with an array of international Captains, including some female ones, and does a stunning drawing of a tree. This is what super-realism is meant to be used for: to make the fantastic glow in even higher relief.

Which means we may be going the same place Authority did after all, with the Ultimates heading towards world domination. But this is a far more specifically chilling, partisan and grounded version of that broad story, as these Ultimates remain, above all, American tools to be deployed as America sees fit.

Theres a way out of what I see as the crass nihilism of this issue, and if Millar uses it Ill rethink my judgments here. Ill still have access to the issues, and Ill check in to see what becomes of Thor, but after last issues gallows humor and this issues excess of ultra-violence, this is just not the book for me. I like my heroes heroic.

Hitch does great work in this graveyard mini-war, cluing us in to Steves battlefield decisions non-verbally. He also captures the emotionally distraught Steve in an earlier quiet scene splendidly. Meanwhile, the wonder twins make fun of Natasha as she tries on wedding gowns, a plot-line that just seems so off-base in this title, its a surprise its actually happening. Im expecting a disaster at the wedding next issue, but I guess thats Millar doing his job; heres me hooked again.

These details are grim, but things may get better soon. Steve and Clint are awake now.

When a dangerous and presumed dead ally makes a surprise return, Hitch offers a double-splash page that captures the mix of excitement and dread needed for a great cliffhanger.

Millar gets to have his cake and eat it too with this issue. And I dont mind, because I like it when Tony lasers enemies from outer-space as much as anyone.

This Strange is a bit off and unsettled, too, but he hasnt lost his sense of wonder and mystery despite having entered a depression that worries Wong. Theres also an odd subplot involving two New York kids (who seem inspired by the ever-popular strip Boondocks), which Im sure will lead somewhere. If theres a flaw with this issue, its that so far the connections are tenuous, and the title character barely makes an appearance. But that would be giving away a glorious splash page finale, and when Doc is this amusing, well, sign me up for the whole show. Its not X-Statix, but then, theyre all dead.

Along the way, we get a complicated hierarchy of the afterlife not unlike Tim Burtons visions in Beetlejuice, and Dragotta and Allred offer their retro-chic images to capture Milligans wit perfectly. X-Statix lives again, if only as long as the magic holds out. This one goes on the shelf next to Morrisons Seven Soldiers Zatanna, which also caught a sorcerer at a low ebb and thus vulnerable to nefarious attack.

The perkiness of the art doesnt compromise the cool pyrotechnics as the Sorcerer Supreme and the Ancient One rip it up on various mystic planes in final battle this issue. And though the punch line to Stephens troubles isnt really all that funny, and the story dissolves by everyone just wandering off more than actually ending, its still got to be judged a successful cap to one of the more diverting and refreshingly odd mini-series of the past year.

Less interesting: Kang? He probably wins the award for most played out Avengers villain. Just how many more iterations of him can there be, and how much more trouble can they get up to? Still, it fits in with the long-term fanboy tone of this series, and like Heinbergs other twists on the myths, I aspect some fresh ideas to enliven the mix.

Cheungs figures are sophisticated, his costumes clever and his emotional expression consistently effective. Justin Ponsors colors this issue underline the moody location (the graveyard that Avengers Mansion has become). The sequence where the kids walk from Washington Square to their new headquarters, deciding on new names all the way, is what this book is all about. Conveniences like Kates dad being loaded and able to fund her team on a whim are all part of the fun.

Lets hope Season 2 isnt too far off, and that this crack team (responsible for delivering the sleeper hit of the past year or so) will be intact when that ensues.

So we get cinematic excess this issue: torpedoes at sea, rocket ships and parachutes, a sky full of flapping man-bat wings. Its all very dramatic, its got a familiar but effective rhythm, and its over before you know it. Talia makes a passionate plea in the midst of that, an offer to Bruce of something hes never had and cant accept now, because her mad dreams of domination dont jibe with his goals of protection. But she had to try, and then the stage is cleared for the oldest foe, abruptly, just like the end of a movie.

Daniel's better with more straightforward Gotham crime, but this story veered off the straight path long ago. Of course where there's madness, there's Arkham, where the Joker awaits, but that'll be next issue. I'm sure it'll be okay. After all, Bruce still has his Bat-Radia.

Some details still don't quite make sense for me, but I'm sure they will if I decide to re-read the whole run someday. In the meantime this issue more than does its job of preparing us for a major showdown soon, one that doesn't leave Bruce completely on his own: Gordon, Talia, Damian and Robin all remain at large. I'm sure they too are smoking guns left on the mantelpiece for just the right moments to come.

To his credit, Garbett does a good version of an iconic Robin, a pretty good Batwoman, and a passable Alfred (who probably didn't do it, btw). His best panel is near the end, with a look of suspicion on Bruce's face as he figures out something about his dire predicament. We've been reading, it would seem, a personal apocalypse.

Batman #701 is a great issue, a satisfying coda to Morrison's reign on Batman. It turns out "killing" him was the best way to invigorate Batman yet. In seeing how much he could suffer--bending without ever being broken--we found the real man again. We now get a chance to spend some final days with a man we wish could survive his personal apocalypse.

As always, the test of a good first issue is will I buy the next one? And the answer to this one is yes, like a drowning man swims towards an island oasis. Even with a reset button looming in the very premise, this one looks like an uncomplicated fun ride.

This issue we get a couple of surprise guest stars including Dragon Man. Next issue promises more of the same. Kolins art handles the serious injuries and emotions with aplomb, but also has a bright and shiny quality that keeps things from getting too heavy and grim. In fact, in light of whats going on in the rest of the Marvel Universe this month, this is the most fun Ive had in four-colors in weeks!

I wont reveal the surprise attempted-infiltrator of their ranks this issue (though if youve checked out future covers you can guess), but when I saw him I cracked a big smile. McDuffies love and knowledge of the Marvel universe informs every page, and Deathlok looks amazing under Kolins quirky inks. The nanotech scene especially impresses, updating one of the original cyborgs to the present (though that big support system tank on his back seems a little retro still). This is a fun book, but this issue is very much a transitional one, staving off the big guns for later.

Theres a lot of talking in this issue, however, and not so much action. The plot sidesteps rather than advancing, literally into another dimension. McDuffie had better hurry up and get us to the confrontation with our main foe before the issues run out.

The Verdict: Who cares about the Beyonder anyway? Im on board for the tensions of this particular motley crew. And to hear Medusa make a joke.

The title refers to science and quantum experiments, but also quite literally to the Watcher and his own brand of coping with the non-interference policy of his race. Uatu comes off as exceedingly clever, and McDuffie, as he does with nearly every character in this rousing adventure tale, manages to deepen the Watchers mythology without violating their legacy. He and Kolins have delivered a solid series employing the richness of the Marvel Universe with a nimble mix of humor and tragedy.

The art is quirky and totally suited to the material, and Natasha, though following almost the same plot of her recent Daredevil appearance, is definitely the sole protagonist. Ill be around for the ride, but hoping for some surprise twists along the way.

Natashas first encounter with a spook in this issue led inadvertently (sort of) to his death, possibly at the hands of his betrayed wife, and the body count is rising. Whats most interesting about this story is how Morgan manages to trade on the traditional femme fatale motif for babes in the spy game, and also maintain Natasha as the heroine were rooting for. Well done.

Through him, Morgan gets in a passing jab at the second Black Widow, Yelena, all part of placing the attention squarely back on Natasha as the one and only. (Well, our one and only, as were just now learning of her twenty-six sister Black Widows from the original project, which may be a big retcon but not necessarily a disastrous one). This is turning into a distinctive Black Widow adventure.

Also interesting: Not that Ive really got their process figured out, but this issue Sienkiewicz seems to have asserted his style more fully over Parlovs breakdowns. While the result is not quite a full-on sequel to the crazed Elektra miniseries he completed with Frank Miller, its probably as close as were going to get. Parlov has offered a solid basis in sturdy anatomy to the visionary Sienkiewicz in this series. A good example of Sienkiewicz genius is how he manages to make Lyudmila a wicked witch without sacrificing her humanity to do it. You can still see hints of her beautiful youth in her decay; a remnant of grace remains, fitting for a misguided star scientist.

His only advantage, however, is a trick, and once Nat is onto the trick, well the remaining loose ends will have to wait for the sequel. If its as well-illustrated and cleverly plotted as this story was, Ill be back.

I havent read a lot of Waids Superman stories, but this one issue is already leagues ahead of the strange annals of continuity hes setting up in Legion of Super-Heroes. Whereas that book is obscure and off-kilter, somehow disconnected by more than just 1000 years, this book is as mainstream as it gets. Its a thrill ride, and I cant wait to ride again!

There are battles, there are crowds, there are chases under the bleachers, there are the high-tech glowing holograms that seem to characterize this science hero type of story, and Waid also finds time to hint about the next issue which will shift focus to Batman and Blue Beetle. This is impressive comicbook storytelling by masters of the field, and its a success that may or may not be on its way towards classic status.

Because its Perez and Wiacek, everythings clear and shiny and bright, save for Batman, who amusingly remains a creature of the night even in the distant future. Waid mines many aspects of DC history to construct this rather classic tale, which is really just a quest with several teams pursuing a powerful object simultaneously. Classic formulas are classics for a reason; the only drawback here is Waid has saddled himself with a lackluster version of the iconic future teen team, who pale completely next to the retro versions brought to such vivid life recently in the JLoA/JSoA crossover.

The issue begins with a gruesome scene of our three heroes impaled on metal spikes, but not to worry! Theres time travel in this tale, from beginning to end! Enough to spare even Brainy and Waids new Legion, but, hey, nobodys perfect!

The issue ends in an almost hoary bit of whimsy: A page in Destinys book, now being guarded by the Challengers of the Unknown (the real ones, not the ones looking for Ray Palmer currently). If theres an ongoing arc starting from this seventh issue, it seems it will belong to the Challs, who are trying to decipher some impending mystery or threat in piecemeal fashion. But if so, it looks like the team-ups wont be as directly related as they were in the first arc. Thats fine, as long as theyre as fun and good looking as this one.

Im trying to write this review without using the word old-fashioned, because that sounds great for comfort food but not so exciting for super-hero battles. But with a haunted house plot that could have been on in any decade of 20th century sitcoms, and Perez doing big, bold sound effects and reaction shots that look like halos of energy, this book is definitely a throwback to a simpler, more entertaining day. Ive yet to find one issue wanting in interest, adventure or a solid, entertaining plot.

There are precious few characters one could expect Bruce to defer to in this way, but a JSA legacy hero is one of them. In fact, this choice can be read as another brilliant insight into how Batman operates. Jay is a genius, too, hes been doing this sort of thing for decades longer than Bruce, and hes far from approaching senility or being swayed by foolish pride. Hes a pro, and Bruce is content this issue to wind him up and let him go. Thats the mature, wise choice of a confident man. I mean, if the day comes when the Flash cant handle the Penguin, Bruce will be the first to see it.

Yes, its a (literal) cliffhanger, meaning weve got a new arc or mini-arc, holding us over into the regime change. While I hope we see Ordway back soon (he and JMS will likely have some of the synergy so evident on Marvels excellent The Twelve between Straczynski and Weston), Kolins and Waid keep the title up to its established level of quality craftsmanship.

The answer isn't all that satisfying (as it rings of simple platitudes), but that doesn't mar this tale of an introspective moment in a fallen hero's career--and Jesus Saiz does all he can to sell the grandeur and the other-worldliness of these two metaphysical masters. It may not be deep or radical, but it's a solid story that captures a bygone era--one with possibly bygone values.

Sexism watch: Is that brute molesting a blind woman on the cover, aiming his blades at her boobs? Nope, its just Logan and Ororo, having a typical chat.

In this issue, all the major pieces are assembled for a brother vs. brother conflict next issue; and we know how well that always works with Scott and Alex, but no reason not to see it again. This is the best this book has ever been.

The cover, with Jean beset by goblins, is an interesting way to go with her temptation by her omega mutant potential. Kirkman is playing on a lot of riffs here, and juggling a lot of characters. He seems to have traded the Rogue/Gambit/Iceman shenanigans for the Kurt/Peter morality conflict, and hes yet to bring Dazzler back into the mix with Angel. But, for most purposes, hes taken up exactly where Vaughan left off and continues to write a diverting team superhero book, if one without yet a singular stellar issue.

All in all a solid, if somewhat quirky issue. Kirkman stays the course.

The art choices made by Tolibao are rather strange this issue; his figures have an extreme look that fits the story, but recalls Igor Kordeys unusual characterizations and compositions on New X-Men. Still, the Phoenix / Apocalypse battle is intense and full of passion, and a later splash-page featuring the entire motley crew currently at Xaviers institute is a nice reminder of the current state of things. Next up is drug addiction and gay lovers, but its really the Dell Otto covers that are going to keep me away. My X-Men have a different adjective in front of their name.

This book is a solid read. It's lighter than both Walking Dead and Astounding Wolf-Man, and it's juggling a heavy load of characters well. Definitely worth the time of the old-school hero fan.

Let's see. Plot-wise in this issue, Atom Eve wakes up and rush's to Mark's aid. Invinciboy also tries to help, and is nearly killed. The hero coordinator does his best to remove the bodies from the field, while Eve and Mark are overwhelmed by the gloating and talkative Conquest. That's plenty, but it's also one long similar note, and Otterly sustains it with more than a few three panel pages. Some stories are denser than this. But few are as visceral.

Almost as interesting as the issue itself is the letters page, where Kirkmans readers take him to task for the seeming murder of Atom Eve. Its like the death of Phoenix all over again, 25 years later. The outrage is in one way the ultimate compliment to how involved readers are in Kirkmans story. He handles the abuse in his flinty but entertaining manner, but I dont have any worry about his readers. Kirkman knows exactly what hes doing and where hes going with this title. They just need to become as invulnerable as Mark!

Invincible did have a firm grip on Dinosaurus' neck at one point, though, and that was after the creature was revealed as a sort of were-monster who can't control when the demon takes over. Was Mark really going to settle for a final solution before being interrupted? Given that this is a Kirkman comic, I'd have to say yes. And that's pretty scary. All in all, a solid comic with a satisfying spectrum of plot threads unfolding at a brisk pace.

Remembering the damage one angry Viltrumite caused Earth in the past, I hesitate to imagine the carnage of the impending Viltrumite War. But I'm hooked now, so I won't have to imagine for long. Kirkman shows his usual mastery of subplots, but this minor skirmish is just a windup for the next big pitch.

Invincible #81Posted: Sunday, July 31, 2011By: Shawn Hill Robert KirkmanRyan Ottley, Cliff Rathburn (i), Nick Koutsis (c)Image So, the Viltrumite war is over, with none of those rat bastards currently in evidence. All the bloody carnage and apocalypse scenarios and incredible cost of human life and damage to Mark's body are healed or being repaired, and despite all that excitement, the book is even better for it.

This is one of those issues where a lot of plot threads alternate on a variety of fronts. I generally love those issues, if I'm as invested in a series as I am in this one. Lots of things happen, some of them a little confusing if you've forgotten past details, others very exciting and cool. And of course, given that it's Kirkman, usually funny.

While it's not completely believable that every leader in the known universe is a super-strong muscular male with a mostly sympathetic female (of one species or another) on his arm and in his bed, such a stereotypical tough guy setup does allow Kirkman to create a parallel of empathy between the Great Allen and Telia and Nolan and Deborah (and Mark and Eve, whom we've seen have many bedtime tte--ttes), just in time to break it forcibly in the cliffhanger. While not as interesting as Mark's story on Earth, check-ins with the supporting players like these are important because of the long-term plot implications. And Cory Walker's version of space opera is exuberant, brightly lit and funny, despite the dark note on which we end.

It was wise of DnA not to really attempt to restage a battle with the Legion's greatest foe other than Mordru; Universo is a much wiser and more manageable choice than Darkseid. And seeing the ingenuity of our two heroines as they try to overcome their teammates without hurting them allows for some needed character work, while Batista's pencils keep all the players clear and distinct. Dream Crime is shaping up to be the strongest, and most Legion-like, story of DnA's run. And it's doing it without mass destruction.

Batista falls down a bit on the complexity of Shikari's armor, but he makes up for it with his brilliant depiction of the now somewhat humanoid snake Jeka in action, as well as clever takes on Wildfire and Invisible Kid's use of their powers. While one might like for Universo to have more motivation than just a mad hunger for control, and for them to shy away from the Darkseid threat that may still loom, this is rousing adventure in old school Legion mode, and it's a refreshing change from the more brutal events of recent years.

Universo's final fate is ironic and just desserts for him. It makes for a humorous coda that homages the Legion's rich history. While some of this issue (after the welcome surprise beginning) was predictable (including that conventional sci-fi fate and the final conflict coming down to a battle of wills and flashy lights), there were several interesting bumps along the way. Just what is going on with Jo and Tinya's kid? This was the most conventional and solidly planned story of DnA's run thus far, and I say they and we have earned it.

Lightle comes up with some intriguing ideas (like the infrared goggles and light-suits required to exist in a world of night), and the battle where she must reclaim the usurped darkness is dramatic and fittingly morbid. The coda, where Legion leader Jazmin welcomes back a powered-up Tasmia, shows just how far Umbra has come. Great job by all.

While this issue gets points for effort, and certainly isnt a step back for DnA (who seem bent on exploring Legion lore right now rather than making more of it, which is a welcome change from two creators seen as destructive in their early stories), its not a success. The energy and excitement of the Universo arc has been replaced by nostalgia and uncompelling mysteries. Perhaps regular art and story-length will better serve the title next month.

What he and DnA seem to be doing with this and the last arc is taking aspects of the rich history of the Legion and reconfiguring them to tell a new, if nostalgic, adventure. It's the first time since the early days of the Reboot that the Legion has enjoyed this approach (which is also, if you think about it, what made the Levitz/Giffen era so appealing). It's long overdue.

Oh, and the kiss between Brainiac and Lyle? It's about time, boys. We were all waiting.

As things stand, the Legion has to rescue some captured teammates, resolve Garth's status, and solve a racially motivated space war created by one of their own members gone horribly astray through time. That's a lot to put on the one remaining issue by this team, but it's still more exciting than reviving a pale shadow of Darkseid, as in the last anticlimactic arc.

Like many of DnAs stories, this issue is a bit schematic, more sketched in than fully explored. They rely greatly on Batista, whose bright and sparkling pencils go far to fill in whatever blanks one finds in the script. Overall, however, the DnA run will be seen as having had more hits than misses, and as keeping the Legion alive and flourishing while other titles old and new floundered.

Im willing to give Simone more set-up time for an uneven issue, especially one as busy as this, as I feel the story is still heading somewhere interesting. The sense of their best still not being good enough (in a bad, but not hopeless situation) provides a welcome amount of tension.

The art by Jurgens and Smith is more than serviceable, bringing a nice clarity to these young adult heroes. The ceremonial dress from the first issue shifts to conventional costumes by storys end, fitting for an epilogue that comments on the cyclical nature of these adventures. Kevin Nowlans excellent cover finds a wary team regrouping for final battle.

Meanwhile, the aliens have moved on in their giant battleaxe space arc, searching for an uninhabited planet to call home, never to return. And if you have any doubts about Larsens perennially juvenile sex obsession, you have only to look at the well, we have to call them codpieces, dont we that all the Savage men seem to wear. Its brutal and unsubtle and hilarious, and it lets us know that whatever has happened to Dragon since his time on Earth, this life is still a better one than the one he lost.

The inkers each leave their marks on Larsen's pencils, with Sienkiewicz, Austin and Timm working the most radical changes, while Beatty, Simonson and Ordway prove the most compatible. It's a nice gesture from the comic book community towards Larsen, who just by himself rebooted a universe of his own making. To long-term readers, his achievement in staying with this title for a decade means a lot, and justifies the high cover price. There are no ads in this issue.

Savage Dragon isn't in a deep or tragic phase right now, but it's as much fun as ever. This issue debuts a new ongoing Mighty Man back-up serial. MM is another of Larsen's clever twists on convention: Captain Marvel analog Mighty Man, through an outrageously unlikely sequence of events, reverts to friendly, sweet nurse Ann Stevens whenever he slaps his wrists together, and vice versa. She's an ideal companion for the regular guy dragon, all of his power tempered by an unexpected sensibility.

There's also a Chris Giarusso strip, so the usual big bang for your Image buck from one of the hardest working guys in comics. And a great dark cover with a really, really cheesed off (and toasty, poor guy) Dragon as charcoal briquette.

Yep, its 100 pages of pulse-pounding action and melodramatic soap, possessing not an ounce of subtlety, and while it hasnt hit greatness for awhile, its still the same fun old ride, only more of it!

Also included in this issue is the usual long letters page and the most heartfelt tribute to the recently passed Mike Wieringo Ive yet read. While not involved in a major story at the moment, the Dragon remains an entertaining, humorous and clever spoof of many previous superhero books.

I'm not too sure how all this will play out; probably with a kryptonite-analog to take down the crazed superman. But it is fun to see Image's major players overlap, treating each other like professionals and forming (at least for these few issues) a kind of Image League of superstars. Let's hope they take some lessons from the other Leagues, and start cooperating in the service of their common goal.

Which doesn't mean we don't get our usual quotient of gore (from a bloodied but unbound Dragon) or cheesecake (from the habitually half-clad Witchblade and the ever lovely Phantom Lady). While we're not exactly seeing teamwork in action (everyone pursues their own agendas, and it's amusing to see the Image stars skulk away from the reporters' glaring lights after the battle), Larsen captures the free-for-all flare that still defines Image.

You can feel Larsens renewed commitment to his flagship title, in his highly detailed art, and in his what just happened? plotting. Nows a good time to jump on Dragons ride, as we near an anniversary issue.

Larsen is on a roll again with this title. As always, its full of surprises, action, tight costumes and massive creeps. The inking is especially solid and detailed these days. Can he do it? 200 issues, all with the same artist/writer? Of course he can. Next month, hes 75% there!

Or game changer, as climactic denouements usually are for Larsen. I feel for the kids this issue: I want the shiny happy Dragon back, too.

This is one of his tighter-illustrated issues, so the city looks very believably threatened by the giant terrorist zombie, and several major stories have had their climaxes.

In fact, Hughes succeeds where Ordway falters, in depicting the temerity of Diana's attempt to wield Zeus's thunderbolts. One wishes Simonson's story had better meshed with Ordway's strengths, and hopes only that Rucka actually has a plan for Diana that remembers she is a person as well as an ideal.

Normally I would object to a first issue where the title character is mostly off-screen, but Rucka doesn't let us forget that Diana is the reason behind everything we see. It's a valid opening salvo; let's hope it gets down to the nitty gritty soon.

Yes I can: it was 1987, and for about three years thereafter. Refreshingly, Rucka has not abandoned the work of the previous regime (despite the quick write-off of Trevor Barnes in the transitional Simonson story). The Jiminez run is under-appreciated; he factored in many guest stars from the larger DC universe, repositioned Themyscira and set up the new politics there, and looked into Diana's personal feelings far more than many writers do. He also explored Wonder Woman's past and family. Julia and Vanessa Kapetelis are definitely part of Diana's family, and the fate of Vanessa is clearly an open wound that Diana is fervent to heal.

Diana puts Ares to the test as to his unwelcome attentions towards the Amazons, but she should remember that just because he tells the truth doesn't mean she knows the whole story. When she gets back to Earth, Diana is distracted immediately by Psycho's attack. I'm not quite sure what his mental invasion will reveal in next issue's anniversary extravaganza, but I fear it will bode ill for the positivist Diana thus far presented, as well as her Amazon family.

The pinups are underwhelming, save for a one page summary by Simonson of his recent arc that outshines that six-issue mess by far, hinting at how much better it might have been if hed illustrated what he wrote.

Art wise, Davis is a big improvement over Johnson, maintaining a realistic tone while upping the design elements. Theres a real sense of drama and flow to the ocean-related action scenes, something that was missing from Dianas battle last issue. And the cover by J.G. Jones is one of the best in ages. Silver Swan in repose is beautiful, and the figures arent too over-sexed or exploited as they experience a very dramatic scene from the issue at hand. Old school, and wonderfully painted, too.

Sadowskis art enlivens and suprises in an issue devoid of exceptional feats, surpassing the more pedestrian work of Drew Johnson. He offers more dynamic visual angles, clever puns with details of furniture and magazine covers, and (in the final panel) a potent use of a piece of jewelry that underlines the dialogue. The cover artist also impresses, capturing the beauty of both women while underlining their essential difference effectively.

Art-wise, Johnson is more serviceable than expressive, though I must say he captures a sequence in a zoo with surprising accuracy. However, an Amazon chase sequence with some sort of talking lion or chimera is much less intelligible.

Matt Wagner once again shows a complete lack of understanding of the title character in an underwhelming and amateurish cover, where Dianas shoulder is as big as her waist, Themyscira might as well be the New York Public Library, and Batmans guest role is reduced to an ill-placed emblem. The very definition of sub par.

Still interesting: Dianas first technique to battling a Gorgon (Johnson has interestingly chosen to portray them as beautiful despite their stultifying gaze, and that includes old Snake Hair) is no surprise, but her second action is hard-core, and could have some lasting effects. J.G. Jones turns in another strong cover, perfectly capturing the Amazon in battle against a mythological menace.

At any rate, this is a beautiful and promising issue. Lets hope Morales (what a long way hes come since Hourman days) top drawer talent will bring out the best in Rucka, too.

Boons are granted after the intense battle, those expected and unexpected. Rucka has left mysteries to be unraveled, even as he has brought ongoing storylines from previous arcs to appropriate endpoints. I look forward to Dianas role in the impending crossover, as I know Ruckas feelings about her place with her League comrades are as strong as his about Athenas place on Olympus.

I want Clark and Bruce to grovel for forgiveness and soon. She just saved their ungrateful lives. The story will make even less sense if they don't.

maybe theyd better, if they want to survive.

Itd be nice if there were a steady dose of interesting Superman stories, but thats the downside of the Hollywood influence. These big shots are busy and dont always finish what they start or make a full-time commitment. Its a waiting game for stories like this, but I guess it remains worth it.

It would have been nice to have less of a recap and more clues as to whats going on in this dark future, but that nice surprise and the room Johns gives Frank to do what he does best still make this an exceptional issue.

Im reminded of another important comic book version of a vampire series, the 90s Innovation imprints of the Anne Rice novels. This series is not as ambitious as that one, contenting itself to normal rather than deluxe format and quality comic-style art rather than full painting. But thats fine, if it doesnt reach as high, it might also not fall as far. Things seem to be in place for a long run, and hey, if they cut all the sex scenes, they might even get up to book two or three in the next decade!

If theres a problem, its that the adaptation thus far is almost too faithful. It cant be accused of decompression yet, but I hope some judicious editing of Hamiltons detailed texts keeps the story moving at a brisk pace in the future.

Surely theres more blood to come, however, as the series continues to impress with its consistency. Booths work is at times too soft and pretty to capture the worst of what Anita faces, but its great to see an artist stick with a project long enough for a consistent style to be evident. Hes best suited to the romantic, seductive side of the vampires, but its not like that side of things will ever be off the page for long. This series is a love story as well as an adventure/action movie, and it remains a fun read about a memorable heroine.

This issue announces a hiatus until September, as well as a summer of new specials by different creative teams. Lets hope the quality level remains high when the book returns because so far the title has been an unqualified success.

Which is all for the better, because this is all about the love story of Anita and her impending suitor, too.

Guilty Pleasures gets quite grim by the end, so heres hoping for a much darker and more characteristic second volume that continues the extreme gorefest begun in this issue. Its Grand Guignol for the twenty-first century.

Is there anything here for readers who aren't fans of the books? Well, sort of -- I've stopped reading the new books at this point (they've become extremely uneven), but I definitely enjoyed the first five or so, and I'm enjoying reliving my initial acquaintances with the characters on the painted page.

We're building up here (if I recall correctly from the novel I read years ago) to meeting one of Anita's strangest and most depraved foes and learning just how varied the world of occult beings can be. At this point you're either fully invested for the long haul, or you stopped caring long ago. The creators have succeeded in translating Anita Blake into the comics medium; I wonder if they know they've got 17 books left to go. At this rate they'll catch up in 30 years or so.

The art is a weak point in the issue. While Garbett provides a decent Kirby-esque Fourth World pastiche at a needed moment, most of his sequences are standard DC house style, adequate depictions of muscular guys standing amidst flashy lights. Perez is a wee bit less stiff and more expressive on his pages, and the styles don't clash at all, but we've had the distinctive work of Georges Jeanty, Frazer Irving, Ryan Sook, and Chris Sprouse on this series, so it's too bad the final issue has to settle for competence rather than inspiration. That damned hyperfauna, not to mention the "bush robots," could have been a lot weirder.

In the end, Batwoman seems to pass muster with Bruce; truly, her shallow faade as the jaded socialite is a role not dissimilar to his spoiled playboy. If Williams can keep sharing art and writing duties with this level of stylish execution, I'm definitely on board for her upcoming solo series.

Notice I didnt say Batwoman, even though this is her title. Shes still about two steps behind on the whole drowning ghost thing, though I expect her to spring into action when she learns about Betty next issue.

Natasha would never let that happen to her. But what happens when she meets a foe who can match her skill, or gets caught in a trap she can't escape? This issue doesn't tell us. I'm looking for higher stakes on this title, and also more dramatic art. Noto's painted work is well-drafted and composed, but the red of her hair and even the black of her suit are muted. His pastel world has a sense of realism, but it doesn't really capture the excitement the character lives by, or make for excessively clear fight scenes. Natasha shouldn't live in a gray or brown world; she should be going to extremes.

The action this issue involves Amadeus again using his powers unwisely (but with a goal in mind). Hes apparently become a kind of junior Magneto, but the sequence where he bilks the system at a casino shows just how reckless and unsubtle these kids can be. Theyre already in over their heads, which they intuit more than know. If Bendis keeps up the level of character work, however, we might still care when the really bad things start happening.

Yep, it's poor pitiful Buffy again this issue, which is not a path I want to revisit particularly. I can only hope these echoes of the uneven Season Six won't continue for long. We already went through that in the wildly spinning highs and diverse reveals of Season Eight. I'm hoping for more of a Season Five or Season Seven vibe at this point: one featuring a foe geared to foil Buffy's particular gifts, until she figures out to foil theirs.

Fittingly, this issue mostly concerns how Riley and Samantha act as a couple in service of their country, in loyalty to each other, and as infiltrators of Twilight's misguided regime. Espenson makes sure to parallel his journey with Angel's own, as both are undertaking a ruse for Buffy's sake, or at least that's what they tell themselves. The character is the same man we've come to know and this is a solid issue of entertaining back story for those of us still immersed in season eight as it nears its end.

Finally, The Question feature is another examination of the drug-related problem of sex slavery--a popular theme in superheroine comics these days. I don't know if the divergent threads will link together, or if Renee and Kate are meant to become an item again. However, this issue is very good start in making Batwoman a character rather than a stereotype.

Betrayal, scars, secrets, and never-healed wounds of loss have enriched and complicated Kate's backstory. Her prickly personality is becoming easier to understand--as is her driven need to wear the costume.

I'm enjoying the Huntress in her team-ups with Renee, and while the action is brutal in their fight with the killer, the emotions run just as high once things calm down and dirty deals are done. Rucka's writing remains strong, but I think I like him better when the old Bat isn't around.

But Ike Harris and Mark Curry are dull, and the disguised Deviants chasing them are standard-issue heavies. Theres going to need to be something fresh here, because this first issue reads like a script for a new TV show, with all the formulaic parts in place, but with no real spark to make it distinctive.

Not that they havent realized their place in the scheme of things. When Iron Man tries (ridiculously) to enforce the registration act on these divinities, Zuras (Zeus) clears him up real quick: If you saw two groups of children arguing over which of them could play in some waste ground, would you choose sides?

These gods are something else than super-heroes, but not too much, as their new agenda is to find and awaken the 90 remaining sleeper agents. They also have to do the Celestials bidding, handle the Changing Ones with diplomacy, and prepare for something called the Horde. Thanks to the clever dialogue and a recurrent sense of awe Gaiman achieves (with the epic-sized collaboration of Romita, Jr.), Id definitely come back for more Eternals.

In short order Jason is acting up in school, stealing from girls and destroying property. These things always build to a violent climax, and this one is quite grizzly. Its the utter destruction of an innocent family, triggered by the evil of comic books. I always knew those would lead to no good.

This is a chilly thriller that hints of far worse than it shows. Thats just about the perfect tone in a world where every day is Halloween.

This tale reads like an interlude in the earlier tales of corruption, because this creature was vile from the start. The beautiful veneer that coats this story in familiar, comforting style only exaggerates the horror within. This is a comic that delivers exactly what it promises, whether youre ready or not.

Along the way, Ruckas use of Grodd, Cheetah, Brother Eye, and especially Mr. Terrific and Snapper is both assured and inspired. He demonstrates how the entire DC universe is in peril.

It works as another corner of Grant's Crisis-style take on the DC Trinity: Wonder Woman transformed into a monster, Batman near death, and now Superman having to cope with a bracing world of corruption. It's a different style of storytelling from the mini-series itself: there we're seeing a series of drive-by effects, whereas Superman here has gone beyond the surface results to at least one cause. Along the way we get a retelling/retooling of the Monitor origin myth, and the vampire moment is just one of many blood-chilling thrills to be had. However, the mix and match elements are the kind of Morrisonian patchwork we get sometimes when he's spread himself too thin; it's a good call this one is only two issues.