Bold, intelligent, and visually arresting, Astonishing X-Men is a masterfully surreal and brilliantly daring departure from its counterparts. While making a decisive call in only second issue would be premature, there are no signs of diminished potential. If Astonishings greater tenure continues apace by providing similar inventive stories, it may well be crowned the king in its own right.

Soule continues to give X-Men fans a serious bang for their buck. Astonishing provides plenty of drama coupled with action packed sequences that hearken back to eras that many fans crave but havent seen in years. Scratch that. Decades.

Soule has done a good job of giving multiple narratives in one issue consistently for the past 5 issues. From a literary standpoint Astonishing offers much more than the standard model of black and white, good versus evil. Alternatively, it challenges the reader to look for the subtle underlying developments and challenges the prototype mentality of the virtuous hero by providing stark parallels that give plenty of cause to reconsider what you think you know.

Was Generations: Phoenix and Jean Grey fan service? Sure. But thats pretty much what the Generations line was intended for. Beyond that, it also serves as the standout moment for the character. Greys persistent internal examinations combined with the central question, What is the Phoenix? is a larger analogy for the humanitys age-old question What is the mean of life? and search for understanding regarding our own individual and greater purpose. Not to mention, the was one hell of a fun book!

Inhumans: Once and Future Kings has been hailed by some who have typically rejected any acceptance as a unique title that gives a truly original view of the earliest days of the Royal family. It has the perfect balance of lore and logic and I believe may offer a new bridge in place of the ones that have been burned, fueled by spite.

If you didn't like the Jean Grey of old, there is no reason to harbor those same convictions with teen Jean. Hopeless takes cue from her already independent persona and capitalizes on her certain independence, strength, and unyielding spirit.

Jean Grey #4 is Hopeless's modern day answer to the 80's "Karate Kid," where as a young woman has spent the majority of her life on the run. Realizing the climactic conflict is unavoidable, Thor takes on the role of Miyagi and teaches through self-awareness that no matter if you choose a hammer or the crane, the answer to survival is found within.

The one thing X-Men fans love to do remarkably often is to compare, contrast, and contest the host of female telepaths within their ranks in a futile effort to flush out who among them is superior. Dennis Hopeless takes a higher road by using the bonds of friendship and unique character attributes to highlight the strengths of the two foremost among them and gives fans of both an abundance to celebrate in exchange for their dedication and faith. Though the solo title is central to Grey, Hopeless utilizes his stories to provide equal footing to all characters and brilliant moments for both Jean and the montage of guests wisely choosing to build up rather than tear down.

Issue #6 is potentially a decisive crossroad in which Dennis Hopeless continues his ambitious bid to explore new territory. While maintaining the evolution of the teenage adaptation in the coming issues through inventive and creative methods, Hopeless may possibly pioneer a totally new context to fundamental events spanning decades through her own suppressed and censored perspective, and for some fans utterly smashing the iconography and paradigm of everything what thought we knew about Jean Grey.

Compared to the issues that have come before, the seventh issue of Jean Greys solo series is by far and wide the weakest as the conceptualization of the story, dialog, and art, are the perfect trifecta of cloying over the top antics, melodrama, and failed humor that falls flat. With respect to the strong delivery of Hopeless so far, I hope this was simply a stumble. You know the ones we all have where we try to recover and play it off while everyone else pretends they didnt see it? Im choosing to look the other way. Just this once.

Issue #8 has many interesting qualities but strikes some low points by omitting key events in Emmas backstory in lieu of the paramount objective to intertwine Jeans personal journey and the central Phoenix plot.

If new comic fans would give Royals, the Inhuman franchise's newest incarnation a chance, they might find a welcome change in which the reader is truly exposed to a new journey and the chance to say they there for the ride.

Royals is quickly becoming one of my favorite books and I really look forward to each new release. The art is strong, the story is entirely new, and old players are given fresh new looks and perspectives so much so that there are times that I forget that the Inhumans have been around for over 50 years. Then again, isn't that Marvel's true intention?

Where many of Marvel's current titles are attempting recapture the excitement of fans through nostalgic methods by revisiting old themes and characters, Royals diverges and does the contrary by moving forward and exploring new terrain that Ewing proposes will having major and lasting influence on Marvel throughout continuity for more than just the Inhumans. I would invite those invested in the franchise overall and interested in those ramifications to begin paying attention to Royals as consequences are said to have a long reaching effect that may well play into your favorite comic book. Only time will tell.

Royals continues to be a strong book which I continue to challenge is Marvels dark horse. El Ewing makes the smart decision to remove them the same setting of all other characters despite all the efforts to interweave them into prominence over the past few years and send them off and isolate them to prove its ability to stand alone without the presence of other Marvel mainstays. He goes further and uses this unique opportunity to redefine the nature of the Inhuman existence by exploring their origin and by all accounts introducing a new and fascinating threat that will soon have greater influence beyond just the Inhumans but substantial impact on the Marvel universe and many stories in the future.

Rating 9.8/10 Sacred Creatures #4 is a great gateway book for those readers out there who have developed a more mature pallet and ready to include comics that place more emphasis on story as opposed to the more masked hero-centric genre. This is an epic for those who can appreciate it's elaborate details while still retains a welcome simplicity that is approachable. The comic series as a whole should be getting a lot more attention and exposure and deserves a much broader audience.

The creative team behind Spirits of Vengeance is a fantastic combination literary and visual talent. If the first issue is any indicator of the future, this is one of Marvel's hottest new titles!

Warren Ellis is driving the newest Maserati way under the speed limit, a criminal act alone, while the passenger says, "Are we there yet?" Nope, not even close.

After finishing the final pages, I have resolved to simply not fight what can't be fought. Though the pacing has improved from issue #4 and its clearly essential to Ellis to build the framework around the Wildstorm, there has got to be a point in which something of significance happens. So far there has been a lot of talking. Story is important, no doubt about it. But my criticism remains unchanged. We are still getting bogged down in a lot of detail that doesn't accompany any real action. I sincerely hope that the reader is being built-up for one hell of a fight because at this rate with no real "wild" or "storm," I'm quickly losing my resolve to stay the course.

Warren Ellis is engaged in his own game of chess with the reader. Instead of moving for checkmate despite all the pieces being in place, he continues to feign action resulting in real development. I am hoping now that the cantankerous Bendix has been triggered the story will move forward and balance will be struck between action and dialog.

This series gets a lot of hype and critical acclaim but I feel like most of it leans heavily on nostalgia. Though Warren Ellis does provide some unique and interesting creativity in reinventing new identities to old concepts, he fails to really do anything of interest with them.

In the end, I am left wanting more in terms of direction and creativity and missing the sense of danger and thrill. And I don't care what you tell me, I'm still convinced that Northstar took Rachel and Kitty out for a night on the town and had a strong role in the birth of "Prestige." There is one very sore drag queen out there due some royalties.

If you are a Rachel Grey fan, this is long overdue compensation. No she's not Phoenix, but Guggenheim demonstrates that she really doesn't need to be.

I feel bad for those who struggle with attention deficit disorder, because this issue is all over the place.

This is likely the weakest and inconsequential Secret Empire tie-in throughout the entire line of titles affiliated with the story. Executioner 2.0 is likely a one hit wonder. I do hope you're a Kitty Pryde fan because she's also the main feature of issue #9. At some point, another supposed "main character" needs to get some attention.

The best authors are those who craft a story through ingenious setting and narrative, unexpected plot twists, and meaning through inventive analogy which leave the reader to draw upon their own personal conclusions. Marc Guggenheim doesnt care about your thoughts but wants to make absolutely sure you care about his.

The introduction of this entire story including Anatoly and the abysmal depiction of Magik is not only absurd but is a hollow attempt at presenting Omega Red with some level of relevance. In a market of numerous publishers where there are so many other genuinely well written and thought-provoking titles, I am honestly ashamed that this type of rendering is permitted in one of Marvels most lucrative and premier titles. Marc Guggenheim is sorely testing the limits of my loyalty to the X-Men brand.

The optimist in me wanted to believe that just when you thought a story couldnt get any worse, the only direction to go would be upward. Unfortunately, the cynical side of me was indeed correct. Issue #11 doesnt just sink to new lows, it plummets with deafening sound as it hits every single branch in ugly tree on the way down.

Issue #4 is a great story re-imagined by a sharp creative team. If the reader can follow their lead, queues, and newfound awareness by not comparing or standardizing this newest iteration to other major teams with years of consistent and established foundation by other publishers, it is highly likely you will enjoy the newest continuation of Youngblood.

Final Thought: Youngblood is a true representation of the comic book action genre having evolved with a tone of maturity and style. Much as it did upon inception in 1992, Youngblood celebrates independent survival outside of the big two publishers especially for those whose enthusiasm has diminished by their ritual habit of over promising and under delivering by regaining significance as symbol of innovation and excitement.

Chad Bowers and Jim Towe deliver. In an industry of Rebirths and Legacies, Reborn goes beyond industry rivals. Bowers transforms the former concept of Youngblood and changes key elements to core characters in a series of 6 issues that would have took Marvel or DC 6 months to reach.