Sure, there's nothing to make "Grimm Fairy Tales" stand out from all the other fairy tale mash-up stories out there besides its" well endowed cover ladies, but #100 was a fairly decent read that lead into publisher's Next Big Thing just about as well as DC's "Flashpoint" did. Now, I fully admit that this is a back-handed compliment " Flashpoint was widely considered a failure, but that was mostly because of the pedigree of the creators. Here, the plot is just fine; again, maybe a bit by the books, but it hits all the right beats for a story like this

This mini's debut issue doesn't sizzle in the same way that Parker & Co.'s (supposedly) does. Smith and Garman's script is charming enough, but not quite engaging. There are some chuckles to be had, but no outright guffaws. The story makes clever use of the usual trappings not only of the television show that is the series' namesake, but of the comics of the era (when was the last time an out-of-company crossover didn't involve multiversal shenanigans?). In the end, though, it might not be enough to get anyone who isn't dying for more '66 interested.

As usual, Edwin Huang and Misty Coats " with assistance from Kevin Raganit, Ross A. Campbell, and Ludwig Olimba " absolutely dominated the visuals of the book, providing page after page of truly delightful-to-look-at comics. Unfortunately, this is probably the first "Skullkickers" issue that doesn't flow smoothly.

A common complaint about "Lazarus" is that it has seemed directionless, and while I greatly enjoy the world Rucka and Lark have built, I can see why one might say that. However, this one-and-done of sorts puts us back on the rails, seemingly setting the course of the book to come. Better late than never!

As a reader, I can't wait to see where this is going. Were I a serf under any of the Families, though, I'd be scared shitless.

What makes this issue incredible, though, is the work of Phillips and Breitweiser. Phillips has long been one of the best artists in the industry, and particularly one of my favorites, but this? This is something else. The frame of the issue allows Phillips to do things that otherwise wouldn't fit into this Lovecraft-tainted noir, experimenting in a way that not only doesn't detract, but makes the experience even more immersive. These larger panels and spreads allow the fantastic Breitweiser to show off, too, but again not to such a degree that it distracts. "Fatale" has always been impressive visually, but this may be the best looking issue yet.