SUICIDE SQUAD #67: During January’s skip month for the Blackest Night event, DC had the cheeky idea to “resurrect” a few titles from the dead. Most are well beloved comics that many feel were canceled too soon, or fan favorites that aren’t currently getting a Blackest Night tie-in mini-series. One of these is Secret Six, Gail Simone’s consistently excellent book, which is ostensibly the Suicide Squad, without the government interference, or explosive chips in the villain’s heads. So it’s perfectly fitting that Simone and Suicide Squad writer John Ostrander have teamed up to bring the Squad back for one more issue, and pit them against their intellectual progeny in the Secret Six. Plus, somewhere in there? Zombies.

Along with the always reliable Jim Calafiore on art, this issue hits every single note you’d want it to hit, from Secret Six decadence, to Suicide Squad angst; a hard as nails Amanda Waller, and double crosses aplenty. If there’s one thing that brings it down, it’s the dual narration aspect between some character named Yasemin (sorry, never heard of her), and Black Alice. It’s a nice bit of parallelism, and I’m guessing an effort to bring out both author’s voices using a character on each team. But since it’s more of a side aspect to the issue, the idea never really coalesces. Beyond that quibble though, and the fact that you’ll have to follow the story back to Secret Six (which you’re reading anyway, right?) this issue is chock to the brim with action and humor. Plus? Barely any Blackest Night whatsoever! Which is kind of awesome!

THE MIGHTY #12: Though I’m sad to see this series go, I’m glad it got to wrap up in such a spectacular, emotional, and pretty much perfect manner, telling the full story (I think) that Peter J. Tomasi, Keith Champagne, and Chris Samnee on art wanted to tell. The story of a Superman gone bad isn’t a new one; in fact it’s also being told over at BOOM! with Mark Waid’s Irredeemable. Which, for the record, is also pretty darn good, but how glad am I that the two stories are completely different, and completely successful in their own ways. I won’t spoil this issue for you, but suffice to say that this is a personal conflict between Alpha One and Gabriel Cole played out with huge action set pieces, and smart character moves. Plus, there’s a few tantalizing teases of where this series could go next (though, sadly, I don’t think we’re going to get any more of it), and a beautiful, perfectly writ last page. Do yourself a favor, and when the inevitable trade comes out, don’t hesitate to pick one up for yourself, and one up for a friend. This is one of those comics series you’ll kick yourself for not picking up in the store.

SUPERMAN: WORLD OF NEW KRYPTON #11: If I had one large criticism of this series, and I may have to eat my words next issue, it would be that there’s no overall arc from issue one to issue twelve. Series writers James Robinson and Greg Rucka played this like an ongoing, which worked wonders for slowly building the, er, world of New Krypton and its inhabitants, but in the span of twelve issues, didn’t really create an overarching narrative. But, quibbles! This is the best and most original a Superman book has been a good long while (main continuity, please; I’m not talking All-Star Superman) without splitting Supes into different colors, or giving him a mullet.

Pitting Superman’s essential goodness against governmental bureaucracy, the one thing he can’t actually beat with his super powers, has been great to read, and I’ll sorely miss it when it’s gone. Plus, Pete Woods art kills every time. Though I’d love to see him on almost anything, his slick, almost metallic looking art works perfectly for the future world of New Krypton, and I’d be happy to keep him on Superman until the end of time. Or 2013, when DC loses to the rights to the character, either one.

BLACKEST NIGHT WONDER WOMAN #2: Okay, I swear to god, there better be a mass resurrection at the end of Blackest Night, or I am NOT okay with the death in this issue. Side note: I was also not okay with Kyle Rayner’s “death,” too, but this one seems far more permanent. Otherwise, we get another issue of Greg Rucka focusing on the space between scenes in Blackest Night, and again, it’s a well structured, well arced story, well drawn by Nicola Scott. But it still feels like this is more of a side story. It’s a little hard to put my finger on, but both issues, while good reads, feel like “Oh, we’re putting out a Blackest Night: Superman, and Blackest Night: Batman, we should probably do Blackest Night: Wonder Woman, too, right?” And then they decided to throw something together, and accidentally got really good creators to do the series. I guess a shorter way of saying that is, it feels resigned to itself, if that makes sense. I don’t know. Anyway, reverse that death ASAP or else. Update: I queued this post to go up this morning, and then thinking about this issue overnight, it occurred to me that maybe this issue was some sort of dream sequence, particularly as *spoilers* Wonder Girl gets killed, Bruce Wayne Batman shows up, and Wonder Woman flits around the world without rhyme or reason. Especially as the action of this issue would impossible within the confines of Blackest Night #6. Regardless, I stand by the latter criticisms, just wanted to point out I’m wrong on the death thing.

CINDERELLA: FROM FABLETOWN WITH LOVE #3: Chris Roberson fits into the Fables Universe without missing a beat, and while it lacks the wild creativity of the main series, or Jack of Fables, it can be excused for that, as it delivers a perfectly charming (no pun intended) spy story set in a world of magic. Cinderella and Aladdin are hot on the tail of illegally smuggled magical artifacts, and manage to fit in a good degree of flirting along the way. This isn’t the most groundbreaking of mysteries, but it flows well, and Roberson allows in some cultural commentary along the way. Meanwhile, back in Fabletown, things are getting wacky at the shoe store. I like this A Plot/B Plot structure quite a bit, but I’m hoping the two tie together in some way. Otherwise, we’re just getting comic relief for comic relief’s sake, which is a bit of a waste, when we could be finding out more about Cinderella’s world. Worth a pick-up if you’re a fan of Fables, but I wish it was just a little more insane.