AMAZING SPIDER-MAN #611: In this issue of Amazing Spider-Man, Joe Kelly once again writes Deadpool. Sold! Seriously though, I’ve complained/commented on this the past few weeks, that as much as I like Daniel Way’s take on the character, I really feel his triple narration bubbles should be confined to his book, his particular take, and other writers should do whatever the heck they want with the ol’ DP. So it’s really nice to have Kelly back on Deadpool, writing an entirely different view of the character than the one in Deadpool’s (god help us) three other ongoing titles. And the issue works just how you would want a battle royale between Spider-Man and Deadpool to go. It’s fun, funny, dangerous, and great to see Spidey shoved into the straight man role. This is also Kelly’s most solid issue of Spider-Man in a while, and well worth a pick-up, whether you’ve been following the main plot line or not. Oh, and Eric Canete’s art is nicely Humberto Ramos-esque, without feeling ripped off.

BLACK PANTHER #10: Sigh. It’s not that this title is bad, exactly. The writing is solid, and the art is nice. But ever since the relaunch, BP has been spinning its wheels on the same story. At least in the first six issues, things happened, but we’re now at issue #10, and the very, very boring mystery is still, very very boring. I miss the humor that used to be in this title. I miss the big, over the top action. Most of all, I miss T’Challa, who seems to be on the path to becoming a villain, maybe? And that kind of sucks. Okay, maybe this title is bad, I take it back. I’d really like to like it, though, so let’s keep it coming out until writer Jonathan Maberry gets his groove.

CABLE #20: My biggest questions about this book right now, as it finishes up the (excellent) brood storyline, and enters its biggest arc yet (Hope & Cable return home) are: 1) What’s the mission after Hope and Cable get back to the present? and 2) Is there any hope at all for redemption for Bishop? To the first one, it’s clearly wait and see. I wouldn’t be surprised if the title gets canceled/rebooted in the wake of the upcoming “Second Coming” event, which ties up the loose X-Men storyline started in Messiah Complex several years ago. To the second… I don’t know. Duane Swierczynski has done such an effective job of completely breaking down Bishop, to the point he’s no longer a villain, he’s a tragic figure, more Shylock than Iago. So I’m not sure he can ever crawl out of that. Maybe this title could change from “Cable” to “Bishop” and be about his redemption arc? Anyway, all the heady talk aside: Cable blasts his way out a space-whale. Sweet. If you’re not picking up Cable, you’re missing one of the most unique journeys in mainstream comics today.

DAREDEVIL #502: Here’s my ridiculous comment – this series is still moving a little slowly for my taste. Silly, because its been literally three issues under Andy Diggle’s steady hand (#501, #502, and The List one-shot), so its not like we’ve moved an inch in a year or anything; it just feels like Diggle is still taking his time and feeling out the area, when I really want him to just f- some s- up. Essentially, despite the massive change in status quo, he’s still playing in Ed Brubaker’s sandbox. I’d like to see him start his own, play with his own characters and plotlines. That aside, Diggle does provide, as usual, solid plotting, good characterization, and some nice, albeit small, twists and turns. And the end of this issue seems to promise what I’m asking for, so no way I’m putting this title down yet.

DARK X-MEN #1: Paul Cornell never works better than when he’s paired with Leonard Kirk, like on Captain Britain and the MI13, one of the best series you guys got canceled and I hate you for. Kidding! Maybe. Anyway, Dark X-Men is a pretty much perfect first issue, following up on the events of the Dark Avengers/X-Men crossover, without ever having had to read any of those issues. Its a riff on the original X-Men line-up, and I won’t spoil anything by revealing who is who, but lets just say the gang’s all there… And evil. Great art, great writing, fun twists and turns. The only downside to this issue is that its kicking off a limited series, and not an ongoing.

DEADPOOL #17: This issue of Deadpool, as well as this week’s Amazing Spider-Man (see above) confirm something I’ve long thought: Deadpool works ever so much better as a villain. Or at least, an anti-hero more on the side of anti- than hero; and Daniel Way walks that line perfectly in this issue. As usual, the balance of action, jokes and character is great, and Way keeps the various balls in the air with deftness and speed. If there’s a reason Deadpool is so popular right now, its because of this title, and because of Daniel Way. Also? Best butt joke this week.

PUNISHERMAX #1: It’s missing the depth of Garth Ennis’ run, but we’re one issue in, so relax. Or rather, reLAX. Jason Aaron turns in a solid, fun, over the top Punisher tale in the best MAX tradition. And the story of the Kingpin’s rise to power is one that I shockingly haven’t heard before, so I’m really fascinated to see how this all turns out. Plus, Steve Dillon art. Sweet. This issue earns the right to call itself Punisher MAX, though I would like to see Aaron bring the emotion, as well as his usual razor sharp writing, to the next few issues.

S.W.O.R.D. #1: Well, that was… Not what I expected. Far more Phonogram than Beta Ray Bill, Kieron Gillen brings the funny to space with this first issue, creating a workplace comedy set in the Marvel Universe. There’s hints it might become something more, particularly in the stupendous back-up story (no joke, it’s worth picking up the issue just for this fantastic follow-up to Astonishing X-Men), but for right now, if you like ‘em fast and light, you might enjoy this.

STRANGE #1: I really love this book. Really, really love it. Emma Rios’ art is a clean fusion of manga and Western styles. The colors are bright and engaging. And Mark Waid, as always, turns in a pitch perfect comic book script. It even brings you up to speed with Dr. Strange’s current status quo, and sets up the series as effectively as a television pilot. Except… There’s something slightly off about it, and it isn’t just having a baseball storyline a few weeks after the season’s ended. It’s that it doesn’t quite strike the balance between the current status quo, and being a brand new series. It’s honestly a little hard to put your finger on, because I really did like this a whole lot, and even recommend it, but… Something was off. It’s a good start to what looks like a cool take on Dr. Strange, but I need another issue to sell me 100%.

VENGEANCE OF THE MOON KNIGHT #3: Jerome Opena’s art still knocks it out of the park… The action sequences are pitch perfectly staged, and match the “Shock & Awe” title of this arc to a T. But three issues in, and I still don’t know why we should care about Moon Knight, other than everybody telling us how amazing he is. I want to see some struggle, some heroism, some loss… Some reason I should be sold on this title, and I’m not quite getting it yet. A well put together comic, well written and drawn, but its got no heart. Yet.

X-FORCE #21: The second chapter of Necrosha continues at a far more break-neck pace than Blackest Night, so we’re quickly leaving comparisons behind. I hope. Anyway, we do get at least one “Holy S&%T!” moment in here with a returning… Character. And the whole cross-over is well conceived and executed. I’m just hoping, though, that X-Force can get more than two months off between crossovers next time; this is basically an X-Men book, guest-starring X-Force. Though with Second Coming on the horizon, I don’t see that happening. Ah well.

X-MEN FOREVER #11: Why is this so enjoyable. Why? ANSWER ME, DAMMIT!