PICK! Avengers: The Initiative #14
Writer: Dan Slott & Christos Gage
Artist: Stefano Caselli
Colorist: Daniele Rudoni
Publisher: Marvel Comics

Albo: This has been a “pick up and scan in the store” book for me for months now, along with Amazing Spider-Man and anything that looks a little sexy. But I swear, once I started seeing what was going on within these pages I had no choice but to buy it. Dan Slott takes what could have been a pretty ordinary *COUGH*mightyavengers15*COUGH* Hank Pym-is-a-Skrull story and turns it into a hilarious situation comedy. The issue starts with some flashbacks that show Pym Skrull having to using his hidden extra powers to escape particularly tough scrapes, and then attributing his miraculous survival to “shrinking a lot.” Needless to say, Pym Skrull thinks the gullibility of Earthlings is hilarious. There are many more standout moments, such as an Initiative cadet’s “discovery” of Pym as a Skrull based on his choice of lunchables and a very Twilight Zoney ending that will make your heart sink. Highly recommended read!

PICK! Captain America #39
Writer: Ed Brubaker
Penciller: Rob de la Torre
Inker: Rob de la Torre
Colorist: Frank D’Armata
Publisher: Marvel Comics

Ernie: I think the current theme in Cap is duplicity. Double agents, politicians and elections, two men posing as Captain America, Aleksander Lukin sharing his mind with the Red Skull and on and on. As a result whenever someone new pops up we have to wonder where he/she will fit into the grand scheme Brubaker is laying out. The second guessing and suspicion is making this real dense blueprint worth deciphering. I like the scenes with Bucky and Falcon who appear more as equals than when Steve Rogers was around to look up to. I like that Cap is still independent of what is going on in Secret Invasion and I can’t help but enjoy the Skull’s daughter everytime she’s on page because there’s always mayhem that ensues. There are good pieces here each month and Cap’s supporting cast is settling in, but its unclear if there will be a clear lead anytime soon so it still feels like it’s running off the strong vapors of the first three years. Keep hanging in there.

DOUBLE PICK! Final Crisis #3
Writer: Grant Morrison
Penciller: JG Jones
Inker: JG Jones
Colorist: Alex Sinclair
Publisher: DC Comics

Ernie: Upon closing this book I’m beginning to feel like Grant Morrison is actually writing this book. That means high concept ideas conjured in some unexplainable brainstorming process, expert understanding of the vast library of DC characters at his hand, and unexpected, major happenings. If we got anything from the rather pedestrian first issue, it was the death of Martian Manhunter who went away much too easy, and more fan-favorites are threatened. I’ve never seen the JLA so easily infiltrated and compromised like they have in these first two issues. There’s definitely plenty going in present time DCU. Rather than dwelling on the past, the introduction of new faces or re-thinking of old ones still makes Final Crisis some twisted Who’s Who book. But by halfway major players get into the mix and at issues end, prime timers REALLY get involved. Final Crisis doesn’t have the same luster that Identity Crisis had but I’d say it’s on par with I’m not going apeshit for this, nor am I willing to throw shit at it, but I don’t think you can walk away from this book thoroughly satisfied just yet.

David U.: Throw away any expectations you had coming into this comic, throw away the past year of disappointing DC continuity, don’t make the mistake of deciding it’s a zero-sum game with Secret Invasion, prepare to have to reread multiple times and concentrate, and you’re in for one of the best superhero book experiences in recent years. It’s a lot to ask, but the rewards are there, and unlike what Internet pundits claim, this book isn’t confusing because it relies on continuity - it’s confusing because it’s complex and layered and consists of multiple different crisscrossing timelines, sometimes moving in different directions. I’m struck by the thematic similarity with Secret Invasion, even if the narrative is completely different - it’s about that growing, unknown terror lurking beneath the facade of everyday life that you don’t recognize, or don’t want to, until it explodes. Recommended less to DC fans than to fans of Grant Morrison and his signature time-vaulting style - this is The Filth with superheroes.

PICK! Immortal Iron Fist #16
Writer: Matt Fraction
Artists: David Aja
Colorist: Matt Hollingsworth
Publisher: Marvel Comics

David U.: Matt Fraction caps off his seminal run on this book with what is, unquestionably, his best issue so far, possibly of his career. It’s a treat to finally get an issue that’s all David Aja, and Fraction’s script is funny, thoughtful, intriguing, mysterious and capped off with a cliffhanger that’s practically a giftwrapped present to upcoming writer Duane Swierczynski. I’m sure you’ve heard about how excellent this book is over the past few months, and this issue cements that this run on Iron Fist will be a much-requested huge hardcover for years to come.

PICK! Jack of Fables #23
Writer: Bill Willingham & Matt Sturges
Artists: Tony Akins, Andrew Pepoy & Jose Marzan
Colorist: Daniel Vozzo
Publisher: DC Comics/Vertigo

Ernie: Since war broke out in flagship Fables, Jack of Fables has dialed it up as well. Part 2 of a Wild Western throwback pits Jack against Bigby. It’s Jack being elusive as always but seeing Bigby in action never gets old. He goes against the grain of what a “hero” is supposed to look like, and for me, that’s his biggest appeal. Willingham and crew prove once again that even though these characters are familiar in our minds in their legendary fable tales, they are versatile in any type of story. Western, capers, war tales, or romance, the clever situational comedy and drama that unfolds never finds a drought of entertainment.

SPLIT DECISION! New Avengers #42
Writer: Brian Michael Bendis
Penciller: Jim Cheung
Inker: John Dell
Colorist: Justin Ponsor
Publisher: Marvel Comics

Ernie: And… THIS is what we’ve been waiting for for nearly 4-5 years. The issue that ties everything together, shows where all the chaos began and although we’ve still gone nowhere with Secret Invasion, this was a good read. Cheung and Bendis flexed their muscles by revealing how far the Skrulls have been plotting their takeover on Earth and just who is working Spider-Woman’s puppet strings once and for all. House of M, Civil War, Avengers Disassembled–this is the crossroads and exposes how easy it was for the Skrulls to get in and how fortunate they were that Scarlet Witch went cuckoo a few years back. Reading this will make the fanboys feel good for sticking it out on New Avengers and Mighty Avengers, both of which are as uneven Bendis ever gets with his otherwise taut superhero writing. With the variety of artists paired with Bendis on the Avengers titles, Cheung tells these story best. Big moments appear bigger than life and details are not lost on over penciled pages. Anyone catch those implants set to be shoved into Jessica’s bare body? A strong single issue with meaningful information that doesn’t take place in an event comic. Rare indeed.

Albo: As mentioned above, I am so sick of reading these scenes of standing around in a warehouse talking about their strategy to destroy the humans. There are invariably a few Skrullettes who look exactly the same and I’m not sure who’s who and I’m so bored I can’t even muster the energy to figure it out. Yes, we know Jessica Drew is a Skrull. Yes, we know she’s working for Hydra and Fury and S.H.I.E.L.D. Why don’t you tell me something new, BMB?

PICK?! Ultimates 3 #4
Writer: Jeph Loeb
Artists: Joe Madureira
Colorist: Christian Lichtner
Publisher: Marvel Comics

David U.: I have a lot of problems with this comic, but I’m not sure if they’re necessarily the comic’s problems. I try, with every review I write, to grade a book based on how well it does what to look to set out to do. Ultimates 3 is out to be a slam-bang brainless Bruckheimer movie, and it’s not especially bad in that department. If your idea of a great superhero comic is a nonstop run-on sentence of fighting and one-liners, with no letup or characterization, then this comic will gladly fulfill your needs. Ultimates, like Loeb’s recent work, isn’t about plot or consistency or character development or theme or mood, it’s about giving Joe Madureira some cool splash pages to draw. And, you know, at that, it pretty much succeeds. It is what it is. This book is difficult to review in that it doesn’t conform to the narrative structures or logical constraints of modern superhero comics; however, despite the possible ignobility of its aspirations, Ultimates 3 #4 reaches a solid B on its own goals.

PICK! Amazing Spider-Man #563
Writer: Bob Gale
Penciller: Mike McKone
Inker: Marlo Alquiza
Colorist: Jeromy Cox & Antonio Fabela
Publisher: DC Comics

David U.: I was initially very skeptical of another Bob Gale arc, since I wasn’t a huge fan of his original Freak story or the one-shot follow-up in #558. To my considerable surprise, I found myself enjoying the hell out of this two-parter, which concludes this week in #563. The art is clean and clear, as you’d expect from McKone, and Gale turns in a genuinely funny and smart script that really feels like a good Spider-Man story. A surprising gem.

PICK! Anna Mercury #2
Writer: Warren Ellis
Art: Facundo Percio
Publisher: Avatar Press

Carissa: Don’t let the cheesy spy-girl covers fool you. It’s only issue #2, and I already know that this is one of those series I’m going to be attacking the racks for. For one thing, I dig the plot concept. It’s brilliantly future-tech sci-fi, with enough explained about the imaginary worlds to understand the setting of the book and what’s happening, but not too much so that I constantly want to know more. In fact, Anna Mercury reminds me of a good RPG video game, with its carefully balanced breakups of action and exposition, iconic characters, heavy plot lines, and the potential for huge “say-what?!” plot twists. There’s also a strange interactive quality to this series, perhaps due to the static setting of LaunchPad and its anonymous characters, which almost makes me feel like I am LaunchPad, monitoring Anna Mercury’s health levels and telling her what to do. I highly recommend re-reading #1 after reading this issue. There’s a great, satisfying “I see now!” feeling after doing so.

PICK! DMZ #32
Writer: Brian Wood
Art: Riccardo Burchielli
Colorist: Jeremy Cox
Publisher: DC Comics/Vertigo

Ernie: Remember picking up a grasshopper as a kid and holding one leg and then pulling the other until both ripped out? What’s left of that carcass is how Matty Roth feels. He’s in the middle of a tug-of-war battle between his parents and like many children would do he does his best to appease both of them. And the winner in all of it could be Parco Delgado, the man Matty and the people of the DMZ are hoping to give them real representation in this civil war. But that’s hard to do when you’re in a coma. So as the situation escalates, what does Matty do? What would you do? Yeah, I’d keep reading, too.

PICK! Dock Walloper #5
Writer: Ed Burns & Jimmy Palmiotti
Art: Siju Thomas
Colorist: Siju Thomas & RC Prakash
Publisher: Virgin Comics

Ernie: Of all the Virgin Comics Director’s Cut comics, Dock Walloper really does work well as a movie storyboard. When read, you can imagine a big set, feel the romance of prohibition New York, the dialogue spoken, and the action on screen. But this works also really well as a comic. There are larger-than-life characters, attention to detail, the thrill of the chase and the reality of consequence. Walloper’s a title that will most likely go unnoticed but I like that titles like this exist. It’s an attempt to do something different in a comforting and familiar format. After coming out of the blocks ahead, DW settled into a confident groove. The closing issue mimics the entire story as a whole, by having a great first act, a slow second act and a real nice finish that’s sure to leave your buds with the taste of tasty hops and barley. I hope that Burns, Palmiotti and Thomas collaborate again. Two of the three are relative newcomers to comics. Each brings their own brand of storytelling to the table and it shows in the end result. Many cheers to an enjoyable mini-series.

PICK! Ghost Rider #24
Writer: Jason Aaron
Art: Tan Eng Huat
Colorist: Jose Villarubia
Publisher: Marvel Comics

Ernie: After kicking the shit out of nurses and zombie ghosts, Blaze is looking at another angle to get to Zadkiel, the angel who created him. Where do some people find religion? In solitary confinement, or bigger yet, behind the cold hard steel of prison bars. Aaron’s Ghost Rider is like remembering fondly of escaping hot saturday afternoons in the summer by going to the local grindhouse double features minus the popcorn on the floor and silhouettes of roaches in the theater; you’d tolerate the filthy environment because the feature was so entertaining. Aaron is playing to Ghost Rider readers who have been around for the long ride with his vast knowledge of the character’s legacy, but he’s brought the newcomer in ripping and gearing to go as long as the story keep kicking down doors and punching guts. Huat’s art is a change over Roland Boschi and is more detailed and intricate, so let’s give Villarrubia a warm round of applause in work in this arc, too!

PICK! Hellblazer #245
Writer: Jason Aaron
Art: Sean Murphy
Colorist: Lee Loughridge
Publisher: DC Comics/Vertigo

Ernie: Constantine is one of the best characters in comics, wanna know why? The mere mention of him, or the presence of him lurking around the panels is enough to carry a story. In the first of two issues written by Scalped creator, Jason Aaron, American filmmakers want to tell the story of Constantine’s brief but memorable stint as a rock star. They travel to where it all happened and realize that sex, drugs and rock & roll can be a dangerous combination. Aaron is the just the second American writer to take the Constantine reigns and takes a bit of America–obnoxious and all–across the pond and makes for a fun read. It’s a two-issue distraction and then we get back to the regularly scheduled Andy Diggle madness. I also dug Murphy’s fill-in art who I have never seen before. His art had a fresh mix of punk & graffiti, 90’s Wildstorm art, and Tomm Coker/Ashley Wood giving off an underground, modern aesthetic that fit what the music was at that time.

PICK! Justice League of America #22
Writer: Dwayne McDuffie
Art: Ed Benes
Colorist: Pete Pantazis
Publisher: DC Comics

David U.: It’s wonderful to see McDuffie getting back to this title’s grand arc and finally wrapping up plot threads that have been hanging since Brad Meltzer left; unfortunately, due to no fault of his own, it’s come so late that most people kind of forgot about Vixen and Red Tornado. This would be overcome with a smart script, which McDuffie provides, but it’s disastrously dragged down by some truly incongruous art that transforms a coherent story into a series of disconnected pin-up shots. A step forward narratively, but seriously, can’t you put anyone else on this book’s art?

PICK! My Inner Bimbo #5
Writer: Sam Kieth
Art: Sam Kieth
Publisher: Oni Press

Albo: This book is Sam Keith at his absolute rawest. The pages feature some of his best looking art in years and are densely packed with an incredibly personal story the likes of which I’ve never read before. Make no mistake, the book is slow going, but it is supremely rewarding. The story follows a sixty-something man who has spent his whole life looking for female approval and whose “femmy” side manifests herself as a “Bimbo,” who starts as a sex slave but is always transforming into more mature forms, many of which are decidedly antagonistic. This is the last issue of the series, and I’m not sure if it was popular enough to collect in a trade, so I can’t recommend strongly enough that you get out there and try to find some back issues. If you like Sam Keith at all, or are just looking for something completely different from every other book on the shelf, you really shouldn’t miss this.

PICK! RASL #2
Writer: Jeff Smith
Art: Jeff Smith
Publisher: Cartoon Books

Carissa: Even with all the dark, gritty details of RASL’s world, there’s something really magical and charming about this comic that shows in this issue. The characters, in particular Rasl, are well defined and have believable personalities. Rasl’s internal battle with hope, faith, and what he should do versus what he thinks he needs to do give life to the story, even in those pages where he simply stands there and says nothing. I should actually say especially in those pages, since part of the charm of RASL comes from the excellent scripting. Instead of packing action, dialogue, and motion into every single panel like many comics do, RASL’s exciting moments are interspersed with stillness and silence. There are entire pages where nothing is said, and nothing much happens, and these pages are beautiful. They’re almost haunting, and they force readers to be interactive, imagining the scene in their own minds, putting thought bubbles into that empty space beside the characters. When there is dialogue, it’s also well scripted and doesn’t sound unbelievable or cheesy, even with all the talk of alternate dimensions and lizard men taking place. I particularly enjoyed that conversation Annie had with Rasl about the maze. Oh heck, I enjoyed every conversation they had and everything that happened in this issue. I am very eagerly awaiting the next one!

PICK! Scalped #18
Writer: Jason Aaron
Art: Davide Furnò
Colorist: Giulia Brusco
Publisher: DC Comics/Vertigo

Ernie: After Dead Mothers, readers needed a much-deserved break from the power and intensity. With a very cool Tim Bradstreet cover, the shift was apparent. For one issue, we get the story of Falls Down, the good cop in Red Crow’s law enforcement. He’s an old-fashioned sonofabitch and captures that scary moment when you notice that the whole world has passed you by; when your actions are second-guessed and you can no longer relate to how the world works. When it happens, it can be frightening. The way it’s played out in Scalped can be downright haunting.

PICK! Secret Invasion: Fantastic Four #2
Writer: Roberto Aguire-Sacasa
Penciller: Barry Kitson
Inker: Barry Kitson, Mick Gray, Scott Hanna
Colorist: Chris Sotomayor
Publisher: Marvel Comics

Carissa: I’ll admit it. I don’t read too much Fantastic Four and I’ve been generally disappointed in the Secret Invasion titles, but I kind of liked this comic. Oh sure, there were parts where I grimaced at the utter cheesiness, (see Johnny Storm and Lyja overcome a life-long Skrull/Human war and fight Cthulhu of the Negative Zone through the shining power of LOVE) but it was, in all, an entertaining, cute little issue. Reed Richard’s kids were adorable in their giant robot suit, trying to fill in the shoes of the two missing Fantastic Four members. The characters were all portrayed accurately, and there was great, believable family dynamic between all of them. Johnny Storm’s narrative at the beginning was pretty funny. The part where Lyja reveals her master plan to Johnny was cliché and annoying, but I can overlook that. There’s nothing ground-breaking about this issue in relation to the Secret Invasion storyline, and nothing that will leave you on the edge of your seats, but sometimes, cute is all you need when taking a bathroom break.

PICK! Superman/Batman #49
Writer: Michael Green & Mike Johnson
Penciller: Shane Davis
Inker: Matt Banning
Colorist: Pete Pantazis
Publisher: DC Comics

David U.: When Green came onto this title, I was initially highly skeptical - TV-to-comics migrants tend to have some stumbling blocks, especially ones recommended by Jeph Loeb. His previous assignment, a six-issue Batman Confidential arc that retold the Joker’s origin, was pretty much a can’t-win assignment because giving the Joker a definitive origin is largely considered a mistake in the first place. Still, he did his best. Then he got this title. And, uh, as of this sixth issue, it’s one of my favorite DC books. It’s funny without being irreverent, it’s self-aware without being contemptuous - it’s just a fun, well-written, on-the-nose superhero comic. I’m looking forward to more from this run and more from Green, and I’d really recommend this book (the concept is almost unimportant - Superman and Batman are cleaning up Kryptonite, but the pleasures are all in the detail and art) to any general DCU superhero fan.

PICK! Trinity #3
Writer: Kurt Busiek
Penciller: Mark Bagley
Inker: Art Thibert
Colorist: Pete Pantazis
Publisher: DC Comics

Carissa: Once more, our heroes appear in only four pages of their own series. Batman should really get himself a new lawyer if he plans to have money to lavish on his lady friends and boy wonders. I was impressed with the appearance they made though. Seeing Batman, Superman, and Wonder Woman suddenly floating there in the middle of the battlefield, owning over 3/4 of the page, brought back some of that old charm the Big Three had been missing in the first two issues. “Fall back, Canary. You’ve done a fine job. But you need a breather.” Classic lines, Superman.

After their initial appearance though, the trinity engaged in the same uninteresting fight scene from issue #2. It also looks like the fight is going to continue past issue #3 into #4, in which case I’m going to start vaccinating against Secret Invasion Slow-Mo Sydrome. I love gratuitous violence as much as the next person, but I don’t see the point in dragging out the same kind of gratuitous violence for that long. Even with all my whining, it was nice to see the power dynamics between Superman, Batman, and Wonder Woman in this battle. Not many battles I see with these three shows them falling into the roles of leader/subordinate that they would only have when teaming together.

As usual, there was a little side story unrelated to the trinity in this issue. This side story is what turns issue #3 from “eh” into “not bad!” It’s the return of tarot girl from issue #1, and hey, her story is actually interesting. Being a new character, her personality is actually visible and fleshed out, which is something every other character in this series lacks. We also find out through Rita’s story a lot of what future issues of Trinity may be about, but we do so by using our own heads rather than having a jabber mouth villain tell us his master plan. (cough issue #1 cough) I like to feel some semblance of smart while reading a comic.

TRIPLE PICK! Wolverine #66
Writer: Mark Millar
Penciller: Steve McNiven
Inker: Dexter Vines
Colorist: Morry Hollowell
Publisher: Marvel Comics

Albo: Awesome! The first issue in the “Old Man Logan” story, this book takes place fifty years after the villains finally won. Almost all of the heroes are dead, and the United States have been split into regions controlled by supervillain factions. Logan lives the quiet life of a farmer with a wife and kids (one of whom is named Scotty… Awwww), getting by and paying rent to a gang of the Hulk’s descendants who ride around in the old Fantasticar. It’s a cool post-apocalyptic world, and while it certainly shares the Mad Max aesthetic touchstones that no post-apocalypse can get away from, there are a few cool little touches that separate it from what you’ve seen before. Anyway, the problems arise when pacifist Logan can’t make rent and gets his ass kicked by the gang. His healing factor isn’t what it used to be, which introduces some tension that most Wolverine stories don’t have–finally the man isn’t unbeatable. He has to accept a proposition from Hawkeye to go on a delivery mission for some cash, leaving his family behind. As long as they don’t all get slaughtered, thus slinging this story down a cliched path we’ve all seen before, it should be a fun ride. Oh, did I mention Steve McNiven is a goddamn stunning artist?

Ernie: Welcome to the Mark Millar Circus of Hype. For the next year we get the Civil War creative team and a futuristic apocalyptic story that is WOLVERINE’S ALL-TIME GREATEST ADVENTURE! Bold statement, given that there’s like 8 new Wolverine stories. Wolverine went through some traumatic battle, so much that he goes into hiding for 50 years. He’s made a new life for himself, he’s a father, a husband, and the claws have remained beneath the skin since that day. How far in the future are we? Does this fall in line with the X-Traitor storyline? We don’t know. It’s been long enough for Bruce Banner to have grandchildren. Even long enough for the United States to have been overrun by villains and conquered by Marvel’s worst. So “Old Man Logan” comes out of retirement and after reading the Ultimates, we know Millar is heavily influenced by movies and this story smells of Unforgiven and Mad Max. Will this be what the cover claims to be? Who knows, but it’s a good start.

David U.: Millar returns to Wolverine for a sort of hyperkinetic Mad Max-inspired postapocalyptic take on the Marvel Universe, and like many Millar comics, it’s an idea (and result) that’s simultaneously utterly ridiculous and completely awesome. Millar’s made a solid career out of writing dumb comics for smart people, and this continues the trend, with a bunch of cool ideas thrown at you every second (The Hulks Have Eyes! Pacifist Logan! Return of the Spider-Buggy!) tempered by the fact that sometimes it feels like those ideas are just there to be cool rather than serve any narrative purpose. Of course, I’m on issue one of eight, so I’m open to eating my hat. If you’re reading comics reviews, you know Millar’s style; if you like Millar’s style, you will probably enjoy this comic. Smart dumb fun.

PICK! 100 Bullets #92
Writer: Brian Azzarello
Art: Eduardo Risso
Colorist: Patricia Mulvihill
Publisher: DC Comics/Vertigo

Ernie: Trying to predict the last eight issues is like trying to drive a rear-wheel truck on black ice. You have no control. You just let go of the wheel and hang on for dear life. With alliances deteriorating, our favorite players are reaching the end of the plank and we have no one to fault but ourselves for liking these guys and gals. Don’t try to take it out on Azzarello and Risso they knew it all along and we were hooked, line and sinker. These Minutemen were trouble from the start and Agent Graves sees the sharks circling but that don’t mean he’s dead in the water, I don’t think he’s even begun to fight. But the power of these final issues, so far, resides in the subplot of the children “dealing” in life and death. It not only sings a tragic tune but resembles too many real streets and corners to count. Mulvihill’s genius is in coloring these scenes in hues where an excess darkness exists contrasting the game played under the lights. While the main plot dances around the trigger, these kids are actually pulling them.

PICK! Booster Gold #10
Writer: Geoff Johns & Jeff Katz
Art: Dan Jurgens & Norm Rapmund
Colorist: tbd
Publisher: DC Comics

Carissa: Scouring the net, I’ve read a lot of complains about Booster Gold’s tenth issue. It doesn’t make sense in the DC continuum. That wouldn’t be possible in real time traveling science. “What?!” “Yeah right.” “Meh.”

I personally loved it. I understand how it doesn’t make too much scientific sense, but I don’t read about time savvy superheroes for the sense they should make. In the genre of kitschy, 1970’s sci-fi, Booster Gold’s tenth issue scores high on the groovy scale. It’s got those great family values. (Father vs. Son, death match!) It’s got those great friendship values. (Two men, completely, platonically, in love) And the revealing of the ultimate bad guy and what happens to him? Comedic brilliance. (Team America, anyone?) The best part though, was the ending, starting with Blue Beetle’s perfect one-liner on the bottom of the fourth to the last page. They were identical to every apocalyptic/armageddon movie I saw in the 90’s, and they broke my heart just like every one of those movies did. On a semi-related note, the cover of this issue also gets a high groovy rating.

PICK! Locke & Key
Writer: Joe Hill
Art: Gabriel Rodriguez
Publisher: IDW Publishing

Ernie: Sam has made his way into Lovecraft and is determined to finish the job he started. With minimal resistance, he marches right onto the Locke estate and terrorizes them once again. Bode’s discovery down the well proves to be resourceful when he meets her eye to eye and is faced with the dilemma of trusting her. So many horror films are about shocking viewers with a cadre of ghastly sequences or thrusting an orgasm of gore in our face that it becomes a test of patience and sometimes comical. Reading a horror novel allows the author’s words to guide our imagination, but is it ever as scary as it is intended? That depends on the reader. But Locke & Key gives enough to realize the reality of the situation. Our mind fills in the rest that goes on between panels and off. Hill and Rodriguez have managed create something that will infiltrate your fears and creep the fuck out of you–even violate you. Rarely have I felt the type of genuine fear and suspense when turning the pages of Locke & Key. Highly, highly recommended.

SEMI-PICK! Punisher: Little Black Book
Writer: Victor Gischler
Art: Jefte Palo
Colorist: Lee Loughridge
Publisher: Marvel Comics/MAX

Ernie: Turning Punisher into a Max title is one of the best things done to the character since hiring Garth Ennis to write him. And as Ennis preps us with his final story, I can say with this one-shot, Marvel’s found a suitable artist for the next era of Frank Castle if they’re looking. Little Black Book is a little ditty told from the perspective of a powerful and professional call girl who winds up being Frank’s easy way to his next target. Palo got a great blocky style and heavy brush that’s sure to remind longtime Punisher readers of a young Whilce Portacio or Bill Seinkiewicz back in the day but Gischler writes Vette, the call girl as a narrator in noir fashion. At times though, it’s borderline cliché and predictable. As a one-shot diversion or collected with other short stories it works, especially if you favor stories like Spider-Man’s Tangled Web but it’s hardly ground-breaking material for Punisher.

PICK! Red Mass for Mars #1
Writer: Jonathan Hickman
Art: Ryan Bodenheim
Colorist: Jonathan Hickman
Publisher: Image Comics

Carissa: Red Mass for Mars already looks like it’s going to be an interesting new series. I like the post-apocalyptic slash superhero slash alien parasite thing it’s got going on, and the few characters we meet are intriguing. (Even the alpha male superhero we barely get to see) Lightbender especially looks like he’s going to play a very convincing, evil, EVIL bad guy. That shot with him sitting there talking about his genocide plans while the parasites fly all around him? Psychotic brilliance.

The art is also well planned in this issue. The backgrounds are detailed and never skimped on, giving us readers a clear idea of what future-earth looks like in all its sci-fi glory. The art is dabbled out in a unique fashion, with a certain color palette being used depending on the location and mood. (For instance, the soft sepias of the Halidome scenes, and the burnt reds of Lightbender’s scenes) Finally, look at that last page. The angle. The colors. The expression on “alpha male’s” face. “Oomph,” I say.

PAN! Skaar: Son of Hulk #1
Writer: Greg Pak
Art: Ron Garney
Colorist: Paul Mounts
Publisher: Marvel Comics

Ernie: With the Incredible Hulk movie revamp, we also get the release of a Planet Hulk spinoff where the Hulkspawn runs amok with monsters. I was hoping to see a much slower growth unfold in these pages, perhaps every five issues we see Skaar in a great physical adventure at one age, and then with the next arc, be older with his powers further developed. Part of me wanted to see this title to be like watching an egg hatch in an incubator. Instead we get abrupt jumps in age, size and ability with the start of a story shoehorned near the end. The whole issue reads as if it were rushed. Conceptually, Hulk’s baby is more interesting than what’s being done here and like the Star Wars prequels, my expectations were not met with the results. One moment we see toddler Skaar slaying some big nasty, and soon after he’s nearly as big as his daddy. There’s not much captivating being built here–at least for me–and I’m going to guess we’ll see him in the Marvel Universe before too long. Sigh. The Hulk family now has THREE titles. Too much to be made of a character that’s been done well in his own original title only a handful of times (Peter David era, Bruce Jones, and Planet Hulk come to mind right away). The pleasurable thing about Planet Hulk was that for a year, we got a great fish-out-of-water story and then he returns to deliver comeuppance. Skaar dilutes that and tries to capitalize on that spirited year that Pak took Hulk to a new height instead of finding a natural way to bring Skaar’s story to front row. Honestly, how long could they really draw this out before it gets old? On the bright side, Ron Garney’s art and veteran colorist, Paul Mounts have never been bad to look at. But hardcore Banner readers will likely prove me wrong and find enough other good reasons to support this much Hulk. I’m just not going to be one of them.

SEMI-PICK! Trinity #2
Writer: Kurt Busiek
Penciller: Mark Bagley
Inker: Art Thibert
Colorist: Pete Pantazis
Publisher: DC Comics

Carissa: I’m waiting for Trinity to prove itself, but it still just chugs in its second issue. It’s not the set-up of the big story I have a problem with though. I understand that will take some time, and a few issues will have to be spent introducing the villains and showing the tests they throw at the Big Three. If this is going to happen though, I’d at least like the set-up action to be more interesting. I don’t just want to see Superman pushing a sun for two pages or Batman disappating a mental attack in one page. I want to see them kicking ass, then maybe being foiled for a little bit, and then kicking ass again through some ingenious plan or revelation. Just because there are three big players in this series competing for screen time doesn’t mean that the three big players have to only get bit parts in each issue. One easy solution would be to not waste lots and lots of important pages on boring, not-so-important fights like Green Lantern vs. Big Monster and his DC Version of a Chaos Mite. What was the point, really, of Green Lantern’s honking 11-page smash-crash scene? (Kind of like the pointless Flash and his Tykes fight scene from the previous issue) This is what I say. Less unimportant, boring side stories + more pages devoted to the important, interesting characters of this series = interesting first issues of Trinity, even with all the tedious set-up.

PICK! X-Force: Ain’t No Dog
Writer: Charlie Huston & Jason Aaron
Art: Jefte Palo, Werther Dell’Edera & Antonio Fuso
Colorist: Lee Loughridge & Andrew Crossley
Publisher: Marvel Comics

Ernie: I need to preface this review a bit. I avoided the relaunch of X-Force and felt that the title’s high point was the spastic parody by Peter Milligan and Mike Allred. I was a big fan of that and the much-talked-about darker take on Rob Liefeld’s creation + Wolverine (in yet another superhero team and yet another costume) was NOT enough of a draw to be sucked into yet another mutant spinoff. However, similar to Punisher: Little Black Book I was willing to take a leap on a one-shot, half-drawn by Palo. Here he draws a blood-drenched tale of “berzerker” Wolverine in excellent form, torturing a guy for half the book and taking breathers to pile up ninja carcasses. The money shot climax may be worth the cover price alone. I was sucked into this easily, but I still didn’t get the essence of this new X-Force, which is fine, I just wanted to see Wolverine go off, and got off I did. The second story, scribed by Aaron (Scalped) took a rather natural assignment to write Thunderbird or whatever he’s become in this new X-Force. It’s a quiet and introspective into a character that’s often underused. It also responds to the nay-sayers who think that modern-day comics are filled with characters looking for senseless killings. Two contrasting tales with two very different characters. I was skeptical going in but in the end I may have convinced myself on catching X-Force in trade.

PICK! Abe Sapien #5
Writer: Mike Mignola
Art: Jason Shawn Alexander
Colorist: Dave Stewart
Publisher: Dark Horse Comics

Ernie: Abe’s solo adventure comes to a close and if you’ve been following like a good soldier, you’re hoping Abe goes on more adventures, at least as long as Alexander is willing to draw him. This is just a fun, spooky tale spotlighting Sapien’s green and unseasoned missions where he comes into his own. Mignola’s occult fantasy entices and lures us in while raising the hairs on our necks. The distant places with too many dark corners to count are familiar whether we’ve imagined them in our nightmares, walked through our cemeteries, or explored the deep depths of our soul. Like Abe, we struggle and investigate, survey our surrounds until we are able to overcome fear and escape our own drownings.

PICK! American Splendor Season Two #3
Writer: Harvey Pekar
Art: Darwyn Cooke, Rick Geary, Chris Samnee, Warren Pleece, Dean Haspiel, John Cebollero, Josh Neufeld
Publisher: DC Comics/Vertigo

Ernie: Reading American Splendor is always a refreshing visit back home for me, Cleveland native and now a resident San Diegan. The blue collar ideals. The working man’s mentality. The dreary outlook. I think when you grow up in that town you make no apologies for being a realist, a pessimist, or a skeptic. It’s the lack of sunshine that Clevelanders see on a day-to-day basis that makes you all piss and vinegar. With all of the sun I get now, I’m just not used to it, I’m homesick at times, and American Splendor grays up my day up just fine. From the black and white (and inkwashed) art, to Pekar’s groucho demeanor, there’s enough in here to get you down and kicking the dirt. It’s warranted though, given our world, and life in general and this issue shows off how well-versed and well-read Pekar is. From politics, global warming, the history of Russian and Jewish immigrants in Cleveland to avant-garde jazz, there’s a lot on his mind. The hundreds of hours spent in Zubal’s bookstore tailor a well-read man. Whether you’re from Cleveland or not, you personally care about these observations or not, you’re still drawn to what HE thinks about them. Why? He captures everything that’s beautiful and equally ugly about living today, growing old, and simple pleasures in a few panels with his honest words–and that’s as American as you can get.

SEMI-PAN! Avengers/Invaders #2
Writer: Jim Krueger & Alex Ross
Penciller: Steve Sadowski
Colors: inLight Studios
Publisher: Marvel Comics

Gavin: Well, the art certainly looks better than the last issue. The Human Torch stuff looks especially nice. No, wait. I just saw that panel of Namor catching the axe again. It’s kind of a mix bag. In fact, that’s how I see the writing. Both Avengers teams can easily see that this is a time travel thing and get past the imposter accusations, but how long can every one of the Invaders go on convinced that every single guy in tights they come across is a Nazi? I’d think Steve Rogers is smarter than that. I’m also a bit confused by Iron Fist’s one line towards the end, which seems to miss the point about what the Secret Avengers team is all about. I’ll give this another issue, but I’m not expecting miracles.

PICK! Criminal Vol. 2 #3
Writer: Ed Brubaker
Art: Sean Phillips
Colorist: Val Staples
Publisher: Marvel Comics/Icon

Ernie: If comics were cuts of meat, there’s a lot of bacon and sausages out there. Fatty, tasty morsels of meat that are quick to satisfy but in the end aren’t the best bang for your dollar. As you move up to the sirloins and the strip steaks, you begin to get more quality, larger cuts of quality meat, and I can think of a select group of comics that would qualify. Criminal? Criminal is the filet mignon class of comics, kobe even, because you get a big slab of tender meat, and for that expense, you get every single penny back. 32 Pages, stand-alone stories, and some of the most tragic, memorable crime stories done in the comic format. It’s Brubaker & Phillps’ redesign of what a comic should be: Total satisfaction. And if this don’t satisfy you, become a vegetarian. The first two issues of the year we met Sebastian, Jake and the girl that came in between them, Danica. Sweet Danica. Watch out boy, she’s a man-eater. Her story is filled with men that have treated her wrong, and in turn she’s treated them just as bad. The layers built up over the years have made this fine woman tough, made her heart diminish, and turn her veins cold. Our ma’s and pop’s have taught us not to be like this, and perhaps that’s why we want to know so much about them, their motives, their irrational decisions. That’s why we can’t get them out of our heads, and why we root for them when we inherently know–things will go bad.

PICK! Dan Dare #6
Writer: Garth Ennis
Art: Gary Erskine
Colorist: Gary Leach
Publisher: Virgin Comics

Ernie: If we must turn to one of Britain’s science fiction heroes to feel patriotism then we must do what we must do. Actually it’s more like idealism which is one of Ennis’ many strengths. Whether it’s the full-throttle vigilantism of the Punisher or the leadership of Dan Dare who stares death in the eye for his country, Ennis’ heroes are the quintessential idealists. It difficult to believe that Ennis’ imagination has real world counterparts, but even if they did exist, would people be able to shake the numbing effect of the negative and paranoia-filled bombing spewed by mainstream media? Ennis and Erskine are not trying to undo that, but they are trying to create a world where people believe in their leaders and the people who lead their soldiers through dangerous waters. Where we can drop all the suspicion and follow by pure trust. I realize this if fiction, sadly, but it inspires one even if just for a couple dozen pages worth. Dan Dare isn’t so much about one man as it is the effect of that man on others.

PICK! Detective Comics #845
Writer: Paul Dini
Penciller: Dustin Nguyen
Inker: Derek Fridolfs
Colors: John Kalisz
Publisher: DC Comics

Gavin: Dini built up the Riddler’s credit as a legal-friendly detective over the last year or so only to damage it hard with this issue. Perhaps it ties into Trinity. Either way, it feels somewhat forced. Really, what the issue is about is the highly entertaining chatroom segment. It starts off as something you groan at. Then as you continue on, you smirk a little. Soon you find yourself snickering at the truth about certain aspects of the chat. This one scene takes what could have been a passable issue and makes it far more worth checking out. Though it does water down the cover’s hyped up cameo, which adds little interest in the scheme of things.

PAN! Duostar Racers
Writer: TP Louis
Penciller: Ashley Wood
Publisher: IDW Publishing

Carissa: This whole issue hurts. The art, typical of Ashley Wood, is pretty but confusing. The storyline looks like it was purposely intended to be ambiguous in this first issue, but it is really just completely indecipherable. This is what I’m guessing: People racing each other on gigantic robots? (I only figured this out after looking at the sketchbook pages) And wait! There is a nefarious plot underhand. But I can’t tell what, because I can’t understand a damn thing that is happening in this comic. The author tries way too hard to be cryptic about what’s going on. The dialogue is uninteresting, the characters have no names or distinguishable personalities, and the entire setting is shot to hell. There is absolutely nothing in this comic that would make me come back to the second issue. Hardcore Wood fans may like it. Looks like there’s going to be gratuitous Ashley Wood boobies and ass in the next one.

PICK! House of Mystery #2
Writer: Matthew Sturges & Bill Willingham
Art: Luca Rossi & Jill Thompson
Colorist: Lee Loughridge
Publisher: DC Comics/Vertigo

Ernie: I described this this title last month as a satisfying “different” read and the second issue holds up. Each story contains an uninterrupted short story, a twisted tall-tale if you will, and it’s told in a stage that’s part of a bigger story. In this second issue the larger story stuck out more–reversed from the debut–and that’s important for the title because that’s what will keep readers coming back no matter how good those little tales are. Fig’s found her way to the House of Mystery, and appears to have a special connection to it that the other permanent members don’t. This dynamic of the newcomer and the longtime residents are interesting ingredients brought to the pot. Jill Thompson provided this issue’s escape and seeing her work is always an enjoyable trip, even if it’s only for five pages. Thompson just keeps getting better and better as the years go by and her gray ink-wash look fits this book like a silk glove because it takes you out of the main story smoothly and grabs you through each panel. I can imagine this book building momentum each month and an anticipation of what kind of bar story we’re going to get. Keep an eye on this.

DOUBLE PICK! Invincible Iron Man #2
Writer: Matt Fraction
Art: Salvador Larroca
Colors: Frank D’Armata
Publisher: Marvel Comics

Gavin: Fraction’s take on Iron Man continues to work with a style I’ll call “sensible decompression.” So many times since Extremis, we’ve seen Iron Man go on about all the things going on in his helmet. All the sensory overload that he’s able to absorb because he’s freakishly smart and part computer. The comic in question isn’t so much a story being told as it is a documentary of Tony Stark’s busy, busy life that happens to tie into itself. He’s all over the place, but he anchors us in a way that it doesn’t matter how many subplots we’re forced to sit through.

I also enjoy Fraction’s take on Iron Man meeting with the resurrected Thor for the second time. Considering what a botch job JMS did with the first meeting, it’s nice to see that this time it’s Thor who comes off as the complete ass. How about them apples?

Ernie: For the first time, Marvel actually has a comic in its main universe that people can be referred to hot off the heels of the success of a film. You don’t need to read anything before, or be prepped that this story takes place in an alternate universe. It’s clear that this title is tailored to readers who loved everything about the film and wanted more. There’s more Rhodey here, more Pepper, more Armor Wars and Tony just being Tony; juggling being a leader of technology and the weapons race, leader of S.H.I.E.L.D. and being a playboy. Hey, Modok’s in this too. My mind’s made up. Marvel’s best character isn’t Spider-Man anymore.

PICK! Northlanders #6
Writer: Brian Wood
Art: Davide Gianfelice
Colorist: Dave McCaig
Publisher: DC Comics/Vertigo

Ernie: Great stories have great conflict and Northlanders is wealthy with it. Transplanting you to a far off but familiar place–where situations appear to be black and white but are steeped in gray–you’ll gladly allow combatants Gorm and Sven free rent in your mind. With every issue, they get more settled. The former allows you to role-play a bully, while any aggression you’ve pent up can be let go in Sven. With two more issues to conclude the opening arc, Sven finally gets some much needed support and some more added incentive. In a land full of two-faces and hidden causes, it’s wise not to let your guard down and you’d be wrong if you think you can catch your breath. Readers are beginning to cash in the benefits for investing in Wood’s blueprint and Gianfelice and McCaig’s palatial art. Rather than being an action comic filled with splash pages, each act of violence in Northlanders has purpose. Each player wears a stone-faced visage, but reveal much more when blood is spilled. From verbal stabs to the swing of the axe, or the quenching of Sven’s sexual desires, momentum always seems to roll towards the last page. This is fiction constructed at its best.

PICK! Omega the Unknown #9
Writer: Jonathan Lethem with Karl Rusnak
Penciller: Farel Dalrymple
Inker: Farel Dalrymple
Colors: Paul Hornschemeier
Publisher: Marvel Comics

Carissa: So far, Jonathan Lethem’s Omega Unknown has been one of the most amazing indie superhero comics. This issue lives up to the success of all the ones before it. The dialogue and art is deadpan perfect. The existentialist narration from Omega’s talking head friend gives us an insight into themes the comic explores, while still remaining light, humorous, and everything that is the opposite of wanky. There is so much wonderful craziness in this issue. The Mink fighting his dearly departed robotic hand! Alex donning the suit and fighting throngs of infected deliverymen and hamburger shop employees! The best part is, while everything that happens is ridiculous and over-the-top, it’s so deadpan, I don’t even notice. I just want to find out what happens in the last issue.

SPLIT DECISION! Secret Invasion #3
Writer: Brian Michael Bendis
Penciller: Leinil Francis Yu
Inker: Mark Morales
Colors: Laura Martin
Publisher: Marvel Comics

Gavin: I can’t believe the difference a colorist can make. Yu, always get somebody to color for you. Jessica Drew actually looks pretty attractive here, rather than the hag that Wolverine spied on in the shower back in New Avengers. I’m not sure I can really review Secret Invasion #3 correctly. I feel like I need to wait for the series to finish before I know what I really think of this issue. For the time being, I thought it was fun stuff. Bendis is trying to balance his subplots by focusing on specific ones longer than other writers would. This unfortunately shortchanges some of the more interesting stuff, like Agent Brand’s situation in space and Marvel Boy’s enigmatic appearance in the first issue.

I will say this, with five more issues left to go, I have no idea where this is going. It feels climactic despite not even being halfway done. We’ll see if the momentum carries it anywhere.

Ernie: (Before reading this issue, start a bag of microwavable popcorn. Got it started? Good.) One of the many reasons I dislike superhero events is that there is so much care given to every corner of the universe–to show just how encompassing it all is–that you just don’t get enough story. Bendis does his best to update us on seemingly everyone’s situation for the first half of the book rendering it for the most part useless. Which brings us to Savage Land. (Take out the bag of popcorn and let it cool a bit…and start eating it in a few minutes) If you’ve been keeping up with all of the Avengers titles, it feels like we’ve been on Savage Land forever! So can a good second half redeem the fluff before it? It comes real close but not quite. There’s plenty of BIG popcorn moments packed in those final pages but I just wish that we didn’t have to wait so long. Some people might be happy others, not so. I’m also convinced after a few years of writing Avengers titles that Bendis just isn’t a big fan of androids. So yes a handful of money shots shoved in after all the fluffing. After a good head start, this event has stalled in the jungle with just as much good stuff happening outside the pages of Secret Invasion as there is inside. It’s not very consistent though. More to come I imagine but realize that this is a $4 book–and only 22 pages, Marvel, give us our full money’s worth (and give me a reason to eat my popcorn at the beginning of the story.)

PICK! Trinity #1
Writer: Kurt Busiek & Fabian Nicieza
Art: Mark Bagley & Scott McDaniel
Inker: Art Thibert & Andy Owens
Colors: Pete Pantazis & Allen Passalaqua
Publisher: DC Comics

Gavin: In the weekly comic game of late, DC has one triumph and one tragedy. As Countdown failed because it was just a pale shadow of 52, Trinity decides to instead be the antithesis of 52. Instead of a year without Superman, Batman and Wonder Woman, we’re getting just that. With the talent involved and the timeless dynamic of the Big Three, it has a great chance at success. The initial storyline shows much promise, especially Busiek’s interactions between the three heroes out of costume. In fact, the opening meeting feels almost like picking up where Infinite Crisis left off in terms of those three. The secondary story, while perhaps a little too long compared to the first, lays down some of the early groundwork for what this series will truly be about. I’m interested. Let’s see where it goes.

SEMI-PAN! Ultimate Origins #1
Writer: Brian Michael Bendis
Art: Jackson Guice
Colors: Justin Ponsor
Publisher: Marvel Comics

Gavin: There’s something happening here. What it is ain’t exactly clear. There’s a man with a gun over there… Sorry. The Ultimate world takes a step closer to being more in tune to ours as compared to the 616 reality with the story that keeps all the fantastic aspects of Earth’s superhumans stuck together, all dependent on just one decision. With guys like Hulk, Spider-Man, Green Goblin and Doc Ock, the idea that Captain America’s very existence has led to a brave new world isn’t new. But how far does this go? We get the beginnings of some storyline spider webs that may pay off, but outside of the cliffhanger reveal, there isn’t much that keeps this issue engaging. It’s fairly dull, all in all, and doesn’t feel like it’ll be more than a trivia list for a dying continuity. Prove me wrong, Bendis.

SEMI-PAN! Wolverine: Dangerous Game
Writer: Simon Spurrier & Rick Remender
Art: Ben Oliver & Jerome Opena
Colors: Michelle Madsen
Publisher: Marvel Comics

Gavin: We’re given two different stories here. The first is about Wolverine hanging out with some hippies and going up against some pompous fox hunters. Considering how simple it is for Wolverine to deal with the likes of them, there’s obviously something more going on. Unfortunately, Simon Spurrier’s story goes back and forth all over the clock to the point of confusion, only to end abruptly. That’s a shame, since it had a nice piece of originality to it.

Rick Remender writes the second story, which feels like more of a classic Wolverine adventure. It doesn’t have enough space to make the plot twists any less predictable, but in the dialogue, he injects some good personality into Logan. Jerome Opena’s art also helps this, adding lots of expression in Wolverine’s facial gestures. I just feel that these two stories shouldn’t have been stapled together. Both would have been better with more pages instead of having to share.

PICK! All-Star Superman #11
Writer: Grant Morrison
Art: Frank Quitely
Colors: Jamie Grant
Publisher: DC Comics

AHR: There are many things about this book I don’t understand. I don’t know if it’s because I forget things from month to month, or if I’m not as up on DC History as Historian-of-the-Obscure Grant Morrisson is, or if the book is intentionally cryptic. Whatever the reason, this book reads like a dream that keeps shifting and introducing new elements, and whether or not you understand everything, watching it unfold is thrilling. Even if the details are hard to keep up with, the impact of the moments are indelible; Lex Luthor on death row, a hands-on fight with a red sun, and an overarching feeling that Superman is saying goodbye to hard, good life. And even if you don’t buy the “Superman is Dead” teaser on the front cover, the feeling of acceptance and nostalgia that Clark carries throughout this issue makes me like him more than I have since, well, ever.

PICK! Angel: Revelations #1
Writer: Roberto Aguire-Sacasa
Penciller: Adam Pollina
Inker: Adam Pollina
Colors: Matt Hollingsworth
Publisher: Marvel Comics

Carissa: Here’s an interesting take on the origins of X-Men’s Angel. I personally really enjoyed this. Far more than I thought I would. The art is beautiful—true, the characters all look like they need to eat a sandwich, but it’s got that great mix of fantasy and Goth, Like a dark fairytale. The art also matches the story concept and writing style well. The story is dark and religious. It’s not self indulgent in that way though. We still get real personalities and a good amount of high school drama. We all know the basic idea of what’s going to happen next to Warren, but the ending is a cliffhanger none-the-less. There’s nothing superhero about this issue though, and it makes me wonder how Warren Worthington is going to become an X-Men team member, or if the series will end before he joins. Either way, I’m curious.

DOUBLE PICK! Final Crisis #1
Writer: Grant Morrison
Art: JG Jones
Colors: Alex Sinclair
Publisher: DC Comics

AHR: The DC event series is over, long live the DC event series. I loved 52, hated Countdown, and the first issue of Final Crisis is….pretty good. A thematic opening sequence that takes place in prehistoric times looks amazing as drawn by J.G Jones, and it feels kind of like a palette cleanser after the continuity nightmare that’s been going down for the last year. Grant Morrison includes some excellent villain banter in the first half of the issue, between both the Secret Society (”I am not adverse to the taste of human flesh, sir!”) and a “blindingly obvious” team-up between Doctor Light and Mirror Master (including jokes about Light’s infamous sexual deviancy, and some good mucky Scottspeak for Mirror Master). It’s fun and funny, but soon it’s down to business, and business means plot-points a-go-go.

Morrison spends much of his time organizing plots involving the New Gods, The Green Lantern Corp, and the Monitors. Oy. Three of DC history’s most convoluted groups, all fighting for space in a seven issue series? And even though I appreciate that Morrison is trying to foist some humanity on to the intensely boring Monitors, I’m nervous. When a multi-thread series hinges on factions instead of individuals, there’s a huge risk of falling into history-lesson territory, all names and places with no personality. Still, no other comic writer balances complicated ideas and character development as well as Grant Morrison, and I’m hoping by next week he’ll prove he’s got it under control.

Gavin: How can I hate a comic that begins with a caveman hearing, “I am Metron”? Grant Morrison is here to fight through one of his greatest challenges. After Countdown and Death of the New Gods, he has to funnel their aftermaths into a story that’s joined by remnants of Seven Soldiers and likely a few pieces of 52 while going in its own special direction. Thankfully, it feels big without being as chaotically epic like the first issue of Infinite Crisis. I’m not too sure what’s going on or where this is going, but at least the opening issue keeps me interested in where this could possibly be going. That, and the JG Jones art is absolutely fantastic.

Morrison or not, I’m sure I can’t be alone in groaning whenever the Monitors show up. There’s too much stigma from Countdown, so that’s going to take me a while to get over.

PICK! Giant-Size Astonishing X-Men
Writer: Joss Whedon
Art: John Cassaday
Colors: Laura Martin
Publisher: Marvel Comics

Gavin: Here it is. The finale to not just one of the best X-Men runs of all time, but as far as I’m concerned, one of the best comic runs in general. Whedon and Cassaday say goodbye to their 25-issue epic take on the X-Men and I couldn’t have imagined a better issue for it. Except for Danger and I guess Lockheed, every single member of the series’ main cast finds a place to shine here. Everyone from Armor to Kitty to the mighty Colossus himself. There’s a subplot involving what Earth’s heroes are doing during this threat which works in two ways. One, to show why they’re taking the backseat to the X-Men in terms of the giant bullet threat. The other is so Spider-Man can give us one of the absolute best set-up lines of the series.

Emma Frost is totally right. The latter pages of the story are indeed nothing short of astonishing.

PICK! The Immortal Iron Fist #15
Writer: Matt Fraction
Penciller: Khari Evans
Inker: Victor Olazaba
Colors: Jelena Kevic Djurdjevic & Paul Mounts
Publisher: Marvel Comics

Carissa: Instead of starting a new Iron Fist storyline, Fraction starts us off in an unlikely place, right near the end of Bei Bang-Wen’s story. We don’t know him, but we find out all we need to know in the first few pages. We also don’t get to find out all the great, heroic deeds Bei did as the Immortal Iron Fist, as we join him near the end of his story. It’s like picking up issue number #7 of a ten parter. We dive in right after the climax, catch Bei self-flagellating, and wave our arms around shouting, “Whatcha gonna do? Whatcha gonna do? You’re running out of time!”

Fortunately, Bei is led by the hand of God (Fraction) to become best buddies with another self-flagellating character, and together, they go on a fabulous odyssey towards more ass-kung-fu-ing, a final battle, and self-realization. Friendship, duty, and Buddhist overtones abound.

I like the story. A lot happens, but it’s paced in such a way that we don’t feel overwhelmed. We get a clear look at Bei’s personality and we see it believably evolve in just 22 pages. The ending is a touch over dramatic, true, but it ties off the story nicely. The art is sharp, clean, and reminiscent of previous art for the Immortal Iron Fist series. My only complaint about the art is that the fight scenes seem disconnected and posed. They lack the fluidity of previous Iron Fist art, and I almost imagine a cameraman making the characters stand in their poses for three minutes, while he readjusts his lens and they try not to think about picking their crotch. It’s a little complaint though. Teeny-tiny.

PAN! New Avengers #41
Writer: Brian Michael Bendis
Art: Billy Tan
Colors: Justin Ponsor
Publisher: Marvel Comics

Gavin: I’m totally down with Secret Invasion and I’ve loved New Avengers since the first issue. That’s what makes it so hard to say that I just plain didn’t like this one. This issue is, sadly, Secret Invasion filler based on the least interesting piece of the Skrull invasion. An obvious revelation is showcased throughout an issue when it only needed a page or so of explanation. It’s told with two guest characters who really don’t fit here. Bendis has pulled the trick of taking non-Avengers and giving them the keys to his issues, but I honestly couldn’t care less about what Ka-Zar and Shanna have to say about anything. At least it gives us a vaguely interesting cliffhanger.

SEMI-PICK! Speak of the Devil #6
Cartoonist: Gilbert Hernandez
Publisher: Dark Horse Comics

Carissa: Speak of the Devil’s final issue was a disappointment to me. I can accept that Gilbert Hernandez was trying to create a town where the people in it are all bat shit crazy fetish-freaks and completely accept bat shit crazy fetish-freak logic, but this was way over the top. Butter knives and blood abound. The women are no longer endearingly nutty and sexy, but raving mad. I do have to thank this issue for giving me one of the best laughs of the day though, even if it probably wasn’t supposed to make me laugh. That scene where Val kung-fu kicks her mother and the blood that’s spraying out her mother’s nose looks like chopsticks rammed up there—priceless.

The story makes little sense. The ending is predictable. The art is unique and pretty in typical Gilbert Hernandez style, but the fight scenes are disastrously scripted and drawn. I had higher hopes for the direction this story could have taken, but, oh well. At least it’s over.

SEMI-PAN! Zombie Tales: The Series #1
Writers: Joe R. Lansdale, Steve Niles, Kim Krizan
Artists: Eduardo Barreto, Daniel Lafrance, Jon Reed
Publisher: Boom! Studios

Carissa: Here’s another bunch of short stories about a particular horror genre from Boom! Studios. As usual, one story is pretty good, and the other two are just ho-hum. The first story, “The War At Home,” just didn’t grab me. It starts the way every other zombie film/comic starts, with a guy waking up in a hospital room and realizing the world has gone to hell. I can’t tell if Lansdale was trying to be original and serious, or trying to do a Sean of the Dead spoof thing. There are parts which look like an attempt to be funny, like the zombie tripping over the IV unit, but it was more of an “eh” than a “hardy ha-ha” for me. “Three gimp vets to defend a hostile zombie beachhead,” as the narrator says right before the “to be continued” sign. Right. Good luck gimps. I’ll pass on part two.

“People Person” by Steve Niles was uninspiring too. Talking zombies! Sexy talking zombies! Boom! Bye bye sexy talking zombie. Wait, sexy talking zombie lives. But we already knew that, because the narrator told us so before we actually were surprised by it. The end.

“Spring 2061″ was the only story that I found interesting. It’s a cute spin on Planet of the Apes. The zombies are in charge, the humans are caged and eaten with cereal. But wait, is that a secret human uprising I sense? The dialogue is cutesy and witty and the art isn’t bad. The story ends too soon though, without a “to be continued” sign. What happens next? What happens next?! We’ll never know.

SEMI-PAN! Amazing Spider-Man #560
Writer: Dan Slott
Penciller: Marcos Martin
Colorist: Javier Rodriguez
Publisher: Marvel Comics

David U: I’m not even sure if this thing can be reviewed as a comic book anymore, as a pure story separated from its context. The last page of this issue has been described by Dan Slott as a sort of Rorschach blot test, that you can read anything you want into it; I don’t really think it’s that vague, as this issue and storyline seem to be more about their metatextual role in Spider-Man canon than the actual, like, story and comic. The script is typical Slott Spider-Man, not much different from last issue, and Marcos Martin’s art is utterly gorgeous, even better than he was pulling off in Doctor Strange: The Oath - really, if there’s one thing you can’t say about the Brand New Day initiative (which, past the “initial four months” that were only supposed to get that branding, seems to be continuing indefinitely) it’s that it has weak art. If you enjoy Slott’s tongue-in-cheek writing style, then you’ll probably enjoy this comic; but that said, be warned that this story almost seems as much about fucking with the readers as it is about a good Spider-Man story.

DOUBLE PICK! Captain America #38
Writer: Ed Brubaker
Penciller: Steve Epting & Mike Perkins
Colorist: Frank D’Armata
Publisher: Marvel Comics

Ernie: A solid issue that moves all of the pawns forward in Brubaker’s chess game. Sharon’s stares back at a familiar face, while Bucky and and the Falcon get closer to Dr. Faustus and the Skull, all the while it is, an election year, and that lays heavily into Red’s plans. If you’ve seen promos for future issues of Captain America you’ll know why you’ll be seeing double. Cap has always been a much more grand, so this feels awfully small in the bigger landscape of what’s coming up in future issues. Epting, Perkins and D’Armata turn in their usual high level of work and it goes largely unsaid how good of an art team this is. Expecting much more next issue…

David U.: This is probably the weakest issue of Cap since the assassination; thankfully, that’s still a pretty high standard. It’s also probably an unfair statement regarding the comic, since this is the second part of the third act of Brubaker’s Death of Cap epic; the man’s allowed some exposition and setup time. The issue hinges off of a major reveal, which didn’t completely work for me; I know it’s not TOTALLY out of the blue, but the resolution of the mystery hinted at at the end of #37 still seems rather out of left field within the strict confines of Brubaker’s run. (Within the overall tapestry of Cap’s history, it’s rather obvious). However, this is a weak complaint.

PICK! Echo #3
Writer: Terry Moore
Penciller: Terry Moore
Publisher: Abstract Studio

Ernie: Terry Moore doing superhero-like stories has drawn me into the bear trap. Characters are being fleshed out a nice pace, the story surrounding our protagonist gains more intrigue as we continue to pan outward. But something big has to happen soon because something that Moore was able to do in Strangers in Paradise was give readers something memorable in nearly every issue. I respect the pace at which Moore wants to unfold Echo, but I’d be lying if I didn’t want something more. I did get a better feel for what Julie is going through, outside of the mysterious suit. She confronts two very important people in her life and these scenes really build a mystery of who Julie is. She’s more than just some random character, she’s human, she’s full of complexities, and emotions and dreadful situations. It’s Moore at his best and is displayed especially in the last half of this issue.

PICK! Flash #240
Writer: Tom Peyer
Penciller: Freddie E. Williams II
Colorist: Tanya & Richard Horie
Publisher: DC Comics

David U.: The management of this property since Geoff Johns and Howard Porter’s departure in 2005 has probably been DC’s biggest continuing mistake in recent years, from the incredibly poorly-received Bilson/DeMeo run to the controversial killing off of Bart Allen, to Mark Waid’s abortive attempt to reimagine the book as DC’s Fantastic Four (which I really liked but simply did not find an audience at all), to this. This is a long preamble for such a short review, I know, but the fact that Tom Peyer basically got tossed a ticking time bomb is incredibly important to understanding this book’s context. This is a strong issue, with some nice Final Crisis/Dark Side Club moments intermixed with solid Wally/Jay/family character interaction and solid art from Freddie E. Williams II, but I’m worried about this book’s longterm plan and future largely because I’m not sure if it will get a future. While Peyer is turning in solid work here, it’s solid work towards a direction that’s established as not working, and at this point Flash is so close to being a radioactive character that despite Mark Waid’s claims of creative bankruptcy, a “stunt” might be just what this franchise needs. Solid comics, but again, it’s hard to recommend a book with such a vague place and future.

PICK! Ghost Rider #23
Writer: Jason Aaron
Penciller: Roland Boschi
Colorist: Dan Brown
Publisher: Marvel Comics

Ernie: Hell-Bent & Heaven Bound comes to an explosive and gruesome close, so let’s talk about what Aaron was able to accomplish with this first arc. I didn’t know much about Ghost Rider, his rogues, his supporting cast, or even his appeal. I’ve picked up enough over the years of reading comics to vaguely understand who’s who in this world. After one completed story, I’ve gathered enough to keep me for the whole year, I know why he’s had his faithful readers, and I know why Ghost Rider’s going to have many more. While there’s much ado in the rest of the Marvel universe with Secret Invasion, the real excitement for Marvel resides on the roads still left ablaze and decorated in demonic (or is it angelic) corpses and sweet vengeance. The grindhouse approach to this title has made it fun enough for the casual reader, and brought a wickedly tasteful over-the-top appeal to it. Why this title wasn’t written like this all the time, I don’t know. The concepts, the scenarios are all a little out there, but that’s cool because it works. Boschi’s done a terrific job of branding a particular visual style that’s easy on the eyes while encapsulating the supernatural aspects in a happening way. It should be interesting to see what Tan Eng Huat brings for this next story (as he and Boschi will rotate art chores each arc). Speaking of that next story, zip up your leather and strap your boots, it’s going to be one helluva ride!

PICK! Justice League of America #21
Writer: Dwayne McDuffie
Penciller: Carlos Pacheco
Inker: Jesus Merino
Colorist: Pete Pantazis
Publisher: DC Comics

David U.: Despite the fact that Dwayne McDuffie’s run on this book has been riddled with unfortunate editorially mandated tie-ins, from #16’s Tangent story to the Salvation Run tale in #17-19 to, now, this “Sightings”-labeled Final Crisis prelude is probably McDuffie’s strongest issue since the Wedding Special. Maybe Pacheco’s emotive art contributes to this phenomenon; McDuffie’s talking heads are certainly more interesting to look at when Ed Benes isn’t drawing the same face in every panel. Despite McDuffie’s creative distance from the main event, this issue does a solid job not only setting up the roles of Libra and the Human Flame in Final Crisis (or, at least, I assume what their roles will be, as FC1 is still kept under lock and key) but also succinctly recapping previous events and leading into both Final Crisis and McDuffie’s next arc. Strong character work, intelligently written action, a sense of forward motion - I really hope Benes’s return in a month doesn’t kill everything I liked about this issue.

PICK! Justice Society of America #15
Writer: Geoff Johns & Alex Ross
Penciller: Dale Eaglesham
Inker: Prentis Rollins
Colorist: Alex Sinclair
Publisher: DC Comics

David U.: The final part of “Thy Kingdom Come” is really the midpoint in Johns and Ross’s 13?-part Kingdom Come prequel/sequel (it’s kind of both). At this point in the story, we’re getting past the “Oh man it’s Kingdom Come Superman!” part of the story and into the meat of Alex Ross’s original Kingdom Come mythology; the origins of Gog and Magog, why the world became the way it did on that Earth, et cetera. It’s solid superhero work, well-established in continuity, well-characterized and gorgeously drawn, but at the end of the day last issue and this issue have basically been one really, really long slugfest after like five issues of no action. However, the last-page spread of this issue (which they clearly just reversed in Photoshop - man, you think people won’t notice?) promises a more interesting thematic underpinning to the next arc, and a more unique hook, which will hopefully bring this book back up to the impressive quality it displayed in its first arc.

SPLIT DECISION! Mighty Avengers #14
Writer: Brian Michael Bendis
Penciller: Khoi Pham
Inker: Danny Miki
Colorist: Dean White
Publisher: Marvel Comics

Ernie: The Sentry is a big part of the Avengers-Secret Invasion connection as he can turn the tide with Superman-like powers but is self-destructive with his 5-year-old mind. It presents a mildly interesting study in a capes and tights book. I’ve never really grasped Bendis’ treatment of the Sentry. He’s got the super-powered guy down, but his jumbled mind and his wrestling match with the Void, a figment of the Sentry’s mind, has never gelled for me. I realize that the ability of the Skrull nation to mimic the Sentry’s powers and Jarvis’ role in Secret Invasion would be a major plot points, and this book may have more in the background that will come to be something much more in the coming months but as a stand-alone issue, it falls flat. I don’t know why but Mighty Avengers runs hot and cold with me. Perhaps it’s just because I’m not that big of a Sentry fan but this was one of those so-so issues. Too much was revisited of the Sentry/Void one-shots some years ago. One month MA is good, one month it’s… just ordinary. New Avengers doesn’t seem to have this type of inconsistency but a bright spot this month was Khoi Pham’s art which has a Jim Lee/Jim Cheung quality to it. Miki’s inks really stand out as well. Oh well, we’ll see how next month will fair.

David U.: I don’t think I’m alone when I say that, at least in this stage in the overall story, the Avengers tie-ins have been a more satisfying payoff for longtime readers than Secret Invasion itself. I don’t think this is a mistake; Secret Invasion is an ostensibly standalone story, and, for instance, New Avengers #40’s Jessica-Drew-is-the-Skrull-Empress reveal means very little to people picking up Secret Invasion as a standalone story and far more to those who’ve been following this big story since New Avengers #1. This is the Sentry issue, and it contains not only a large amount of interesting and intriguing flashback materal regarding the Skrull infiltration but also pushes Rob Reynolds’s personal story far forward as well. Also, Marvel, for God’s sake, stop putting Danny Miki on every penciller alive - look at the faces on the last page, show them to friends, and ask them what it looks like. I’ll tell you: the ugly, fucked-up inking on One More Day where every single pencil mark was inked rather than used as a rendering guide. This test has worked, like, four times in