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 a blind test and they all say this. I’m serious.

PICK! Scalped #17
Writer: Jason Aaron
Penciller: R.M. Guera
Colorist: Giulia Brusco
Publisher: DC Comics/Vertigo

Ernie: If you haven’t been keeping up with Scalped monthly, allow me to place my hand on your face and push you back a few steps. Go back starting with issue 13 then come back here. Aaron writes a wonderfully tragic single-issue arc within the “Dead Mothers” conclusion. Red Crow continues to grow as a character and is one of the biggest centerpieces in the book. I’m not sure if it’s genuine sympathy by the reading experience or just the gravity of work, but we as readers are pulled emotionally from all sides when it comes to Crow. He’s bad, folks but this issue shows there’s worse.

PICK! Abe Sapien #4
Writer: Mike Mignola
Art: Jason Alexander
Publisher: Dark Horse

Ernie: The first three issues of this fine mini-series rush out the gates dropping hints of why Abe should be hunting down this latest mystical and nocturnal artifact. That fast pace is taken down several notches because here Abe gets the complete 411 and by the end of it, it’s not pretty. Dig out the earlier issues and re-read them all and get committed by reading these by either a single candle-light or a single dimmed lamp and read out loud–especially the incantations. Enjoying Mignola’s work is all about moody stories void of any sunlight. They’re an adventure, a horror show, and a mystery bundled in a sarcastic wrap. Alexander’s renderings of Abe Sapien though, are a joy.

PICK! Action Comics Annual #11
Writer: Geoff Johns & Richard Donner
Penciller: Adam Kubert & Stephane Roux
Colorist: Edgar Delgado & Karine Boccanfuso
Publisher: DC Comics

David U.: At this point, the drama behind this issue’s creation has probably captured more hearts and minds than the story itself. That’s a shame, because Johns’s first Action Comics arc ends, although definitely belatedly, very appropriately, with an excellent extended action sequence that, although it partly falls play to Johns’s fight dialogue tics, is very well-structured and diverse and, at times, even very funny. Kubert’s art is sharper than ever – I like the effect created by the clearly uninked backgrounds with the characters inked over them – although Dave Stewart’s loss is definitely felt. Edgar Delgado does a good job filling in, but at the end of the day he’s unfortunately just not Dave Stewart. That’s really my only quibble, though.

PICK! Buffy the Vampire Slayer Season 8 #14
Writer: tbd
Penciller: tbd
Inker: tbd
Colorist: tbd
Publisher: Dark Horse

Samantha: This issue was a pleasant surprise. With a few obvious exceptions, namely the Faith issues, I’ve generally found season eight to be a disappointment. They haven’t been horrible, by any means, but while there are certainly worse comics published every month, Buffy Season Eight hasn’t for me, been particularly memorable, either. Their biggest problem has been the complete lack of any discernible emotion. The characters, with few exceptions, seemed to be going through the motions and none of the complex interpersonal relationships shined in the way that made Buffy special in the first place.

This issue pulled through, however. Not only do the characters have emotions that are in character for who they are supposed to be, in true Buffy fashion, the emotional punches are highlighted by the quirky, offbeat humor. Only in the Buffy world would we get several panels of Buffy carrying the body of a dead slayer followed by a quip from Dracula about eating the body. Unlike previous efforts, neither the humor nor the dramatic scenes seem forced, and the result was an enjoyable read that makes me hope issue 15 follows this one’s example.

PICK! Cable #3
Writer: Duane Swierczynski
Art: Ariel Olivetti
Publisher: Marvel Comics

David U.: While Olivetti’s art still looks more than a little bit ridiculous (especially the truck on the first few pages), Swierczynski’s script picks up in pace, finally starting to move the book towards territory that wasn’t given away by solicitations weeks before the book’s release. While it’s certainly not a comic book writer’s job to sacrifice the story for the sake of providing shocks, the first two issues of Cable have, for a new, continuity-central series, been remarkably uneventful. This issue begins to change that, and hopefully it’s a trend that will continue both in this book and in Swierczynski’s other upcoming work on Punisher and Immortal Iron Fist.

PICK?! Detective Comics #844
Writer: Paul Dini
Penciller: Dustin Nguyen
Inker: Derek Fridolfs
Publisher: DC Comics

AHR: When it comes to Paul Dini’s run on Detective, I tend to run the risk of damning the series with faint praise. Each issue has been supremely solid with frequent laughs, but the impact of the short and sweet storylines never seemed to go beyond the closing of the book. This issue, however, hits hard enough to leave an mark, due to the fact that it resolves the mystery of the new Ventriloquist, a loose thread Dini’s been dangling for almost a year now. Whether or not you were wrapped up in the mystery of where Scarface’s new blonde-bombshell sidekick came from (I was), this issue fills in her backstory with the kind of sympathy Dini used to show so regularly to his villainous characters in the glory days of Batman: The Animated Series. It’s a revenge tale that hits all the right notes; good intentions, violence, and only the faintest trace of redemption. There’s a little coda at the end about Bats and Zatanna, but as is often the case, the trials of the righteous take a backseat to the more interesting and F’ed up lives of the bad guys.

Gavin: This second half of a story about Zatanna and the new Ventriloquist mostly works as a way to explain the backstory of Arnold Wesker’s voluptuous replacement. Considering how much of an afterthought Wesker’s death was in the Face the Face storyline, the story for how Sugar took the Ventriloquist mantle isn’t a bad one. The great thing about the storytelling and the art is that even though we know that Scarface is just a dummy, there’s still the benefit of the doubt due to his expressions and the tension between him and Sugar.

Once the origin flashback ends, the story rushes towards the finale. The action sequence and the epilogue zoom by so fast that you wonder if Zatanna was really needed in this story. Sure, she was there to save Bruce at one point, but it isn’t like we haven’t had enough of her in that Joker two-parter a few months back. As one of those characters this writer loves to shoe-horn, Zatanna just felt really unnecessary.

Gabe: The issue consists of an enormous amount of exposition – done “info dump” style through flashbacks, the most boring way to tell a story ever – about a character created a year ago that I still haven’t found a reason to care about. Dini’s Zatanna obsession crops up again as well, and by the end of the comic she is basically begging Bruce to love her. We get an unsatisfying conclusion to two story arcs I can’t imagine anybody cared about anyway. I’m growing tired of the inconsistency between issues and story arcs on this comic; issues randomly vary from excellent (his Joker/Robin issue) to boring (this arc). Ah, well. At least Dustin Nguyen is making it pretty to look at.

PICK! Dock Walloper #4
Writer: Ed Burns & Jimmy Palmiotti
Art: Siju Thomas
Publisher: Virgin Comics

Ernie: Ever since the fantastic debut issue, Dock Walloper has been a solid read–not mind blowing–introducing more characters and the complete story taking shape. In the latest issue though, everything converges and it’s done in a tragically beautiful way. John “The Hand” Smith is plotting against his boss because he’s got the plan, the backup, and the dame. But he’s in for a rude comeuppance. Tear that main character down, I say. There’s great chase scenes and escapes but the Grade A beef behind the story continues the nice balance that keeps you interested and involved. These characters have firmly made a home in the bank of stories I want to share, perhaps not to the seasoned superhero reader, but the Walloper drives home the limitless possibilities and levels of storytelling that can be done well in sequential form.

I know there are a bigger crime stories with bigger names in comics, but Dock Walloper really has a complete feel to it. Thomas’ art and colors really make this world created by Burns and Palmiotti, believable and makes the journey back to the Depression a fully imaginable experience. Despite his more expressive style and loose scribbly lines, there’s a lot of detail and thoughtful design which goes unmentioned in most books but the little things that make this a big time book.

Ernie: Vertigo’s hoping the Fables writer combo of Sturges and Willingham are enough to draw you into the undefinable corner of the Vertigo selection of books. This comic starts out in the house of Cain and Abel but visits many more houses. Five people are stuck in the House of Mystery and have converted it to a bar where visitors can drink for free–as long as they have a story to tell. The premise is simple and allows for stories to be told within stories. For people with the gift of gab or can dominate a party with an anecdote, Vertigo may have created this book just for you. It’s a title with no genre attached, or explained, it’s a title that can encompass everything, really, twisted that is. And the House of Mystery may be a way to have an anthology of sorts work, but not be an anthology book in the truest sense. See, even that sounds as unexplainable as the actual book. The story told within this issue, is enough to twist your stomach into a shroud knot while leave your mouth gaping long enough for devious things to crawl into it. If a mixed drink was comprised of the TV show Cheers, the variety of stories told in Fables, or you’re in search of something really different, feast away.

PAN! Infinity Inc #9
Writer: Peter Milligan
Penciller: Pete Woods
Publisher: DC Comics

David U.: Last issue rejuvenated my interest in this title, but now I’m feeling lost again. I’m still very confused as to what this team’s purpose is, why it exists, and why suddenly people in the DC universe are suddenly fearful of superpowered heroes with questionable backgrounds. I understand where Milligan was going with this book, and a psychotherapy-themed superhero comic certainly sounds intensely interesting, but I don’t think it’s really hit it off anywhere near as much of Milligan’s previous work has (X-Statix, anyone?) and the catastrophic sales numbers certainly don’t distract from that view. I really can’t place my finger on why this book doesn’t work – Fiumara’s jolting scene transitions in the first few issues certainly didn’t help – but there’s a disconnect somewhere between concept and execution that’s hurting this book’s quality.

PICK! Invincible Iron Man #1
Writer: Matt Fraction
Artist: Salvador Larocca
Colorist: Frank D’Armata & Stephane Roux
Publisher: Marvel Comics

Ernie: Yes, there are now two titles starring Tony Stark, yes he’s present in Avengers and Secret Invasion, and yes, he’s becoming a risk of being overexposed more than Wolverine–okay that’s a bit too far, but the aftermath of Civil War has elevated Stark into a more interesting read and seeing the Marvel Universe through his perspective is the balance I enjoy reading. Let it be known, I’m a Cap guy, too. In all the years I read Iron Man, I wish he was written AND drawn this good all the time. It may be redundant for me to gloss on about how great the film is but Marvel is capitalizing greatly on the fine work done by the film and backing it up with a great new Iron Man title. It’s contemporary, relevant and addresses all facets of Stark’s life: The playboy, the industrialist, the mechanic, the new director of S.H.I.E.L.D., and the Marvel’s future forefather of THE weapon of mass destruction which has evolved into something out of his control. As far as first issues go, this has it all and proves that Iron Man can be done so well that he belongs in the same breath as Captain America by Ed Brubaker. Matt Fraction outdid himself and if Iron Fist has to suffer some, or Punisher War Journal, then so be it because I love this creative team. Larroca’s art was the only thing positive in the Brand New Day debacle and I thought, “Damn, this guy needs a regular book!” and oh glorious prayers have been answered. If you saw this guy drawing X-Men books back in the day then you know what a beautiful evolution his style has become, and the look and the weight of the style of the Iron Man film is present in the pages of this comic. Great creative team, even better story.

PICK! Iron Man: Viva Las Vegas #1
Writer: Jon Favreau
Artist: Adi Granov
Publisher: Marvel Comics

Ernie: Favreau just couldn’t get enough of Granov’s design work on Iron Man. Can’t blame the man, because Granov draws and colors, the coolest looking Iron Man I’ve ever seen, and as a longtime reader and admirer of Tony Stark’s mythology, that’s a firm statement and I have the “marvelous” film to back me up. So these two guys get to have a little fun and go wild with Stark playing up the playboy millionaire and attempt to make Fin Fang Foom cool. The first part’s easy, the second… not so much. But they take a real fun stab at it, and we’ll see in the subsequent issues if there’s enough meat on this rib to enjoy or if it’s going to be just another great portfolio piece for Granov. I’m not skeptical with my grade so much as I am just patient for what’s to come.

PICK! Jonah Hex #31
Writer: Justin Gray & Jimmy Palmiotti
Penciller: Paolo Siquiera
Inker: Amilton Santos
Publisher: DC Comics

Gavin: This was my first Hex comic in a while, but the beauty is that you can pick up just about any issue and go from there. This issue deals with Hex hunting down a mysterious man in a red mask that has been robbing a town dry. The identity of the masked man is more obvious than a Scooby Doo rerun, but that’s not what this is about. This is about various parties trying to prove who is the smartest by attempting to screw each other over. Of course, there’s a lesson to be learned in this little adventure: even if you are smarter than Jonah Hex, telling him that makes you an idiot.

Paulo Siqueira’s pencils and Amilton Santos’ inks do a beautiful number. This is definitely one of the better issues of the series I’ve read.

PICK! Logan #3
Writer: Brian K Vaughan
Artist: Eduardo Risso
Colorist: Dean White
Publisher: Marvel Comics

Ernie: I thought by the end of this series I would have walked away with a satisfying slice of Logan’s past. I don’t know if I got that. This three issue jaunt down memory lane seemed almost like an exercise to work the Hiroshima bombing into Wolverine’s past rather than a real reason as to why he was in Japan in this moment of time. I think Vaughan captured Logan’s voice, and Risso defined a great new visual take on him, but perhaps his relationship with the villain just wasn’t as compelling as his relationship with Atsuko. Call me crazy but I think I’d rather see a whole story on just him and Atsuko, or perhaps I’m just professing my love of Japanese films about life, but I was often distracted at the conflicts with Lieutenant Warren. I’m overall underwhelmed by the series as a whole, but glad to have some new black and white art by Risso.

QUADRUPLE REVIEW! Mighty Avengers #13
Writer: Brian Michael Bendis
Penciller: Alex Maleev
Colorist: Matt Hollingsworth
Publisher: Marvel Comics

Samantha: I’m torn on this one. Fury’s little gang of caterpillars seem fun and likable enough (much more so than say, the Teen Titans, which is sad.) But more than one aspect of the story stretches my imagination to its breaking point.

In the first place, all of the kids get their powers through heredity, yet no one but Fury knew about them? That makes the Initiative seem even lamer than before. Also, powers of a god or not, one of the kids is ten years old, and despite how otherwise enjoyable he might have been, that one sticking point is enough to make me roll my eyes.

The issue itself was hard to judge, as it was mostly just filler. But I did like the characters and wanted them to succeed. And possibly go beat down the Teen Titans.

Gavin: Once again, Bendis gives us a neat background issue for Secret Invasion, but at the cost of what Mighty Avengers is about. I mean, granted, this one has Ares in it for a couple panels, but could it have killed Bendis to have made these past couple issues into a double-sized annual or special of some sort? We should be getting scenes of Sentry punching a hole in a giant robot walrus or something instead.

Anyway, past that it’s a pretty cool introduction to Nick Fury’s new crew. We get enough personality from each member, though one slips through the cracks when it comes to explaining where he comes from and what he does. It adds to several mysteries, including one that lends itself to the X-Men side of the world. But like I said, I’m not really interested in reading this comic for the sea of new blood. I want Ares decapitating an evil Santa Claus with Doc Ock metal arms.

Also, I have to say this just so I can get it off my chest: Ghost Rider wasn’t even supposed to be here today.

Gabe: As a reader who just got into Marvel comics through Civil War, I don’t know much about Nick Fury’s history in the mainstream Marvel universe. This short arc is a good introduction to the character and what he’s capable of. Fury continues to prepare for the inevitable conflict with the Skrulls by assembling a team of “caterpillars:” superpowered adolescents and young adults (though judging by Maleev’s artwork on some of the new characters, you’d be hard pressed to tell) that neither SHIELD nor any government has a record on.

Bendis has done a great job creating interesting characters right off the bat. I hope we get more time with Fury’s team before they explode onto the pages of Secret Invasion. There was one misstep, in my opinion: the way Ares interacts with his son is very different from the original Ares miniseries. Oeming made Ares a loving, sensitive father to contrast with his godly persona. Here, Areas acts like he does when he’s fighting Ultron. I hope the trend doesn’t continue, but I’m willing to give Bendis a pass on this considering the current atmosphere in the Marvel U. Maleev knocks the book out of the park, as usual.

Ernie: There’s a bit of comic magic that occurs when this team of creators collaborates on something. For years it was Daredevil, and they reunite to expose what Nick Fury’s been up to in his absence from the Marvel Universe. This issue features absolutely no Avengers activity, just Fury playing Cerebro and finding the youngest bunch of super-powered punks on the planet, and who will inevitably become major players in the Secret Invasion. It’s a formulaic type of story, but it’s a formula that always seems to work. After all of this Secret Invasion stuff is done, I would hope Marvel has plans for a Bendis-scribed Nick Fury title because he knows how to write him well, heck, attach Maleev and Hollingsworth while you’re at it. C’mon Marvel, this is a monthly I want to see! If anyone else feels the same, let’s hear you! As for Mighty Avengers, ever since Secret Invasion started, all of the Avengers titles have stepped it up to the point where I feel I am going to miss something if I don’t pick them up–so this is an easy recommendation from me.

PICK! Nightwing #144
Writer: Pete Tomasi
Art: Don Kramer, Rags Morales, Christian Alamy, Michael Bair
Publisher: DC Comics

Samantha: Every month I open up Nightwing expecting that Tomasi will slip up and this issue won’t be as wonderful as the month that came before. I don’t really have a reason to believe this about Tomasi, but I consider it Post-Traumatic Stress Disorder from the first 124 issues of the Nightwing title, which were frankly all crap.

But this was yet another month in which I wasn’t disappointed. Everything, from the fast paced action the interactions with Deb to the confrontation with Talia was perfect, and excellently characterized.

Two very significant things stick out in this issue. One, the sheer confidence with which Nightwing moves in every panel – as it should be for the man who led the Titans since he was a kid. Sorry, Devin, but this is how the boy should behave. Not moping in the shadow of the Bat.

Also, it is very obvious from the fun that Dick is having with the new girlfriend that if DiDio did nothing else right, the man needs a medal for keeping Dick and Babs apart. Dick is relaxed and happy with Deb in a way he never was with the woman he supposedly wanted to marry. I’m fond of them together, and I’m fond of Deb in her sheer non-Battiness. I hope she sticks around for a while.

PICK! Punisher: War Journal #19
Writer: Matt Fraction & Rick Remender
Artist: Howard Chaykin
Colorist: Edgar Delgado with Jesus Alberto
Publisher: Marvel Comics

Gavin: Fraction understands that there is more to tossing Frank Castle into the 616 world than just having him fight supervillains and evade Daredevil. It’s the little things, like tossing in a pair of jet boots into a chase sequence. Also, Fraction isn’t afraid to make Frank more likable than the grizzled monster from Ennis’ MAX series. A good chunk of the issue involves Frank going through a social routine, meeting up with people who he’ll respond to with more than an annoyed grunt. It may not be the best use of comic space, but considering how sparingly Frank has been used in the past few issues, it’s a welcome sight.

The Jigsaw plot comes into effect and while the media and government are shown to be made of short bus passengers in their reactions, it’s par for the course. Jigsaw himself finally acts despicable in this storyline, at least in the way that shows him as a worse human being than Frank. And good going for Fraction introducing a new character to the main cast who has found a way to counter Chaykin’s face-drawing. Hell, Chaykin’s stuff has been fairly easy to handle for most of this run.

TRIPLE PICK! Secret Invasion #2
Writer: Brian Michael Bendis
Penciller: Leinil Francis Yu
Inker: Mark Morales
Colorist: Laura Martin
Publisher: Marvel Comics

Samantha: Honestly, this is the first issue out of any of the overwrought New Avengers-Mighty Avengers conflicts where I actually felt sympathy for characters on both sides of the conflict.

Also in the issue’s favor, Clint’s reunion was also extremely well done. Very touching, as it should be given the history between the two characters.

On the other hand, the material between Iron Man and Ms. Marvel was pretty unimpressive. Carol acted as though this was her first day as a superhero, and Tony is apparently going to build a shiny new costume to be next issue’s plot device. Yawn.

All in all, not a complete waste of time, but far from the highlight of my week.

Gabe: A lot of people are going to complain that nothing happened in this issue, and a lot of people are wrong. While the rapid-fire shocking plot reveals of the first issue made for a great opening chapter, there was no reasonable way to keep that up while telling a complete story. In this issue, Bendis takes a moment to examine (through a beautifully illustrated fight scene – no talking heads here!… well, ok, a few talking heads) the characters’ perspectives on the situation. It serves as a great introduction to the current Avengers rosters for new readers, as we get a notecard-version of their personalities without bogging down the pace of the comic.

Bendis also sets up a number of future plot threads to tantalize the reader: What exactly is Iron Man up to? What is the motive behind the Skrulls’ latest moves? What’s going to happen with the Sentry? Just how much more awesome can Yu’s artwork get?? I’d imagine it can’t get much better because it is already pretty fucking amazing. Ingredients: Leinel Yu, just add inker!

Ernie: I’m prepared to eat some crow because I was one of the ones who really was not excited about Secret Invasion. Tired from all of the major crossovers, I was apathetic to pick this up and two issues in, I’m glad I’m not left behind on all this. The sheer size of this story and the possibilities of who is and who isn’t a Skrull has the fanboy in me itching to release. So to have the Avengers, already split in half against each other, and Skrull counterparts facing them, we’ve got a knuckle-to-knuckle brawl in the Savage Land. Good superhero writing and Yu continues to be one of great talents born out of Marvel’s late 90′s talent search. Not as juicy as the first issue, but the gears in the head keep turning on the magnitude of the series.

Will this fix everything by the end? by the holidays, we’ll find out, but the hope that some of the Marvel convolution and rash decisions made over the years have been all part of the Skrull master plan schemed up from scraps of the original Kree-Skrull War and Secret War? Well it’s damn genius. In any major event there are must-haves and must-have-nots. More must-haves are the recipe for a crossover event that leaves a good taste, and will place Secret Invasion on the bookshelf or in the garbage.

PICK! Supergirl #29
Writer: Kelley Puckett
Penciller: Drew Johnson & Ron Randall
Inker: Ray Snyder & Ron Randall
Colorist: Kanila Tripp
Publisher: DC Comics

David U.: This is rapidly becoming one of my favorite DCU books, because it takes the spirit of Jeph Loeb’s take on Supergirl – confused, somewhat naive, angry, more adolescent and rebellious – and plays with youthful idealism instead of nihilism, which makes for a much more interesting and sympathetic character. This current arc, where Supergirl is trying to save a young boy’s cancer, is smartly written not only in how it deals with the totality of the DCU attempting to find an answer but also with regards to Kara’s reasoning for this Promethean task that significantly unsettles her mentors and compatriots. It’s complicated, it’s smart, it’s got characters coming into logical conflict from opposing but still valid viewpoints – I really hope it sticks around to realize its potential.

PICK! Thunderbolts: Reason in Madness
Writer: Christos Gage
Penciller: Ben Oliver
Inker: Ben Oliver
Colorist: Jose Villarubia
Publisher: Marvel Comics

Gavin: It’s a radical way to do comics, but I rather enjoy the way Thunderbolts is currently handled. Ellis writes his arcs and gets them out every two months because that’s his usual speed while Gage fills in the gaps with one-shots that work as character spotlights. He does a great job with it, especially in this month’s issue, starring two Spider-Man villains (well, more like three) in a comic that doesn’t even mention the webslinger. In this story about Venom being asked by other villain regulars to turn on the Thunderbolts and join them, we’re given two things that we never get a chance to see in Ellis’ run nor any of the special Thunderbolts appearances in other comics.

For one, Venom actually gets time to shine. Other comics just show him off for the sake of sales and then relegate him to the background. Even Avengers/Invaders just has him say something badass about God and tosses him aside in a comic where he’s fighting his top nemesis. The other is that Norman Osborn gets to actually be something more than a crazy guy behind a desk. It’s awesome. When the post-Civil War Thunderbolts roster was announced, this was exactly the kind of comic I was hoping for.

PICK! Action Comics #864
Writer: Geoff Johns
Penciller: Joe Prado
Inker: Jon Sibal
Colorist: David Curiel
Publisher: DC Comics

David U.: I think this issue is the single best thing Geoff Johns has ever written, playing perfectly to all of his strengths and working over his flaws. It lays its roots in a common dilemma – you know, when your best friend from high school meets your best friend from college and they each think the other dude is a total prick. In this case, Clark’s stuck between Lightning Lad and Batman, and the interactions are insanely natural. There’s also some stuff about Legion of Three Worlds, and a reuse of Geoff Johns’s new favorite narrative trick of a mysterious narrator who’s revealed on the last page, but the Clark/Bruce/Garth interactions are what really
shine.

DOUBLE PICK! Blue Beetle #26
Writer: Jai Nitz
Penciller: Mike Norton
Inker: Trevor Scott
Colorist: Guy Major
Publisher: DC Comics

Samantha: This issue was definitely filler between writers, and the overall plot lacked the energy of the previous 25 issues. That being said, the basics of what made Blue Beetle work for the past 25 issues were still there. He still had a loving family, was a generally upbeat and fun kid, and his interactions with both the Scarab and his supporting cast were witty and clever. I can only hope that Pfeifer can do as well when he takes over the helm next month.

Gavin: No matter how good a fill-in issue is, it could never really follow up on Blue Beetle #25. Luckily, this issue has a gimmick working for it. #26 here is written in mostly Spanish, other than several English exchanges involving Traci and Milagro. For a guy who has a faded memory of a couple years of high school Spanish under his belt, the whole thing almost comes across as one of Marvel’s ‘Nuff Said issues. It says a lot that without being able to understand most of the dialogue, I was able to understand the story Nitz and Norton were trying to tell. Thankfully, there’s a script at the end of the issue that translates the whole thing to English.

Getting past the gimmick, it’s still a fill-in issue. Not a horrible fill-in issue, but it is what it is. At the very least, the aftermath of Beetle’s fight with Parasite shows a panel that can definitely hold its thumb down on Jaime’s future. Or not. It’s up to Pfeifer what he wants to do

SEMI-PAN! DC Universe #0
Writer: Grant Morrison & Geoff Johns
Penciller: George Perez, Doug Mahnke, Tony S. Daniel, Ivan Reis, Aaron Lopresti, Philip Tan, Ed Benes, Carlos Pacheco, JG Jones
Inker: Scott Koblish, Christian Alamy, Tony S. Danie, Oclair Albert, Matt Ryan, Jeff de los Santos, Ed Benes, Jesus Merino, JG Jones
Colorist: Alex Sinclair, Tom Smith, David Baron
Publisher: DC Comics

Samantha.: I’m of two minds about this story. On one hand, the actual “story” (or
stories, or advertisements, or whatever you would like to call them)
are bloated and unfullfilling. It’s questionable that anyone actually
needs to pay money for what boils down to teasers for additional
stories.

On the other hand, the end page is almost worth the price of
admission, and not just because of the fun that will come in listening
to people whine about how death doesn’t mean anything in comics, and
not just because the arrival’s comeback should have happened years
ago. It’s worth it, because reading those final words sent a shiver
down my spine.

And the fact that the lightning struck behind a stripper joint makes
it all the better, really.

PAN! New Avengers #40
Writer: Brian Michael Bendis
Penciller: Jim Cheung
Inker: John Dell
Colorist: Justin Ponsor
Publisher: Marvel Comics

Samantha.: I suppose every big event has to take time out to lecture the readers about what exactly happened in their top secret past, and with Secret Invasion it was inevitable. But I’m not sure it should *feel* like a lecture, as this one unfortunately does.

Worse yet, the big build up at the end just fell flat. I’m well aware of Spider-Woman’s complicated past, but to indicate that, out of all the heroes on the planet, impersonating her would do the biggest amount of damage…I just don’t buy it. The Skrulls can lecture about the need for secrecy and intrigue in the person’s past, but it still makes me roll my eyes and cry foul.

My impression in going into Secret Invasion is that ultimately it wouldn’t matter, because no one of any importance would be affected. I was willing to set aside my pessimism when the first issue of Secret Invasion came out, because I was intrigued, but this issue? Has brought me right back to square one in my belief that the entire “event” is going to be a colossal pile of blah.

PICK! The Order #10
Writer: Matt Fraction
Breakdowns: Barry Kitson
Penciller: Javier Saltres
Finishes: Scott Hanna, Victor Olazaba, Nelson
Colorist: Sotocolor’s J. Roberts & Wil Quintana
Publisher: Marvel Comics

Gavin:I believe I echo the sentiment of many when I say that I’m sorry I got into this comic so late – or more accurately – too late. This issue, while by no means the best of its ten-issue run, shows in its portrayal of the team’s ultimate failure in staying power what it has ultimately succeeded to do. Yes, the series is canceled. Yes, the characters in the story realize that their adventure was nothing but a lead-in to an upcoming Iron Man adventure. Still, I believe that The Order will be remembered for being a launch pad for future Marvel mainstays. Sure, some characters will be forgotten about, but I can tell that it’s only a matter of time before a talented writer decides that he really enjoyed someone like Anthem and revitalizes the character the same way Bendis has taken a shining to the Hood. Just watch, someone on the team will be an Avenger within ten years.

Funny thing is, within the last couple issues, I believe Fraction has done away with the two least usable characters. While Obadiah Stane’s son is a complete bastard and has a fun little scene with Iron Man towards the end of the issue, I’m still not totally convinced that he has what it takes to become a regular rogue. I feel that this issue was slightly rushed in storytelling and could have used another handful of pages to really get a better sense of closure. Here’s hoping Fraction’s Iron Man series keeps the quality but surpasses the success.

PAN! Teen Titans #58
Writer: Sean McKeever
Penciller: Carlos Rodriguez
Inker: Bit, Rebecca Buchman, Jimmy Palmiotti
Colorist: Rod Reis
Publisher: DC Comics

Samantha: It seems to me that a very basic strategy in writing a team-focused book is that you would focus on why that team works together as a group. Since Geoff Johns left the title, Teen Titans has defied that logic by showing instead why this group of characters completely fail as a group. The last couple of issues, and 58 in particular have reinforced that theory by not even bothering to focus on the team, and instead just show how the Titans individually fail as heroes. It’s an interesting approach, I suppose, though I’d like it much more if the McKeever could pull it together and actually show why I, or any reader, should care about these people.

As for M’gann, I’ll start to care about her storyline and all of its angst when it stops being a bad rehash of the Raven/Trigon storyline. You know, the one that is also being retold once again in the grown-up Titans title?

The only standouts in this story – and I don’t mean that in a positive way – are the completely gratuitous attempted rape that served absolutely no purpose to the storyline, and the bizarre characterization of Robin. Apparently the kid that stalked Batman when he was barely out of diapers is suddenly shocked and horrified at the idea of a little forgery to get his alien teammate an identity. Which is not only bizarrely out of character for a kid that worshiped Batman and fanboyed Oracle, it makes no sense in the world in which he lives.

PICK! Teen Titans Year One #4
Writer: Amy Wolfram
Penciller: Karl Kerschl
Inker: Serge LaPointe
Colorist: John Rauch
Publisher: DC Comics

Samantha: Reading this title, particularly next to the current Teen Titans, was such a breath of fresh air. Sure, the kids are still going through growing pains, but unlike the overdone melodrama in the regular title, the problems amongst the team in Year One actually make sense for them to have. Of course Kid Flash is jealous of Robin. Why wouldn’t he be? But he handles it by sulking to himself, not by throwing a hissy fit and proclaiming that he doesn’t need to be a Titan, or by trying to get Robin “fired” from the team. As a result, despite how wonderful it is to see Robin rush in and save the day (ah, if only Dick Grayson could be portrayed that competently in all his appearances) Wally’s problems are understandable, too.

The only problem I have is with Donna. I know the kid’s full of hormones and has just came off an island full of women, but she really doesn’t need to fall in love with every boy she meets at first sight. It stopped being cute two issues back.

PICK! X-Men: Legacy #210
Writer: Mike Carey
Penciller: Scot Eaton & Greg Land
Inker: John Dell and Andrew Hennessy & Jay Leistin
Colorist: Frank D’Armata & Brian Reber
Publisher: Marvel Comics

David U.: This book has been an odd duck so far, which pretty well fits with Mike Carey’s sensibilities. Professor X having a solo book was an inevitable turn of events considering his central role in the mythos, but this is a different book due to the whole self-rediscovery angle Carey is going for. It’s a smart book by a smart writer about a very smart but very flawed man, and I’m really looking forward to seeing where it goes.

PAN! Birds of Prey #117
Writer: Sean McKeever
Penciller: Nicola Scott
Inker: Doug Hazlewood
Colorist: Hi-Fi Designs
Publisher: DC Comics

Samantha: Well… at least Barbara got over herself enough that no one was forced to call her “Miss Gordon,” I guess? That’s honestly the only positive thing I have to say. Well, that and the art was pretty. The story? Was dreadful. Look, when you have to build up your heroes by proposing that Superman is a big, bad meanie who bullies people, it’s not the best foundation.

The characters are worse than the story itself. “Miss Gordon” is a hysterical creature who needs external validation for all her actions, lets her ego get in the way of helping her team, and is generally the last person any sane adult would follow. She acts like a completely newbie and her “epiphany” makes no sense based on either her actions or the storyline as it was told to us. On top of it all, she can’t even do her job correctly. Her cohorts give off a similar air of “why should I care about these people?” In the end, one of them is in the hospital, and Helena and Zinda don’t even pause long enough to pretend to care before shrieking about how mean Miss Gordon was to them.

Honestly, the only decent person in this storyline was Misfit, and that’s pretty sad.

PICK! Captain America #37
Writer: Ed Brubaker
Penciller: Steve Epting
Inker: Steve Epting
Colorist: Frank D’Armata
Publisher: Marvel Comics

Samantha: One of the things that makes Brubaker’s Captain America worth reading is that the tension between the characters – and there is plenty of it to spare – is always balanced by very human reactions driving those tensions. In the hands of a lesser writer, the Red Skull’s plot would seem very staid and overdone. But even the Red Skull’s actions are tempered by the very human motivation of revenge and hatred, not mere cartoonish superiority that drives some supervillains.

On the hero side of things, the emotions are equally as complex. Both Sam Wilson and Clint Barton have reasons to not be happy with Bucky wearing the Captain America costume, albeit for very different reasons, and their reactions to the news allow Brubaker to reveal even more about Bucky, Cap, Clint, Sam, and Tony. All five men may not agree on the same path, but their reasoning is done so well that none of them can really be faulted for their reasoning, which is a pure love of the man they’ve lost.

On a purely shallow note, anyone yelling for Cap to “look out for the internet” made me laugh out loud.

SPLIT DECISION! Catwoman #78
Writer: Will Pfeifer
Penciller: David Lopez
Inker: Alvaro Lopez
Colorist: Jeremy Cox
Publisher: DC Comics

David U.: This review is, unfortunately, colored by the recent news that Catwoman is ending with August’s #82 (not July’s #81, apparently, according to Will Pfeifer). This is really sad, because Catwoman is a damn good comic, and despite the covers – especially the utterly ridiculous one for this issue, with actual lip-biting – it’s a solid example of how to portray a female character, and females fighting females, in ways that seem less like exploitation and more like natural character conflict. I’ll miss this book hardcore, and hopefully the replacement? on DC’s solicitation page, “Bad Girls of Gotham”, will… uh… fill the gap… maybe?

Samantha: You know what would be really sad? If I picked up a Superman comic and realized that Jimmy Olsen was far more competent and interesting of a character than Superman himself. Which is kind of how I feel about picking up a Catwoman comic and seeing that Slam Bradley is more competent than Catwoman.

Also, “My god, girl. I hope nothing happened. I know you’re a match for anyone, for anything. But a kid…A kid changes everything.”

So, it’s Helena’s fault that Catwoman has sucked since Pfeifer took over? Huh. And here I was, blaming the author for bad characterization and ridiculous plots.

On a final negative note, while the art inside the issue is gorgeous, the cover is awful. Catwoman isn’t Mike Tyson. She doesn’t have to bite her opponent to win. No, not even if her opponent is a girl, and the artist can imply some wink-wink-nudge-nudge lesbianism in the shot. I’ll be willing to change my mind on this stance if they ever do a cover of Superman where Clark is biting Lex’s lip passionately.

PAN! Countdown #1
Writer: Paul Dini, Keith Giffen
Penciller: Tom Derenick
Inker: Wayne Faucher
Colorist: Pete Pantazis
Publisher: DC Comics

Gavin: Well, I’m glad that’s over.

Countdown is the Goofus to 52‘s Gallant, regularly doing wrong what the other series did right. The final issue of 52 gave us a real reason to check it out. Other than the epilogue stuff, we had a major climax to deal with and enjoy. Countdown is just a handful of quick scenes to show us where our characters have ended up. Some of them aren’t bad and I really like how one of the Atom’s first actions when entering his home is to stare at the Justice League group shot that they used as a cover for Identity Crisis. Great touch.

Other than shoving most characters back to the status quo and another character getting a new power set, the only thing of note that happens isn’t exactly very exciting. I’m not even looking forward to where it’s going. I’m sure it’ll feel like a piece of this series refuses to die once it shows up in other books.

PICK! DMZ #30
Writer: Brian Wood
Penciller: Riccardo Burchelli
Inker: Riccardo Burchelli
Colorist: Jeremy Cox
Publisher: DC Comics/Vertigo

Ernie: The power of an election and the change brought by that change can be staggering. If you don’t believe that statement, look at how the world has changed four years ago, then look back four years from that. A candidate speaking for the common person promising change can be many things to many different people. It gets a rise out of people. Those who are in control, don’t like to lose it and in this second installment of Blood in the Game, Matty Roth understands how many people will listen if the right person is speaking. If jumping into a title nearly three years old deters you, then that’s a shameful reason not to be reading DMZ. Wood’s fast-paced storytelling brings newbies and regulars up to speed with an urban paradise napalmed by the world of control and greed. The roots of this story branch out to more than the passionate readers of grit and gristle. It’s is a universal story that will and should affect any reader who’s wise enough to suspect the world around them or to those who have ever felt lost. The DMZ is not a monthly posting of propaganda; it’s a blaring alarm clock to the sleepy and subdued readers who are numb with being fed the same costumed rhetoric month after month after month.

PICK! Flash #239
Writer: Tom Peyer
Penciller: Freddie E. Williams II
Inker: n/a
Colorist: Tanya & Richard Horie
Publisher: DC Comics

Samantha: Any comic where Roy Harper saves the day is a good one, although I am saddened to see more “Titans as a family” vibe in The Flash than I am in Titans thus far.

I’m a little iffy on the characterization of the JLA here, as a whole. Roy’s the only one that seems to have any sense, the others are apparently too afraid to be “policing” Wally to step in when they think he is having problems. But that minor characterization flaw aside, I’m continuing to enjoy Peyer’s Flash.

In this issue, Wally and his family continued to struggle with the demands of Wally not being employed, and both Wally and Jay Garrick dealt with the repercussions of mind control. What I loved most about this is the fact that, as opposed to genuinely pitting the two Flashes against each other, Peyer allowed Wally to be smart enough to know that something was wrong with Jay when he was under duress.

For the second month in a row, I’m actually looking forward to the next Wally-as-Flash comic… this is a new and confusing thing, but one I could grow used to.

PICK! Hack/Slash #11
Writer: Tim Seeley
Penciller: Emily Stone & Courtney Via
Publisher: Devil’s Due Publishing

AHR: This issue centers loosely around a done-in-one plotline; a sharp, simple revenge tale with some occasional gore thrown in for color. Around this self-contained story, writer Tim Seeley blends in updates on what the various members of the book’s cast are up to, all of whom are interesting and appealing enough to keep this issue from feeling like an in-betweener. Emily Stone and Courtney Via (pencils and colors, respectively) do a fantastic job as usual, with some particularly good facial expressions for lead character Cassie, who has quite a lot of acting to do in this issue. The more personal thread of this book deals with Cassie’s two most pressing non-slasher-releated problems; the absence of her father and her feelings of sexual immaturity. While that first problem is nothing new in the pantheon of female asskickers, you rarely see sexual inexperience dealt with much in mainstream comics (there’s irony in there, somewhere). Female heroines tend to wield their sexuality as a weapon, in that faux-feminist sex-equals-power kind of way. This issue frames Cassie as someone who has never been in love, who doesn’t know who she desires, and this comic doesn’t make her out to be any less human for it. Complex, subtle stuff for a horror comic about hacking up zombie serial killers, but good writing cares not for genre restrictions. BONUS: The return of Pooch, the world’s ugliest (yet most adorable?) horse-dog monster.

PAN! Hulk #3
Writer: Jeph Loeb
Penciller: Ed McGuinness
Inker: Dexter Vines
Colorist: Jason Keith
Publisher: Marvel Comics

Gavin: It’s a good thing Loeb’s comics depend on so many splash pages because it makes reading them that much faster. I tried to give him the benefit of the doubt on this one, but all I see is the potential realized in Greg Pak’s run being tossed away for Loeb’s usual masturbation. A-Bomb fights Red Hulk – who is either going to be Doc Samson or someone completely out of left field – and a bunch of robots show up for no other reason than to remind us of an older, better Hulk storyline. McGuinness’ art remains pretty, but still screws a couple things up. Like despite only having Iron Man’s helmet in two panels, he still can’t get it straight of what it’s supposed to look like. And why does Agent Hill look like she’s 12?

I can’t wait for the next issue where there’ll be one page of talking, followed by a TOTALLY KICK ASS two-page spread of the two guys from the cliffhanger fighting. Then Bi-Beast will probably show up because who doesn’t like pointless throwbacks? Oh, and bad one-liners. I’m predicting something stupid like, “PAPA HULK’S GOT A BRAND NEW BAG!”

PICK! Incredible Hercules #116
Writer: Greg Pak & Fred Van Lente
Penciller: Rafa Sandoval
Inker: Roger Bonet
Colorist: Martegod Gracia
Publisher: Marvel Comics

David U.: Well, it’s good to see this title’s high standard being maintained after the initial arc. I had a feeling this team on Hercules might make for a good comic, but I don’t think anybody predicted just how good or well-received this comic would be. What’s truly remarkable about this issue is how good it is while serving so many masters – it continues the plot of Hercules, serves as both a tease and a reminder regarding the upcoming Eternals series, and sets up Hercules’s role in the Secret Invasion. Top notch work.

SEMI-PICK! Justice League of America #20
Writer: Dwayne McDuffie
Penciller: Ethan Van Sciver
Inker: Ethan Van Sciver
Colorist: Brian Miller (Hi-Fi)
Publisher: DC Comics

Samantha: This issue was devoted to The Flash, and even though I am loving Wally over in his own book, and even though the Diana in this book was fantastic, this story just didn’t do it for me. The League’s dependence on the Flash is cute, but not really very believable. They already have a Superman, and this story told us that Wonder Woman was more than capable of keeping up with Wally … so why, exactly, does the League need Wally? Mostly, throughout Diana’s whole recruitment lecture, all I could think was “pity the League didn’t care that much about the Flash when Bart Allen was Flash. If they had, the boy might not be dead.”

Which is probably not what I was supposed to be thinking.

Overall, the story gets high points for making Diana every bit the great warrior and icon she should be to the rest of the League but gets very low points for Wally being overly smug and for having a rather boring story. The combination is enough to land it square in the middle of mediocre territory. Not horrible, but not memorable in any way, either.

PICK! Mighty Avengers #12
Writer: Brian Michael Bendis
Penciller: Alex Maleev
Inker: Alex Maleev
Colorist: Matt Hollingsworth
Publisher: Marvel Comics

Ernie: Hey, now we’re getting somewhere. For the first time reading The Mighty Avengers did I feel like I was holding a classic Bendis story. Great espionage, great character study of Nick Fury shortly after he lost his seat in SHIELD, and you felt the weight of Secret Invasion ever-present in the air. He’s clearly defined as a major player and Bendis, who has a knack for writing him, will no doubt cement him as one of the baddest Marvel Mofos this year. One thing’s for sure though, I never knew he and Star Trek’s Capt. Kirk shared something in common. Maleev’s pencils took you back to the fan-favorite Daredevil run with Bendis where the art and script were so equally in synch. There’s a neat bit of visual cool bottled with Fury’s cloaking in and out of people’s lives, and fact-finding. This issue really stepped it up, which is good, because it really needed it.

Gavin: Nick Fury makes his long-awaited return, showing us what he’s been up to since the end of Secret War. Shortly into the issue, we smile as good ol’ Nick reminds us of why we love him in the first place. The dialogue and characterization are top notch and the final pages will have people speculating for months, but what annoys me is that this isn’t right for the book. Nick Fury talking for twenty or so pages isn’t what Mighty Avengers is about. I mean, something like Blue Beetle #25 is awesome no matter how you cut it, but if that particular issue had been labeled part of Green Lantern Corps instead, I’d still have to call bullshit on it.

Maleev screws up by putting Spider-Woman in Secret War. Probably nitpicking on my part, but when the storyline is partly about dissecting each panel and discussion, it’s somewhat annoying.

PICK! Northlanders #5
Writer: Brian Wood
Penciller: Davide Gianfelice
Inker: Davide Gianfelice
Colorist: Dave McCaig
Publisher: DC Comics/Vertigo

Ernie: In all good stories of revenge, knowing what fuels it is half the enjoyment. This flashback story fills readers in with plenty to chew on about Sven’s transformation into the warrior we’ve all come to revel in. To become an accomplished man, requires the conditioning of the boy. And behind every good man is woman of equal or greater stature. Sven’s has two women in his past that come to inspire what he has become and what was a forgettable weakling is now a man of great potential. This bloody march takes a brief but crucial stop in defining our protagonist, giving color to the pale and supplying readers with the satisfaction of what should be sweet revenge. If you value a story with calculated drive, bitter deceit, salty blood and guts, Brian Wood has bestowed you a gift.

PAN! Salvation Run #6
Writer: Matthew Sturges
Penciller: Sean Chen
Inker: Walden Wong
Colorist: John Kalisz
Publisher: DC Comics

David U.: Wow, this is such an amazingly huge waste of a solid concept. Supervillains on Lost – how do you screw this up? Well, first, by writing the most mindbendingly dull depiction of the Joker I can remember in recent memory. Not only is the Joker painfully unfunny, he’s not even sufficiently crazy – he’s just a standard shit-disturber, which is a pretty boring representation of the character considering the possibilities and avenues available. Sturges’s Luthor is alright, I guess, but the Vandal Savage let’s-all-fuck-forever plan is just distracting and the entire series seems like it’s going to end with a Countdownesque deus ex machina from another series.

SPLIT DECISION! Superman #675
Writer: Kurt Busiek
Penciller: Renato Guedes & Jorge Correa, Jr.
Inker: Jose Wilson Magalhaes & Jorge Correa, Jr.
Colorist: David Curiel
Publisher: DC Comics

David U.: Adios, Kurt Busiek. It was a good run, although I kind of wish you hadn’t done that Insect Queen thing. Regardless, although it got cut short, this final issue makes at least a halfway satisfactory attempt at resolving the ongoing moral quandry Superman was being faced since Camelot Falls, and it sort of ties up this story and Busiek’s take on Superman in a very cool way. He says this was a filler arc he wrote in a weekend, but honestly, I think this two-parter has probably been his strongest work on the book. Great stuff.

Samantha: Kurt Busiek’s Superman has been mind-numbingly boring since the start and while in this issue Clark finally managed to remember that things matter outside of his little nuclear family with its cookie-cutter Superboy “son,” it did not save the story from being ridiculously dull. Even the shots of Superman fighting are interspersed with Lois holding Chris tight and promising that it was going to be okay.

Of course it will, Lois. It’s Superman. Those panels are completely unnecessary and add absolutely nothing at all to the story. What new development did it shed on Superman’s character? That his wife loves him and his kid wants to join him in battle? We already knew that. In fact, since “Up, Up, and Away,” both those messages have been hammered home with all the subtlety of the average anvil.

All the right parts are present for this to be a good story. Superman says all the right things, the battles show both his might and his heart, and for two whole panels Busiek actually remembers that Lois has a real job outside of being Chris’ mom. But they’re just pieces put together with very little passion. As a result, the story is flat and lifeless. Quite frankly, the only actual redeeming quality of this story seems to be the art, which is gorgeous.

PICK! Wolverine Origins #24
Writer: Daniel Way
Penciller: Steve Dillon
Inker: Steve Dillon
Colorist: Avalon’s Matt Milla
Publisher: Marvel Comics

Gavin: Over the weekend, Daniel Way was announced as the new writer of the next solo Deadpool run. This entire story arc has been his audition for the role and as much as I’ve had problems with him over the years (I will point at Venom and shake my head at it for years to come), knowing that he won’t have Dillon with him on the book makes me optimistic. In this issue, after all the non-stop Warner Bros. action between Wolverine and Deadpool, we settle down for some simple discussion between the characters. You know, I don’t know if I recall seeing that ever. Logan and Wade have so much baggage with each other from over the years, but this is the first time I recall seeing them not stabbing each other for more than two minutes.

Way shows he has a grasp on Wade Wilson, incorporating backstory from Nicieza’s Cable/Deadpool to great effect. Deadpool has become old hat over the last couple years, but Way introduces a couple subtle ideas to breathe fresh air into him. While I suppose they were saving something for the next issue, I feel that the Wade/Logan discussion could have gone slightly deeper. Still, it’s promising.

PAN! Young Avengers Presents #4
Writer: Paul Cornell
Penciller: Mark Brooks
Inker: Jamie Mendoza
Colorist: Christina Strain
Publisher: Marvel Comics

Samantha: I’ve been enjoying Young Avengers presents, more or less. It’s had some parts where it fell flat, but overall has been true to the Young Avengers as they were presented in their series. This issue completely failed on that level, making Cassie so completely out-of-character that it’s hard to believe Paul Cornell read so much as one issue of Young Avengers before writing some stereotypically witchy blond teenager that is usually more DC’s cup of tea than Marvel’s (see Wonder Girl and Supergirl for example.)

While it’s feasible that her complete change in personality is due to the high amount of stress that she’s endured, it doesn’t change the fact that it’s hard to like stories where one half of the leads is completely unlikeable. I also don’t like being lectured to by comic book characters, and Cassie ranting about people who didn’t support “the right side” of the Civil War was in bad taste in both length and wording of the diatribe.

The only redeeming virtue this book has is learning that Vision has been on a quest to “discover” himself, but honestly, that’s not enough to save the story.

PICK! Amazing Spider-Man #556
Writer: Zeb Wells
Penciller: Chris Bachalo
Inker: Tim Townsend
Colorist: Chris Bachalo & Antonio Fabela
Publisher: Marvel Comics

David U.:Again, nothing groundbreaking, but much like last week it’s still the best arc of Brand New Day yet. Bachalo’s art is utterly gorgeous, using sparse linework to communicate Peter’s sense of isolation and frustration in the snowstorm. It still remains to be seen how compelling the overarching storylines in this book will be, but this particular arc is plenty of fun.

DOUBLE PICK! Booster Gold #08
Writer: Geoff Johns & Jeff Katz
Penciller: Dan Jurgens
Inker: Norm Rapmund
Colorist: Hi-Fi
Publisher: DC Comics

Gavin: Our friends Blue and Gold continue their adventure in the apocalyptic alternate present, this time as members of Green Arrow and Hawkman’s resistance. And wow, what a resistance. If you thought Booster Gold’s pallbearers were laughable, wait until you see the bottom of the barrel scraped here. Johns has always done a good job of making the whole Max Lord/OMAC threat seem as dangerous as it should be. The OMAC situation from Infinite Crisis wasn’t something the readers could hang onto for too long, but going back to it every now and again like this shows what kind of giant bullet the DC Universe dodged without overfeeding it to us.

If you’re expecting much from what the cover suggests, you will likely be disappointed. That said, there’s a very interesting Superman moment in the middle of the issue that makes you wonder who that is off-panel. There are two different people that come to my mind and both make Max Lord seem like a seriously evil bastard. The Rip Hunter subplot continues to move very, very slowly, as for three issues all he’s done is repeat to Daniel Carter that they really have to go into action.

Samantha: I suppose someone might be upset at the portrayal of Green Arrow and Hawkman as bickering incompetents, but as I’ve always hated Hawkman and Winick has me wishing Ollie would die again, I didn’t mind it. Besides, it’s an alternate timeline. There’s no telling how dealing with the stress may have affected them for the worse. On the other hand, Booster and Blue Beetle surviving and coming up with a plan to reunite their Justice League was great.

This book manages to be what Countdown should have been. It shows us an alternative possibilities than the current mainstream DCU and does so with snappy, fun banter between the characters. It makes me both love this book and hate Countdown further.

SPLIT DECISION! Criminal 2 #3
Writer: Ed Brubaker
Penciller: Sean Phillips
Inker: Sean Phillips
Colorist: Val Staples
Publisher: Marvel Comics/Icon

Ernie: There’s a shortlist of modern day comics that could be a complete package, and Criminal sits firmly near the top. Each issue stuffs you in the trunk of a heist or a score. Some gone good, others gone bad. But like being stuck in the trunk, you won’t know where the twists and turns are coming, you’re just taken for a ride that will inevitably rattle you. Take Teeg for example, straight up guy, served his country but got in a bit of bind. Everyone can relate to that, but what a desperate man will do to get out of a bad situation is unimaginable. Brubaker and Phillips pull off score after score, and like the legendary good guys, they out do themselves time again. Everyone who’s not reading Criminal should re-evaluate their monthly harvest and toss out the bad apples because this is the type of entertainment that feeds you again and again. You don’t have to have the books that preceded it, because it’s redesigned for the new and casual reader. All you need is $3.50 and guts to pick this up once. Trust me, you won’t be a casual reader for long, you’ll be hooked.

AHR: Technically this book is great- the art is masterful and the writing is smooth. But where’s the kick? "A Wolf Among Wolves" is a self-contained story that ties into past storylines as well. Set in the 1970s, the issue follows a Viet Nam vet going through tough times, and at the start Brubaker seems to be angling the story as a look at Post Traumatic Stress Syndrome. Despite this promise of thematic goodness, the story that follows is strictly by the numbers; a debt to the mob, a treacherous woman, a heist gone wrong, and murders aplenty. Whether these elements feel like cliches or classics probably depends on how much you enjoy the crime genre, because nothing happens that you wouldn’t expect, and there’s a lack of energy moving the story forward. Sean Phillips’ sharp art keeps this book’s stoicism from feeling completely tired, but it’s disappointing that that’s even a risk when you have two talented people working in a genre they obviously love.

Jason: There are no more kind words for Criminal. They’ve been used up. If you haven’t yet gotten the word and started reading this book, I simply cannot help you. If you have not yet been convinced by the veritable tonnage of praise heaped on this book from all corners, nothing I say will get you to go pick up the best mainstream comic book on the shelves. Truly, if this is the case, I pity you. All around you, people are standing, smiling knowing smiles to one another and recounting favorite scenes, lines of dialogue, plot twists, debating who the best characters are. Your co-workers have Frank Kafka strips taped up to their cubicles, while you just have Dilbert, and you just don’t understand why they don’t want to sit with you in the building’s cafeteria. You probably dress poorly, and have bad breath. Are you getting enough of the right food? You look malnourished. Here’s the card for my therapist – he probably can’t help you, but you should give it a try. You never know. Maybe you can turn it all around – pull yourself out of this pit of despair, put a shine on your shoes. Don’t like pamphlets? Go pick up the book collections Coward or Lawless. What’s that? You go to the comic book store every week and buy the 22-page magazines? Well, then, sitting right there on the shelf is a perfect stand-alone jumping on point. It’s called Criminal #2. See it there? With the blond guy with the broken nose, smoking a cigarette? No, I know, it’s a little scary. No, I don’t think he has a special costume that he puts on. But that’s ok. Give it a try anyway. Come on. It’s never too late to try to get help.

David U: This book is almost reviewproof at this point, because it’s always really, really fucking good. What can I say about Criminal that hasn’t been said everywhere else? If you’re on the fence and have even a passing interest in really well-executed crime comics, grab this issue. It’s a one-off, it’s a good starting point. If you like it, go back and grab the Coward TPB. Everything about this issue works – although I miss the hand lettering from the first volume, Brubaker’s script is authentic and involving as usual, fully establishing Teeg Lawless as a truly terrifying motherfucker, on a physical and psychological level. Sean Phillips is on top of his game with some downright masterful layouts and design work (and a really, really good visual representation of your friend and mine, the bender blackout). Val Staples’s colors are moody and complementary, focused purely on storytelling. Great comics, but really, you didn’t need me to tell you this.

PICK! Dock Walloper #3
Writer: Ed Burns & Jimmy Palmiotti
Penciller: Siju Thomas
Publisher: Virgin Comics

Ernie: The cover is misleading as I was hoping to see Ring-A-Ling kick some more ass, instead this was a lot of seeds planted that are sure to bloom come the following issues. "The Hand" is settling into his role as Mad Dog Madden’s big right hand man by asserting himself the boss man with a major opium deal. And while Madden contemplates the opportunity, someone tries to put a hit out on the Dock Walloper. DW balances a palette of the chess game between John Smith and Madden and his mistress, Cora with action sequences filled with Ford Town Cars edging on two wheels and Tommy guns blazing out the windows. There’s a definite cinematic vibe from Dock Walloper, more so than any other Virgin Comics release. Character details like Bootsy not liking to swim, to the little bell on Ring-A-Ling’s ankle make this a straightforward pleasure to read. In its careful and vivid recreation of prohibition New York City, Burns, Palmiotti, and Thomas manage to bundle a smart, savvy, and sexy little tale that’s suitable for readers seeking a sharp period piece or those looking to broaden the scope of their weekly pull.

PICK! Echo #2
Writer: Terry Moore
Penciller: Terry Moore
Inker: Terry Moore
Publisher: Abstract Studio

Ernie: For those who have never read or seen Terry Moore’s work should know that he knows how to write people. Full, three-dimesional, emotional, real people. Now while most people have never had a goopy super suit of armor stuck to their body, readers will empathize with Julie Martin because Moore snaps his finger loud enough to turn your head and notice this woman and her problem. It’s simple, really, as part of a secret government weapon has permanently attached itself to Julie and in the middle of trying to figure out what it is, she’s dealing with a pending divorce and paying her bills. Moore gives you enough visually to fill in the blanks and let your imagination go in what seems like a basic story that slowly reveals to be much more. There’s plenty of good black and white comics but Moore’s in a class in his own.

PICK! Fantastic Four#556
Writer: Mark Millar
Penciller: Bryan Hitch
Inker: Bryan Hitch & Andrew Currie
Colorist: Paul Mounts
Publisher: Marvel Comics

David U.: Now, this is getting a little ridiculous. I understand you want to establish your new villain as a badass – as someone who can take on all comers. I thought everything else about this issue was very enjoyable (although the standard Mark Millar disclaimer applies – if he’s annoyed you before you won’t be won over now), but the method of villain badassery establishment bugged me a lot, as did the fact that the science doesn’t even seem to conform to its own internal rules – Reed just, you know, does shit. Which is cool, but it doesn’t do much to kill his reputation as a deus ex machina (the role he certainly fulfills here).

PICK! Green Arrow/Black Canary #7
Writer: Judd Winick
Penciller: Mike Norton
Inker: Wayne Faucher
Colorist: David Baron
Publisher: DC Comics

David U.: Mike Norton jumps on as regular artist while Winick turns out one of his more lighthearted issues of this book. He’s talented at this family dynamic, and it’s one that works well; Ollie, Dinah and Mia are a fun trio in a fun adventure book. To be honest, despite flagging sales, this book is turning out to be a lot better than I expected and kind of the shot in the arm the Green Arrow character needed.

PICK! Green Lantern Corps #23
Writer: Peter J. Tomasi
Penciller: Patrick Gleason
Inker: Prentiss Rollins
Colorist: Guy Major
Publisher: DC Comics

David U.: First of all, DC? Stop it. Stop doing this with cover text. Lord of the Rings jokes on a Green Lantern cover with a bunch of rings isn’t funny or clever, it just looks hideously dorky. That said, this finally picks up the "RingQuest" arc Tomasi was doing before he was interrupted by I guess Patrick Gleason’s drawing schedule and that quick Sterling/Nelson Boodikka two-parter. It’s nice to get back to the main characters and see things develop, there’s some good Guy and Kyle stuff, but it’s still mostly setup for the longterm stuff Tomasi’s clearly planning for his run. It’s a good Green Lantern comic, but nothing truly special. Yet.

PICK! The Goon #23
Writer: Eric Powell
Penciller: Eric Powell
Inker: Eric Powell
Publisher: Dark Horse Comics

Gavin:The current storyline keeps escalating more and more to the point that I can’t help but wonder where Powell can go with the comic once this arc is done. It’s that huge. While the last issue was more Goon-centric, this one plays on more of the supporting cast, giving Norton, the Little Unholy Bastards and Willy times to shine. There’s another supporting character who makes a return, but all I can say about it is that you really need to have read the <i>Goon: Chinatown</i> graphic novel to understand the gravity of the situation.

Things continue to go to shit, storywise, including one three-page sequence involving a cauldron that is without a doubt one of the creepiest moments I can recall in recent comics. Still, there’s a semblance of hope shown towards the end and even without a real cliffhanger, you still can’t wait for the next month’s issue to see where things are going.

SPLIT DECISION! Justice Society of America #14
Writer: Geoff Johns & Alex Ross
Penciller: Dale Eaglesham
Inker: Prentiss Rollins
Colorist: Alex Sinclair
Publisher: DC Comics

David U.:This issue converges the two plotlines that have been going on this arc, namely "Who the fuck is Gog?" and "Wow, this team is too goddamn big." These plotlines are, as people who are paying attention (and who read Kingdom Come) probably already figured out, more related than they seem at first due to Earth-22 Superman’s role as doomsaying prophet. I keep hearing the complaint that this book is a "Kingdom Come circlejerk"; it’s not altogether inaccurate, but that seems kind of unavoidable considering the book is, uh, a sequel to Kingdom Come. It’s nothing revolutionary, but it’s fun. .

Samantha: On one hand, the characterizations are great, and the interactions make me love the characters more. The fight scenes were particularly well done, and watching Amazing Man grab Gog’s staff and transform was gorgeous.

On the other hand…I really, really don’t care about this third/fourth world nonsense. I don’t care about the New Gods, and their deaths do not affect me even remotely. So while all the pieces for a great comic were there…I just don’t care about the reason for the action taking place on the page.

Also, on the plus side, we got to see Alan Scott and Obsidian both in action. But on the negative side, the team’s so big that it amounted to approximately two panels.

So I enjoyed the comic, but it’s not one I’d honesty recommend anyone else read.

PICK! Locke & Key #3
Writer: Joe Hill
Penciller: Gabriel Rodriguez
Publisher: IDW

Ernie.: Every now and then there’s an indie title within a specific genre that can crossover to mass appeal. If horror or dark fantasy, or in this case, some hybrid of it is comic you would typically look for or you just want something to touch that nerve that tickles every spot in your mind, this title does it. There’s the horror of murder, there’s the dark fantasy of leaving your body and traveling everywhere you go, there’s the hunt of a sick maniac, and the drama of growing up in a town that knows the worst thing you ever experienced. Books that excel not only propel you into the mind, but the body of the focal characters. Issue three walks along when you stack it up to the first two issues, but those two issues were nearly flawless, so every now and then you need to rest. There’s still a bit of shock and awe here but it’s better left to your own personal experience with it. Issue 3 shifts to Kinsey, the fifteen-year-old sister of Bode who clutched her younger brother while hiding on their roof as her father was brutally murdered below. It’s been a year later since that day and she has her own issues coping with the past year. Readers will discover she may be carrying a key to something as well… Joe Hill does an incredible job greatly advancing one character in each issue while keeping others moving forward, or making you aware of what’s going on in every corner.

PICK! Nova #12
Writer: Dan Abnett & Andy Lanning
Penciller: Paul Pelletier
Inker: Rick Magyar
Colorist: Guru eFX
Publisher: Marvel Comics

David U.: I’m kind of surprised this didn’t carry an Annihilation: Conquest banner, and readers of that series might want to pick this issue up else they’re likely to be a bit confused next week in that book’s conclusion. Nova’s been an underdog book since its announcement, spinning out of an underdog event, starring a character that’s always been an underdog. So twelve issues with a bunch of momentum still behind it is pretty damn good. Nova is filling a seriously empty niche in the Marvel Universe right now (although he’ll soon be joined by the upcoming <i>Guardians of the Galaxy</i> by the same writing team), so hopefully with a bit more time and possibly promotion this book can continue on its groove.

PICK! Punisher MAX #56
Writer: Garth Ennis
Penciller: Goran Parlov
Inker: Goran Parlov
Colorist: Lee Loughridge
Publisher: Marvel Comics/MAX

Gavin: Much better than last month’s. While much of it centers around guys who aren’t Frank, at least we’re shown the point of view of enemies who aren’t simply evil villains we know for sure will be slaughtered by the end of this storyline. One of the main characters heading the attempt to bring Frank in is shown to be a good guy, but at the same time shows us his own reasoning as to why he believes Frank Castle needs to be stopped. Now that the storyline is beginning to get momentum, you do get the feeling that Ennis is writing something fresh with the character. That’s incredibly hard to do, especially with the down-to-earth MAX Punisher. Even having Frank mass murder a bunch of criminals is portrayed in a way that shows both how much of a calculating psycho he is and lets us into the head of his military predators.

SPLIT DECISION! Titans #01
Writer: Judd Winick
Penciller: Ian Churchill
Inker: Norm Rapmund
Colorist: Edgar Delgado
Publisher: DC Comics

David U.: This is basically Judd Winick’s Outsiders, minus the "espionage" stuff, so it’s full-on soap opera about characters who’ve thrived in that setting forever. It’s not bad. It’s certainly confectionary, but it succeeds at the goals it sets for itself – I laughed, I was entertained, I want to read the next issue. It’s by-the-numbers soap opera superheroes, but it’s done well enough.

Samantha: I wanted to love this, I really did, and I tried. The Titans have always been my favorite characters in comics, above the Justice League and beyond the Avengers. But between the sleazy cheesecake art and the dreadful characterizations, I just can’t do anything but feel completely disappointed that of all the people DC could and should have chosen to bring back this iconic group of characters – a group that could stand to make DC a very good profit – they chose Judd Winick.

The Nightwing here shows none of his post-OYL character growth, and is the same incompetent little boy that needs Daddy Bats’ help that he was in Judd’s Outsiders. I don’t want Batman in my Titans, thank you very much. Beyond Nightwing, Starfire has no purpose other than to be naked and fondling herself and Raven has had yet another personality switch so that everyone is a “bitch” that she doesn’t like. Donna, Wally, and Gar’s introductions simply bored me.

Winick tries hard, in the same old way that he always tries, with lots of “contemporary,” references (complete with social commentary, of course, about sexuality) that I’m sure are supposed to be very “adult,” but come across as mature as a seventh grader trying to curse when he’s angry – awkward, pathetic, and almost deserving of pity.

As for the “plot” itself, by the end of the book, I’m standing knee-deep in metaphorical glue as I watch the characters and Winick beat their ground-chopped-and severely beaten dead horse into the ground.

DOUBLE PICK! Wolverine #64
Writer: Jason Aaron
Penciller: Ron Garney
Inker: Ron Garney
Colorist: Jason Keith
Publisher: Marvel Comics

David U.: I’d say it’s borderline imperative Marvel bring Aaron back to this book when Mark Millar’s run is over, because he really gets how to do a fun, straightforward Wolverine story in 2008. No extended conspiracies, no fucking invincible swords or furry family reunions, it’s Logan on a revenge kick that coincides with a neat story from his past. Just play him straight, folks, stop trying to reveal more layers. It’s time to move Wolverine forward, and these are the kinds of stories that do it. He needs to take an active role in the current Marvel Universe; I’m tired of hearing about how important he was seventy five years ago or what fucking ever.

Ernie: This flashback tale of Wolverine and Mystique has been a great diversion from what is going on with the major Marvel storylines. It’s just a great classic revenge story done in the way of classic martial arts films of the 1970′s. But I love the set designs Garney’s throwing together showing this odd couple in the wild west in one issue, and as dapper flappers and small time crooks in another. Aaron gets creative with Wolverine’s mutant healing factor. I do believe he enjoys torturing the little guy because we see there hasn’t been one issue of any Wolverine story Aaron’s written that doesn’t involve a major healing period. In each issue, Logan gets more pissed and is steamrolling into next issue’s bloody conclusion to both why he’s got it in for Mystique from the past and whether or not she’s going to get her comeuppance in the present. Bring it on, already!

PICK! Wonder Woman #19
Writer: Gail Simone
Penciller: Bernard Chang
Inker: John Holdridge & Bernard Chang
Colorist: I.L.L.
Publisher: DC Comics

Samantha: This month was a large improvement over last month. Whereas Wonder Woman 18 was ruined with Diana’s out of character attempts to court a man undeserving of her, this issue focused on Diana the warrior, and Diana the friend, through her interactions with the Green Lantern and Etta Candy. Simone is at her best as she shows Diana defeating a Green Lantern not through physical combat – though she does hold her own there – but through mental warfare. This is the woman who at one time was the champion of the goddess of wisdom, and at one time was the goddess of truth, herself. That she should be able to best a Green Lantern in a mental battle makes perfect sense.

PICK! Young Liars #2
Writer: David Lapham
Penciller: David Lapham
Inker: David Lapham
Colorist: tbd
Publisher: DC Comics/Vertigo

Jason: Now THAT’S what I’m talking about. Lapham comes back from what was (for me) a slightly disappointing first issue and delivers a solid, enthralling, and properly skewed story, making much better use of page layout, story pacing, captions, dialogue – everything in this second issue worked like gangbusters for me, usually in exact opposition to the ways the first issue didn’t work for me. I dunno, maybe I was just in a bad mood last time around. But not having the story delivered to me in blatant narrative captions was a real plus in this issue, and replacing those captions with lyrics to a song the main character is writing, (has written?) slowly paced-out over an alternately frustrating and thrilling and horrifying episode of his life, was a pitch-perfect mood choice. I’m a little confused as to how this series is going to be organized – this second issue does not flow directly from the first issue at all, but rather jumps to a completely different point in time. Is this going to be akin to Stray Bullets, where each issue is a discrete episode, with all of episodes weaving together into an oblique narrative tapestry? Or are we going back to what seemed to be a specific set-up for a larger story from last issue (the scheming trust fund kid and the "buried treasure")? At this point, I don’t care, so long as Lapham keeps serving up more atmospheric experiences like this one.