It’s our last edition of Wednesday New Releases . . . before Emerald City ComiCon! Psyche! We’ve got a slew of awesome comics and more today, including some Alice in Wonderland plushes, Secret Six #19, Farscape D’Argo’s Quest #4, B.P.R.D. King of Fear #3, Cable #24, Batman & Robin #10, Iron Man 2 Spotlight, Ex Machina #48, Angel: A Hole in the World #4, and the Art of Hack/Slash Volume 2!

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That is quite the group shot! Can you name everyone? Who’s the girl to the left of Storm–Kitty? She looks a little too young, but Hope keeps being depicted as anywhere from 5 to 25, so who knows? By the way, nice costume, Storm!

If you haven’t already, check out our X-Men: Second Coming page and pre-order every issue for 20% off! You can also view all of the previous X-Men: Second Coming teaser images right on our blog!

This is shaping up to be quite the family affair, eh? Who are you surprised to see here–and who’s missing? Post below!

What the WHAT? “One Will Rise”???? In the X-Men Universe, that’s always, always been the Phoenix. There’s been some speculation that the “Mutant Messiah,” Hope, is actually the reincarnation of Jean Grey. What if that’s not even the point–what if she’s Phoenix? And what if she transforms into Dark Phoenix? Is this why Bishop has been trying to destroy her all along?

I don’t know about you, but as an old-school Marvel girl, I am blown away. If you haven’t already, check out our X-Men: Second Coming page and pre-order every issue for 20% off! You can also view all of the previous X-Men: Second Coming teaser images right on our blog!

So . . . what the hell is going to happen here, people? I want some theories, STAT!

Looks like X-Force is getting pulled into the mix . . . and they look pretty aggro! Who are they going to sacrifice? Is it the person who will end up in the empty grave from the previous teaser image, “One Will Die . . . ”

How many teaser images are yet to come? Are you excited for X-Men: Second Coming? Check out every issue at our X-Men: Second Coming page and pre-order every issue for 20% off!

Questions, comments, opinions? Share them below!

DEADPOOL TEAM-UP #896: Deadpool teams up with U.S. Ace, and fights a biker gang of genetically modified raccoons. Especially when the script is written by Stuart “reliable” Moore, what’s not to love? The whole thing is as fun as you’d want it to be, and you even get a pretty soulful U.S. Ace story as a bonus, so there you go. Plus, Deadpool being, you know, Deadpool. Fun, silly stuff, just as it should be.

GHOST RIDERS: HEAVEN’S ON FIRE #6: And with that, at least for now, Jason Aaron finishes up the best run on Ghost Rider, ever. Did you miss the whole thing? Because if you did, do yourself a favor, and pick up the back issues, pick up the trade when it comes out, pick it all up. Not only did Aaron get how a dude with a flaming skull riding a bike should be bad-ass, but he also realized how ridiculous it was. There’s a new character introduced in this issue that made me laugh out loud, and then on the next page, that same character appears in a two page spread that kicks so much butt its unbelievable. For those of you – like me – who avoided Ghost Rider because of ’90s-itis: we were all wrong.

INVINCIBLE IRON MAN #23: We’re almost at the end here, too, and suffice to say not only do we continue to build Tony Stark back up with Dr. Strange’s help, not only is Ghost as villainous as ever, but we get a – sort of – resolution to two different story points in previous issues, that repaints Tony Stark as the rake we all know he is. It’s a great moment, and I’m looking forward to how – if at all – it pays off in upcoming issues. I don’t really think I need to tell you to read this, right?

MARVEL HEARTBREAKERS #1: The real winner here is the art, which perfectly illustrates these stories of loss and loneliness by some of Marvel’s more up and coming creators. However, the real stand-out is Jim McCann’s story featuring The Beast and Dazzler. And while we ALL KNOW that Bruce Banner is the one true love of Allison Blaire (right? RIGHT?), once again, McCann delivers a heartfelt and true conversation between two comic book characters. It’s nice, and simple, and complete, and perfectly channels Ann Nocenti’s original Beauty and the Beast story.

REALM OF KINGS SON OF HULK #1: Hiro-Kala is a curiosity, a character still finding his definition in the Marvel Universe. The end of the last Son of Hulk series found him in a far more interesting place than where we picked up with him, and this new series continues to develop who that character is now. Plus, some fun continuity stuff from Marvel U past, and this is a series that, at the very least, is intriguing enough to pick up the next issue. There’s some nice action moments, and great set-up. I’m certainly on board for the duration.

SIEGE #2: Okay, that was super sweet. Everything I was missing from Siege #1, every criticism I had was pretty bunch washed away by this kick ass second issue. The siege of Asgard is in full swing, and Olivier Coipel draws his action on a big, bold canvas, amply provided by Bendis current predilection for two-page spreads. It’s full of villains being villains, heroes being heroic, and everybody standing up for what they believe in. As promised, there is a shocking death in this issue that one-ups Geoff Johns on gore factor, and a last page that put a smile on even my jaded face. The first issue was set-up… Here’s where it all starts to pay off.

SIEGE: EMBEDDED #2: Brian Reed is clearly having a ton of fun with this book, even more so this issue than the last. It basically plays like a carton starring Volstagg, Ben Urich, and another dude, and is amply helped by Chris Samnee’s adorable art. In a weird way, this seems to match the slightly less serious tone of the main series, which stands in stark relief to previous, deathly serious Marvel events. Siege is an action movie, and Embedded is the comedy feature that plays before it. And I’m loving every second of it.

WOLVERINE WEAPON X #10: Jason Aaron keeps finding new ways to play with Wolverine’s past, and here we get a fun, though mature tale about Logan getting back into a relationship. It hits some pretty familiar story beats (I won’t spoil ‘em, but let’s just say whatever you think Wolvie’s problems with being in a relationship are, that’s what they are); but the joy here is how Aaron delivers, by having Mr. Howlett take a trip through some of the women in his past. It follows up on the ongoing series, but works just as well as a one-shot. With the title below, this is a good week to be a Wolverine fan.

WOLVERINE: SAVAGE #1: This is easily the most creative, fun Wolverine story I’ve read in a long time – possibly, ever. Action Philosophers’ Ryan Dunlavey is no stranger to humor, a skill he amply showed off in the equally fun M.O.D.O.K. – Reign Delay. Here, we get a story mixing two of my favorite things: comics, and cooking. Hardcore Wolvie fans will probably be scratching their heads as to how sushi mixes with Wolverine, but there’s enough chopping (and not just of vegetables), action, and fun even for them. As a nice little palate cleanser after Jason Aaron’s far more intense and adult Weapon X, pick this up.

In keeping with the stained-glass theme of these teaser images (check out the first one here), this depicts Cyclops, a.k.a. Scott Summers, standing over an empty grave with the inscription, “One Will Die . . . ”

So, who wants to bet that the next teaser image will say “One Will Be Reborn . . . “? And . . . will it be Jean Grey? I know it’s kind of silly to hope for (and really, if Jean were coming back, Marvel would have to call this “X-Men: Third or Fourth Coming”), but something keeps tickling my brain. In any case, make sure to check out our Second Coming page and pre-order every issue for 20% off!

Questions, comments, opinions? Share them below!

Showing us a stained glass-style portrait of the White Queen, Cyclops, and Magneto, the caption reads only, “One Will Lead . . .”

Are you excited about X-Men: Second Coming? Make sure to check out our Second Coming page and pre-order every issue for 20% off!

Who do you want leading the X-Men in the near future? Is it time for Scott to take a break and let Emma or Magneto take over?

Showing us a stained glass-style portrait of the White Queen, Cyclops, and Magneto, the caption reads only, “One Will Lead . . .”

Are you excited about X-Men: Second Coming? Make sure to check out our Second Coming page and pre-order every issue for 20% off!

Who do you want leading the X-Men in the near future? Is it time for Scott to take a break and let Emma or Magneto take over?

Showing us a stained glass-style portrait of the White Queen, Cyclops, and Magneto, the caption reads only, “One Will Lead . . .”

Are you excited about X-Men: Second Coming? Make sure to check out our Second Coming page and pre-order every issue for 20% off!

Who do you want leading the X-Men in the near future? Is it time for Scott to take a break and let Emma or Magneto take over?

AMAZING SPIDER-MAN PRESENTS: JACKPOT #1: Well… This is easily the best work Marc Guggenheim has done for Marvel since the back half of Young X-Men. Fun, funny, and surprising, this makes a good case for Jackpot as a name, a character, and sets her up as the Marvel equivalent of Animal Man (minus the meta-textual-Morrisoness). Plus, the last page shows the return of a villain that perfectly hits my ’80s/’90s Spidey fan buttons. Only thing I’m not crazy about is Adriana Melo’s art, which is a little too Dabel Brothers house style for my taste (very posed characters), but it’s serviceable enough for Guggenheim’s enjoyable story. This was a nice surprise.

CABLE #22: We’re getting to the end here with one of Comic Book Club’s Best Comics of 2009, and its making me pretty sad. This, more than anything else, reads like a final chapter in what is the world’s most hardcore Roadrunner/Wile E. Coyote battle. Hope is finally standing up, Cable is falling down, and Bishop just won’t stop. Here we’re getting Swierczynski revisiting themes and ideas from his entire run. I can’t say I’m happy that this, one of my favorite recent plotlines in comics, is coming to an end, but Mr. S is writing it as well as ever.

DEADPOOL TEAM-UP #897: Deadpool “teams up” with the Ghost Riders, and there are so many missed opportunities here, it made me sad. I’m not going to go into my Deadpool over-exposure rant, or my Deadpool narration rant, as those are shouts against the wind, but this is a lesser issue in the Deadpool canon. Hopefully the next, which pits DP against killer raccoons, should be better.

MARVEL BOY: THE URANIAN #1: Well this is a delight. There was a lot of head scratching as to why you would want a spin-off mini-series about an Agents of Atlas character, when the title itself has floundered, but Jeff Parker plays with continuity here in a similar way to how he did in The Age of the Sentry, and it works like a charm. It also reminds me of Omega The Unknown, another excellent series from Marvel, with it’s setting and (not quite as exaggerated as) Farel Dalrymple-esque art. Hopefully this will live up to those title’s legacies, and so far, it’s off to a great start.

NATION X: X-FACTOR: X-Factor goes to visit the X-Men’s Utopia, with predictably cantankerous results. It has Peter David’s trademark humor, and some great, great character moments (including some pay-offs for fans of Claremont era X-Men). It also has some silly meta-writing nonsense, but that’s also par for the course. That aside, X-Factor is excellent even in one-shot form, and for those looking to get into the series, this is a great intro.

NEW MUTANTS #9: So… Doug Ramsey is back. But I refuse to believe its Doug Ramsey. It’s a different character. It’s not him. IT’S NOT. Not MY Doug at least. Sob.

PUNISHER MAX: GET CASTLE: There’s a really great emotional concept at the center of this story (which I won’t spoil here), but it gets a bit lost in Frank Castle’s European Vacation, which is, otherwise the bulk of this story (and a pretty rote Punisher tale at that). If there was a connection between the two, I’d like this quite a bit more, but as is, the two ideas feel like two separate Punisher stories that got smushed together.

SIEGE #1: These are spoiler free reviews, right? Well, then, I’ll say that Olivier Coipel’s art is great, as usual, though I think the panel layout (minus some big-arse splashes) is a little more cramped than it should be, given the epic scale (or purported epic scale). And Bendis’ script, though well written, suffers from exactly the sort of compression/decompression he’s been criticized of in the past. Meaning, big things happen very quickly, and the majority of the issue is spent on chatting about it. This works, I think, in a title like Powers or Ultimate Spider-Man, not so much with big event comics. Look, there’s clearly a level of craft and care in this issue that clearly puts it heads and tails above most comics; Coipel and Bendis are great at their jobs, and know what they’re doing. But I’ve got to judge this issue on its own merits, and not the span of comics history. I’m willing to give this one more shot, but the first issue of this “event seven years in the making” isn’t exactly rocking my world.

SIEGE: EMBEDDED #1: Man, I’m a total sucker for these Frontline (now Embedded) series that go along with Marvel’s big events. This one is a little cheekier than usual (the Secret Invasion, World War Hulk, and Civil War ones were all a little grim), but I just love the fact that Marvel is selling a Ben Urich mini-series, and making it work. In fact, I would even say I liked this better than the main series OH MY GOD I’M JUST SAYING.

SPIDER-MAN NOIR: EYES WITHOUT A FACE #2: Okay, I think I’m starting to get a handle on this Noir line thing a bit better… They’re not actually Noir books (well, most of ‘em), they’re actually the Marvel Universe’s version of DC’s Mystery Men, who the JSA were before they were the JSA. Basically, if yoyu rebooted the Marvel U, but set it twenty years before it really started. With that framing, it’s not a bad thing, as in this issue you’ve get a tough as nails Spider-Man fighting a mad scientist in a gritty underground New York City. I can get into that, and I can get into this. It’s still not sending me over the moon with joy, but taken as as Elsewords type title, it works just fine.

ULTIMATE COMICS SPIDER-MAN #6: …And on a similar subject to Siege, up above: this is what I’m talking about. Actually, this is NOT what I’m talking about, as Bendis has figured out how to pack every issue of Ultimate Comics Spider-Man so far chock to the brim with humor, character development, awesome action set pieces, great mysteries, and, on top of all of that, new, innovative page layouts. It may be working with David LaFeunte, who, as usual, knocks it clean out of the park with this issue, or it may be that Bendis just feels freer to do what he wants with this title, but my heart aches a little every time I read it, it’s so good. These past six issues are as good as Ultimate Spidey has ever been, if not better.

X-MEN NOIR: MARK OF CAIN #2: Okay, never mind what I said about Spider-Man Noir, it totally doesn’t apply here. Last issue was a bit all over the place (literally, all over the globe), finally getting focus at the end of the issue. And it keeps that focus for the entire issue, bringing to bear intriguing riffs on X-Men history, a good, actually Noir-esque story, and Dennis Calero’s perfect art. Even if you skipped the last issue, this one is worth picking up; you won’t miss a beat. Easily the best the Noir universe has to offer.

AMAZING SPIDER-MAN #615: Javier Pulido’s gorgeous art and Javier Rodriguez’s muted colors perfectly match Fred “Javier” Van Lente’s haunting lullaby of a story. The events of the previous issue are poignantly followed up on, as Spidey’s cast of characters try to move on in the wake of the destruction of the Daily Bugle. We get new status quos, some great character moments, and a deadly new Sandman. The best part of this issue is the amount of invention Van Lente and Pulido bring to Sandman’s moves (hey, he’s not just making hammers with his fists!), and more importantly, they explain how Spidey swings from the city to the center of the East River. That’s been a long time coming. Possibly my favorite issue of this title since Dan Slott and Marcos Martin’s Paper Doll arc.

AMAZING SPIDER-MAN PRESENTS: ANTI-VENOM – NEW WAYS TO LIVE #3: I’m not 100% sure we needed a return of “Venom: Lethal Protector,” but it’s also not like Zeb Wells did a bad job with this series. There’s a nice underscoring of the theme on the last page, and the art is solid enough, I’m just still suffering from a bad case of the Venom over-exposure I caught during the ’90s.

ASTONISHING X-MEN #33: I’m not saying this isn’t fun. The splash pages and giant panels in particular are totally insane and poster worthy, and Warren Ellis has his usual “I read a science article this morning and now it is a comic book” ethic going on. But it’s also like Ellis spent the day watching a bunch of sitcoms, and then aped the speech rhythms of said sitcoms. There’s a lot of banter in here, and pacing that almost demands a laugh track. We’re not really getting anything except broad character strokes, so if you’re thinking about picking this up, do so knowing you’re in for a silly, big budget ride of a comic.

CABLE #21: I swear to god, if Hope ISN’T Jean Grey, I will eat my hat. I don’t own or wear hats, but I will go out, buy a hat, and put it on my head until the X-Men Second Coming event starts next year, just to prove a point. However, that hat will be made out of cheeseburgers. FYI. Anyway, this issue is great, as usual. Bishop and Cable are the super serious, time-traveling versions of Wile E. Coyote and the Road Runner I never knew I wanted to read about on a monthly basis, until I did. If this series ends when Cable and Hope get back to “our” time, I’m going to be very sad; though, I don’t know how the mission statement of the book couldn’t completely change. Ah well.

CAPTAIN AMERICA: REBORN #5: Well, that just went crazy-pants. And in my book, there’s nothing necessarily wrong with that. Bryan Hitch and Butch Guice get to draw some insane, over the top battle sequences, including the intro of one character that, if it doesn’t fill you with abject glee, you’re not a Marvel fan. Unfortunately, given all the build-up (I’m including the entirety of Brubaker’s run on cap, because let’s be honest, this is what it’s all been building up to), the Red Skull’s plan comes off a little half baked. And generic. Which is too bad, because otherwise it has the action fans have been craving for most of the series. This is going to collect very well, and I think there the pacing will feel a little more classically three-act, but as is, it hasn’t quite been working in the issue format.

DAREDEVIL #503: I’m not a big fan of characters telling me, “things are going to get real bad…” or “There’s a storm coming…” or just generally letting me know things are getting bad, without actually showing me that. And, as is, it’s not like Daredevil doesn’t know he’s in over his head, we don’t need to keep telling him that. Still, Andy Diggle does a solid job solidifying the status quo in this issue, thoough I wonder how long it can hold for. We shall see…

DARK AVENGERS #12: Last issue I said I’m a sucker for a good Molecule Man story, loved what Bendis, Deodato, and Horn did with the look and pacing of the issue, and was curious to find out more about Victoria Hand. I wouldn’t abjectly say those fizzled out with this issue, but it definitely feels like, to use a television metaphor, the last five minutes after the last commercial break. The issue looks fantastic, and there’s at least two big plot points here (one I’m not crazy about, the other, at the end, is blindingly obvious once you think about it, but also incredibly satisfying), but as an issue, it’s a light one.

DARK WOLVERINE #81: When Daniel Way and Marjorie Liu completely avoid action, and instead focus on making Daken a diabolical mastermind, this series soars. Reason it works is, most monologuing bad guys don’t have frickin’ bone claws and assassin skills to back up their smarts, just a few bombs and some henchmen. Daken, in case you haven’t guessed, has bone claws. And, in this issue, is completely terrifying. A quiet character piece using Ms. Marvel (Sofen-style) as a window, this is a great one-shot to get on board the title, and another illuminating piece of the puzzle for Daken, who is quickly coming out of the shadow of his father.

DEADPOOL: MERC WITH A MOUTH #6: Last issue, I felt like Victor Gischler was really finding his stride with this title, making Deadpool his own; and I think that’s solidified with this issue, especially in light of Daniel Way’s take on DP in the… Main, I guess? Title, which is far more anti-hero-ish, than goofy. This is goofy. Almost shticky. It’s weird to say, but this is the comedy counterpart to Deadpool. Where there’s almost zero character development, and everything is to set up far more ridiculous situations for Deadpool and his talking zombie head to get into. Far be it from me to criticize someone else for being shticky, so I’ll just stop there.

DOCTOR VOODOO: AVENGER OF THE SUPERNATURAL #3: I’ve really enjoyed the first two issues of this, but this third one just devolves into the supernatural mumbo-jumbo speak people pick on when they talk about not liking magic comics. Arts still good, though.

HULK #18: Jeph Loeb continues his streak of solid character pieces about Hulk characters with this issue’s smartly written focus on Leonard Samson. Seriously? Did I just write that sentence? And it’s true? Everything I know and love is wrong.

MIGHTY AVENGERS #32: After the last, excellent arc, this title is finally firing on all cylinders, giving us the old school Avengers action we (well, I) wanted. Dan Slott takes solo scripting duties this issue, and as usual, he gives nicely textured character moments, big action, and at the end, a threat so big it needs two Avengers teams to take it on. For now, at least, this title has replaced Avengers: The Initiative as the best title to get a sense of what’s going on in the Marvel Universe right now.

MS. MARVEL #48: If Brian Reed is going to wrap up his run on Ms. Marvel in two issues, he’s definitely going in style. Great second page, great last page, a fun romp throughout that plays on elements seen throughout Reed’s run on the series. I’ll miss it when it’s gone.

REALM OF KINGS INHUMANS #2: As usual, a solid and enjoyable effort from Abnett and Lanning, but I’m going to repeat my slight, unfair dismay from the previous issue. In my mind, the Inhumans work best when you can radically change their status quo in a mini-series, allowing them to completely change over the course of four or five issues. As, you know, their whole thing is change. Previous Inhumans mini and maxi series have been some of my favorites put out by Marvel in the past two decades. Here, though, for the first time, DnA have given them a solid, interesting status quo. And I like it. However, I don’t think it really lends itself to a series, so much as having them now be supporting character in the back-drop. Also, I don’t think matters are helped by strangely crossing over the second issue of a mini-series with an ongoing series (Mighty Avengers). Again, I like both titles, Inhumans fans should definitely pick this up, but the whole endeavor is striking me as a little off.

THE MARVELOUS LAND OF OZ #2: Easily the must absurd issue of this series (as well as the previous one), it’s far more dialogue based than the previous issue, so more on writer Eric Shanower’s shoulders than Skottie Young’s. But… It’s still great. Every issue of this is great, and like I say pretty much every time, if you want to get a kid you know hooked on comics, give them one of the Marvel Oz books.

THUNDERBOLTS #139: It’ll probably take a few issues before Jeff Parker finds his footing and makes his mark with this title… Right now, it feels like it’s skimming on the surface of the water set up by Warren Ellis, then Andy Diggle. It helps, though, with this issue that Parker lands himself in comfortable waters by having the T-Bolts go up against his pet project, Agents of Atlas. And it’s a fun, creative fight in this issue, well worth picking up; though at this point, I’d love to skip forward five months and see where this title will be after Dark Reign finishes.

ULTIMATE COMICS ARMOR WARS #3: Okay, so after three and a half issues of Tony Stark boozing it up, havin’ da sex, and kicking arse without a care, we finally get a challenge worthy of the name Armor Wars. But again, he just kind of kicks arse, and I imagine the next issue he’ll again, easily solve his problems. Warren Ellis always knows how to make cool, fun tech, and write big battle scenes with quippy dialogue, but this, like most of his Marvel work, is characterized by far less interest and care than his creator owned work. Which is too bad, because he could make an insane Ultimate Armor Wars, if he put his mind to it.

VENGEANCE OF THE MOON KNIGHT #4: I’m just going to keep reiterating the same thing every issue: Jerome Opena’s art is spectacular and cinematic; I still don’t know why I should be caring about Moon Knight.

WHAT IF? DAREDEVIL VS. ELEKTRA: Of these new batch of What Ifs, this comes the closest to telling an actual story. There’s a review for you!

X-FACTOR #200: Ah… That’s more like it. After a cramped last issue, X-Factor is back with a super-sized spectacular, and as good as ever. This is a great jumping on point for new readers, as Peter David expertly introduces each character, as well as the new, central mystery. In a certain way, after the massive amounts of continuity and crossover-itis in the past few arcs, it’s bringing the title back to basics. And I like it. Plus, a killer last page, as usual.

X-FORCE #22: This is very much a middle chapter of the Necrosha cross-over, and while there are some big moments involving Rahne’s condition, and a great little moment with Blink and Eli Bard, for the most part, not too much changes; we’ve got far too many parts of this cross-over to go. If you’re picking this title up, keep picking it up, but this may not be the best time to jump right in.

X-MEN LEGACY #230: More like, “X-men leg you see,” because they all have legs, and you can see them, am I right? No, I’m not. Anywho, another solid issue by Mike Carey, wrapping up his Emplate arc in a big way. But again, broken record time… What’s this series about, really? what’s the mission statement? Because I don’t think we’re going to find out for another few issues, until the Necrosha cross-over is done, and I’m missing a compelling reason to pick up this title.

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

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

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

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

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

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

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

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

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

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

For some, these books are an affront to their sensibilities. Seeing Jesus battle zombies (Jesus Hates Zombies Lincoln Hates Werewolves) or reading a story that chronicles Earth’s apocalypse at the hands of a man-made godlike superhero (Warren Ellis’ new Supergod series) might not agree with some people.

For others, a mutant messiah makes sense in the wake of “House of M” (Cable) and the story of God sending angels to cleanse the world after losing faith in humanity (Legion, which is a precursor to the upcoming film) or a story about a post apocalyptic world where every last superhero suddenly disappears (Rapture) are not only intriguing, they’re downright impossible to pass up!

Cable

Legion: Prophets 4 Issue Miniseries

Rapture

It’s okay if these titles offend you. Everyone’s entitled to their own opinion. I for one, am very much intrigued by these upcoming offerings and have been enjoying Cable recently and have dug Rapture thus far.

So are you excited about these titles or do you abhor them? Have another religion inspired title I didn’t talk about in the article? Feel free to voice your opinion or comment below!

So, Cable.

It was probably the most-hyped of the post-Messiah CompleX launches, got outsold by the Kyle/Yost/Crain X-Force, featured Ariel Olivetti’s puzzling new artistic style of attractive figures over Battlefield 1942 screenshots, and was intended to be the vector along which the most glaring hanging plot thread from the previously mentioned major crossover would travel.

Eisner award-winning writer Ed Brubaker, whose workload’s only dark spot was his at-best mediocre work on Uncanny X-Men, vetted his buddy in crime lit Duane Swierczynski, who was previously known in the comics field for, well, a Moon Knight annual. He hit us up with a five-issue fairly cliched futuristic Western, with a Good Cop and a Bad Cop and the baby as the prize and even a badass local chick who Nathan inspired to channel her inner, uh, badass. It wasn’t a stunning debut.

Two weeks ago, Swierczynski knocked me on the head with Immortal Iron Fist #17, a shockingly worthy follow-up to one of superhero comics’ greatest highlights recently, the Ed Brubaker/Matt Fraction run on the aforementioned book. This week, we get Cable #6, a much-needed investigation into the mind of Scott Summers regarding the justifications behind his recent actions regarding the Mutant Messiah Baby and his son, as well as the precautions he makes regarding the danger of Emma discovering his more morally ambiguous recent actions regarding Logan and the X-Force.

It’s a huge step up for the series, advancing the book from a stereotypical action story symptomatic of the worst excesses of Internet trolls’ dark mirror of “Bendis decompression” to, for one issue, a logical and insightful look into Scott’s mind regarding what is a pretty damn big ongoing story. Michel Lacombe, recently of the Punisher: Force of Nature oneshot with Swierczynski and the Tales of the Sinestro Corps: Ion oneshit with Ron Marz for DC, does an effective job channeling the now-pervasive Lark/Maleev/Azaceta/Phillips gritty style to illustrate a fairly morally complex and personal story. Meanwhile, Swierczynski’s script is far more relevant and taut than previous, providing a formerly unknown amount of both forward plot and character movement for a single issue of this traditionally glacial title.

In short, what I’m getting at here is that this is a good issue, solidly fitting into both the current Manifest Destiny landscape of the X-Men franchise and Swierczynski’s solid work on the adventures of Danny Rand. However, I’m skeptical as to his ability to maintain this pace in the future, especially as he’ll be further (in my mind) saddled with the stiffness and artifice of Ariel Olivetti’s current art style. I’m newly optimistic for future issues of this series, but the burden falls solely on Swierczynski’s shoulders to advance the plot and develop the characters at a rapid enough pace to maintain my interest to continue purchasing the book (despite the standard reviewer copy package, I’m also spending my cash on paper copies of this comic).