SECRET SIX #17 (DC): Is it any surprise that a cross-over (well, technically a crossover) between the Suicide Squad, and the Secret Six is a diabolically gratifying read? Especially with Gail Simone and John Ostrander collaborating, with artist Jim Calafiore on pencils, this is a must read issue in my book. The only downside is that I’d love to have seen the two teams clash without the Deus Ex Machina of the Black Lanterns, though even that element is fun to read. The real centerpiece of the issue, though, is the fight between Catman and Tigerface (no, I’m not going to look up his real name), which is as intense and flesh ripping as you’d want it to be. Plus, I had no idea that dude was just wearing a tiger head. Why would you wear a tiger head when you fight for a living anyway? Having worn animal costumes on occasion (calm down, it was just for this sex thing one time), I can tell you that the heads are heavy, hot, and hard to keep on. Makes no sense. That aside, a great issue as usual, and I can’t wait for the conclusion to this arc.

ADVENTURE COMICS #6 (DC): In retrospect, I wish this was a Superboy mini-series, as the team of Geoff Johns and Francis Manapul lasted only six issues (not even that… I guess only four or five?); and while I liked the Legion back-ups, I LOVED this Superboy story, it was a great way to bring Connor back into the DC Universe. This last issue is emotionally manipulative, but let me tell you: it manipulated my emotions. The ending may have felt a little rushed, or at least dangling, as it sets up plot threads Johns will most likely follow up elsewhere, but this is one story I can’t wait to read in a trade. Hopefully DC will do the right thing and release this as Superboy: Identity Crisis or something like that, rather than the Adventure Comics label. I’m eagerly awaiting what these guys are going to do with the Flash.

BUFFY THE VAMPIRE SLAYER #31 (DARK HORSE): With all the hoopla about revealing the identity of the Big Bad this week, it’s easy to forget that there’s actually a Buffy comic book. And while knowing the identity (believe me, I tried to avoid it, but that didn’t work) is very, very distracting, that doesn’t take away from this being the best issue of this series in a good long while, and the best single issue Joss Whedon has written in a good long while. It brims with the trademark action and humor, and while this is the minor rest stop between arcs, it moves the characters forward like any good episode of Buffy would. I’m curious how well Brad Meltzer is going to fit into this tone, but for now, let’s feel good about a solid, enjoyable issue of Buffy, the way it used to be.

ANGEL #29 (IDW): With all the hoopla about the… Yeah, yeah, you know the drill. Anyway, most of this issue is far better than the first. Bill Willingham still has not quite captured the voices of the characters; they feel like things the Angel cast might say, filtered through Willingham-speak. But I’m willing to give him the benefit of the doubt, that he’ll forge his own way once he gets the swing of things. And there’s at least one scene that’s nothing but talking heads… Fine for a TV show, not so fine for a comic book. However, those are smaller parts of the issue, which is filled with dark humor, and good action sequences. It may not be perfect, but it might get there. I’m sticking around to find out.

CATWOMAN #83 (DC): Tony Bedard writes a solid issue of a resurrected Catwoman, pitting Selina against the Black Mask, the one man she ever killed. The solution to defeating the Black Lantern is smart, and the issue ends on a menacing note, but definitely not the most essential of tie-ins. This is well done, but unless you’re a Catwoman superfan, you’re not going to miss anything by not picking up this issue (note: I am a Catwoman super-fan).

RED HERRING #6 (WILDSTORM): This series, which sadly ends with this issue, was as cool as slow jazz. Multiple plot-lines and elements flowed through each issue, intertwining, but never quite meeting. Narration flitted in and out, changing points of view whenever necessary. And just like the title implied, the thing you thought was important definitely was not, and only distracted from the items of real importance. David Tischman wrote a series that demands to be read at least twice, so you can sort everything out (if there’s really any sorting to do), and Philip Bond’s pencils are cartoony and expressive, perfectly matching the Dr. Strangelove meets X-Files vibe of the book. For anyone who’s ever considered that a conspiracy theory might be true, this book deserves a read… Because you’ll learn that they are all, most definitively not true… And also true. At the same time. Hey, it’s just that kind of series. Pick it up, and you’ll see.

Like the Toy Story movies, it uses a simple premise (there’s more than one of every toy… And if you had the chance, why wouldn’t you return your old toy for a brand new version?), and layers it expertly over the characters to push them forward in a brand new direction. The first few pages in particular are a ton of fun, with great Easter Eggs (not literally) that fill out the reading experience. All in all, this ongoing series is off to a great start, and if you like the Pixar movies, you’ll love this book.

RED HERRING #5: Every issue of this title is a crazy delight. Just when you think you know what’s going on, you find out that the whole house of cards is built on a house made of pretzel sticks. Or Lincoln logs. Or whatever it is you build houses of. Normally I’d find this sort of “everything you know is wrong” plotting annoying, and the character names, like “Red Herring” and “Meyer Weiner” too precious, or the non-stop second person narration off-puttingly weird… But every element works perfectly together to form a cohesive insanity. It’s like reading a rabbit hole with no end in sight, but every mile you fall is just more intriguing. Plus, Phillip Bond’s art is kinda sexy, if you like cartoons. Just sayin’.

THE WALKING DEAD #68: Yes, Kirkman knows you’ve seen this scenario before… Our heroes encounter a stranger who gives them hope, only for it all to come crumbling down in the most horrible way possible. He knows it, and brings up these previous situations, even ends the issue with Rick ready for the worst, while everyone expects the best. Except… Here’s my pet theory, based solely on the ending of the previous arc, and this issue: our heroes are very quickly becoming the villains. Rick tortures and tears apart humans. His son kills another child. They’re about to head into a friendly community, and I’ll bet good money completely f-ing destroy it for no good reason. They’ve been so beaten down and marginalized, they won’t be able to trust anything, and become the worst people on Earth. I could be wrong, as Kirkman has a tendency to swing things completely around in any given issue, but if this book’s overarching theme is about what we’ll do to survive, and the answer from Rick is “anything,” then he’s gone too far over the edge. Anyway, I’m glad I’m on board this title… It lost me for a bit, but ever since issue #50, it’s been back to the “anything-can-happen” feel of the first year or two.

THE UNWRITTEN #8: So, a couple of things. First, when I bought the issue, I briefly thought it was a new issue of Crossing Midnight, my previous favorite series by Mike Carey. Second, this has been a slow burn, but hot damn, it is starting to burn bright. Carey’s story of a real-life Harry Potter started simply enough, but in the last four issues, has become something completely original, magical, and in the best Vertigo tradition. Like Sandman before it, it’s a story about how we create our myths, and the people who would stop them from developing. This issue was almost Urasawa like in it’s focus, giving us a look at the children of the warden Carey’s Potter stand-in, Tommy Taylor, is currently in the custody of. We’ve seen them in the background the past few issues, and by the end, they have become a crucial part of the delicate tapestry Carey, along with artist Peter Gross, is telling. In fact, where I initially felt this was more like another Vertigo series, Fables, it’s far more in line with Sandman, or League of Extraordinary Gentlemen. By the end of this issue, I was breathless for the next.

HACK/SLASH #28: Yeah, yeah, this came out last week. Shaddup, I missed picking it up at the store. AND, it’s important to note, the Hack/Slash I know and love is back in spades in this issue. Sure, scribe Tim Seeley plays on some series continuity, bringing back the proto-Archie town Haverhill from issue #6, and one page joke villain Mary Shelly Lovecraft from… I don’t know what issue off-hand. But it works on its own as an Archie deconstruction story, there’s some hilarious bits, some gross bits, and some sexy bits. Add all those bits together, and you have a damn great issue of Hack/Slash. Hooray!