I spent a few years reviewing comics for NextPlanetOver.com and its successor site SpinnerRack.com (both offline as of this writing). Once upon a time, I planned to divvy these up, make a bullet point list, yadda yadda ... who has the time? Here they are. Kinda wish I'd have dated them when I did 'em, but that ship has long since sailed.

So, without any further adieu ...

Transmetropolitan #51 (Vertigo)
By Warren Ellis, Darick Robertson and Rodney Ramos
The wonderful thing about a long form comic book like Transmetropolitan is that a small tidbit from years before can bloom into a brilliant reference that can fuel the ongoing tale. Planning such a masterwork allows a talented writer to accomplish this sort of thing, but in the hands of a master of the craft like Warren Ellis, it's truly a joy to behold.

For those not in the know, Spider Jerusalem was the City's most famous journalist in a dystopian future so much like our present it's sad. He'd fled the City after his fame chased him away from his ability to write, and hid up in the mountains in a cabin fortified like NORAD. Foolishly, he'd signed a three book contract and had two books left on his deal, so he returned to the City (it's never called anything other than that, but it's basically a future New York analog), and the first person he found was his former editor, now a big name at major newspaper The Word, Mitchell Royce.

That self same Royce is the pivotal figure in "Two-Fisted Editor," a truly fine and wicked bit of fun that turns the events of recent months on their ear. Spider and his "filthy assistants" are on the run, "marked for death by the President," and broadcasting The Truth (tm) from pirate "feedsite" The Hole. Six issues ago, all the evidence he'd collected about the President's secret campaign to assassinate his own political advisor (as well as supplementary data about the President's tastes in half-alien whores and some campaign finance violations that are disturbing) disappeared in a "mysterious" storm (the weather of the future is controlled) under cover of a "blue flu" (a police conspiracy to absent most of their members from the streets) and an invisible sniper who cleared out the Print District, where all the information is archived for almost every media outlet in the world.

This month, Royce brings it all back. Royce spends most of the issue chain smoking a fist full of cigarettes at a time and doing the impossible through a combination of intimidation, hacking, extortion and pretending to be a shattered man. He explains himself to Spider, when he delivers this grandiose cache of evidence and data, with the following soliloquy: "Let me tell you how it is. You gather the evidence and write stories. That's what you do. That's your job. I'm an editor. That means I do everything else. I get you paid. I move your work to all the places it needs to be. I run your insurance. I used to pay your rent. I deal with the complaints and the edicts from above and keep your mollified and all the other bullshit. I get the work out of you and I wipe your ass and keep your nose clean. You write the stories and I do every other damn thing there is to do. And you know why? It's because you only know how to write, and I've had to learn to do everything else. So you look at me, you weird little fuck, and you tell me you thought all your evidence was wiped. And I tell you, it's just your ass that's just been wiped. Big daddy Mitch Royce makes it all better."

The issue is a triumph on many levels -- the previously peripheral character of Mitchell Royce is fleshed out in glorious detail, which makes many of his actions in the past fall in a fresh, new light (which means rereading). It makes Spider's "deadline" (he has less than a year before a debilitating brain illness robs him of his sentience) all the more thrilling, a battle on almost equal terms. It continues the series' fascinating look at our present societal foibles. Best of all, it made this writer remember his times as an editor, and appreciate the level of work these under-appreciated, oft-maligned and more often forgotten members of the team contribute. This title has nine more issues left, and each one slowly builds in intensity and passion towards a climax that this writer awaits very enthusiastically. There's still time to catch this train, and this is an excellent point where all facts intersect, good for new readers to leap on or old readers to remark what a good ride it is.

Static Shock: Rebirth of The Cool #1 (Milestone/DC Comics)
By Dwayne McDuffie and John Paul Leon
It's been some time since there was a new Milestone book on the stands. The original experiment -- creator owned comics in a unified continuity, distributed and marketed by everybody's pals over at DC -- hit a snag and went the way of Hello Larry some time ago. Now, with a groovy new TV show, based on the cuddliest of mythical city Dakota's powered populace Static, the resurgence of monthly comics from McDuffie et al. is a natural next step.

Loose ends abound, and McDuffie does some of the work at tying them together. A powerful new entity is kidnapping "bang babies," the people unfortunate enough to be at Dakota's gang showdown where the authorities tested a new tear gas with almost tragically zany results. Dakota's iron man Hardware is tooling around in a wheelchair, his money unable to buy him the ability to walk. The super powered gang Blood Syndicate lies defeated all over Paris Island, captured by the new menace. Dakota's greatest power, Icon, is somewhere in deep space fighting unknown menaces (can you say prestige format project, possibly?). The other heroes in town are stymied. The only one left with power and brains enough to take on the bad guys (and be interesting enough for a four issue miniseries) is Virgil Ovid Hawkins, better known as Static.

McDuffie's strength lies in plot -- you can feel the tugging of foreshadowing here, with numerous mysteries gelling into a smart, interesting storyline. The characterization -- it seems Static hung up the tights (for a second time, as he did with the death of best friend Larry Wade) when his crime-fighting compatriot Dusk got herself killed in a simple fire rescue (one would think she'd have learned, after getting shot chasing drug dealers and not really having any tactically useful powers), and former eating disorder poster girl Frieda Goren has resumed her "I'll-never-say-yes" flirting with the now happily committed Virgil -- is not as solid and makes the characters feel rusty, like watching Maggie Seaver and the bunch on a Growing Pains reunion. Still, the pieces are here for one interesting series, and the first issue is solid entertainment on pretty much every page (okay, page 13 is confusing, but it's still pretty good). This is a series to watch, hopefully heralding a return to the good times when Static was the teen hero to watch. Terry McGuinness better watch his back.

Transformers #1 (Dreamwave)
By Chris Sarracini, Pat Lee and Rob Armstrong
The long-awaited, anticipated debut of Transformers #1 from Dreamwave is so visually stunning, so flawlessly faithful to the spirit of characters that sometimes didn't stand up right as toys, that never looked like the cartoons, that it is almost enough to weep over. The humans who infuriatingly dominate this issue are nothing special -- you'll see better depictions of the human form by Cassaday or Ross or any of your favorites. No, the robots are what you're here for, and they are on panel so blessedly short a time that every glimpse of their gigantic frames makes the heart of a Transfan leap with joy. To be honest, if you're not fairly well acquainted with the Transformers: Generation 1 story, this book is a bit dense and offers few inroads. Some, but not many -- the well done newspaper story at the back, for instance, linking the present-day to what had to have come before. Sarracini's story is one of things we all know and understand -- human greed, base desires for power and control. Our favorite characters are peripheral -- if you're smart you'll catch Hound embodying the fun of the first Transformers experiences. The issue moves quickly, obviously intended as part of a larger mosaic and not offering much to go by as a standalone piece of work. Still ... Sarracini has a lot of questions to answer. Why a planet full of transforming mechanoids never wondered where their leaders and brothers-in-arms went. What happened in the "civil war" back on Cybertron that drove the Ark to Earth? How long until those glowing red eyes reveal their secret and bring Decepticon Smackdown back to Prime time? This reviewer was blessed enough to have Steve at Comics Ink in Culver City let him read the preview issue, which featured a lot of talk and one single panel of Trans action, everybody's favorite monotone tape recorder. The human connection is well-crafted and interesting in its own way ... but as a longtime devotee who stared, mouth agape and eyes wide with awe at the first commercials, showing fast moving cars fly from the ground and reconfigure themselves into giant bipedal humanoid forms ... less tease and more please. It's a good issue, a fairly typical approach to first issues these days, but as a comic on its own it's nothing special. A must have (in either Decepticon or Autobot wraparound covers, or both if that much of a fan) for those who have waited and waited, but this is one for geeks only that does nothing to expand the brand or the property. A love letter and thank you note for the faithful, but this will remain a small party if things continue in this direction.

Thunderbolts #49 (Marvel Comics)
Fabian Nicieza, Greg Adams and Mark Bagley
The second best book at Marvel (only surpassed by the magnificence that is Black Panther) takes even more twists and turns with revelations (most of which are massively spoileresque) that'll blow your wig back. Most prominent is Hawkeye's duplicity, which comes to light in a scene with Jolt that's downright disturbing, but there's some entertaining action with G.W. Bridge and his boys with S.H.I.E.L.D., and the Fabe hides even more details deep, deep within Mt, Charteris. Not the best jumping on point for new readers, but a bombshell and a great read for anybody who's been following the book.

Rising Stars #13 (Top Cow)
By J. Michael Straczynski, Livesay and Christian Zanier
If you've been reading Rising Stars (and really, who doesn't?), you should sit down with a nice, calming drink and strap on your seatbelt for an issue which blows the lid off everything you knew, and in such a way that leaves the future a mystery and closes the first half of the series. Patriot's naughty secret finally comes out for all to see ... but it's nothing like what you expect. You'll finally see the end of Critical Maas and her mad rule over Chicago (no real spoiler there, you knew it had to happen sooner or later). A very surprising death rocks your world at the end. Best of all, the artwork (long a cross borne by this title) is crisp and clear -- you can easily distinguish Poet from Ravenshadow, and there are actual differences between faces now. The devastated Chicago doesn't get much screen time, but from the detailed rubble in the backgrounds you can still get a sense of what's been going on here. All around this is one excellent issue of an excellent title, and readers are left gasping for air by the end of this one. A definite must-read.

Sigil #21 (CrossGen Comics)
By Chuck Dixon, Scott Eaton, Andrew Hennessy and Wil Quintana
Deception is the name of the game in this installment of CrossGen's space opera, Sigil. The title character Sam Rey, is absent the entirety of the issue (despite a charismatic press appearance that isn't all it seems). Much of the issue involves the struggle of the Saurian matriarch (see the Saurians are at war with the humans of the Planetary Union ... ah, go look it up on the website) to regain her throne in a very unexpected fashion. A surprise assassination that leaves the Planetary Union headless overshadows the much more impressive attempted assassination of the Sultan of Tanipal, which provides a great deal of suspense in the early half of the book. Still, precious little happens for all the "action," but the title character brings his particular brand of smackdown back next issue, and Dixon has grand plans (as noted in an interview at the end of the issue) to blow up lots of things on a planetary scale. Fans of movies like Starship Troopers and Red Dawn will be staying tuned for the madness, but the intricacies here may leave readers of more complex titles cold.

Negation #3 (CrossGen Comics)
By Tony Bedard, Paul Pelletier, Dave Meikis and James Rochelle
Things have gone decidedly awry for the assorted survivors of last issue, as Obregon Kaine continues to keep the castaways plucked from the CrossGen universe proper alive in the alternate universe called The Negation. Comparisons to Marvel's Negative Zone fall short, as the rules here are completely made by one will, that of the Beyonder-like god-emperor Charon. His whimsical experiment involving various randomly selected beings has blown up, with two groups of prisoners escaping and running loose in his universe. Both barely make it through this issue (including a baby that seems far too fragile to survive) while finding an unlikely ally and a terrible surprise about this strange new world. This book seems to fly by, a sad reality of this series thus far (this writer suspects it will flow much more completely in the trade paperback treatment, one the company supports heavily), but it's an eventful installment in a series that has yet to really hit its groove. It had the makings of an interstellar take on HBO's Oz, but has thrown that premise out the window. You may be checking for the name "Robinson" on your ID, being this lost in space, but Bedard, Pelletier and Meikis is at least taking the scenic route and makes this interesting.

The Path Prequel (CrossGen Comics)
By Ron Marz, Bart Sears and Mark Pennington
"Scholars write history in books. Warriors write history in blood." From that stirring opening line, The Path sets off on a course part Carradine-era Kung Fu and part Saturday-afternoon karate movie. However, the toungue is kept a considerable distance from the cheek, as this book treats the material with the cool reverence of a Crouching Tiger Hidden Dragon. The story includes all the old favorites -- the slain brother, the misplaced childhood loyalty, centuries of honor on the line, the conflict between massive empires and their endless legions. In a CrossGen specific twist, a Sigil came to be possessed first by the Warlord Todosi and then by his pacifist brother, the monk Nobuyuki. In a twist of fate that could only happen in a CrossGen book, the gods themselves intervene in the conflict between the Ohira Dynasty and the empire of Shinacea. That's where things go absolutely nuts. Marz -- a long way from his hamfisted Green Lantern run -- delicately crafts the narrative with patience and care. The pace never drags, nor is any important detail left to chance, in a flow that is nearly flawless. Sears and Pennington do a superb job capturing the parchment-rough look and feel of feudal Asian societies, and the exquisite extras (including a proverb-laden look at the title's creative staff) make this book a real winner. CrossGen does it again with another unpaved path that's ripe with storytelling potential.

The Ochlocrat (Comics Conspiracy)
By Doug Miers and Gerry Alanguilan
In the latest one-shot from independent publishers Comics Conspiracy, a vigilante governed by public opinion (imagine a 1-900-vigilante on every channel) reaches into the electoral college to deliver some unpleasant polling results via high caliber gunfire. In addition, for his adult pay-per-view audience, he doubles as a Dirk Diggler with a political vocabulary, responding to online voting of another type entirely. Everything goes fine for him until a rival network decides to put their own Ochlocrat in the mix (an "ochlocracy" is a system of "mob rule," just for your information, which goes a long way to explain the title character).The over-the-top violence and sex (none shown, just all suggested, and in a less graphic way than Max's Alias) is very well balanced by the social commentary, and while this book stands on its own, when read along with Operator 99, The Taxman and The Exec, this book really shines. Comics Conspiracy sells their books on a collected CD-ROM, and it's well worth checking out at their website, www.comicsconspiracy.com. Pick this one up, as raw, ugly, zany fun.

The Legion #4 (DC)
By Dan Abnett, Andy Lanning and Olivier Copiel
The Legion of Super-Heroes keeps climbing out of the dingy drabness of the past few years, liberating its fallen comrades both literally and metaphorically from the grasp of continuity into bright, new, fun stories. The shadow of the Demon's Head continues to hang over the 30th Century (immortals will always pop up sooner or later, which means the Legion will have to handle Vandal Savage sooner or later), with even the universe's most heralded Daxamite Mon-El held captive and powerless. The story is well paced and well done, with some of the distinctiveness of each character shining through the very busy plot. This issue is a hair below the really riveting moments of last issue, but this is quickly becoming a book to watch.

Captain Marvel #28 (Marvel Comics)
By Peter David, Chris Batista and Rich Perotta
Regular artist ChrisCross is taking some time off, but he's left Captain Marvel in capable hands, as Peter David drives us into the Marvel 2099 Universe (where he had tons of fun with Spider-Man 2099) with the banter and smackdown that we've come to know and love from this series. Left over story threads from before the fading of 2099 from store shelves (it won't matter if you don't remember it, but it's an added laugh if you do) provide the grist here, as transdimensional villain Thanatos pops in for some cross-temporal madness. Starfox comes clean on what's happening, Spider-Man 2099 agrees to join in, and this feels like part 2 of a four-part story arc, while still providing tons of fun for anybody who just stops in for this issue. Batista and Perotta provide compelling images (can they do a monthly book?) and David maintains his regular standards of excellence. Another great story from the House of Ideas.

Outlaw Nation #17 (Vertigo)
By Jamie Delano, Goran Parlov and Goran Sudzuka
The rambling run of the Johnson clan is nearing its end, but Story still has a few twists and turns in his lucky hat. Turning in his narrative on time, old Asa Johnson orders back the FBI forces ready to get their Waco on, and the sudden absence of danger leaves almost everybody as high on adrenaline as they are on drugs. "Bad Momma" Jenny Reiner plays vamp in high heels and a bikini for absentee father and gun nut Phil Todd (father of the death-obsessed Lola Todd from previous issues, who's sleeping with Devil Kid ... oh never mind). The innuendo is layered on thick, as Story continues spinning his homilies and quotables, as the herd gets thinned by Asa himself. This series will work best as a collection, as most issues (this one included) really make little sense out of context.

Lucifer #22 (Vertigo)
By Mike Carey, Peter Gross and Ryan Kelly
While the pacing here feels a little sluggish, reminiscent of some of the other slow periods in this ongoing's run, still waters run deep in this tale of the devil himself. The teenaged archangel Elaine Belloc spends most of the story being chased by a primordial spirit of superior focus that's been hired by unknown parties to kill her. A rogue pantheon invades Lucifer's new universe. The Morningstar himself preens and pronounces in a fashion befitting a dilettante. Things are afoot, mostly linked through issues months past as well as the first part of this story arc, "Paradiso," but it feels a little stretched out. Still, this series has a batting average of about .600, so it's worth hanging in there because when it does get the groove back, it really makes it happen in a spectacular fashion.

Star Wars #38 (Dark Horse Comics)
By John Ostrander, Davide Fabbri and Christian Dalla Vecchia
Ostrander keeps hitting all the right buttons in this delicious little tale of Old Republic nostalgia. Using many of the same tools that made the first two parts of the "Stark Hyperspace War" arc so interesting, Ostrander draws a small group of Jedi and their Senate protectees deeper into danger, making their eventual success (which is a foregone conclusion, as they all sit in the "present day" relating the story to a young padawan) all the more dramatic. Careful characterization is evident as breather-mask clad Jedi master Plo Kloon uses telepathy and understanding to keep his friends and charges safe, as the charismatic pirate Stark (who could easily have fit in with Solo and Calrissian as ascoundrel in a latter day) tries to hang on to his chance at glory. It's a grand tale in a safe setting, a bedtime fable from simpler times, and one that captures the nostalgic warmth that was somewhat missing from Episode I. Even the previously tiresome Quinlan Vos manages to be interesting, tagging along padawan style with a young Obi-Wan. Solid stuff, and another fine installment in this ongoing series.

JSA #32 (DC Comics)
By David Goyer, Geoff Johns and Peter Snejbjerg
In a cunning, carefully crafted vignette, Goyer and Johns have a very solid and very insightful tale into the JSA, their workings as a top-tier superteam and how they will ultimately have to overcome a truly massive challenge. The octagenarian Johnny Thunder has miraculously recovered from his bout with Alzheimer's disease, and he's got more surprises for the JSA (and in particular, the young man carrying his legacy, Jakeem Williams. This issue takes the time to watch the members of the JSA at rest -- Hawkman cleaning his weapons, Black Adam suggesting Middle Eastern food when someone orders Chinese again, and so on -- which serve as gentle nuanced strokes that flesh out the characters in ways few team books take the time to do. True, little actually "happens," but the build up here is so delicious, it'd be a shame to take in the madness that's to come without this savory appetizer. The cover quotes Wizard's "Best Comic 2001" proclamation, which may be a bit of an overkill, but it's definitely in the top 10, as this fine issue illustrates.

Impulse #82 (DC Comics)
By Todd Dezago, Carlo Barberi and Juan Vlasco
The world's most impulsive speedster never actually figures out what happens in this issue, but it's easy for the reader to. In this light, pleasant installment of Impulse's life, his alter ego Bart Allen is able to wax rhapsodic about the challenges of bathroom breaks in spandex as well as get some of the nimble, goofy charm back that has been missing in the series' more serious turns of the last year. When teens start going crazy and hallucinating at the nearby high school, Bart rushes over to evacuate without investigating (very typical, yet still amusing) and completely misses the twin ventrilopaths (that word is in the book, we didn't make it up) stealing a page from the Xi'an Coy Manh Playbook. One, a sultry siren in a black tube top and hip hugger slacks, is the "bad" twin, angry with being an outcast (although with looks like hers it's hard to see why she would be, perhaps Dezago forgot to tell Barberi they shouldn't look like they escaped from a BET video show). The other, all bright eyes and shy schoolgirl innocence in a blue miniskirt, whines and worries their secret metahuman abilities will come to light. Sure, the cliches in this story are layered on with a trowel. Still, this lighthearted book is a nice alternative with a perfectly serviceable storyline and kooky, eye-catching art. The kind of book you can read with your little brother (this writer does). While some issues are more riveting (and even more funny) than this one, Impulse #82 is a harmless bit of filler in an otherwise challenging world.

Captain Marvel #27 (Marvel Comics)
By Peter A. David, ChrisCross and Anibal Rodriguez
It's often easy to tell when someone really enjoys their job, and that's very easy to see in the latest adventure of Genis-Vell, the titular character here. This month, the ghosts of comics future come to play, with Thanatos and Spider-Man 2099 making appearances (longtime fans will remember David's work in the 2099 universe, and it remains a place that holds his affections). Also, new haircuts for almost everybody as former Avenger Starfox (Eros of Titan, a notorious intergalactic playboy with the metahuman power to charm, as well as fly, be strong and ... oh, it doesn't matter) shows up with some kind of pompadour, and criticizes the young-again Rick Jones, himself looking like a member of N'Sync (perhaps angling for a part in Episode III). See, Thanatos manages to jam up Starfox quite well, leaving the pretty boy hero "leaking a sort of temporal energy," most specifically into the toilet at Marlo Jones' comic book shop Golden Orange (a very funny and largely accurate depiction of LA comic shop Golden Apple). If you're hazy on Marvel continuity, past and future, don't worry about it -- Chriscross' ability to make the female anatomy leap off the page (and bounce, and jiggle) will keep you entertained, as much as his crisp and evocative facial expressions and solid work on the male characters and backgrounds. David often plays it for laughs, and this issue is a whole toilet fulla cross-temporal fun, whether you get all the continuity references or not. This issue is a fun, fine read that's just a little bit naughty, another one for one of Marvel's best titles.

Suicide Squad #5 (DC Comics)
By Keith Giffen, Paco Medina and Joe Sanchez
The most important two words anyone can tell you about this issue is "Pay attention." This self-contained story, called "The Jerk" will likely have you as confused as its lead character Modem. Everything you need to know about anything about this story is contained within, but not in ways that are readily available. An old DC favorite makes a comeback in a very subtle and well-crafted way, and all around this is the product of some superior thinking. Either Medina or Sanchez could spend more time developing the faces of the characters, which are very hard to read at some points (page eight in particular, bottom series of panels, the woman Dottie looks like a doll and not a person), but it doesn't detract from the story because the story won't slow down long enough to do so. Very little happens, true, but it fails to happen at a breakneck pace, and that's why this issue is such a delight, in much the same way the film Smoke was. An insanely delicate balance of dialogue that makes quite an impression when all told. Don't ask any questions -- just buy it, read it, and pay attention. You'll be happy you did.

Felon #2 (Minotaur Press/Image Comics)
By Greg Rucka, Matthew Clark and Ray Snyder
It's not Mel Gibson's Payback, but if you found that good, you love this. If you remember from the first issue, Rucka's femme fatale Cassiday is out after three years of a five year prison term, mad as hell and looking for her share of $300,000. This issue, one of her former cohorts crosses her and catches her fury in a way that's so hideous, it made me cringe (women may not find it so bad). The taciturn lead in this crime drama is less a character than a placeholder -- we have yet to see any real development of her as a character, but the plotting and dialogue is so crisp and enjoyable it's hard to notice. Clark's layout are clear and understandable, and he has none of the distorted concepts of anatomy that drive away so many fans. Each face is distinctive, each panel makes sense, and this is indeed one finely crafted comic book. Time will show if this series (slated for only eight issues) will flesh out these ideas, but for now, it's a fun ride with few details to snag your coat on.

G.I. Joe #3 (Image Comics)
By Josh Blaylock, Steve Kurth and John Larter
The stakes get higher as Cobra's plan for world domination marches onwards, knocking out half the Joe team in the process. There's a number of answers this issue -- the facts about Destro, the secret origin of his new general Armada, and a smackdown jailbreak by Scarlett and Snake Eyes as they sort out some relationship issues. Everything you could want -- plot, fighting and chuckles -- all wrapped up in serviceable art. The only possible complaints are the space between issues (after 60 days, I had to reread the first two to remember some facts) and the brevity of each one (the 24 pages of story never seem to be enough, even sans full page splashes, as there's so much story lingering just outside your peripheral vision). The proper slogan might be "Mo' Joe!" since this is the best of all worlds for nostalgia buffs, and only lacks cohesion. Perhaps once this initial four issue arc is done, even new readers will enjoy the whole thing as one delicate origami of a story.

Transmetropolitan #52 (Vertigo)
By Warren Ellis, Darick Robertson and Rodney Ramos
In an issue that barely stops to take a breath, Spider and the Filthy Assistants track down the last living prostitute to have serviced the president. Through the process, Ellis takes a shot at American paranoia, kills two government agents, and runs you through more of the glorious, decaying city. It's a literary slice of Run, Lola, Run and it once again captures everything great about this comic. There's no need to discuss the fine work of Mssrs Ramos and Robertson, who've been dreaming up the future, panel by panel, in such a fine fashion for so long that it's almost accepted as a fact. Nor is there a need to analyze the careful ties to issues months and years back that are tied in to the long form story even now, eight short months from the series' finale. No, there's only one thing one has to say about this issue: if you haven't started reading, you'd better get to it. You're almost too late ...

Black Panther #40 (Marvel Comics)
By Christopher Priest, Sal Velluto and Bob Almond
The three part "Return of the Dragon" story arc ends here, with a huge bang and a set up for the next storyline that's nothing you could have expected. The Black Dragon, Chiantang is back in his own shapeshifting, poisoned body, laying the smackdown on Manhattan (and finally Wakanda) in a way Osama Bin Laden can only dream. Nightshade finds M'Baku's little surprise from issue #35 (why the Panther was dragging it to the US in a battle cruiser is a mystery) and causes more madness than you could ever believe. Iron Fist wakes up from his trance and goes fist to claw with Chiantang. The Panther tries to negotiate and gets eaten by the Dragon ... and that's all part of his plan. Confused? Don't be -- Priest weaves explosition deftly between fight scenes and dialogue, so even if you know nothing, you can keep up with what's going on. More newbie-friendly than some past issues and a notch above last issues silent all-fight scene issue (which still managed to advance the plot), this is another gem in the gleaming crown that is Black Panther. Well worth your money, and one hell of a read.

The Legion #3 (DC Comics)
By Danny Abnett, Andy Lanning and Olivier Copiel
In recent years, the Legion has taken quite a pounding, from having its very origins ripped out from under it in Zero Hour and so many versions you don't know what's what. For the first time since the debut of the convoluted but promising Legionnaires series, you can sense something familiar in the series. Something that everyone used to love, and that made such fanatical fans of the concept. It's hope. Look into Cosmic Boy's eyes. Note the tilt of Kid Quantum's head. The bright hope of the United Planets, which carried the Legion and its fans through the resurrection of Darkseid, the horrors of Mordru, more dangerous battles with incarnations of the Fatal Five than we care to remember ... it's back. In addition to that, this issue carries a very exciting, dangerous, and slightly zany blast from the past that we will not spoil for you and promises some real menace on a level the Legion is made to handle. While the depressing Legion Lost and the dour Legion Worlds were like wet blankets thrown over the fires of your imagination, the spark that once made the Legion a shining beacon in comics is back, well drawn, well written, and more fun than it's been in years. The broken down bandwagon suddenly looks a lot more stable, and it's still got room for you.

Star Wars #37 (Dark Horse Comics)
By John Ostrander, Davide Fabbri and Christian Dalla Vecchia
Continuing the prequel-era reminiscence of the Old Republic, Part 2 of the four issue story "The Stark Hyperspace War" picks up where last issue left off. Jedis at gunpoint. Grinning pirates. Embarrasingly incompetent Trade Federation officials. The names that would come to symbolize Imperial arrogance floundering and making you wonder how they ever came to power at all. Everything a Star Wars fan could want -- saber-swingin' smackdown, initerstellar gunplay, and the intrigues and backstabbing that only the Old Republic's burdensome Senate could allow. Fans of general sci fi and action should be able to keep up without too much trouble -- Fabbri's clean layouts and Ostrander's intellligent and utilitarian dialogie make it simple for even readers who missed last month's issue to stay abreast of things without too much trouble. Another winner from our dear friends in Oregon.

Star Wars #36 (Dark Horse Comics)
By John Ostrander, Davide Fabbri and Christian Dalla Vecchia
During relatively "safe times," notable Jedis of the period between Phantom Menace and AOTC (that title should not be typed in its entirety), a group of Jedi reminisce to help an apprentice jog her altered memories. If you've been following the "ongoing" Star Wars title (which has consisted of self-contained arcs in the same way Tangled Web and Startling Stories are doing it at Marvel), you'll remember the Twilek Jedi padawan Aayla Secura, who lost her identity and memories with Quinlan Vos some issues ago. If not, it doesn't matter -- you're caught up before the end of the second page. This four part arc, "The Stark Hyperspace War" reminisces about relatively more innocent times, when trade disputes regularly flared into open gunfire. The Republic is shown at its bloated height, ineffectual and fragmented, ripe for some determined demogogue to sweep in and take the whole kit and caboodle. The demogogue in question here is a man named Tarkin (those familiar names and settings help hook this story for fans), the Trade Federation is predictably weaseling around, and the Jedi are again trying to find the true and right way between the corrupt and the ineffectual, both of which are pulling all the strings. For the fan, this issue has Jedi smackdown, space combat, and is a well crafted tale well within Ostrander's sizeable experience. Fabbri is comfortable with these characters and he and Vecchia serviceably present them throughout the issue without any of the cartoony aspects so many fans resisted in the Yavin Bassilika mini series. For Star Wars fans it's a solid buy, but people not deeply indoctrinated in the canon of the mythos may not be as excited by this admittedly tangential reminiscence.

Ruse #2 (CrossGen Comics)
By Mark Waid, Butch Guice, Mike Perkins and Laura DePuy
The fast pace of the first issue is gone here, with a more ruminative feint as this title begins to spin and obfuscate, taking the title to heart. Assistant/secretary Miranda Cross becomes vastly and powerfully befuddled as she resists using her inherent metahuman powers and tries to rely on her burgeoning detective skills. "Mysterious visitor" Miranda Cross moves people and organizations like chess pieces. The title's "protagonist" Simon Archard disappears from public view two thirds of the way through the issue. Mark Waid wields the air of mystery like a waterhose, liberally dousing every page with misdirection apparent to the reader but considerably less so to the characters. It's a fun little romp, despite concerns that have been discussed on Usenet about Guice's visual storytelling. Considering Waid has this as a serious and ongoing committment, it's worth picking up, and still early enough to catch all the inside jokes.

X-Treme X-Men #5 (Marvel Comics)
By Chris Claremont and Salvador Larroca
Claremont strings jewels together from disparate sources -- Morrison "outing" Xavier as a mutant, the Destiny Diaries -- to show Storm knows more than she's letting on (plus shows a new direction with her already impressive powers) and things are moving in what, we're surprised to say, looks like a unified direction. The computer-enhanced artwork still looks unfinished in spots (and splendid in others, such as a panel of Sage about halfway in, with a cool lighting effect), and there may be more story here than the pages can hold, but Claremont still manages to make the most coherent, most compelling X-books on the stands. Following "Lucas" Bishop's lead in doing detective work familiar to fans of Law & Order, globehopping and going undercover in a fashion that's actually pretty entertaining. Keep your eye on the bouncing ball, as this issue moves fast and furious, but it's clear that, of all the X-writers, Claremont has a big plan for where he's going and not just moments of shining brilliance. Sad to say, this is the real deal, kids.

Black Panther #36 (Marvel Comics)
By Christopher Priest, Sal Velluto and Bob Almond
Wow. Steppning two decades into the future, Christopher Priest depicts the life of the title character as his web of colleagues grows far more intricate, including a son T'Charra and Faida, the daughter of today's Queen Divine Justice (due for an appearance in the Hulk any day now). What's most fascinating is T'challa's inability to learn from the mistakes of his father: his treatment of T'charra in turn makes Faida a modern analogue to Hunter the White Wolf, underscoring that by partnering him with her ... a partnership that nets her much more than she could have expected. Toss in a band of badly spelled villains, a geriatric Everett K. Ross on commentary, a resurrected Erik Killmonger and of course Reverend Achebe, and you have one big, complex, fascinating story. Velutto and Almond depict this future in some detail, but to be honest their work is a bit muddy in parts. Likewise, the story obviously withholds some details -- T'Challa had children with a Dora Milaje? Ross married and divorced Monica Lynne? Of course, the now-mature QDJ sums it up in saying, "All things in time," and the few first read quibbles can be cleared up on subsequent study. On top of that, reprints of the Panther's first appearance, a bonus journal of Ross' own, a map of Wakanda, and a reprint of T'Challa's origin. More goodies than you can shake a ceremonial costume at. All in all a powerful chapter in a phenomenal series, well worth your dollars.

Transmetropolitan #49 (Vertigo)
By Warren Ellis, Darick Robertson and Rodney Ramos
With an infusion of passion we haven't seen the likes of since Year Three, Spider Jerusalem and his Filthy Assistants dive into Year Five with fervor, and take the readers along for the ride. More than two years worth of hard evidence has been wiped out by the President's handiwork, and our intrepid anti-heroes are on the case, trying to recollect it all before everyone's least favorite professional bastard succumbs to the degenerative brain illness he's contracted. The speed at which the issue moves -- Spider, Yelena and Channon hopping from car to car in rush hour traffic, beating and bowel disrupting several people foolish to stand in their way -- is indeed reminiscent of the mad old days of this title, but with a sadness hanging over it like clouds on Saturday morning. This one is heading towards its conclusion powerfully, and the ride is as solid as ever, with Ramos and Robertson providing the dystopian visuals we've all come to appreciate so much thus far. All this, and Spider finally gets Channon into bed. Yet another great chapter in one of Vertigo's finest.

Startling Stories #2 (Marvel Comics)
By Brian Azzarello and Richard Corben
Well, this issue proves that even the Bruce Banner persona is largely secure from being shot (if he sees it coming), but its ... unusual take on Doc Samson notwithstanding probably leaves this securely outside continuity and in the world of Elseworlds, er, What If? The concept: looking more closely at the battered, smushed, and smashed victims of the Hulk's regular rampages (over the years, how much of the country do you figure he's flattened) only manages to blow up a bunch of helicopters and provide a long, graphic fight scene. There's precious little story here -- perhaps this was intended to fit into the larger story arc Azzarrello is planning -- but it feels like this entire issue could have been told in six pages and been done. Fans of Azzarrello or Corben might pick this up, but it's a remarkable drop from the quality of the first issue.

Tangled Web #5 (Marvel Comics)
By Peter Milligan and Duncan Fegredo
If you've never seen Flowers for Algernon, the story of a less-than-intelligent man who was given superior intelligence, this may seem like the freshest look at the Rhino ever. The trend of humanizing the villains that keep our heroes on their toes was done by Jenkins with Killer Shrike in Incredible Hulk, and with a fresh perspective that we hadn't seen before. Milligan's choice to lay the idea of Flowers for Algernon over the Rhino's bulky frame is interesting, but sadly lacking anticipation for anyone familiar with the story. Still, it's a full powered characterization of the Rhino, showing his motivations and creating a relationship between him and mob princess Stella (it's not hard to see a Streetcar Named Desire tribute in our future), and if you're a fan of Spidey and his totemic opponents (apologies to JMS), this is a fun issue to pick up.

Rogue #1 (Marvel Comics)
By Fiona Avery, Aaron Lopresti and Randy Emberlin
Some might consider this look at Rogue's initial period with the X-Men chock full of retconny goodness, but it's actually closer to an issue of X-Men: The Hidden Years in tone. Rogue struggles with her powers, pre-Ms. Marvel, and is a withdrawn shadow of the brash, blues playin' X-Treme X-Man of today. It's fun to look back, and it's a considerably better told story than Cyclops' solo mini. Lopresti and Emberlin's artwork is vivid and engaging, and overall this is a shiny, pleasant comic confectionary treat that is as harmless as it is simple. Rogue fans will rejoice (unless they want cleavage ... those days may be gone), and run to pick up this issue.

Deadpool, Agent of Weapon X #1 (Marvel Comics)
By Frank Tieri, Georges Jeanty and Jon Holdredge
The score, as of now, is Frank Tieri, three, entertaining writing zero. Wolverine and Iron Man have languished under his cancerous touch, and now the merc-with-a-mouth gets the Tieri Treatment in a relaunch of the title as Deadpool: Agent of Weapon X. The old Weapon X program has been reborn and revitalized under a disgruntled former guard (don't ask) and become a wacky collection of warriors for ... well, their motivations are a little unclear, standing across the battlefield from Magneto and Xavier's philosophies. Anyway, the good news is that Tieri's grip on Deadpool's traditional banter is about as strong as Scalera's, which is good enough to almost fool you into thinking it's good. Likewise, Deadpool's healing factor is back better than ever, which leaves room for some serious entertainment. However, Tieri's cliche plotting shines through like a seventy carat cubic zirconia, and overall the story is completely forgettable. Had the whole thing been compressed into eight pages, it would have been just as well. Luckily, Newsarama notes that Gail Simone (of CBR's You'll All Be Sorry and also writer of upcoming Night Nurse) will be on board in eight short issues ... so let's just start by pretending Tieri's run never happened, right now, at it's beginning. It's for the best, really.

Marvel Knights #14 (Marvel Knights)
By Chuck Dixon, Mike Lilly and Nelson
Despite three solid months of lackluster issues, Marvel Knights is back to being entertaining in this, it's (possibly) penultimate issue. S.H.I.E.L.D. is chock fulla robots, Marc Spector backs out of the "team" thing because his precious skyscraper gets blown up, and Luke Cage goes pro bono. This issue moves back and forth with more of the zeal the early parts of the run displayed ... but according to all reports, it's too late. Lilly and Nelson's art shows distinctive pep and vigor: the last page is wonderfully wicked silhouette fillled with menace and personality, and the Punisher's interplay with Vermin is likewise fascinating. If this title could be this good more than once every four months, maybe we'd mourn its passing a little more. As it stands, it's a passable moment in time we'll enjoy and move on from.

Ghost Rider #3 (Marvel Knights)
By Devin Grayson, Trent Kanuga and Danny Miki
Grayson has fallen off the wagon, motorcycle, and several other types of vehicles in this tedious issue, the third in a string of vapid adventures of Johnny Blaze (who looks somewhat like Dale Gribble on King of the Hill after all these years). Hired hitman Gunmetal Gray (just move on, don't think about it) throws everything including the bathroom sink (and a truck fulla liquid nitrogen) at Ghost Rider because, see, Johnny Blaze put a contract out on the spirit of vengeance. Yes, it's "heroes attack themselves" month (looking at this an Bob Gale's equally tedious Daredevil issues), and it comes back to haunt Mister Blaze, who ends the issue with a gun to his head. However, unless you're a huge Johnny Blaze fan, there's no reason to care what happens to him, and there's absolutely no explanation of why Ghost Rider does what he does. The characterization here is thinner than Kate Moss, the artwork is lackluster at best ... this is the New Marvel?

Elektra #2 (Marvel Knights)
By Brian Michael Bendis and Chuck Austen
The computerized inking looks even more unfinished this month, as Bendis ratchets the story from "kooky" to "ridiculous." Elektra's "ninja whamma jamma" gets her out of last issue's cliffhanger "death" (doesn't anybody stay dead anymore?), Hydra manages to dig up a powerful relic from Fury's past (explaining some of his enthusiasm to dig in his heels in Iraq), and the entire book looks as though they borrowed the lighting director from the early seasons of the X-Files. Bendis has a crisp and thorough grasp on the realities that surround stories, and the overall plot looks like it could develop into something interesting, but there's too much suspension of disbelief required in this issue to be buoyed by mere dialogue and ambiance.

Thunderbolts #55 (Marvel Comics)
By Fabian Nicieza, Patrick Zircher and Al Zey
For years, fans have debated and wondered about the contents of the suspended animation chamber underneath the Thunderbolt's Mt. Charteris. When this reviewer saw the eventual answer posted on Usenet, it was hard to believe, despite all the evidence that indicated the veracity. As the title of this issue says, "Does Anyone Remember 'Humus Sapien?'" The sad answer is, no, not really. A character created as part of a 1973 "Create a Villain" contest (that's 28 years ago, kids, i.e. the same year this reviewer was born), here's what Humus Sapiens does, in short: Walks out, smacks the Redeemers around, looks around sadly, and disappears again from continuity. The art maintains the solid standard, but this issue is a considerable letdown from a villain who had a lot of promise -- on first read, one almost expected Graviton to end up toe-to-toe with the villainous relic. Alas, things go from bad to more bad for the Redeemers, as next month looks like it's headed back on track form Marvel's hard luck heroes. After such a long run of excellent issues, Nicieza probably deserved a clunker.

Captain Marvel #?? (Marvel Comics)
By Peter A. David, ChrissCross and Anibal Rodriguez
This title is a hidden gem in the Marvel stable, with some of the crispest artwork on the stands rendered by ChrisCross and Rodriguez, and of course ... well ... Peter David is a talent that can set the bar really high (his run on Incredible Hulk) or just pepper you with popcorn and fluffy material (Young Justice, Supergirl). Captain Marvel leans more towards the latter, with Genis often taking a back seat to the truly well developed supporting cast. This month, the title hero crosses space to help his atomically bonded best bud and ends up catching the hammer (almost literally) from the new "ruul"-ers of Hala (The Kree are from Hala, Genis Mar-Vell is half Kree ... oh, never mind). Numerous misadvantures happen to the formerly dead Lorraine, Marlo manages to inadventantly get involved in another joke about Moondragon's butt (Sir Mix-a-lot should be getting royalties), and Rick Jones mutters and complains through most of the book in amusing fashions. There's not a lot of action, which some would consider a downfall for a heroic book about a guy with cosmic awareness and blast-a-rific power bands, but the plot and character development is superb, the dialogue is brilliant, and as noted, the artwork is remarkable. Pick it up, you'll thank yourself.

Black Panther #35 (Marvel Comics)
By Christopher Priest, J. Calafiore and Livesay
If you didn't get enough laughs with the Defenders in their own book, the mastermind Christopher Priest has them here as well, studying a doppleganger Mephisto and letting Everett K. Ross lay the smackdown on their candy asses. Likewise, Henry Gyrich manages to be more cool and more entertaining than ... well, than any appearance outside his bits in Thunderbolts #49-50, really. He reads Man-Ape the riot act, taunts him with video footage of the time the T-Bolts stripped him and talked about his momma, and oh yes ... T'Challa handles some business as well, having a tough talk with his Dora Milaje concommitant Queen Divine Justice. The writing zings and hums with the precision of a finely made machine, satisfying and surprising you at every turn. Likewise, Calafiore and Livesay turn in some fine artistic performances -- you can see some of the difference between them and normal art team Velluto and Almond, with backgrounds a little less detailed, and it's not really clear why the Man-Ape falls flat on his face, but then looks like nothing has happened a page or two later. If you're not reading this, you're missing the best Marvel has to offer. Even as the conclusion of the 2 part "Gorilla Warfare" arc, this is a great place for new readers to hop on, especially building up to next month's 35th anniversary 100 page monster "The Once And Future King," and of course a meaty reward for longtime fans, always hungry for this brilliant jungle action.

Defenders #8 (Marvel Comics)
By Erik Larsen, Kurt Busiek, Ron Frenz and Al Vey
The cover quotes Comics International, crying out of Springfield that this is "the worst comic ever produced." That's just the height of irony, since the characters represented -- The Hulk, The Silver Surfer, Doctor Strange and Namor -- haven't had this consistently solid and entertaining a portrayal in some time. This is the one book that can safely smack continuity and no one will notice. In search of the Surfer, to quash the curse that keeps bringing them back together like cheesecake and Luther Vandross, the remaining "big names" of the Defenders travel across the galaxy and -- almost against their will -- help the Toad Men of Tribbit (don't ask) free a world from the resurgent Kree (didn't the Shi-ar stomp the Kree something proper?), who -- I kid you not -- show up in souped up AT-STs from "a long dead empire in a galaxy far, far away." This title is consistently one of the most entertaining on the stands, because not only do its creators have a solid knowledge of the material herein, but a genuine affection for it as well, one that shows through every cartoonish panel, every ba-dum-bump punchline. It's not high art by any stretch of the imagination, but it's good, clean, simple, fist-swingin' fun. Somewhere, Stan is probably very proud.

Cyclops #1 (of 4) (Marvel Comics)
By Brian K. Vaughan, Mark Texeira and Jimmy Palmiotti
Something must have gone wrong on the way to the printer, because this first installment of what appears to be a completely pointless mini-series is ... well .. it's just not good. Let's look past Vaughan's limp plot, a vapid excuse for Black Tom and Juggernaut to go toe to toe with Scott Summers (the original Slim Shady?), but what the hell happened to Tex? Capable of lush and evocative visual storytelling, the entire issue looks like it was done in a day. There's a panel where Cyke has been knocked down and makes a lame comment about hitting guys with glasses that's simply the worst the character has looked in recent memory. To borrow a quote from Warren Ellis, the cover is "bastard ugly" and things don't improve much. Palmiotti -- so fresh and so clean inking Dillon on Punisher -- is transparent here. Did someone pay these guys to take a dive? Even longtime X-fans would have to admit, with no revelations and no significant story, there's no reason to pick this issue up at all.

X-Treme X-Men #4 (Marvel Comics)
By Chris Claremont and Salvador Larroca
"Gambit's Back!" Now, this sentence may trigger pre-order spikes and signal the coming of bad dialect dialogue, but Claremont manages to make the Cajun mildly interesting in this mildly interesting issue of X-Treme X-Men. The superkiller Vargas (who put Betsy Braddock in a pine box, doncha know) has a thin sliver of spotlight cast upon him this issue (making him no more interesting, alas, despite having Destiny's precognizant diary involving this team) and Bishop is (possibly) retconned into having an Australian Aboriginal ancestry (Gateway is his granddad ... right) and "Lucas" as a first name. Not a whole lot happens, plot wise, but lots of characterization is heaped on the team, especially for Whitey Ford, er, Rogue as she inherits Destiny's estate and plays the blues, as well as Thunderbird and Bishop, bonding over a hot stove. This is, sadly, probably the best X-book out right now because it has a very simple storyline that it slowly follows every month (get Destiny's diaries!) and has some pretty and fairly unique art, showcasing the characters in a good light. It's not a barn burner, but if you must read X-Men books, this is one of the better issues.

Punisher #3 (Marvel Comics)
By Garth Ennis, Steve Dillon and Jimmy Palmiotti
Last issue, newly cyborg-ed super killer The Russian caught a pipin' hot bowl of beatdown from the "team up" of the Punisher and Spidey. This month, Punisher tracks down the man footing the bill. Sort of. Imagine Frank Castle's version of Survivor, complete with him, a .45, and an island full of borderline psycho ex special forces troops all hunting him down in the jungle. That's where this travelogue leads us, and it's a fun trip. As always, Dillon's cold depictions of Castle are spot on, and Ennis is a master at this kind of cruel, gallows humor. Taking The Punisher too seriously was the mistake of the 90s, thankfully we can see a psychotic serial killer as a source of downright hilarious entertainment these days. The downward spiral into bullet ridden hilarity continues, and boy it's a great ride.

Detective Comics #761 (DC Comics)
By Greg Rucka, Shawn Martinbrough and Jesse Delperdang
Sasha knows a secret she'd better not tell, and it's gonna lead her into a month of sheer hell. In this month's installment of Detective Comics, an issue called "In Thirty Days," the masterful Greg Rucka pushes the bodyguard-who-learned-too-much storyline happily along as Bruce tosses Sasha into Robin/Batgirl Camp, giving her a month to get in sufficient shape to hang on the rooftops and mean streets of Gotham with the agents of the Bat. Meanwhile, at police headquarters, Internal Affairs pokes around Bullock's squad room, in case the Mad Hatter wasn't alone in the plan that made a third of the department's officers commit crimes under mind control. The book is a wonderful diptytch, and well served by the mood-setting duotone coloring that's becoming this title's trademark. A similar storytelling manuever was used, somewhat less effectively, in a Superman issue a few months ago involving a middle Eastern strongman and Lex's labyrinthine plans. Here, Rucka and Martinbrough use it with excellent effects -- Sasha pushing herself through Bruce's demanding regimen on the left side of most of the pages. The conclusions to both storylines are no surprise, but the tension applied in getting there is delicious and well worth the ride. In addition, Slam Bradley continues his search for the Catwoman in the very fun and even more noirish backup, which will hearken fans back to the two-fisted, fedora wearing detective stories of old. The best Bat book around hangs on to the title one more month with another great issue.

Daredevil: Yellow #3 (Marvel Knights)
By Jeph Loeb and Tim Sale
"Charming" is the best adjective for this retro tale that looks at Marvel's first family early on as they contract Matt Murdock as their main legal representative. Sue Storm echoes Marge Simpson's fretting, Johnny Storm is the eternally youthful joker, Ben Grimm is all bluster and brashness and of course, Reed Richards is the collected, controlled genius we've loved for so long. It's a warm, friendly walk down memory lane as all the wonderful parts of Daredevil's life (as well as many of the tragedies) lie ahead. We also get more of Matt Murdock's blind smackdown against three college boys he hustled in pool (he was a lot less secretive about his abilities, it seems), and these memories are painted in Tim Sale's watery, nostalgic style. A great treat for longtime Marvel Zombies who like to kick it old school.

Universe X #12 (Marvel Comics)
By Jim Krueger, Alex Ross, Dougie Braithwaite, Bill Reinhold and Robin Riggs
This "climactic" issue is a bit of a disappointment, with the threat of Mephisto being defused by a few panels of discussion, and Adam Warlock's reunion with his lost love Eve falling flat as it tries to soar emotionally. The Surfer catches the hammer (or the wrecking ball, to be perfectly accurate) when the reanimated Absorbing Man makes his move on the Torch of Manhattan, and the calvary consists of Magneto and a bunch of Sentinels. All this, and more, on the next episode of Soap ... er, rather ... this issue is dense as hell, jam packed with details and inner "superconsistency" which makes it a powerful vertical ascent for anybody dropping in. Braithwaite, Reinhold and Riggs handle the crowded, complex art well enough, but with all that's going on you really wish for a MD Bright or a George Perez to clear up some of the background actions (or even Ross himself, who's only on board to design characters, draw covers, and offer story suggestions). Knowing that things are only slated to keep moving through Paradise X, this issue makes one wish for the softcover, to prop it up with more story on each side.

Exiles #3 (Marvel Comics)
By Judd Winick, Mike McKone, McKenna and Cannon
Sliders Meets The X-Universe keeps it going visiting the X-Men's Greatest Hits, with our six intrepid dimension-hopping mutants visiting the Trial of Phoenix. Their mission: kill Jean Grey. This isn't some Jean-Grey-shaped cosmic fireball, noooo, this is the real McCoy. The group spends most of the issue bonding and nazel gazing over their raison d'etre this month, except for a solid fight scene between that dimension's Wolverine and this series' Mimic (who's turning out to be the real buried gem in this motley crew). Little activity and a story that easily could have been worked into half an issue, the pacing is not really engaging, but the artwork is veyr serviceable, on the high end of "good." If you're already a fan of What If? adventures and the X franchise as a whole, you'll be rushing through your nearest dimensional portal to pick this up, but this issue offers nothing special to anybody not already devoted to the franchise.

The Brotherhood #2 (Marvel Comics)
By X, Essad Ribic and Kent Williams
ALBUM VERSION (what I sent in first)
This. Series. Is. Moving. Along. Far. Too. Slowly. Every. Single. Plot. Point. Takes. Forever. To. Get. To. It's. Almost. Like. The. Writer. Saw. Vertigo's. Outlaw. Nation. And. Said. "Man. This. Is. Moving. Way. Too. Fast. For. Me. To. Keep. Up. I'll. Make. Sure. My. Book. Backs. Off. From. This. Breakneck. Pace. The. Art. Is. Indistinct. And. Blurry. Brian. Haberlin. Colored. The. Issue. With. A. Trowel. It. Seems. Maybe. This. Series. Is. Going. Somewhere. But. By. The. Time. It. Arrives. Nobody. Will. Remember. Why. It. Was. Important. Or. Really. Was. It? Only. Reading. This. Review. Is. More. Painful. Than. Reading. The. Brotherhood. #2.

RADIO REMIX (the review they wanted)
This series is moving along far too slowly. Every single plot point takes forever to get to. It's almost like the writer saw Vertigo's poster children for slow pacing, The Crusades and Outlaw Nation and said, "Man, this is moving way too fast for me to keep up! I'll make sure my book backs off from this breakneck pace!" The art is indistinct and blurry. It looks like Brian Haberlin colored the issue with a trowel. It seems maybe this series is going somewhere, but by the time it arrives, nobody will remember why it was supposed to be important. Or, really, was it? A talky snoozer.

Captain Marvel #21 (Marvel Comics)
By Peter A. David, Chriscross and Anibal Rodriguez
The storyline that began last month with Merlin sacrificing a comic book store jam packed with virgins to resurrect Grendel's Mother (not the Excalibur Merlin and ... oh, never mind) closes out here in hilarious fashion, with the wizard getting a big surprise, the monster ending up with a whole new career, and all brands of hilarity ensuing. David's ability to balance action with comedy is superior, keeping this issue moving with nary a dead spot, even when the scene switches to the recently resurrected Lorraine the surly ghost having a wacky time with her superintendant (showing people in the Marvel Universe are probably not as credulous as sometimes shown). Whether you've never seen this series before or have been with it all along, this is one damned fun issue and one that anyone can enjoy. Marlo and Rick put it best: Marlo, "So ... this is a happy ending?" Rick, "It's an ending. And I'm happy about it. Close enough."

Elektra #1 (Marvel Knights)
By Brian Michael Bendis and Chuck Austen
This issue is thick. The $3.50 cover price is indicative of a lot of pages -- even picking it up compared to most other books out this month feels different. Inside ... a clean retcon to explain how Elektra is alive (don't ask), solid and interesting dialogue as we've come to expect from Bendis (even though his SHIELD agent Stanley has definitely been up late reading the Everett K. Ross Handbook by Christopher Priest), and a plot that entertains and sneaks up on being thrilling. Hydra trades in the bad spandex and becomes a serious terrorist organization worth paying attention to, which is my favorite part of the book. From Paris to Iraq, Elektra does her "ninja whamma jamma" in a fashion that's fairly consistent to the established canon for the character while giving it a nice, modernist spin that isn't insulting or overly Tarantino-esque. Much will be said of the art -- it seems Austen is using a new computer based technology to help with it, rendering inkers obsolete. In places it's a triumph (the Paris cafe is very well rendered) and in places the artwork looks unfinished (the battle in the streets of Baghdad). It could be an acquired taste, and some fans will be turned off quickly. If you liked what you saw in the rarely-published Red Star, you'll be enamored of this. If that irked you, the art could be a major stumbling block here. Overall a solid start to a franchise that many argued should have stayed dead.

Thunderbolts #54 (Marvel Comics)
By Fabian Nicieza, Michael Barreiro, Patrick Zircher and Al Vey
The pod's opened in this issue ... and no way in hell should you hear anything about who was in it until you can read the issue yourself. Captain America leaves his temporary gig running the Redeemers and hands it over to the V Battalion's man, John Watkins III, also known as Citizen V. Brownie points if you picked up the Citizen V and the V Battalion miniseries, which revealed all brands of fun data about our dear Citizen, best left unsaid here. Suffice it to say, the Redeemers are in for some fun, The Fixer would be better off minding his own business, the first page should not be taken too seriously, Graviton is on his way to becoming a major problem, Hawkeye gets ready for a jailbreak, we get a look at the woman (yes, woman, many guessed it already) in the Beetle armor ... even Dallas Riordan has a Demi-Moore-and-Patrick-Swayze moment. There's always a whole lot going on in any given issue of Thunderbolts, and this month is no exception. Zircher and Vey's crisp, detailed artwork serve every info-packed panel well, and Nicieza continues the kind of intricate plotting that make this book a winner. Definitely one people will be discussing, and in a good way.

Iron Man #44 (Marvel Comics)
By Frank Tieri, Keron Grant, Jamal Igle, Stull & Perrotta
Hannibal is not actually reviewing Iron Man this month, because Eric has finally decided to admit he's been making Hannibal review the book so long because of deep seated hatred and animosity harbored over the course of the last year. They hugged, went to therapy together, and all is well. So, Hannibal will not have to discourse on Tieri's ham fisted dialogue in Tony's apartment or outside the club, the logistical insanity of at least three plot points this issue, or the all around ugliness of the armor in general. At least the usage of the Ghost is character-consistent, despite no one ever explaining the character's "death" in Iron Man #221.

New X-Men (Marvel Comics)
By Grant Morrison, Frank Quietly and Tim Townsend
The long awaited large scale mutant culling happens on the last page of this issue, as the Trask legacy continues to haunt the children of the atom. Wolverine and Cyclops seemed to only be in this issue to trade snappy banter, as the Ensign Johnson character here bites the dust in a way you'd surely not expect. Allegedly, this series takes place sometime in the near future, freeing it from the fact that Beast is mutating now in X-Treme X-Men and that Wolverine just landed in London over in Casey's title. Still, something about that doesn't ring true (Emma Frost still discussing Tom and Nicole) and it all seems just a little too easy. No earth shattering surprises this time, nothing that really sets this apart from the Mutant works of the past save sheer scale, and that's an issue of mathematics, not even done in Quietly's glorious slaughterific style, but handled largely in miniature in the space of two pages. Ehh. So much for the revolution.

U.S. Agent #2 (of 3) (Marvel Comics)
By Jerry Ordway and Karl Kesel
It seems last month's tense debut was a fluke -- the secret agent activity here gets lost in Moonraker-esque cliched scenes (rebels from Atlantis buying black market weapons ... and what's Namor doing away from the Defenders, and in that ridiculous costume?) and yesterday's plotlines (exchanging "neuro-synaptic lifeforms" for the mind control nanites of Thunderbolts). The silver age inspired artwork is clear and unremarkable, leaving the title's star looking very indistinct (despite having a hairdo so awful Guy Gardner would even turn it down) and most of his cronies looking surprised through most of the issue. All the wonderful tension between the USAgent John Walker and his ex-lover-turned-political-enemy Kali Vries has been replaced by lame flirting, obvious gambits (Walker gets one of these brain bugs placed on the same part of his neck twice in the issue, and never reaches up to scratch) and a plot that's wholly unsatisfying. Next!

Iron Men: A Universe X Special (Marvel Comics)
By Jim Krueger, Alex Ross, Brent Anderson and Tom Palmer
The intricate Universe X series continues to unfold in this one off tale that, unlike some of the others, develops with some real creative tension and pays off big time. Magneto and Toad (or Toad and Magneto, depening on your point of view) settle their differences for once and for all as the last telepath on earth makes his bid for freedom (it's not a big shocker, but a surprise method). The issue spends most of its time between the Toad-Magneto relationship (which has had more downs than ups) and the odd friendship between newcomers Jade Dragon and Iron Maiden. The Black Knight plays a solid supporting role, dancing between the royal families of England and the Inhuman city of Attilan, and also provides most of the smackdown scenes in this special. In the end, the Iron Men return to the larger canvas of the story, the struggle over the Human Torches, and this alternate future continues to spin in entertaining directions.

Black Panther #34 (Marvel Comics)
By Christopher Priest and J. Calafiore
It's sad but true -- as solid as Bob Almond and Sal Velluto are, Calafiore is simply a more interesting artist. He picked the right month to fill in, as this month's issue ratchets up the ante to yet another level. This issue is as quick and witty as many from Year One, in part due to the not-so-triumphant return on political handler Everett K. Ross ... in a way you surely couldn't have expected. On the other hand, seeing everybody's favorite governmental geek Peter Henry Gyrich stuck in the hot seat, trying to handle T'Challa's exciting life and ending up staring down the business end of a Man-Ape is damned entertaining as well. This very accessible issue manages to tell new readers most of the relevant details without shoveling on exposition and still keeps some action scenes as it develops the main plot and subplots. There's not enough good than can be said about Calafiore's art in this issue, with the striking picture of T'Challa getting off a bus (don't ask) on page 6, the gleaming splendor or Gorilla Palace on page 15, and a shot of Vibraxas on page 19 that's poster-worthy. A high water mark for a series that's already setting the bar high for the entire genre.

The Punisher #2 (Marvel Comics)
By Garth Ennis, Steve Dillon and Jimmy Palmiotti
The most important thing to note is, this is certainly not your father's Marvel Team-Up. The resurrected Russian is still hell bent on ending the life of one Frank Castle, and only Manhattan's skinniest superhero, Spider-Man stands in his way. Literally. It's a pleasure to read this book every month but a bear to review, for exactly the same reasons: you always know what to expect. Horrible things happen to people, the Punisher examines it all dispassionately, and it makes you feel a little filthy to be so amused by it. Nevertheless, a larger new battle looms on the horizon for Frank with some corrupt government spooks, Detective Soap agrees to become Frank's new information resource, and chances are that the Russian and all his new surprises will pop up again one day. All good stuff with Dillon's trademark crispness and straightahead visual stylings. Go ahead, read it ... we won't tell anybody.

Ultimate Spider-Man #11 (Marvel Comics)
By Brian Michael Bendis, Mark Bagley and Art Thibert
After an embarrasing encounter with Ultimate Kingpin (Ultimate Nick Fury, Ultimate Aunt May ... god help us when Ultimate Impossible Man shows his face), Peter Parker evidences some of the brains that made him more than, say, Speedball or Darkhawk. He craftily researches the state-of-the-art surveillance gear of Fisk's headquarters and finds an Achilles' Heel to the fat man's operations. Of course, he also stumbles and continues to foul up his relationship with Ultimate Mary Jane (start adding Ultimate to the names of stuff, it's funny) while Kingpin tells his wacky staff, "This costume fad. It's quite annoying." Of course, U-Spidey (the variations are endless) ends up catching the smackdown from Ultimate Electro and three more of Kingpin's more entertaining thugs, with much hilarity sure to ensue next month. Overall, this issue is an enjoyable read that, true to the ads, recaptures some of the youthful exuberance and simple wonder that made Spider-Man such a fan favorite lo these forty years ago. No cosmic adventures, no clones, and such squeaky clean urban grit that reading it could send Brian Azarrello or Kyle Baker into conniptions. If you don't mind borrowing from Stan's momento chest and walking back along some familiar roads, this issue of Ultimate Spider-Man manages to provide some solid entertainment with only the lightest brush of cliche.

Daredevil: Yellow #2 (Marvel Knights)
By Jeph Loeb and Tim Sale
Continuing their revisionist look at the origins of Marvel's Man Without Fear, Loeb & Sale's work looks familiar -- the cops and robbers in Daredevil's Manhattan would fit seamlessly into Batman's Gotham during The Long Halloween. However, their command of the hero's kinetic style -- the spread on page two and three takes a few reads to appreciate, and not because it's unclear, and having Murdock do a skateboard trick down the railing into the subways on his nightstick was brilliant -- does things that the plot-heavy work they did in Gotham could not do. This issue is thrilling, in a way that the art form rarely accomplishes, and that's a wonder to behold. The calm precision with which Murdock tosses his weapon and diverts a subway train in order to collect the body of "The Fixer" (not our friend from Thunderbolts) is the kind of things comics should do all the time. It's a well told moment that captures everything the medium can convey. Are there historical inaccuracies, according to established canon? To be honest, this writer can't say. This issue, on its own, stands as a solid and above average piece of entertainment well worth owning. Debating the merits of its "certain point of view" is best left to comic store arguments, message boards, and the imagination of fans.

Ultimate X-Men #7 (Marvel Comics)
By Mark Millar, Adam Kubert amd Art Thibert
Marvel's best Ultimate title keeps treading familiar ground in "Return to Weapon X: Part One of Six," but throws enough spins to make it an interesting read for old timers, even if the juvenile audience they were aiming for (see last week's Operative Word) aren't getting it. S.H.I.E.L.D. running the Weapon X program? A teenaged, frightened Nightcrawler escaping the program by gunning down several men and teleporting a snowmobile almost a mile? Rogue working for the really bad guys? Cyke, Collossus and Storm appearing on a Japanese teen talk show? Millar may be forced down familiar terrain, but he at least remixes it so well as to make it look like a different view. It's not, say, the quality of Millar's Authority or even Waid's JLA, but Ultimate X-Men continues to be the star of the Ultimate line in terms of quality.

Ultimate Marvel Team-Up #5 (Marvel Comics)
By Brian Michael Bendis and Mike Allred
"Cliche" and "Retrograde" are two excellent ways to describe this implausible issue of Ultimate Marvel Team Up, featuring Ultimate Iron Man. This Iron Man is publicly known to be Tony Stark, never sells weapons technology to anybody "bad," and the heart-hooked-to-armor shtick is also public knowledge. Which makes much of the story insane: Ultimate S.H.I.E.L.D. makes a deal with foreign powers to steal the "Irontech" that powers the suit (the best suit of armor in the world, as a squadron of Mandroids are terrified of it) by surprising Tony at a public event and beating him up. Forget sophisticated listening devices, electronic surveillance, blackmail, extortion, and so on. Fight scene, that'll work. In a city chock fulla superheroes. Uh huh. Just for fun, Ultimate Nick Fury appears to be a Black person (oooooooh). Add in Allred's not-suited-for-superhero-action artwork and this stinks to high heaven. Bendis, take a hint and take a break.

Wolverine #165 (Marvel Comics)
By Frank Tieri, Sean Chen and Norm Rapmund
"Blah. Blah blah blah. Blah blah blah blah blah blah, blah blah blah, blah blah." That's how almost every mouthy issue of Wolverine under the modern equivalent of the plague, Frank Tieri, ends up sounding. Go ahead. Read it aloud. You'll see. Wolverine and Beast are still in prison (ignore Beast appearing in other books, Marvel has no continuity). French speaking carnivore supervillain you've never heard of returns to life, eats part of Wolvie, escapes. Hank bleeds all over the place. Doctor Strange and Nick Fury glance around, embarrased to be seen in this title. Worst of all, Sabretooth steals Cannonball's hairdo and starts wearing the stupidest outfit in comics this month. "Blah blah blah blah frickin' blah." Another in a long line of clunkers from Tieri, and worth shooting on sight.

Marvel Knights #12 (Marvel Comics)
By Chuck Dixon, Ed Barreto and Nelson
According to industry professionals, the number of comic books a human can safely write without quality going to the toilet is two. Chuck Dixon writes, at last count, about seven hundred a month. The strain is starting to show on Nightwing, but it is no more apparent than in the pages of the blessedly cancelled Marvel Knights title. The title has meandered from fight scene to fight scene for such paltry reasons that it boggles the mind. Moon Knight, desperately trying to grow up and become Batman, gets smacked around by more street level hoods than your average junkie. And so on, and so forth. Don't miss yet another robotic Nick Fury duplicate, Tyrone (formerly Cloak of Cloak & Dagger) getting smacked around like a beyotch, and Luke Cage, carrying on as an embarrassment to super heroes everywhere. The only saing grace is the crystal clear and highly enjoyable artwork of Barreto and Nelson. Usenet reports that the next issue is the last, and it can't come soon enough.

Deadpool #55 (Marvel Comics)
By Jimmy Palmiotti, Buddy Scalera, Georges Jeanty and Jon Holdredge
If you haven't read back reviews of Deadpool here at SpinnerRack, you don't recognize the long, dark tea time of the soul this book has had in the last several months. You may even be one of the people who really appreciate Palmiotti and Scalera's pseudo-noirish approach. God help your soul.

Deadpool, as a title, has been wading slowly out of the depths of absolute awfulness created by Palmiotti's debut story arc, "Cruel Summer," a set of stories so horrible they could be used by Doctor Kevorkian to induce euthanasia. Each month the book was a little less bad, culminating in issue #52 which actually managed to be entertaining for more than a panel at a time. It seems such lofty heights as "mediocrity" are too much to ask for, as this month's issue, "End of the Road: Part 2" features the alleged interaction of Deadpool and the Punisher in a plot that's not worth recounting. Body count in this issue: 1. Entertaining jokes from Deadpool: 3. Marvel cliches re-enacted: five. Losing a small piece of your life reading this: priceless, and alas, unrecoverable. Seeing as how the book will become "Deadpool: Agent of Weapon X" in mere months and be helmed by one of the genre's worst writers, Frank Tieri, now would be an excellent time to get out.

Thunderbolts #53 (Marvel Comics)
By Fabian Nicieza, Patrick Zircher and Al Vey
Much has been said (even by this reviewer) about the laughable depictions of people of color in comics. This month, all around renaissance man Fabian Niceza ignores all of that, crafting a fairly accurate picture of life for a superpowered teen of color. Pushed into interacting with his dangerous father (anti governmental activist and Secret Empire member Calvin Burlingame, who subjected his own son to experiments which killed most participants and gave Charlie his powers), the story sets up a wonderful possible future confrontation between the Burlingames again (one powered by fire, one perhaps powered by ice) as the Secret Empire continues to move deep in the shadows, planning something, watching everything. In related subplots, Moonstone keeps tabs on the barely competent Graviton and Hawkeye enjoys his newfound ability to breathe easy in prison, with Mentallo's help. One odd point is G.W. Bridge in charge at Mt. Charteris, when events in Cable clearly have him stationed in Alaska. Still, the Fabester pens a tale that is solid and interesing, revealing some characterization on Charlie that makes his recent anger more logical and keeps the other subplots moving along, with the crisp artwork you've come to expect from Zircher and Vey. Random speculation: HS-1 is the Armageddon Man from the last Hellions story in Classic X-Force (like classic Coke). Keep buying this, the crown prince of their lineup.

Cable #94 (Marvel Comics)
By Robert Weinberg, Michael Ryan, Pertzborn & Candelario
Continuing his gripping sci-fi/political thriller (who ever expected to be able to say that about an X-book) "Countdown," Bob Weinberg keeps delving into a secret society that has ties to the highest levels of government (one would think they'd all run into each other and, like compete). Cable, operating in the shadows and putting together the pieces of this mystery, sticks very close to his commando roots and walks in shadows, only stepping out to cripple his enemies. It seems the Dark Sisterhood he's been hunting is more than a century old, founded by a bitter immortal mutant (lots of them end up immortal, right) and intent on founding a global matriarchy atop the ashes of modern society. Weinberg has a very good command of the technical tricks of making a story like this suspenseful and enjoyable, and the artwork remains crisp and clear, with communicative pencilling and crisp inks. The only dangling threads that remain peskily unsolved is how the Dark Sisterhood got psimitar technology out of Blaquesmith, but perhaps next month's conclusion will let that shoe drop. An uphill climb for new readers, but well worth it. It will indeed be a dark day when Weinberg is exiled from this title, but at least fans will know where to find him (from the lettercol), a "high profile book called Nightside." We'll see more of him in a place where there is no darkness.

Captain Marvel #20 (Marvel Comics)
By Peter David, ChrisCross and Anibal Rodriguez
The biggest, wackiest thing that's revealed in this month's issue of Captain Marvel, which has been cleverly worked up to in previous months, is that the owner of the comic book store that's been slowly driving Marlo out of business is Merlin, as in the wizard who advised King Arthur (Excalibur fans: no, not the white haired fop you know ... it's probably best not to think about it). Merlin's evil plan is revealed, leading to some of the most accurate yet mocking dialogue about the genre in months, also somehow managing to be hilarious. Rick struggles with his advanced age (he was made elderly by an alien death god last month ... never mind), tells Moondragon she's dripping with cellulite, and watches as Genis finds out that the aforementioned cosmic telepath has implanted mental blocks in his mind to help him cope with cosmic awareness. Confusing? Not if you just roll with the punches and ignore continuity (we know, hard to do). David crafts another fun, wacky issue of a title that is more good than bad, with realistic art (check Marlo and her assistant Allister in everyday shots around their store) that is sure to satisfy.

Punisher #1 (Marvel Comics)
By Garth Ennis, Steve Dillon and Jimmy Palmiotti
Once you're able to get past any nagging moral doubts about how much fun Garth Ennis' work is, you'll find yourself sitting down with the most recent Punisher #1 (open the front page and you'll see it's "Volume 4, Number 1") again and again, finding yourself more and more amused at the depraved humor and the crist art within. Calling itself "Well Come On Everybody and Let's Get Together Tonight," this issue packs in the good stuff so tightly the cover almost drips with blood. The body count comes in ats about 15, Punisher revisits the Empire State Building in a way you simply have to see to believe, and Brooklyn's crime families get a visit from Mister Castle they certainly didn't want. You'll find the return of Detective Soap (not commisssioner, you'll see why), who gets a very special offer from the Punisher. Spacker Dave seems to have founded a cult of personality with his share of Ma Gnucci's million dollars, and the largest pair of breasts you'll see this month make a terrifying appearance. We can say no more. If you dislike violence and senseless entertainment, there's tons of copies of Blue Monday and Strangers in Paradise waiting for you, because this is the paper equivalent of a Schwartzenegger movie. Before he got all nice. Frank Castle rocks on.

Iron Man #43 (Marvel Comics)
By Frank Tieri, Keron Grant and Stull & Perotta
"Hapless" would be a better title for the latest issue of the Golden Avenger's solo title, and perhaps the most appropriate adjective for this directionless, bealeaguered title. "The Big Bang Theory (Part 2)" continues our "bold new direction" in the life of former billionaire playboy Tony Stark, now calling himself "Hogun Potts" (we're not making that up) and working a 9 to 5 at a technology company in Manhattan. If you care (and most of us don't), someone was blowing up Mangattan technology firms by (get this) emailing them a virus that, somehow, caused their entire offices to explode. Ignoring for a moment the technical issues at getting that to work, sidestepping the vast and vehement loathing of the new "Iron Teats" and the "I-stole-this-idea-from-Milestone's-Hardware" liquid skin armor (all very well discussed on Usenet), let's look at what we're laughingly going to refer to as "the plot." This "virus" was somehow emailed directly into Tony's new, experimental, half-working armor (don't ask) and he believes he has less than 15 minutes to get the armor safely into a containment field at Avengers mansion before he blows himself and tons of innocents to teensy tiny pieces. Along the way, the mysterious bomber (who remains an enigma this issue) sends old school super villain Mr. Hyde (last seen duking it out on a solid footing with The Hulk) to make sure Iron Man stays put and blows up like a nice moron. Despite half the things on the armor not working (a hail of "smart bombs" fall lifelessly to the sidewalk, a "holo emitter" projects a crowd of fake Avengers and proves someone has been watching Star Trek: Voyager, etc.), Hyde gets knocked out, Tony gets the armor to the mansion ... and everything goes strangely wrong. It's the same ending from the Fusion storyline in Spider-Man recently, if you've read that, but done with much less emotional gravity. All around, Tieri's powerfully underwhelming run continues to go below and inside our least expectations, and the coming of Tom Breevort to edit this mess into some brand of sense cannot come soon enough.

Black Panther #33 (Marvel Comics)
By Christopher J. Priest, Sal Velluto and Bob Almond
The first thing you need to know if that Black Panther is the best title published by Marvel. Yes, it's true you'll find stunning work in Daredevil, you'll be amazed at Fabian Nicieza's plot gymnastics in Thunderbolts, you can giggle with unholy glee at the madness of Punisher, you may even stop and think reading Straczynski's new Spider-Man. Point for point, issue for issue, on a standard of literature that can be held up to the test of time, they all fall by the wayside. Black Panther is the real thing, boys and girls. Sadly, that's sometimes part of its problem, but we'll get back to that in a moment.

In the meantime, let's focus on issue #33, "War & Love," the conclusion to the Seduction of the Innocent story arc. In this tale, Priest ramps up for his next "Gorilla Warfare" arc featuring the Man-Ape, which bookends the central plot of the title character's former concommitant Malice and her mad and convoluted campaign to ensnare the King as her love, regardless of the bloodshed she leaves in her wake. The story culminates in a fast moving fight scene through downtown Manhattan, which leads to an open ended climax and T'Challa's attention freed to return to his native land, Wakanda.

This is a solid issue of a title that has been solid for more than two years, and that brings us back to its problem. Much like the aforementioned Thunderbolts and Vertigo's long form novella Transmetropolitan, the title has become a victim of its own success. Twists and turns of plots that, years ago, stunned and amazed comicdom have become commonplace in a book that maintains the position it gained when setting the bar for quality along the way. Man-Ape is a massive, complex, threatening adversary, true ... but after the labyrinthine plots of Achebe and the menaces of Mephisto and Nightmare ... ehhhh. It will be interesting to see what new ground Priest et al can break, but in the meantime, enjoy as you probably have been for some time. If you are one of the deprived people in the world not reading this book, this issue is a bit of an uphill climb but you'll feel rewarded the second you get there, as this is comics at their finest.

Tangled Web: The Thousand #1 (Marvel Comics)
By Garth Ennis, John McCrea and James Hodgins
The hardest thing to understand about Tangled Web: The Thousand #1 is why it is not taking place in an existing Spider-Man title. Unlike almost every Marvel book known to man, there's no box of introductory text concluded by "Stan Lee Presents ..." -- is it possible Stan no longer stands behind every book done at Marvel? That point aside, those intro boxes were a strength that Marvel had over most other companies, because no matter if a reader had been in comics for decades or just learned how to speak English, that would give them a clear opening to walk into the story with some sense of grounding. Then again, looking at the last page, an op-ed length column from the editor Axel Alonso which explains it all tells us that this is not a Spider-Man book, but a book about the world that Spider-Man affects. Now, it's not for us to judge Alonso's break with Marvel traditions (with the greater word count, is this a holdover from his "On The Ledge" days at Vertigo, that we'll see more often now?), but the idea of "some of the best writers and artists out there -- many of whom have never played with Spider-Man or worked for Marvel" telling "stories about the formidable shadow that Spider-Man casts over the city in which he lives, and on its residents ... stories about his effect on the people in his world" needing a separate title, even with a remixed version of the new trade dress, to mix up the brand even further ... just seems plain wacky. Erik Larsen and other creators have consistently asked why remix and water down the essence of the hero when these "better" or "different" stories could just as well be put into the series themselves. Ideologically, this is a bad idea.

The story itself, however, is a wacky little tale of some interest, though. The action scenes, featuring Spidey and the always erudite Rhino, are classical, a work of superhero art. Peter dancing with Aunt May is one of the best portrayals of their tender relationship in memory. Garth Ennis, who we expect atrocity and horror from, slow dances with this story and romances a really engaging issue out of material that could easily become pedestrian. McCrea's strange, detailed artwork is made even more crisp by minimalist inking from James Hodgins, making this book both visually and textually a refreshing distraction. Breaking convention and cluttering newsstands with questionable covers aside, if this is the kind of story Axel Alonso wants to bring to Marvel Comics, he can break all the damned rules he wants to in the process.

X-Men Unlimited #31 (Marvel Comics)
By Michael Golden, Brian Stelfreeze, Steven Grant and Charlie Adlard
Three delicate and personal stories of the children of the atom provide a very surprising pleasure in this issue of X-Men Unlimited. In "Monsters," a shopping trip for Jean Grey and Rogue goes awry, leaving the younger mutant without control of herself or her powers and terrifying a crowd of normal people. Golden's jagged inking works best on Rogue's all-red flashback, leaving the "normal" scenes looking like a cluttered version of Robertson and Ramos on Transmetropolitan. Still, the story itself brushes carefully across the characters, painting a solid portrait of a day-in-the-life. The second story, however, is the real gem of the batch, a story where Cyclops loses his ruby quartz glasses amongst a very antagonistic gang of "street toughs." Cyclops flawlessly and seamlessly falls back on his years of training and proceeds to defeat them all without even thinking about opening his eyes, using his hearing and very closely following the moves of a martial arts form, recalling what he's learned from his friends. It's one of the finest Scott Summers stories ever put to paper, and Brian Stelfreeze definitely has major game. The final story is a poignant mutant shaman story of Nate Grey before his untimely demise, where he saves an Asian mutant from slavery and gives her the only freedom her unusual genetic fate can allow her to enjoy. It's a sad story but one that fits the character, who moves through it with quiet melancholy. All around a surprisingly good set of stories that isn't laden with confusing continuity. Who knew?

Wolverine #163 (Marvel Comics)
By Frank Tieri, Mark Texeira and Norm Rapmund
A reviewer has some strange ups and downs in their somewhat thankless career. Sometimes a book comes across your desk that's so brilliant, so fascinating, that it makes you sit back and wonder. Those are moments that you remember and cherish.

Then there's times when something comes across your desk that's so bad, so insanely horrible, that you begin to salivate. You reach for a thesaurus, looking for new and more creative ways to communicate the disgust you feel, reading page after page. You are torn between your deep disgust for the material's glaring lack of research and your desire to savage the material in all new, more creative ways than you have ever trash-talked before.

Guess which one this is.

It's amazing that Mark Texeria, the man whose brilliance will be illustrated in thisn summer's Black Panther: The Client softcover, has his name attached to this atrocity. Let's just go by the numbers here, and talk about why this is an early leader in the competition to be worst single issue of 2001.

1) Wolverine can tell that a note came from Nick Fury by the smell on it. He goes to Fury's house and is met by a lifelike Fury android, which he can smell. However, moments later, when more than 20 SHIELD agents (we counted), all armed with gunpowder-equipped weaponry, pop out of the shadows and hold Wolvie at gunpoint ... he smelled nothing. His enhanced hearing didn't hear a footstep. The basics of his powers suddenly chose that time, for what we have to call plot reasons, to stop working. That's just plain goddamned stupid.

2) Here's the fun one: a new bounty hunter called "The Shiver Man" (when you meet him, you get shivers up your spine, oooooh) is introduced. He appears to have stolen part of his shtick from Smoke in the Stormwatch: Change or Die TPB, a gunman who can change into a mist and become solid at will. Add lacking a scent and a heartbeat, phasing ability a la Shadowcat, and a Ghost Rider-esque desire to "punish the guilty," mix gently with a Claude Rains versus Darkman look, and you've got a heapin' mess o' cliches just ready to jump out and go "BOOGA BOOGA BOOGA!" His stilted dialogue and allegedly menacing presence is supposed to provide the action hook for this exhausting issue, and he may have been able to pull this shtick off, even with such a lame name, perhaps in 1991. Ten years later, after scores of passes at the "mysterious loner" shtick, he's just boring.

3) Let's look at Wolverine, supposedly a trained black ops specialist. His idea of "going to ground" is traveling a few hundred miles, growing a goatee, getting a Drew Carey haircut and letting Beast play Celebrity Look Alike with an image inducer. Considering this might be plausible, thinking a half-talented intelligence agency couldn't find a man-sized collection of adamantium wandering around, believing that not knocking Beast out and wandering off is needed in any way, how can you reconcile staying in the country? For this action to be taking place in the US, when Logan is much better acquainted with the Canadian wilderness, the Canadian spook societies are in far too much disarray to care about him, and the considerably easier time he'd have getting off the continent from there simply attempts to suspend disbelief too far.

This issue is an evil on the level of Britney Spears' career and the cancellation of Sports Night. This ... issue ... must ... DIE! Someone, please, stop Frank Tieri before he writes again!

Cable #92 (Marvel Comics)
By Robert Weinberg, Michael Ryan, Ted Pertzborn and Harry Candelario
Last month Cable had a cinematic issue that was dramatic, sweeping and a bold statement. It's almost fair that this month's issue serves to let readers catch their breath in an issue where Cable does pretty much nothing. Still, currents sweep around him, as Irene Merriweather goes underground in a major way (Wolverine, take notes), Cable's old merc-buddy-gone-federal G.W. Bridge gets reassigned to S.H.I.E.L.D.'s Nome field office, Rachel Summers gets the Matrix treatment, and the Senator Kelly assassionation comes back to haunt the deeply concerned X-Family as the shooter dies mysteriously and (as the cover so wackily shows) writes on the wall, in his own blood, "Cable Made Me Do It." The action is barely there, but with the impassioned mural of this narrative churning away, it's good to slow down a beat after last month's action movie, and the surprises Weinberg surely has in store for his last bow, soon to come.

Deadpool #53 (Marvel Comics)
By Jimmy Palmiotti, Buddy Scalera, Anthony Williams and Andy Lanning
This title, once one of Marvel's brightest spots, hit a skid in its late forties that it's still digging out of. As has been said many times before, "this month's issue is an improvement on last month's," and there are even some (wait for it) laughs from Deadpool jokes this month. True, the title character spends a lot of the book beaten up horribly (he did get crunched between two VW Beetles at the end of last month, muted healing factor aside), but we could just as quickly say that of The Spectre. The central core of this issue, the Britney-Spears-esque Mercy Sisters, twin teenaged psychopaths, is resolved in a satisfactory manner here, even if the Copycat subplot finishes in a limp fashion (at last an answer to the question from issue #49, Deadpool can "smell" and recognize Copycat, regardless of what shape she's shifted into). Lots of explosions here. Shooting. A fair handle on suspense (the scene where the police bust in to the Mercy home is handled very well). This issue is better than the last few months of Iron Man or anything going on in Superman now. All things considered, that's high praise. With two Palmiotti issues left before (god help us) Frank Tieri comes on board, is it possible there could be a Palmiotti issue of Deadpool that will stand as ... a good one? Hang on, true believers, we'll all have to wait and see.

JLA #53 (DC Comics)
By Mark Waid, Brian Hitch and Paul Neary
Another up close and personal issue shows Mark Waid shining in a mixture of global crisis-level danger and interpersonal jousting. The alter-ego-less JLA are betrayed by an unusual guest star as the human side of the world's greatest heroes go quietly insane, trapped within their own lives. Eel O'Brian feels the pull of his criminal past. John Jones sits alone, playing with matches. Wally West lays back and waits for things to happen, and Bruce Wayne has all the rage and none of the control of his pointy-eared identity. Waid delves into some of these psyches with such insightful detail it is a marvel (no slight intended) to behold -- there's a scene with O'Brian and Wayne that makes years and years of Batman issues make such perfect sense, that it almost levitates. After some very big missteps (Queen of Fables anyone?), Waid is really making it happen, and we can only hope that when he hands the reins over to someone else (Casey?) that this level of detail can be maintained while saving the world on a monthly basis.

Hellblazer #161 (Vertigo)
By Brian Azzarello and Marcelo Frusin
John Constantine's oily sneakiness slithers enthusiastically into the limelight as this small scale character play (this could easily be presented as a stageplay) with a mixed bag of people stuck in an out of the way watering hole during a storm. Constantine's magic plays a very quiet role in this issue, literally talking a man to death, creating some impromptu darkness on cue and finally inspiring a backwoods legend to take care of business for him. Azzarello has a command of the darker impulses within mankind that makes him perfectly suited for these kinds of up-close potboilers. Frusin's artwork takes some time to get used to, but overall conveys the nasty impulses of even the most relatively wholesome members of this vicious cabaret. The monthly pace of the book is the only caveat, because waiting a month between the climaxes of the story detracts from its gravity. Still a solid issue all around.

Green Arrow #3 (DC Comics)
By Kevin Smith, Phil Hester and Ande Parks
If you've been holding on, waiting for some answers (emphasis on "some") about the return of Ollie Queen, this is the issue for you. Green Arrow kicks in the door and terrorizes the seats of power in Star City, has his secret identity outed by a teenaged ex-prostitute ("Oh, please! I'm not a total idiot! That little mask you wear doesn't exactly Batman your face. And the beard's a dead giveaway, too."), and starts to find out he's not in Kansas anymore (metaphorically speaking) (SPOILER ALERT) Looks like our jolly green archer has amnesia, but all around that's just a subplot buzzing around your head. For the main event, Ollie beats up shady hoods ... and stumbles into Black Manta spouting cliches and running cocaine (looking very little like his completely fishy appearance in Wonder Woman before the Jiminez run) as well as the JLA's favorite grump, Aquaman. The issue is fun and informative, and gives a fair presentation of Oliver's state of confusion and the events swimming around him. Hester and Parks mix X-Files lighting with Batman Adventures artwork for a very wacky but engaging artistic presentation. This is a good issue all around, with zippy dialogie and serviceable art, and Smith is finally showing he may be ready to run with the Chuck Dixons of the world.

Birds of Prey #30 (DC Comics)
By Chuck Dixon and Butch Guice
There may have been some leanings towards creating an epic feeling with Birds of Prey #30, a time traveling tale involving the Ravens and Black Canary (on Thanagar in one book, back in time in another one -- she's a busy girl). It never arrives there, alas. The battle of Vikings versus suddenly armed Native Americans in Minnesota, circa 1000 AD, with a group of costumed adventurers thrown in for fun, sounds like it should be a blast, with excellent combat and sweeping emotion. Nuh uh. Unlike the much better fight scenes Dixon et al. brought us in this month's Nightwing, the silver age stylings of Butch Guice do little to communicate the immediacy and motion of this conflict between warring parties, with its flat and undistinguished portrayals of the principals herein. There's also the (spoiler warning) largely unresolved ending, which fails the original mission that sent Black Canary back in time and leaves three well armed, attractive, psychotic mercenaries wandering through the timestream. Then there's, of course, the fact that the Vikings (despite being armed with axes and swords) somehow managed to defeat the Native American forces (or at least survive and say they won) despite modern firearms in the hands of said Natives. Riiiiight. Moving on ...

Peter Parker: Spider-Man #30 (Marvel Comics)
By Paul Jenkins, Mark Buckingham and Wayne Faucher
There are few things more disappointing than a story that misses greatness and plunges into absurdity. "Three Hundred," perhaps one of Paul Jenkins' last stories with Peter Parker, has an underlying thread that ties the first page to the last in a way that's almost elegant. In the process it brushes past Peter's shattered marriage, introduces new digs for the Webhead, and manages to fire off some witty dialogue. Alas, the accomplishments of this issue are pulled out from under it like a cheap roadside rug by Fusion, the hands-down favorite for most unoriginal supervillain of 2001. Fusion, you see ... let's just let him tell you: "I am a Fusion, an amalgam of every hero and criminal in this city -- a carefully primed engine of destruction designed and perfected for one purpose alone: to eliminate you!" Now, let's pretend for a moment that the Flash's Rogues Gallery didn't throw their powers in a hat and make up a guy with the same motivations and most of the same shtick, what, less than a year ago? Let's look at this guy using Wolvie's claws, a model of Cap's shield, a faux-Mjolnir, Doc Ock's tentacles, the Hulk's arms (we know, The Hulk isn't in New York, let it go), Mr. Fantastic's stretching and Invisible Woman's force field. Let's even ignore the fact that this guy is nobody anyone should recognize and has a spider-related mad on we can't see any root for. If we were to, somehow, accept every piece of this, how would we be able to reconcile the fact that a gold embroidered horse logo is all this guy needs to look like a member of DC's Checkmate. That did it. This one goes into the fire. Snatch this loser (even his name, "Fusion" is loserish) out of the story and toss in, oh, Puma or The Rose or somebody with some legitimate beef and a fifth of some character and this could have been a phenomenal issue. As it is, its toilet tissue. Wipe. Flush. Walk away.

X-Force #114 (Marvel Comics)
By Ian Edgington and Jorge Lucas
In part one of the two-part "Epitaph" story arc, it's almost refreshing to see X-Force back to terrorism and murder as Cable intended when he formed this group, lo these many years ago. Using the fun of modern technology and modern espionage, the team takes a vacation and blows up an evil corporation experimenting on mutants, living high off the hog with the results of Domino's probability altering powers meeting a casino. They almost get killed (again) when "shadowy forces" send a nasty assassin looking like the female love child of the Matrix's Morpheus and Dennis Rodman, who they then torture (yes, real torture, whee) into revealing who's been after them for months (which isn't revealed to us, of course). The great part is this book is on a serious upswing from the Soviet mutagenic mess of the past few months, and developing as a logical progression from the mutant strike force they were formed to be. The body count alone in this issue would make Jerry Bruckheimer blanch and swoon. The bad part is that it won't matter in a month or so, as Mike Allred's multicolored wackiness looms over the horizon like more bad news in the economy to completely redefine the term "X-Force" for the world at large. To quote Denis Leary, "smoke 'em while you got 'em," 'cause this stuff is good!

Thunderbolts #51 (Marvel Comics)
By Fabian Nicieza, Patrick Zircher and Al Vey
The Thunderbolts have broken up, the Redeemers live in Mt. Charteris, and Captain America looks embarrased to be seen with the likes of Jolt and Fixer. Jolt visits Latveria and an Iron Man knockoff called Rebel gets smacked around for no real reason. Moonstone gets recruited by a strange alien to psychoanalyze a supervillain. A one page throwaway plays like an ad for the less-fun-than-hoped-for Citizen V & The V-Battalion, and Abe Jenkins, freshly dipped in ethnicity, gets a job! Whew. After the no-guts-no-glory adrenaline rush of the last two months, the jarring change of pace is a case of literary whiplash. This looks like a breather month for the bealeaguered villains-gone-good, and its slipped pace is more than made up for with Nicieza's snappy dialogue and scripting, which turns this potential snoozer into a fun segue between fight scenes. Even Doctor Doom gets in the game (albeit holographically) and does his Black Panther imitation by manipulating several people into place to serve his will. Despite the potpourri of subplots bubbling near the surface, this issue remains a solid piece in the wall o' Thunderbolts and remains a solid value for your comic buying buck.

Captain Marvel #18 (Marvel Comics)
By Peter David, Jim Starlin and Al Milgrom
After last month's powerful build up, Captain Marvel #18 can only be characterized as a disappointment. Imagine an episode of Looney Tunes where Roadrunner turns around and eats Wile E. Coyote. That's a pretty accurate assessment of what happens here. Thor? Smacked down with embarrasing speed. Thanos? Ends up standing back and playing the role of a Metron-esque narrator, after catching a few in his purple puss. Captain Marvel? A bit player in his own title. Walker? The death god of a billion lost souls gets smacked down in about five seconds by Marlo of all people (with help, admittedly, but still). All in all a less than sterling chapter in the life of Genis, and at the end of it all, Rick Jones loses an arm, with only the always-sterling artwork of Jim Starlin to keep you interested until the end. Yeah. Move along, nothing to see here.

JSA #23 (DC Comics)
By David Goyer, Geoff Johns, Stephen Sadowski and Michael Bair
As a person who practices a form of ancient Egyptian spirituality, I often find amusement in the presentation of the Pharoahonic periods in popular fiction (enough to step out of the third person for one review). With all the really popular pantheons rented out for other heroic legacies, Hawkman stumbled into the Egyptian motif during one of his many twitches through continuity, and it seems to have stuck well enough to drag Black Adam along. In this month's JSA, Earth's Mightiest Villain accompanies DC's Senior Class to the faraway planet of Thanagar, which has fallen under the tyrannical grip of Onimar Synn the Sineater (he's a native, and why can't he have a "whimsical" grip, why do they always have to be tyrannical? Oh, never mind ...). There is almost no action in JSA #23. Hawkgirl reaches into the Well of Spirits, a flaming Thanagarian Lazarus Pit (JSA: the book where so much is familiar!) and pulls out a reincarnated Hawkman (looking very much like his action figure). Aside from my own personal, spiritual disdain for the storyline presented this month, this issue of JSA is just not too interesting. Add to that the members on injured reserve (The JSA impersonates the Golden State Warriors!) who just plain sit this one out, and this is the bench going through the motions since this title is already ahead on points, normally an engaging read most every month. Not every book can sustain brilliance all the time, so let's chalk this one up to a deep breath before Hawkman comes back and whups ass next time.

Legion Worlds #1 (DC Comics)
By Dan Abnett, Andy Lanning, Yvel Guichet and Dexter Vines
Once the bright, shining promise of the future that was followed by a devoted core audience, numerous reboots and twitches in continuity have turned the Legion into a mess that even longtime readers (including the reviewer) have difficulty deciphering. Legion Worlds is intended as a counterpoint for the dreary twelve part Legion Lost which kept the characters on the stands this last year. In this week's version of the universe, Lex Luthor wannabe Leland McCauley has been elected president of Earth and the United Planets, and early in his regime he "retired" the Legion of Super-Heroes "with honors" and left M'onel the last hero standing, using the disappearance of eleven of them (aforementioned Legion Lost) as the last nail in the coffin, even though a new threat looms on the horizon ("Robotica," think the techno-virus Cable has over at Marvel with a bad case of Borg Envy). Many of the Legion veterans have joined the galaxy-wide peacekeeping agency the Science Police or simply gone home to their worlds to bask in fame and accolades. Of course, Robotica comes calling with a seriously bad attitude, M'onel and McCauley trade barbs, and all hell is close to breaking loose.

This issue works on a lot of levels. The Legion at its height had upwards of 70 members (it may have been more, memory fails). In this issue you have the old SP liason Shvaughn, the Carggite Triad (one girl who can become three, a dream for single guys with lots of laundry), and M'onel as a fundamental core to the story. The simplicity of the tale helps put the events of the past in sharper relief. This story has none of the wide-eyed wonder that made the Legion such a fan favorite for so many years, and leans closer to the Giffen-era "grimmer" Legion. You can't go home again, and if you try, you often find it's been torn down. A great read for Legion fans willing to tolerate crimes of continuity and a somewhat rewarding uphill climb for new readers.

Monarchy #2 (Wildstorm)
By Doselle Young, John McCrea and Garry Leach
The good news: Monarchy #2 is about 32% less confusing than the deeply worrisome muck that was Monarchy #1. The bad news: if you're not already a fan of some of the wackiness going on over in Wildcats, you're not gonna enjoy this much. Jackson King and Christine Trelane have been declared enemies of the United Nations, as they scrawled "We quit!" in the flaming rubble of their boss' office (ah, how we all wish we could). King continues to me melodramatic and secretive, hinting at things ("Condition Red" as a member of the team?) we have yet to see, trafficking in heroin, cruise missiles, and laundered cash. Union has been brought back from his suicide attempt in Authority #21 and he is not a happy camper, torturing people to death to kill the psychic alien offspring gestating in their minds. More otherdimensional, Bleed-related madness wiggles and squirms through the pages like Hitman on acid (John McCrea's distinctive artwork makes even the weirdest occurences looks groovy). There's a heapin mess of subplots going on and fewer details than season three of the X-Files. The strength of this title is its endless possibility, borrowing the vocabulary and oddity of the Authority while taking a decidedly personal direction. The weakness is, oddly enough, tied to the strength: while using the absurd circumstances that made the Authority bigger than life (King tells otherworldly hero Jon Farmer they can't be seen from "the observation core. We stand outside reality's window, looking in on the world. More like a whisper, less than a ghost.") the title thus far has avoided the sense of clear and present dangers, instead letting the characters walk around and pontificate like an episode of Once & Again. A troubling read that will be very fun for some and very frustrating for others.

Iron Man #41 (Marvel Comics)
By Frank Tieri, Keron Grant and Rob Stull
The good news: Despite having some vague issues of balance in the composition of his characters, new penciler Keron Grant is a vast improvement over Alitha Martinez' work on this book (particular props for his depiction of Jim Rhodes). The bad news: Nothing new from Frank Tieri. Let's cut to the chase here: Tony Stark realizes he's a humongous jackass and decides to give away all his money and his company. Before you say, "wait, hasn't this been done?" let us remind you that the last three companies Tony lost due to sabotage and incompetence. He's never quit before, so that's at least a twist. "The world can certainly make do without Tony Stark," he says at the end (let's ignore that the proper usage of the phrase is "make due"). The cause of this is a continued beating in the media (nice shot of Dave Letterman doing a Top 10 List) and the inexplicable appearance of The Blizzard (at last reckoning, the suit had been abandoned and Tony was helping the last wearers rehabilitate themselves). Did we mention that he spends most of the issue wearing an armor that even bystanders laugh at as an antique? Tom Breevort can't show up soon enough to clean up this mess.

Black Panther #31 (Marvel Comics)
By Christopher J. Priest, Sal Velluto and Bob Almond
Reading this issue reminds you why T'Challa is regarded as one of the finest minds in the Marvel Universe. Likewise, the machinations of his dishonored attendant Nakia, now called Malice, come to the fore with a vengeance. A great issue for new readers and old alike, the new "Seduction of the Innocent" storyline takes off here in a story called "Disciple." Panther follows a series of personalized clues along a long and convoluted path to discover Malice has set a trap for him. Seems old girl has picked up a new trick -- her kiss now sways men under her complete control -- and when one of New York's finest comes under her control, a protest in front of the Wakandan Embassy becomes a bloodbath. In other news, Nappy Fro Lad (the Wakandan also known as Vibraxas) sees his little fling with Queen Divine Justice is far more complex than he thought, since she's not the cook he suspected, but one of the women promised to the king as attendants, a Dora Milaje. Dead bodies, suicide, gunfire, and a post office in Brooklyn. The best book at Marvel keeps putting out the hits, with the only confused point starting on Page 19, where the sequence of events that leads the Panther from discovering his cousin's husband dead to going to blows with Malice outside the Embassy ... well, okay, that's a little unclear. Other than that, this issue is flawless, another hot one for Marvel's best title, bar none.

Transmetropolitan #45 (Vertigo)
By Warren Ellis, Darick Robertson and Rodney Ramos
The final part of the "Dirge" trilogy of issues finds a storm of near biblical proportions smashing the city senseless, with carnage and destruction everywhere and no help in sight (last issue it was shown there were almost no cops on the streets due to "blue flu" and an invisible sniper forced the evacuation of the City's information centers in the Print District). The damage hits home when a car's tire smashes through the window of the bar Spider and the girls are holed up in and knocks him out, revealing his nosebleed and potentially deeper sickness. This leads to the passing of the torch on to a new voice for the City's disenfranchised, and the President decides to push forward his own secret agenda, as he's been closing in on Spider for months. This transition issue definitely won't stand up as one of the real gems of the series ("Monstering," "Along Came A Spider," "Gouge Away" Parts 2 and 3), but for devoted fans of the series, it's a real keeper.

JLA: Black Baptism #2 of 4 (DC Comics)
By Ruben Diaz, Sean Smith, Jesus Saiz and Keith Champagne
Antihero Faust comes into a more fleshed out spotlight, saving the moon from twisted semantic magic. The art here has improved a hair since last issue, and the story of the demonic mobsters is a bit less wacky than it was before. Still, even leaning on the institutions of the DCU (rhyming demons, a great explanation of how the power of Zatanna and Zatara worked) and showing some great character interaction (Batman worrying over psychic pollution for Martian Manhunter at Arkham, Superman frustrated about being laid low by a magical crossbow bolt last issue), the story seems a bit threadbare, and is still looking for its raison d'etre. Demonic mob boss Don Asmodeus doesn't present the villainous profile of other global level threats like Prometheus or Ra's Al Ghul, and his machinations seem small and unimposing. This issue is an improvement, and may end up as a stone in a more imposing edifice one day, but still looks like it needs some construction today.

Planetary #14 (Wildstorm)
By Warren Ellis, John Cassaday and Laura Depuy
Just when you thought it was safe, Warren Ellis kicks in the door and puts the smackdown on your expectations. Planetary, once upon a time, was telling a fairly linear tale of three metahuman investigators poking around the secret history of the world. Fun for the whole family. Nowadays, Warren dances in the moonlight with the conventions of superhero comics and, once they're properly intoxicated, takes them home and has his way with them. He's taken the concept of linear storytelling and given it the same kind of speech Christopher Priest must do every month. This issue looks "back" to the day the Planetary field team went head-to-head with The Four (imagine Marvel's FF gone really, determinedly bad) Elijah Snow allowed them to implant memory blocks in his mind. It's a great single tale of metahuman wackiness that's made even stranger by the way it fits in the larger narrative. Watch deceased Ambrose Pierce in his prime put the thumbscrews to Sue Storm's very evil twin sister Kim Suskind. Watch Jakita Wagner punch the living daylights out of a human torch. Enjoy a glimpse of a planet filled with weapons and dead bodies, tied to wacky objects on Earth by a tap on the ground. This issue is one hell of a ride, and not too steep a climb for new readers. Hang on and enjoy the ride.

Gambit & Bishop #6 (Marvel Comics)
By Scott Lobdell, Joe Pruett, Georges Jeanty, and some other people whose first names aren't listed (Cannon, Holdredge, Lipka and Parsons)
This week's award for "worst book released" has to go to Gambit & Bishop #6, which is a messy, out of character bit of melodrama that dreams up a global level threat only to dispatch it in less than two pages. This book confuses more than it clarifies, as it (theoretically) gets Stryfe out of the pages of X-books forever in a way that is so contrary to, well, every word that has ever been written about him that it's really irritating to anyone who ever took him seriously as a threat. Cable swings by, postures, and generally manages to accomplish nothing through the entire book. Gambit babbles through most of the issue, Bishop manages to look confused and get abused at the same time, an accomplishment worthy of Ensign Harry Kim on Star Trek: Voyager. Oh, and just for laughs, the "I-thought-you-were-Gambit-on-Geritol" Witness from Bishop's timeline shows up, proves that Gambit in fact will not survive the slaughter that created the XSE timeline and Bishop is trying vaguely to avoid, and then just as quickly disappears, offpanel. The inking looks like it was done with a Super Soaker, and the pencilling may have actually been somewhat soggy before that. The actual threat here is irrelevant, since it's gone before you know what it really is, and this entire six-issue run has served as a strong illustration why someone needs to storm into the X-offices at Marvel and pistolwhip the alleged creative people there until they start being more entertaining. This issue, no, this miniseries, is just plain awful, and as Stan might have thought, "'nuff said!"

Beasts: A Universe X Special (Marvel Comics)
By Jim Krueger, Thomas Yeates, Ron Randall and John Totleben
If you're not already reading Universe X, let's just start by saying this special one-off issue is a continuation of a huge "what if" scenario, played out on fine paperstock and with special treatment. Good, but best if digested as a whole. Beasts centers on the disbursement of a Cosmic Cube (imagine divine power in a handy, palm-sized container), the royal court of postage stamp African nation and technological powerhouse Wakanda, and some runaway ex-X-men, including the now-not-so-weird Henry McCoy, often known as the Beast. Accept that most of humanity has become mutants, and we'll be ready to move on. This story tells a sad tale of accidents and hunger, and brushes past the question of who is more human, the man or the monster? Really solid storytelling here, the deep backstory notwithstanding, and a solid product from the sometimes shaky House of Ideas.

Cable #91 (Marvel Comics)
By Robert Weinberg, Michael Ryan and Ted Pertzborn
Cable scribe Bob Weinberg may be short for this title (check out the NPO message boards for more of that discussion), but he's determined to rock and roll all the way 'til last call. In a story called "The Fifth Power," Cable stands outside the prevailing four schools of thought on the subject Homo Superior (Xavier's integrationism, Magneto's genewar scenario, the Henry Gyrich mutant hating humans, and normal people who are caught in the middle) as he opens a keg fulla whupass on the secret society called the Dark Sisterhood and their organized crime cronies. The book plays like an adventure movie, with images seen through tinted lenses and with shots reminiscent of films like Ronin. While Michael Ryan captures a nostalgic energy with the "old school" characters of Citizen V #1, he has a much sharper, crisper feel here (possibly the difference between Pertzborn's inking here and Parsons on CV) which serves Weinberg's vision very well. The book snaps back and forth in time, always moving to its promising crescendo, which hopefully Weinberg will be employed long enough to bring to reality. A strong note in a sometimes tempetuous series.

Citizen V #1 (Marvel Comics)
By Fabian Nicieza, Michael Ryan and Sean Parsons
The premise of this book is best understood by entrenched fans of Thunderbolts. To quickly sum up, Baron Zemo pretended to be the grandson of WWII hero Citizen V (think a poor man's Captain America) as part of the then-Masters of Evil's plan for world domination. Of course that went badly. The real grandson John Watkins III is in the suit now, and serving the Penance Council's V Battalion, a "secretive" group fighting for justice worldwide, run by veterans of the big one and their scions. Right. Anyway, here we are, 2001, and Watkins is good at what he does (swashbuckling, beating up bad guys, witty repartee) even if he is something of a loose cannon. That, and lingering mysteries about mind control nanobots from Thunderbolts provide the ground floor which this series is built upon. Hang on, we're almost there. So, Citizen V battles Captain America's ex Diamondback (controlled by nanoprobes, oh yeah), the long lost Strucker twins Fenris, and of course everybody's favorite bucket-headed, overdone international terrorist organization AIM. Three fight scenes and a boatload 'o exposition and we're pretty much done here. Thunderbolt fans, or fans who enjoy dipping through the deep and voluminous madness that is Marvel continuity (like this writer) will have a ball looking for in jokes and digging through the book for clues and tips. There's room for new readers -- plenty of explanation here, almost too much -- but this is really a reward for old school fans, including (we believe) the title's writer himself. Fun and good reference material all wrapped up in one package!

The Spectre #4 (DC Comics)
By J.M. DeMatteis and Ryan Sook
The Wrath of God is, apparently, a lot less impressive than his advertising. After being sucker punched by yet another Brand X mystic with free time and a bad wardrobe, Hal Jordan lost the Spectre-spirit last issue, allowing it to take control of fallen angel Zauriel, which made for one scary angel. Said mystic smacks around Superman and Batman for a few pages while Hal gazes at his navel and finally grabs back the Spectre force. Anguished pontificating for a few more pages. Let simmer. All is well by the end, including some face time for the holder of the Wrath with his long lost love Carol Danvers. This book is a yawn from start to finish, with sloppy artwork that fan fiction would refuse and a level of fallability to what is supposed to be one of the greatest powers in the DCU that's alarming. If you find implausible stories where God's Wrath gets his ass handed to him every month compelling, you'll be first in line for this book. If you like, oh, well told stories with clear artwork and even comic-book-logical conclusions ... you'll let this one go right by.

The Crusades #2 (Vertigo)
By Steven T. Seagle, Kelley Jones, Jason Moore
The best part about this series is the wonderful and unique third person perspective the reader has. Reading the issues, there can be no doubt that there is (somehow) a 12th century knight patrolling the darkened streets of San Francisco, dispensing medieval justice at the edge of his blade. It is impossible for any of the characters in the book -- mostly complex figures with decent development for a new title -- to have anything resembling that kind of certainty, and watching the hard truth of that knowledge creep up on them is a lot of fun. The fascinating protagonist that's emerged is buxom Venus Kostopikas, who has more self-esteem issues than an early episode of Facts of Life. She visits her therapist, beginning to give in to hallucinations and her own doubts, and finally comes to the realization that she has seen this mysterious Knight the entire city is buzzing about and that her surreptitious boyfriend Anton Marx is fooling the city into believing he knows well. Nevertheless, with a slow and deliberate pace, Seagle draws the story ever closer to some horrible, bloody climax that's made more and more delicious with every turning page. Like Vertigo favorites Lucifer and Outlaw Nation, it's a slow burn that will one day make a phenomenal TPB, and it feels like it'll be worth the wait. Keep picking this one up.

Hitman #60 (DC Comics)
By Garth Ennis, John McCrea and Garry Leach
Last call -- the end of Garth Ennis' chronicle of a decidely unsung side of Gotham is finally upon us. It's hard to say why this has received less fanfare than the end of Ennis' five year run on Preacher -- maybe it's because of the title character's ignominious origins as one of scores of new characters created in the tepid Bloodlines crossover (best not to think too much about that). Nevertheless, good ol' fashioned wiseguy and hitman Tommy Monaghan from the Irish slums of Gotham ended up with telepathy, x-ray vision, and a life of unending horror and weirdness. Spoiler alert: it all ends here. Over the past few months, interspersed with flashbacks to turning points in Tommy's life, Tommy and his happy gang of killers have worked very hard to protect a witness who could bring down a black ops unit that's been after Monaghan before. This month, in an emotional and probably inevitable conclusion, the witness is taken to safety, Tommy and Natt prove their friendship in a truly final gesture, and the relative good guy does not get the girl in the end. It's a dark, brooding ending that fits in with the general undercurrent of tragedy this title has carried through zombie penguins and Clint Eastwood impersonations. A fitting headstone for the series that stands well as a single issue. Since it's the series finale (check out the farewell letter from the creators in the lettercol space), it's not really recommended for "new readers," but will definitely reward those who've seen some of the excellent development of this character and series along the way (including some great pin ups at the end).

Enemy Ace: War in Heaven #1 of 2 (Vertigo)
By Garth Ennis, Chris Weston and Christian Alamy
"I was no longer sure I was fighting for the right side. I am now convinced of it. For the simple reason that there is no right side. I fight because of what I am." The words of Major Hans von Hammer, "The Hammer of Hell," one of WWI's most decorated fighter aces, as he takes time to reflect on his experiences in its bloodier sequel. He was pulled from retirement, his reward from his past service a dusty old castle in Bavaria, to save a new generation of German fighter pilots from the gnarled, angry teeth of the Russian front, on the basis of friendship. The book centers mainly on von Hammer's aerial prowess and the brotherhood of men at arms, skirts almost all of the messier issues of National Socialism and its progenitors. von Hammer finds no solace in the taking of lives, takes no pleasure in exchanging the youth of his country to create killers. It's a quiet and grim book, especially when von Hammer crashlands outside of Leningrad and walks back to friendly territory, and one that shows Ennis' very loving treatment of the subject of men who commit violence. Not a glorification, in the way of the gun-toting books of the early and mid '90s, but an examination of the kind of person who can pull the trigger, day after day. If you enjoyed the Adventures of the Rifle Brigade and the dirty art evident in your average issue of Preacher, you'll find Weston and Alamy's work her very palitable. Quietly enjoyable, and another feather in DC's cap.

Wonder Woman #168 (DC Comics)
By Phil Jiminez and George Perez
There have been, whether you know it or not, pressures building on the "paradise" island of Themyscrira between its native daughters and their close relatives of Bana-Mighdall, transplanted from the Middle East to the "far" side of the island. Call it jealousy, call it hormones, call it what you will, but the lithe, buxom, scantily clad Amazons descended from Greek myth are about to dive into civil war. Of course there's an evil mastermind behind it all. Of course they're being manipulated, and their fickle gods are nowhere to be seen in their time of need. These are staples of Wonder Woman's life and comic book writing from decades long past. However, under the loving pen of George Perez, it all looks so important, so lush. There have been complaints about the "talkiness" of Jiminez' work, but some (this writer included) find it fair and enjoyable exposition. There's little chance this internecine conflict will be solved with talk, as there's guns and bad blood and a whole heap'a angry Amazons on all sides, so this issue is largely a lead up for a humongous battle next issue. Under the pen of Perez, it almost has to be a blast, so this issue stands well as a prelude to conflict and will more than likely serve even better as a bookend to carnage. Lock and load, let's do this!

Generation X #74 (Marvel Comics)
By Brian Wood and Steve Pugh
Months ago, this title, still under the Counter X banner, started a storyline looking at one day in the life of Generation X from the perspective of one or two characters per issue. Finally this arc (which was starting to drag along) closes with its final chapter, a strangely supernatural one involving Paige Guthrie (who's turning out to be a latter day Kitty Pryde) and a vague explanation of some of the details of other issues. There's barely enough material here for a whole issue, but somehow Wood and Pugh manage to make it stretch, but considering by the time this issue was due, they must have known the end was near, it all seems a bit ... phoned in. This will fit in well if these four issues are ever collected, or if you take all four issues and read them in a sitting (it'll go quickly), but standing on its own, this issue is nothing special.

Deadpool #52 (Marvel Comics)
By Jimmy Palmiotti, Buddy Scalera, Anthony Williams and Andy Lanning
Perhaps it was all part of a master plan. When Jimmy Palmiotti took over Deadpool months ago, he created what, by all accounts, was the worst issues of Deadpool known to man, a set of stories so bad that even the work of Gerard Jones and Tom DeFalco seemed like Shakespeare by comparison. As time went on and we moved farther and farther from the initial horror, the issues seemed to get better and better. Could it be that Palmiotti and Scalera started getting their groove ... or was it just that, after "Cruel Summer," you could have reprinted Mein Kampf backwards and in braille and it would have seemed better. Whatever the case, this issue ("Talk of The Town") is more fun than the last, which was more fun than the last. Still a shocking dearth of quips and amusing banter from the titular character, but facts are this title has returned to the heights of mediocrity to which we dreamed it could at least achieve after the excellence we once knew. This month we center on the killer schoolgirl twins that have been percolating in a subplot for the last two or so months, and ... well, they have a meeting with Mr. Wilson that's straight out of Cannonball Run. The art here has improved vastly, showing scenes like the concert with solid detail, depicting the dripping of blood from a knife of the cold profile of a revolver with careful accuracy. The Copycat subplot keeps ... well, developing is a strong word, we'll say it's moving along. The one thing that's still missing in some cases, particulary Copycat, is the motivations of the characters. The killer schoolgirls Mary and Grace are killing people ... for no reason anyone can discern. Copycat wants Wade back in her life, despite trying to kill him after impersonating Titania for months ... why? Will these answers be evident before Mister Tieri leaves Tony Stark for Wade Wilson? Let's just hope so. Tolerable entertainment here, but nothing to get worked up about.

Wolverine #162 (Marvel Comics)
By Frank Tieri, Sean Chen and Norm Rapmund
As unusual as the following is to write, it must be stranger still to read. Nevertheless, the ugly truth is here: Frank Tieri managed to make a partially entertaining issue of Wolverine. Now, it's very important for us to be clear -- there's still some shlocky, cliche-driven pablum here, writing that would make the average English professor swoon and faint with alarm. However, with the soul-crushingly bad "The Best There Is" storyline we've been subjected to these past two months still fresh in our minds, you could practically illustrate the phone book of Secaucus, New Jersey and seem like a genius by comparison. The sole saving grace for a plot that's hackneyed and more of Wolverine's poor impulse control based on external meddling is the bouncing blue bundle of Beast. Tieri actually evinces a fascinating level of control over Dr. McCoy's character, using humor and action in a way that ... frankly, his work over the past two months doesn't show he'd be capable of. The odd chemistry between two mutants with essentially the same hairdo makes this issue almost click, and makes it worth reading to see the Beast's zingers (when told he'll soon taste adamantium, he responds, "Just like chicken, so I'm told."). Can it be Tieri will soon stop putting out the horrible, getting-chlamydia-on-a-rainy-day bad material we've seen recently? The world waits, patiently.

JLA #52 (DC Comics)
By Mark Waid, Bryan Hitch & Paul Neary
Clark Kent, getting nervous around heights. Kyle Rayner working himself into delerium with his artwork. Bruce Wayne cutting a swath through the single socialites of Gotham City before almost thrashing a young vandal within an inch of his life. John Jones laid up in the hospital. The erstwhile secret identities of "the world's greatest super heroes" continue to have a wacky time adjusting to "normal life" as the cause of the separation reveals itself to be a wishing machine of extraterrestrial origin. This all leads to a nightmare confrontation from a Leaguer back from the dead (only temporarily, and eww is it not pretty) and more concerned looks and furrowed eyebrows from Aquaman and Wonder Woman. This set of stories really picks at the brains of the alter egos behind the masks, and while this issue is enjoyable, it moves much more briskly and with fewer details than its predecessor. Waid is still finding his balance between huge scale and personal scale, and it's still good reading any way you slice it.

JSA #22 (DC Comics)
By David Goyer, Geoff Johns, Some Guys Named Morales & Bair, and Buzz
This diptytch book is told as two interwoven stories -- one across the top half of the issue, and the other across the bottom, a technique employed well in the latter portion of G.I. Joe's run. Jay Garrick hangs out with an ancient Egyptian Hawkman incarnation (don't ask), Black Adam before he went villainous, and Nabu (looking like Aquaman's older brother, also don't ask). On the top half, Sand and the JSA dig for the truth about Hawkgirl (who may or may not be reincarnated herself, a really long story). Despite the vast amount of baggage this issue carries, Goyer and Johns manage to make the book work on its own and tell a compelling chapter that logically leads on to the future. Best of all, the colorists remembered to put some brand of shade and coloration on the ancient Egyptians, so you can ignore their deeply non-African hairdos and the historical inaccuracies (Khufu in the 19th Dynasty?). All around superhero fun here, with only the barest of nagging doubts lingering in the periphery about what's going on and whether it makes sense. In the words of Basil Exposition, "I suggest you don't worry about those things and just enjoy yourself."

Birds of Prey #29 (DC Comics)
By Chuck Dixon and Butch Guice
The time travel mechanics in this month's issue are so complicated they'd leave Geordi La Forge scratching his head, so let's leave them by the wayside. Suffice it to say, for reasons that are only marginally important, Black Canary and a team of gun toting mercenaries go back in time to the days of Vikings wandering pre-colonial North America. While there, she snags the attention of the time lost Ravens (three female assassins, Vicious, Pistolero and the baby's momma for Arsenal, Cheshire) who she's there to "stop" and the muscular Jon Haraldson, viking explorer and contemporary to Leif Ericson. The good part: they know where to go to get back to the future, and they can just stand there and wait for their ride home. The bad part: the mercenaries who came with Canary were quickly killed by angry Native Americans, who commandeered the guns they brought and don't seem to like Vikings. If making Native Americans angry and savage isn't your cup of tea, tune out now and forget this issue. Chances are the Vikings attacked first or spread plague or something, but that's not important right now. The art is vague and lacks detail, making it passable but not fascinating (ask yourself how bland Jon looks if you pick the book up, even though there's a shot of Barbara with her head tilted that's pretty good). The story itself is also pedestrian, predictable fare, and as part two of a larger story arc serves as a passable waystation. This is good passtime reading, but a long way from the heights of "The Hunt for Oracle" or any must reads you'll see on the stands this month.

X-Man #75 (Marvel Comics)
By Steven Grant, Quique Alcatena and Ariel Olivetti
It's the end of the world as we know it, and no one seems to care. Mutant shaman Nate Grey gets his swan song in this, the closing issue of his post-Age of Apocalypse run. The long and the short of it is: an alien race seeded Earth with life billions of years ago for the sole purpose of harvesting it when it was ripe and filled with energy. The rise of mutants was considered the "ding" on the microwave, letting said alien farmers know the crop's done. So they sent their Harvester, a motivated little guy, to come to Earth and spread a thin haze of nanoprobes ... sorry, energy netting "over every mitochondrion on this globe. Preparing for the harvest." Attacking him causes pain to millions of humans everywhere. Of course Nate beats him -- after a fashion -- fairly quickly (the meat of their battle takes maybe five pages) and passes on the idea of becoming a mutant shaman to a random telekinetic who he stumbled on through pure, dumb luck. It's a nice try at making the end of the world's most powerful mutant a grandiose, epic thing, but it lacks gravity and substance (as well as doesn't answer the question of what the Harvester's race will do when they don't get their harvest, as in who's coming to follow him). If you've loved this book all along, pick this up to give yourself closure, but otherwise this ship could pass into the night without you missing a thing.

Marvel Knights #10 (Marvel Comics)
By Chuck Dixon, Ed Barreto and Nelson
If the plot to this tepid issue were as clean and articulate as the artwork, you'd have another feather in Chuck Dixon's hat. Alas, the man of way too many monthlies drops the ball here, in an issue that could easily have been summed up off panel or in a couple of pages. The highlights, such as they are: The Punisher escapes the long arm of the law, again. The Black Widow takes Dagger shopping and gets her car stolen, which leads to some very lackluster wandering through Manhattan's rougher streets. That's about all you get this month. Seriously. For a book that's worked its patootie off on making great stories with Ulik the Troll as a mob boss and saving Cloak from Nightmare with a bunch of essentially street-level heroes, it's almost impossible to hit the ball every time. Consider this month's issue a missable fill-in that Dixon phoned in while plotting Nightwing and leering at the girls in Birds of Prey. Move along, nothing to see here.

Captain Marvel #17 (Marvel Comics)
By Peter David, Jim Starlin and Al Milgrom
Not only is the creative lineup in this month's Captain Marvel a team of all-stars, but one glance at the cover will show a whopping lineup as well. Joining regulars Rick Jones (isn't he like 50 now?) and Genis are Asgard's favorite son, The Mighty Thor but also everybody's favorite cosmic uber-threat and former supreme being, Thanos. Just seeing that is good enough, but this issue packs in action (even if its antagonist lacks oomph) by the bucketful. "Wait," some fans may say, "Didn't Thor whomp Thanos to death a few months ago in his own Romita-drawn series?" Yup, he did, and makes note of it here. Thor: "Mad god! Foul Titan! Lover of Death! Slaughterer of billions! I saw thee die with mine own eyes!" Thanos: "Death, Thunder God, is akin to lovemaking. It gets better every time." Thanos even takes time to poke fun at Thor's Victorian speech patterns (what's with that, anyway? He's a Norsemen, those guys don't speak English at all, much less Shakespearean English?). It's all just a prelude, however, for the WWF-Undertaker-looking bad guy named The Walker (who, as it turns out, is the embodiment of death from his neck of the cosmos, standing on equal footing with Hela, Hades, and Thanos' unrequited love, the skull-faced Death) who comes ready to stomp this side of reality a new mudhole after Death, after shtupping and then rebuffing said Walker, leaving him beholden of billions of souls slain as a gift for her and a mad on like The Incredible Hulk with a wedgie. It's almost funny to point out that Death will sleep with this trenchcoat wearing wrestler wannabe and carry on for years with Deadpool, but won't even smooch Thanos. Anyway, Walker plans to kill Death, meaning there'd be no way to die on our side of the universe anymore. So as Thanos seeks to protect her, Death hides ... well, it's somewhere surprising, and all around amusing. Starlin's grasp of the visual manner on these characters (he's like Thanos' best friend) is well fitted with David's brilliant gift for scripting (even when his plots get a bit convoluted). Tons of fun here on a title that's climbing up to become one of Marvel's shining stars.

Thunderbolts #50 (Marvel Comics)
By Fabian Nicieza, Mark Bagley, Greg Adams, Al Vey and Scott Hanna
The second most involved book at Marvel takes a big step forward in this excellent pay-off issue that rewards longtime fans with answers to a whole lot of questions (but not all of them, like Season 5 of The X-Files) and lets new readers get a glimpse of what all the fuss is about. The big mystery mastermind revealed last issue becomes the target for nearly everybody, including the doubtful Thunderbolts following Hawkeye and the rookie Redeemers following the true Citizen V. For most of the issue, the two teams end up generally getting smacked around by the machinations of said mastermind, which is entertaining in and of itself (when confronted by the supposedly dead Fixer, Moonstone notes: "Reason number one why dead super villains should just stay dead!"), but the book hits a snag created, in part, by its biggest plot device, governmental nanoprobes that can program human beings to follow instructions without fail. Suffice it to say the mastermind turns out to be just someone else's puppet, and again Moonstone sums it up: "Most conspiracies end as they began ... quietly." In the end, all coverups remain nice and snugly tucked in, a Thunderbolt goes to the slammer (a new one this time), the team reconfigures itself into quite a surprising new shape, and there's nice set ups for the new story arc (get ready for some Doom in #51) and the Citizen V limited series coming up. This is some fine comic book writing here, aided for the last time by the clear, crisp pencils of Mark Bagley, who leaves the title with this issue. A great issue for everybody, and a fitting cap to more than four years of excitement.

The Spectre #3 (DC Comics)
By J.M. DeMatteis, Ryan Sook and Mark Propst
The sad thing about the modern incarnation of the Spectre is that he spends so much time getting beaten up. From being dessicated by the King of Tears in JSA to getting bottled by Lemurian mages like Barbara Eden's ugly cousin, he's certainly not your father's Spectre. The Wrath of God ends up sneaking out from under Hal Jordan's slipshod management and appropriating a much more impressive vessel, Batman and Superman break the enchantment on them that made them forget Hal was back (and boy is Bruce unhappy), and all around hilarity ensues in this messy, vaguely drawn issue. None of Hal Jordan's charcter seems to have made it back from the dead, as the wandering, "Bu-bu-bu-but why?" guy inhabiting the green cloak here could well be Kyle Rayner's early period for all the backbone he brings. DeMatteis is a true talent, and maybe he just needs, oh ... seven or eight more issues to find his groove here. We'll check back.

Transmetropolitan #44 (Vertigo)
By Warren Ellis, Darick Robertson and Rodney Ramos
Picking up steam now, children. Professional horrible bastard and outlaw journalist Spider Jerusalem has been at the middle of deep conspiracies before, has used his skills as a reporter (or his equally sharpened skills as a pugilist) to dig through layers of confusion to find the hard truths. He's in the middle of just such a mission now, ferreting out the source of the Blue Flu that has most of the City's police at home, an invisible sniper keeping the media center of the country silent, and a thunderstorm the likes of which few have ever seen rocking the cityscape. It's fun to watch, especially now, as Spider seems posessed of a preternatural calm, a simple and intense focus on the task at hand as his mind races from one conclusion to the next, creating the story before he ever has to type it in, understanding that he is the only media voice able to speak at all, let alone sensibly. After the slower pace of "Business" and the insanity standalones from the past few months, the readership has been lulled by the pace and is ready for surprises, which Transmet has been delivering all through its run. "Something is happening in the city right now that no one is watching," Spider says, and it's almost certain when it's revealed in next month's final chapter of the three part "Dirge" storyline, it won't be anything cute and cuddly. Still one of the best reads on the stands.

Iron Man #40 (Marvel Comics)
By Frank Tieri, Alitha Martinez, et al.
I'm going to take a rare step into the first person perspective to review Iron Man this month. For the last two months, I have reviewed Iron Man issues and lambasted the work of its writer, Frank Tieri (I've also found his Wolverine work simply awful, FYI). I have been accused of spouting the frustrated rantings of an unpublished writer and attacking a quality representation of one of Marvel's oldest characters. By some.

Others have agreed with my criticism of recent Iron Man issues, where Tony Stark has wandered and stumbled through adventures with a Keanu Reeves haircut and a win-lose ratio reminiscent of this year's Golden State Warriors. I've turned to Usenet to find my criticisms were tame and almost complimentary compared to some of the bile and venom directed at Tieri's treatment of Mister Stark. Overall, expect little change in this month's review, as only a battalion of artists conspired to raise this title from the drippy horror that happened last month, and little has changed from the formulaic fill in the blanks writing of the last few months. In any case, I'm not going to recite my resume or reference everyplace I've been printed, when it's so much easier to prove my point that Tieri's work in recent months is substandard by referring to the issue at hand.

Tony spends most of this issue trapped in a virtual reality program created by his childhood friend-turned-bitter enemy Ty Stone. He spends a lot of time reliving traumas from past years, getting slapped around, and generally having a hard time. Then, and there's no spoiler in telling you this, he finally defeats Stone and the virtual reality machine through an application of will. No, I didn't accidentally slip in an issue of Green Lantern while I was reading this (despite the wacky things going on in that title), Tony Stark's will somehow overrides the programming and cripples Stone as he escapes.

Iron Man has always been a book that leaned heavily on its scientific roots (such as they are, with comic book science), with stories that reveled in the "how" of superheroing. It has led legions of Iron Man fans to pore over the tiniest minutiae of the technology, creating sites like Advanced Iron (www.advancediron.com) to comb the canonical text for authentic reference and even getting the creators themselves to chip in (and refer to it), creating an air of credibility and gravity to Tony Stark and the title by association. With all that, this issue pulls a deus ex machina manuever so hackneyed and tired to ignore the fact that, technically, there's no way and no explanation for how Tony Stark managed to keep from getting killed, no understanding how he managed to escape a virtual reality program (which in one point has him strapped to a table half naked, and at the end, he's just sitting calmly in Ty Stone's office in a different suit than the one he wore in last issue), and no follow up on how Tony got into his armor last month (it promised we'd learn that answer this issue ... maybe Tieri doesn't read his own work). The biggest question is how Marvel lets this travesty continue.

Knowing uber-editor Tom Breevort is on his way in, let's hope he brings some qualitative smackdown to one of Marvel's most public embarrassments.

Black Panther #30 (Company Comics)
By Christopher Priest and Norm Breyfogle
Marvel's best title takes a pause for the cause in this excellent jumping-on issue, where master storyteller Christopher Priest neatly ties up the majority of the last twenty-nine issues. The King of the Wakandas is brought before a Senate Judicial Committee to determine his diplomatic priveleges. In addition to that, we get a look at the previous Black Panther, the great king T'Chaka, and see how he first met Captain America and began to open some of Wakanda, and in testimony get a glimpse of why T'Challa is one of the most intriguing characters at the House of Ideas. Get ready for a surprise when a mysterious tailor from very early in the series reappears (everyone will know him, when they see him) as Priest gears up for the next storyline, "Seduction of the Innocent" and more of the mayhem that makes this title such a joy. Black Panther #30 is a must read the second you can get your hands on it.

JLA: Black Baptism #1 (DC Comics)
By Ruben Diaz, Sean Smith, Jesus Saiz and Keith Champagne
One of the refreshing things about reading comics these days is the willingness of companies to take risks in our dwindling marketplace. In some cases that's great -- Outlaw Nation or Hitman might not have the same chance in a game of bigger stakes. In some cases ... well ...

The pitch meeting for JLA: Black Baptism must have made a lot more sense than its first issue. Demonic mobsters called "The Diablos" led by (we are not making this up) a succubus named Anita Soulfeeda (imagine Jennifer Lopez in a scanty dress revealing most of her assets, and add horns and a tail) clash with both our favorite heroes and the Sentinel of Magic, most of whom are cold-cocked off panel before the issue even begins. The only hope for the good guys is working with John Constantine-esque Faust, son of one of the League's most implacable foes. Of course, Blue Devil is trailing behind him like a wacky puppy dog (and where is G'nort these days?) and the surly mage reluctantly agrees to help the band of heroes stop the bad guys from ... well, it's not clear what the bad guys are up to, but it's a 4 part miniseries, so it has plenty of time to explain. If you're still around.

The artwork goes from spotty (the artic coverage of Tempest and Aquaman with Wonder Woman, Plas, faust and the aforementioned Devil is slipshod) to troubling (the very next page has a shot of the moon you won't soon forget) to nuanced and intimate (see the opening pages). The story follows the same course, taking you from interesting superheroics where Batman (of course) starts to figure it all out to a very unclear battle scene in an Atlantean shrine.

Top 10 #11 (America's Best Comics)
By Alan Moore, Gene Ha and Zander Cannon
The first grand story arc for Alan Moore's metahuman Hill Street Blues is over, and despite this title's chronic tardiness, it remains well worth the wait. This issue introduces Joe Pi, a "Ferro American" mechanical officer from one of the many parallel earths that are administered under the same government as Top 10. Joe's "first day on the job" is an interesting comparison to the series' opening issue, where Robyn Slinger (shown bedridden after having Commisioner Ultima topple half the room on her last ish) joined the squad. Joe encounters different levels of prejudiced behavior from being called "clicker" and accused of lusting after human women. His calm, mature responses to these encounters are both amusing and endearing, and he's an addition to the squad that will make for some very good storytelling in the future. The plot moves along smoothly, weaving in threads of subplots (such as the boy band murder) that started months ago in a way that newcomers could easily wave off (like ongoing cases on any cop show) and that longtime readers can enjoy. The delicacy of the writing is only slightly nudged out by the intricacy of the art, which makes so many homages to all ages of comics and popular culture, including (in this issue alone) William Shakespeare as a librarian, Firelord wandering around police HQ, Stan Lee owning a furniture store, Spider-Man's costume in a garbage can, and the cast of Futurama milling about the street. Almost every panel is packed with some in joke (a Usenet poster annotates every issue, sometimes taking him almost as long as it took to create the book), and every single read can reveal something new. This issue is a fitting stone in the ABC legacy, because as a title, Top 10 is one of the best books on the market, and there's hardly a reader out there who can't get some measure of enjoyment from this masterpiece.

Captain Marvel #16 (Marvel Comics)
By Peter David, ChrisCross and Anibal Rodriguez
The best part about a Peter David-written title is his carefully crafted sense of balance. There'll always be a few laughs in each book. There's almost always solid superhero action. There's often subtle emotional moments which you can rediscover with subsequent readings. This month's issue of Captain Marvel is no different, and that's a good thing. Genis, son of Mar-Vell, spends most of the issue trying to defeat a superpowerful futuristic version of himself which has been trapped in the Microverse (Micronauts fans, rejoice! Mari, Arcturus and Bug are in the hizzouse). Drax the Destroyer, Marvel's most powerful comic relief, predictably spends most of the issue in a berserker rage. Rick's apartment gets torched. Fun all around. David is really bringing this almost tired concept (the son of one of Marvel's better cosmic heroes, who brought Jim Starlin and emotional depths, to new heights but had nothing really original to say) to life. This issue's a good jumping on point (the backstory is largely irrelevant, and all relevant issues are noted here) and aside from the gruesome cover image (which is, sorry to say, godawful ugly while noting a pivotal point in the issue) provides a solid reward for fans following this series. Best of all, it's far less labyrinthine than David's other big book, Supergirl (what is going on over there?).

Outlaw Nation #6 (Vertigo)
By Jamie Delano, Goran Sudzuka and Sebastian Camagajevac
The convoluted Johnson clan keep descending further and further into X-Files territory in this enchanting issue of betrayal and confusion. At this point, we can only recommend this issue to either regular readers or those willing to dig up the back issues, because this book moves fast and furious (can't wait for the TPB). Story Johnson draws ever closer to The Place, his son goes deeper into his genetic dementia, and the women who orbit these madmen continue to try to figure what in the name of John Constantine is going on here. Delano is carefully laying out a story that accomplishes something wonderful in comics -- takes us somewhere unexpected -- and in the process delivers some fun comics moments with solid if unremarkable artwork (the team on this book have a consistent look, which is a credit -- the wild artwork of a JLA: Seven Caskets or the big screen Bryan Hitch/Frank Quietly approach would both swamp the delicate storyline and leave it adrift). Outlaw Nation keeps racing neck and neck with Lucifer to be Vertigo's best kept secret, and while Lucifer is harder hitting each issue, each piece of Outlaw Nation makes the others stronger (much like we hope Star Wars will end up as a saga). Buy it, sit it and all the other issues aside until you get 12, and read them en masse. You'll thank us later.

JSA #21 (DC Comics)
By David Goyer, Geoff Johns and Buzz
Millenia-old super villain Black Adam wants to join the Justice Society. Jay Garrick is lost in what appears to be ancient Egypt with an earlier Black Adam, Nabu and a crashed Thanagarian spaceship. Mr. Terrific and JJ the new Thunderbolt share a "Black" moment. Hawkgirl finds out something really, really concerning while flitting around with JLA leftover Zauriel. Mr. Bones confronts Atom Smasher about the Extant affair. Oh, and just for fun, Alan Scott's son Obsidian is somehow alive somewhere (doncha love surprise resurrections?) and gunning for your father's superheroes. Tons of wackiness going on in this book, and juggled quite well by Goyer and Johns, with the crisp, clear artwork you've come to expect from this book. Oh, sure, you can point tons of fingers at oddities -- ancient Egyptians were surely darker than that, especially a pharoah, the Mr. Terrific/JJ/Star confrontation smacked of cliche, and the Dr. Midnight/Black Canary relationship has moved along slower than waiting for Franklin Richards birthday parties. Overall, though, JSA has proven a consistently entertaining midlevel read, and this issue is no exception. It's not rushing to the top of most people's "must-read" stack, but it's a good solid title that is accessible at every point.

Thunderbolts #49 (Marvel Comics)
By Fabian Nicieza, Patrick Zircher and Al Vey
The cover tells you the most relevant info -- the face of Scourge is revealed, for certain, no jokes, in this issue. If you're a regular on NPO's message boards or Usenet, you won't be surprised at the revelation, as Fabian does seem to be a creature of habit who sticks to a certain stable of characters. However, the data that Scourge reveals, especially about the secret power behind his current anti-villain rampage, will chill you to your spine. Plus, Hawkeye and the Bolts hash out the fact that they're all still wanted criminals, Hawkeye's subterfuge, and other dangling personal issues. Considering some shaky moments in the last few months, Marvel's crown prince title is back in high gear, and #50 looks like a megaton blast that'll have repercussions for months. It's incredible how Nicieza and other talents at Marvel like Ennis or Priest are able to craft such huge tales that fit seamlessly into a shared universe without needing much reciprocation from other titles. Normally, T-Bolts is a thick series with tons of subplots and backstory, but this month's issue serves as an excellent point for new readers to join the party and gives longtime readers a heapin' helping of "Oh my god!" Any further hard data about the book would be too spoilerish, but look forward to this team running into Citizen V's new squad next month (and boy, do they have a surprise member) and more of the twisted madness that has made this book such a joy.

Ultimate X-Men #3 (Marvel Comics)
By Mark Millar, Adam Kubert and Art Thibert
The "ultimate" treatment may be a thinly veiled attempt at sprucing up decades-old concepts, but when you sit Mark Millar in the driver's seat and let him go, wacky things can happen. We won't say who, but it looks like an X-Man bites the dust in this issue (Colossus fans—you will still get your Piotr fix here). The X-Men take on Magneto's team with logical and entertaining results. All around, despite the vague queasiness of the reheated shame, this book is pretty entertaining. Kubert and Thibert make the art edgy and passionate, and the plot moves nicely along without klunking. Do be ready for an image inducer scare early in the issue. If you're a huge X-Men fan or looking for a simple way to become one, this book has some enjoyment. If you're a general comics fan who knows the history of the X-Men back and forth, this book may irritate you as it continues to cruise through a well-worn groove.

Black Panther #29 (Marvel Comics)
By Christopher Priest, Sal Velluto and Bob Almond
The best title at Marvel concludes its latest multi-part story arc "Sturm und Drang" with the pivotal showdown between the multiply-resurrected Ulysses Klaw and the Lord of the Wakandas, while the world teeters towards war in the background. Let's look at that a moment -- a global conflict involving no fewer than three highly advanced, heavily armed nations is the side order on this epic sandwich. Wandering through Manhattan he manages to stomp Klaw within an inch of the villain's life (big surprise -- title characters always win), talk down notorious hothead Namor, and get arrested. Plus, Queen Divine Justice and Nappy Fro Lad (the metahuman formerly known as Vibraxas) share an intimate moment amidst the rubble of a US missile attack, Atlantis surrenders and gets a Deviant child in the bargain, Lemuria relents and gets their seaspace back ... are you still hanging on? Priest, pleased as punch with this storyline as his attempt at the broad stroke, leads us into the next storyline "Seduction of The Innocent," where Panther stands trial and all the dirty laundry comes out. The best part of this title (and Marvel's heir to the throne, Thunderbolts) share the same upside and downside: the intricate and involved storylines move so fast and furious that it fascinates and enthralls the diehard fans, but an issue like this is literally inscrutable to new readers. Oh well. Make sure you're up on your back issues (this issue works so well when you read all the parts of it together) and enjoy this socio-political superhero roller coaster.

Iron Man #39 (Marvel Comics)
By Frank Tieri, Alitha Martinez, Paul Ryan, Mark Pennington and Rodney Ramos
Let's get this out of the way, before we go too deeply into this: Frank Tieri's interpretation of Iron Man, and his billionaire alter ego Tony Stark, is borderline terrible. It hits all the necessary marks -- Tony in a suit, Tony in limos, Tony in fancy office suites ... but much like Timothy Dalton in a James Bond movie, just because the suit is the same doesn't make it fit. From the top: the only thing Tieri is doing that could possibly be considered right is the first few sentences of the last few issues: "My name is Tony Stark. I'm a billionaire, an inventor, a super hero ..." and that gives new readers (there actually are new readers around) a quick shoehorn into what's going on. The sad part is that little is actually going on. The only thing the artists get right (more on that soon) is a fairly solid presentation of Tony out of uniform, looking dapper in a variety of suits and dress shirts. The problems start on page three, which starts with a constume change so mysterious, it inspired this quote by the writer: "Confused about how Tony got into his armor? Sorry, you'll have to check out next issue!" By starting an issue and leaving a point of logic splattered on the wall like a slow mosquito, and admitting it won't be cleared up for thirty days, well ... that just smacks of being a hack writer who should be writing Harlequin romances for fat, Bonbon-besotted housewives. Back to the issue, four pages are taken up basically indicting the last few years of Iron Man for turning Tony Stark/Iron Man into a character you almost cannot like. Listing his problems from the top (in the space of four pages, mind you): involvement in the death of an ambassador, breaking into super-penitentiary The Vault in the Armor Wars, involvement in the death of an entire town, accused of religious bigotry by those wacky kids of the Triune Understanding, years fighting alcoholism, dating Maggia head Whitney Frost (Madame Masque), losing more than three companies (Stark Industries, Stark Enterprises, Stark International), faking his death, fronting the cash and locale for Avengers Mansion (perhaps putting himself above the law), while not touching on Tony's John Woo-esque two gun shootout at the start of last issue ... it's hard to look at a list of facts like that and not say, "Sheesh, why isn't this guy in jail?" So, on top of blaspheming one of the pillars of Marvel Comics, the literally sloppy artwork of Martinez and Ryan (not even the fine Rodney Ramos on inks could help this mess) makes Iron Man look like he was smeared on construction paper by second graders. All around, this book is indicative of what Marvel's doing wrong, with a villain who inspires indifference (or cheers -- at least he was smart enough to shag Rumiko, whereas Tony left her shakin' it to the "Thong Song" unattended), a hero who had broken more laws than family night at the Gottis, and just for fun, aspersions cast on the character of Captain America! Say it with us: good times, good times! A pox on this book, and hopes it will improve in the future.

Transmetropolitan #43 (Vertigo)
By Warren Ellis, Darick Robertson and Rodney Ramos
You can almost hear the song in your head as you read part one of a new three part story in Transmetropolitan, "... closing time, open all the doors and let you out into the world ..." Things are wrapping up in this title as it moves towards the end of its planned five year run. You get a much closer look at the transformation of Yelena Rossini into the next Spider Jerusalem, as he predicted in the I Hate It Here TPB when he predicted she is fairly quick on the uptake, and will be quicker when the studenty curves on her have been abraded into sharp edges." Her edges are getting much sharper, as the third panel on page four show in interesting detail. Channon, Yelena and Spider stumble into another controversy involving the city's most corrupt precinct at Dante Street (remember the deeply dangerous "Lonely City" storyline in issues #28-30?), the dreaded "Blue Flu" and an anonymous sniper in a blur suit (those have been getting more and more page time since a squad of blur suits tried to kill our intrepid heroes in issue #38). This issue itself is a slow start, but much like several other points in the series, slow starts often lead to big, big revelations. Admittedly, it might be nice to see the energetic madness of "Monstering" we saw back in Issue #27 or even the wonder of Spider's drug induced dreams in #31 with guest artists Quietly, Hitch, Lea Hernandez et cetera. For now, enjoy this series the way so many wish they had enjoyed Preacher or Sandman.

Mutant X #30 (Marvel Comics)
By Howard Mackie, Ron Lim and Andrew Pepoy
Continuing Marvel's merry march of mediocrity, Howard Mackie proves he should be retired and have his hands bronzed ... to prevent him from writing any more. The entire Mutant X storyline -- alternate world strangely like the one we know, wow, what an original concept -- is rife with laughable ideas gone horribly, horribly wrong (A cowardly Captain America who's also a mutant? Iron Giant Man? Typhoid Mary the Avenger?). Knowing that, much like Bishop's pointless series, everything in this title will be meaningless in a few months when Havok gets reassigned to either Casey or Morrison and Mutant X will go the way of Dino Riders, the entire "help alternate Logan escape alternate James McDonald from alternate Canada" story here doesn't have a lot of resonance. Plus, it's not interesting. At all. NPO researchers tested this at a local gymnastics meet, and grabbed three bored guys (aged seven, seventeen and thirty four) and asked them each to read this issue. None got past page twelve before thrusting it back in bored disgust. How soon until this crap gets "X"-ed out?

Steampunk #7 (Cliffhanger)
By Chris Bachalo, Joe Kelly and Richard Friend
After multiple readings, it is easy to say this is one of the most inscrutable issues that will grace the stands this month. Combining dark, hard to decipher and largely idiosyncratic artwork with a storyline that -- at best -- could be called "nearly impenetrable", Steampunk is nevertheless beloved by some, as the raves in its lettercol prove. New readers to this book may find this Harsh Realm approach exciting and intriguing, but more than likely they'll be put off by the lack of clarity in narrative structure and the nonexistent character development. As near as we can figure, this book takes place sometime in the 1800s, and involves some brand of metahuman/magically enhanced types who are on a quest for "absinthe" that's never clearly explained (Dictionary.com defines "absinthe" as "A perennial aromatic European herb [Artemisia absinthium], naturalized in eastern North America and having pinnatifid, silvery silky leaves and numerous nodding flower heads. Also called common wormwood." Go ahead, wrap your brain around that one) and most of the characters are never referred to by name. Reading this book is an uphill challenge, which isn't always a bad thing, but when handled in such a hamfisted fashion is really difficult to manage. Perhaps a TPB treatment would make this slice of the story more clear, but as it stands it's a deeply unusual acquired taste.

Wolverine #160 (Marvel Comics)
By Frank Tieri, Sean Chen and Norm Rapmund
In part two of the three part story "The Best There Is," cliches fly fast and furious in a story that you'd swear you've read before. Probably because you have -- X-Force (not the wacky Allred version, the other one) went up against another "uber-killer" (who fell like a house of cards) a few months ago, and it's been a recurring theme through any number of "gritty" books in the comics world. Wolverine himself has done it at least three times. Let's go through the motions, just for kicks: Wolverine starts off fighting a pair of female assassins called (we are not making this up) "T&A" (you can picture the visual), a slablike killer with facial tattoos and a MIB suit called Blok, and a mysterious "Major." Much hilarity ensues and punishment is delivered to all at the order of a killer martial artist (seen on cell phone) who looks mysteriously like the Advance Man from that recent string of JL? books that littered the shelves. The entire fight, of course, is to have Logan "prove" what a badass he is, and he gets an invitation to fight the master. Logan ends up lying bloody at this guy's feet. There are two subplots going on -- two mysterious men in trenchcoats get gunned down for reasons that aren't apparent and Sabretooth gets gassed and kidnapped somewhere else by more mystery men. There are barely enough facts in this issue to fill a coffee cup. This issue, faithful to the lack of character development Logan has had for years, struggles to reach mediocrity, gasping desperately as it arrives. Even the art harkens back to the wild days of the early 90s when it was all about that low lit, gritty X-Files look. Wolverine fans will love this mouth-breathing, low brow entertainment that plays like Schartzenegger in Eraser, but everyone else should just walk on by.

Marvel Knights #9 (Marvel Comics)
By Chuck Dixon, Ed Bareto and Nelson
Quick recap: The Punisher, Moon Knight, The Black Widow and Daredevil have all been absorbed into Cloak, one half of Cloak and Dagger and largely missing in action for years before this series dragged him out of obscurity. Also inside Cloak are literally thousands of criminals, heavily armed and mad as hell. Best of all, Cloak's insides now link directly to the realm of Nightmare, who has nothing better to do than pick fights with super heroes (and so soon after getting pimpslapped by Black Panther). So between Nightmare's demons and the bad guys Cloak has been obsessively pulling off Manhattan's streets for more than a decade, the god guys are in it deep. This book about an unlikely team of adventurers (yes, that means Doctor Strange is hanging around looking forlorn) plays like a good action series -- never seriously challenging you but providing entertainment a cut above the normal fare. Barreto and Nelson's art is crisp and clear, telling the story in solid detail. The teamwork of this as yet unnamed group hasn't gelled and they still seem to be stumbling around a lot, but the book moves at a brisk pace. Worth a read, especially if you enjoy the antics of the Punisher.

Marvel Boy #6 (Company Comics)
Grant Morrison, J.G. Jones, Ryan Kelly and Sean Parsons
The only way to end this roller coaster ride is with a bang, and the product of Grant Morrison's shaven pate is just as wacky as you want it, baby. The mad Doctor Midas finally sheds his 1960s Iron Man armor (somebody shoulda commented on that) to absorb so much cosmic radiation he has the powers of the entire Fantastic Four. Of course, since he's not the title character, you know he won't win, but the method of his defeat, while spectacular and interesting, is on a considerably smaller scale than the widescreen drama of the first few issues, and therefore seems a hair anticlimactic. There's plenty of rope left dangling at the end for more adventures of Noh Varr and his psychotic girlfriend Oubliette (her best line: "This is the end of the way that was. Cosmic jihad has begun. You asked for this."), and all around this is a good close to a great series. It'll read even better if Morrison goes on (as hinted at the end, "Adventures Beyond Reason -- Violence Beyond Meaning -- and The End Of The Way That Was -- Prepare Your Minds for Marvel Boy 2:001!!!"), mainly because it is such a small scale ending to a grandiose tale. An absolute must to own, in conjunction with the rest of the series, but we'll be hanging on, waiting to be taken to the next level.

Sentry Vs. The Void (Marvel Comics)
By People Who Should Have Known Better
The mystery of the faux blast-from-the-past called The Sentry has lingered over Marveldom for some time, but the secret's out of the bag. In this issue, after tons of preamble and pretext, The Void shows his dusky face and proceeds with the whup-ass (The Hulk catches a bad one, seriously). Prepare for a spoiler that we need to reveal in order to discuss the book. It's coming. You were warned. Right. The revalation that The Sentry himself is The Void, and the end of his heroic career came after he'd subconsciously murdered millions of people ... it's just plain wack. Remember that Green Lantern: Circle of Fire crossover last year? Same scheme. Actually, with the Sentry & Superhero Name Here plus one books, it's exactly the same money grubbing scheme, just with more impressionistic art. "Oh, I subconsciously had evil impulses which manifested through my massive powers and killed many, I must suppress ... must suppress ... there, all is well, no harm done." Much like the dead peoples of the Marvel Universe and the slain on Rann, this reviewer has a hard time being so forgiving. True, the idea that the Sentry was giving up what made meaning in his life to silence the Void has lots more resonance than Kyle's Keanu-esque reflections, but it's still a lame gag. The character, throughout all these books of reflection on a history that could have been, has not shown enough detail or development for fans to be heartbroken at the loss of his heroism, the fraternity of metahumans, or the ability to fly. Considering how much fun the original Sentry series was, and how much hope and attention the concept garnered, this "Oh, Bobby, it was all a dream!" from Dallas scenario is simply unacceptable. Purchase and reading of this book will only diminish any enjoyment you've had for the Sentry up to this point.

Deadpool #50 (Marvel Comics)
By Jimmy Palmiotti, Buddy Scalera, Darick Robertson and Jon Holdredge
NPO has had some pretty horrible things to say about Jimmy Palmiotti's run on Deadpool, but we have to admit a great deal of surprise at this month's installment of Wade Wilson Monthly. First, the art has taken a very good stylistic direction with Transmetropolitan veteran Darick Robertson in the house. The art is crisp and shows a good balance between the noirish direction the book has taken and the humor fans love in Deadpool. Even the addition of a pointy ninja affectation on Wade's mask (formerly perfectly fitted to his gourd shaped head) looks good. The story, likewise, is a considerable improvement over the convoluted Cruel Summer storyline, and the book looks to be starting a new multipart story arc with the introduction of Pool Boy (you really don't want to know). The story itself is reminiscent of both Robin: Year One and The Professional, where Deadpool takes in the son of a man murdered by bad guys (they're all the same, their names don't matter) and begins to teach him how to get revenge for the death of his kindred. The sign Palmiotti is finally getting comfortable (or that the rumored influence of Scalera is helping the book hugely) is the adequately handled subplots featuring twin killers in plaid skirts and Wade's ex Copycat, who's pretending to be five women interested in the 'Poolster for reasons that can't be good. Is the merc-with-a-mouth back? Not really -- there's a few lines that could be considered quips, but this book is driving towards Gritty Avenue and away from Hilarious Lane. The "bold new direction" may be motivated by Marvel's bigwigs and not our local craftsmen, considering sales are inexplicably up on the title, and we may have seen the last of kind of energy characterized by the Kelly and Priest runs. It's a steady improvement from what we've seen before, and has has almost made the leap from the "godawful" to the "merely adequate" pile, but Azzarrello and Bendis won't be losing any sleep yet over this new entrant into this 21st century grunge movement taking sales from their works. For Deadpool fans who've followed the entire series, this is a 50-50 proposition, but for those who loved Cruel Summer, this will definitely be a treat. A caveat, though: ignore the cover, which shows almost every character that's appeared in the book over its four plus year run -- there's no T-Ray or Lightning Rods or Siryn in this book!

Punisher #12 (Marvel Comics)
By Garth Ennis, Steve Dillon and Jimmy Palmiotti
The title of this month's issue says it all -- "Go Frank Go." It's the end of Garth Ennis' yearlong story arc on The Punisher, so you know heads are gonna roll. "Don't mind me, Ma," Frank says to quadraplegic mob boss Ma Gnucci as he pours gasoline around her, "I'll be out of your way in no time at all." The body count -- four -- is conservative by this series standard, but save the almost-too-fast ending (find out what happens when Mr. Payback, The Elite and The Holy meet our man Frank), all the loose ends tie up very nicely (you have not had a sick laugh until you see a homicidal cripple leap from a window). Ennis ties the series together nicely, going back to the simple truths about the character that he touched on in the opening issues. Ma Gnucci screams at Frank, "You're no better than I am, Punisher! You think you're better, you think you're on the side of justice, but you're wrong! You're a serial killer, Punisher! You're insane! It's mass murder, whatever you call it! It's genocide! What'll you do, keep going 'til we're all dead? Will that make you happy? You sick, twisted creep! You should put a bullet in your own head, Punisher! That's the only way you'll get any peace! And you know it, too! You're a dead man walking, Punisher! You are damned!" Frank calmly replies, "So tell me something I don't know." Ba da boom, ba da bing. This is naughty fun of the finest caliber, and even if you haven't caught the ride yet, this end of the line is well worth the price of admission.

Black Panther #28 (Marvel Comics)
By Christopher Priest, Sal Velluto and Bob Almond
There is one week of the month that is better than the rest. This week happens to be that week. Not only do you get Transmetropolitan to warm the cockles of your heart, you also get the gospel as delivered from comics' cleric in Colorado, Mister Christopher Priest. In this penultimate issue to the Sturm und Drang storyline, T'Challa meets face to face with Magneto, Namor and a holographic Dr. Doom (still dealing with Counter Earth?) in a Harlem schoolroom. Atlantis fires on Wakandan troops, the whole ball of wax starts to slip off the table, and Ulysses Klaw faces down T'Challa sans Kimoyo card or Wakandan resources. All this, plus a shocking surprise about the Lemurian child at the center of everything, Monica Lynne gets her TV stolen, Queen Divine Justice introduces soul food to Wakanda ... there's a whole lot going on, but even brand new readers could jump in and enjoy the energy of this title, as well as much of the story. Priest manages to frame the needed explanations of past events in natural conversation, so you can keep up without reading every issue (but you should do that anyway). Velutto and Almond's artwork maintains its high standards, commumnicating the regal stature of Namor as well as the differences between two Wakandan soldiers in the royal kitchen. This is without a doubt Marvel's finest title, and you should definitely pick up this issue, and look forward to next issue's grand finale.

Transmetropolitan #42 (Vertigo)
By Warren Ellis, Darick Robertson and Rodney Ramos
NPO would be remiss to allow this review to begin without a spoiler warning. If you do not want to know a vital, crucial piece of information about Vertigo's crown jewel series Transmetropolitan, understand that the reviewer recommends this issue highly, moreso than the last, and move on. There. For the rest of you, it appears, from all the evidence in the past few months, that Spider Jerusalem is dying from some form of incurable, painful ailment. There's room for the possibility that the President, the Smiler, is at fault. This month, Spider points a harsh spotlight at the City, pointing out that -- amongst other blatantly unconstitutional but suddenly legal attacks upon the poor -- to fulfill his campaign promises from issue #17 (also found in the tail end of the Year of the Bastard TPB), the Smiler bulldozes down ramshackle housing and spills the poor on to the street. Likewise, he takes a stroll through some of the less pleasant moments in City history, notes Fred Christ being released on the City again, and begins recording instructions for the "filthy assistants." The wordless last three pages stands as one of the strongest visual metaphors in recent comics history. Carefully, Robertson and Ramos balance between the exacting detail of a City street with billboards and data everywhere to the starkness of the Smiler's oval office. Every bit of it is guided by Ellis' staggering prose. Almost every month, you will see this reviewer recommending this series, and this month is another high water mark for a series that will go down as one of the greats. Go buy this book now, because a ride this good can't last forever.

X-Man #72 (Marvel Comics)
By Stephen Grant and Ariel Olivetti
Issues like this are exactly why X-Man is slated to be cancelled. Not content to steal some of the ideas from Warren Ellis' groundbreaking run on The Authority (Nate Grey as "global shaman" as in the Doctor), this issues parallel earth romp carbon copies the entire group (and much more obviously than Millar's faux Avengers in the "Nativity" storyline of the Authority) both visually and in terms of content. A city-fuelled super warrior. A winged super heroine. A black trenchcoated brute. Did we mention this joke runs through the entire issue. Over all of this, another insanely powerful threat from another universe (this time his name is Qabiri, and he has no motivations). He's blowing up whole worlds. No one cares why. Nate, in an offhanded fashion, gives him the first fight he's ever seen and he wins anyway. This whole book plays out by the numbers, and with the Authority Light standing around getting laughed at (Thor instead of Apollo with a so-obvious Stormwatch logo on his chest especially stupid looking), even Tom DeFalco can find something shlocky enough to compare his work to. Time outs for everybody. This isn't the book you're looking for. Move along.

Captain Marvel #14 (Marvel Comics)
By Fabian Nicieza, Patrick Zircher and Walden Wong
In a guest shot on Peter David's cosmic adventure, Fabian Nicieza rocks an intimate issue with Rick Jones and Genis playing truth or dare and revealing some of Genis inadequacy issues regarding following in his father's heroic legacy. It's a very quiet issue with simple and adequate art by Zircher and Wong. Look for some imposing shots of Thanos, appearing only in cameos with notables like the Grandmaster, Yon Rogg's lunatic son and Genis' old leotard, which looks every bit as lame as it did when it made its debut. There are fights and power blasts and even some half-naked women on a beach in the Microverse, cuddled up with Genis as he talks to Rick in the desert (long story), so sit back and enjoy this issue for the quiet break it is. As fill-in issues go, this one's a real gem.

Thunderbolts #47 (Marvel Comics)
By Fabian Nicieza, Mark Bagley, Greg Adams and Scott Hanna
Thunderbolts, along with Black Panther, offer some of the most complex and convoluted storylines in all of comics. Thunderbolts, at 47 issues, is deeply entrenched in subplots and backstory, and alas doesn't have the characterization or depth of the Priest-penned competitor. That doesn't take away from the fact that this is one of the top ten books published monthly, it just means that you need to pay more attention to back issues. This issue in particular is drenched in history and reminiscence (exactly when did Genis and Songbird have a romantic relationship? What the?!??) and ends with what looks like the "death" (yes, note we don't expect it to be permanent due to its very nature) of a major character. We get more angst from Abe Jenkins, the African American formerly known as the caucasian Mach-1 (what is it with these lame, anonymous Black guy characters with their featureless hairdos? Nobody noticed that Mach-2 is the exact same height and dimensions as Mach-1?) as he grows farther away from Songbird and Moonstone's Kree-inspired flashbacks are over for once and for all (that was a staggeringly uninteresting subplot that ended with a whimper ... thankfully). People who've been reading for months will find this issue educational and enjoy the continuing plot. New readers will be completely dumbfounded. As someone who's read every single issue (including guest appearances), this writer even has some questions after reading the issue three times. Still, you can't be mad at a book that's kept up the quality so long ... just hopefully they'll start doing those short catch-up segments at the front of the book again.

Killraven #1 (Marvel Comics)
By Joseph Michael Linsner and Eva Hopkins
This book is gorgeous. The level of detail -- lighting on the title character's eyes on page two, the highlights in Alice's hair, the graphic murder of Killraven's mother -- is rendered with the kind of craftsmanship and loving care that has come to signify Linsner's work. On top of that, this simple vignette of a tale, told in flashback, is instantly accessible to readers who know nothing of the character (Linsner read Killraven before he was in the industry, back in those magical days of disco and lingering doubts about Watergate). The basics -- the year is 2020, and Jonathan Killraven grew up on an earth invaded in 2001 by HG Wells' Martians (seems the fictionalization was just an X-Files-esque coverup), he was enslaved as a child, escaped, and leads a rebel force fighthing unspeakable inhuman monsters intent on the destruction of humanity. Cool. In his random wanderings of the earth of the apocalyptic near-future, he stumbles on a functioning cryogenic tank and twenty four failed ones. He revives the idealistic sleeper -- Alice, a Rutgers University student from 1969 who -- and reveals the world as it is, not the idealistic wonderland she wanted. Her relative innocence is a striking contrast to Killraven's hardened militarism (which, admittedly, is lessened by the fact Killraven's pouty lips and sullen looks are prettier than the entire cast of Friends), and the story unfolding with their interaction is engaging. All around this is excellent escapist fare in traditions mostly forgotten in our fast-cut, MTV-style days. Great stuff, and a great read for almost anybody.

The Incredible Hulk #30 (Marvel Comics)
By Sean McKeever, Paul Jenkins, Joe Bennett and Tom Palmer
Considering that Brian Azzarello's compelling Startling Stories: Banner #1 came out this week, it's mildly embarrasing that this issue of The Incredible Hulk made it to press at all. Despite appearances which might have ignored the fact (Avengers, Defenders, etc.) Bruce Banner is dying. Having contracted "amyotropic lateral sclerosis" (this reviewer was certain it was Parkinson's disease at one point near the end of the Peter David run, but had no evidence to back that belief up) to the point where his human form is unable to "walk or scratch that itch on your nose or even breathe without mechanical assistance," Banner retreats to his subconsious letting the "smart Hulk" (sometimes called The Professor) be the face the world sees. Inside his wacky little brain, the Joe Fixit and Dumb Hulk personas restrain a serpentine personality component that wants control of the body and to spread his wrath to Banner's caretakers, Doc Samson and their college pal Angela. All this serves as melodramatic prelude to the return of an old, dear friend of the Hulk franchise who may have been better off where he was. This issue is tired, as in tiredly digging up old cliches and memories of better periods for the franchise and mixing them with this surprisingly inconsistent sickness (Didn't someone send out a memo? "Hey, we gave Banner an incurable debilitating illness, may want to factor that in for guest appearances!") for just plain uninteresting reading. Considering the serviceable Nicieza issue recently and the brilliant Killer Shrike issue before that, this title is unable to maintain an equilibrium of quality, and this month is way down the bad side of that curve.

Marvel Knights #13 (Marvel Knights)
By Chuck Dixon, Ed Barreto and Nelson
In light of recent news reports about the FBI losing weapons and laptops, perhaps it's art imitating life as a (possibly) rogue element of SHIELD sends a LMD (life model decoy, really realistic looking android copy of somebody with the Terminator's personality) after the Black Widow (oh, and those pesky teens Dagger and ... uh, Tyrone, who ae crashing at her place). If you've noted, rogue SHIELD elements set up Wolverine and were deep cover moles for the new Weapon X in Wolverine, but that's a different party. Anyway, Dixon's story here (such as it is) has lots of action and very little coherence, a jumble of subplots vying for the lead. It has been reported by online sources like Elayne Riggs that Dixon is well off financially and really devotes his time to writing comics, to the order of eleven in October, according to Rich Johnston. The strain is starting to show in this mishmash tale, if that's the case. This title is a short timer, soon to be a casualty of low sales and lower expectations, and the mercy killing can't come soon enough.

Deadpool #56 (Marvel Comics)
By Buddy Scalera and Karl Kerschl
This month's issue is, without a doubt, the best issue since Christopher Priest was drummed out of the title's good graces. The merc-with-a-mouth cracks jokes, mimics the old Coyote and Roadrunner routine with fairly amusing results, and things blow up. This is not calling this issue a triumph on the level of Animus and the Vamp, or even holding Dr. Killbrew at scalpel-point. It is, however, head and shoulders over the entire Palmiotti run (which Scalera played a part in, admittedly) and manages to entertain. There are some disturbing dark moments between Vanessa the Copycat and former X-Force bellediva Siryn (who we thought was ... oh never mind that "superconsistency"), and the ending is vastly, vastly flawed (along the lines of Lobdell's "closing arc" heralding the mediocre May Revolution in the X-Universe) but it manages to not suck really hard and for this troubled title that's being turned over to Frank Tieri shortly, this may be the best we'll get for some time.

Black Panther #27 (Company Comics)
By Christopher Priest, Sal Velluto and Bob Almond
Christopher Priest continues to write the best comic book on the market today. In the second installment of the "Sturm und Drang" storyline sets it off with a fleet of Wakandan battle cruisers surrounding Lemuria, Namor and T'Challa due at the United Nations, and Storm flying butt naked over central Wakanda with Queen Divine Justice and the Lemurian mutant child. The Avengers? Confused and watching carefully. The President? Screaming for Department of State handler Everett Ross' hide. Ulysses Klaw? Revived and under the command of the head of Wakanda's defunct secret police, the White Wolf of the Hatut Zeraze. Lord Ghaur of the Deviants? On Nightline with Ted Koppel. All this, and a US battleship is mysteriously attacked near Atlantis. This issue is one of the series' finest moments as Storm and T'Challa share an intimite moment of sharing and closeness, the socio-political overtones of the book leap to the forefront and even amidst all the sound and fury, small details like Monica Lynne's frustration over unrequited love with the Panther stand tall. This storyline, self contained within the Black Panther title, stands head and shoulders over the likes of Maximum Security or Batman Dies in the gravity of the writing and the craft evident in the plot. One day, hopefully Marvel will collect this storyline in a TPB, so you can digest it all in one sitting, but until then hang on to your mylar bags because this is what comics are all about.

Marvel Boy #5 (Marvel Comics)
By Grant Morrison, J.G. Jones and Sean Parsons
"With great quality comes great tardiness." This modern interpretation of Peter Parker's creedo must be plastered on the walls of the Marvel Knights offices, with Marvel Boy joining David Mack's Daredevil in the ranks of books that refuse to come out on time. Luckily, with only one issue to go we're hoping Grant can put down the drugs long enough to finish this incredible thrill ride. In the penultimate chapter of this six-issue mini, Kree-diplomat-turned-interstellar-Rambo Noh-Varr spends some quality time with Oubliette (Noh Varr: "'Noun: A dungeon, the only entrance to which is through the top.' That's your name?" Oubliette: "You did learn English straight from the dictionary!"), the daughter-cum-assassin of maniacal exophatigist Doctor Midas. Keeping up? Together they evade their father and the forces of S.H.I.E.L.D. through the sewers of New York and begin slow steps towards trust and wonder. The fact that somehow, Marvel Boy has managed to contain all of the magnificence of Morrison's storyline in the confines of a six-issue mini is a humongous accomplishment, one that we sincerely hope will pay off big time in the final word on the subject ... whenever it comes. It would be remiss to not take note of Jones and Parsons' crisp artwork, illuminating every panel with detail and nuance. Plus, just for fun, see if you can notice this month's nod to The Authority, proving that the Warren Ellis-created dysfunctional super team may be the most influential book in comics today (despite the fact the last reference was in Warren-ized X-Man). Senseless violence, megalomania, young romance... it almost seems too much to accept, too get to its conclusion without letting us all down. To quote Noh-Varr's father figure Captain Glory in issue #1, "We can make it. Believe in me." Bring it on home, Grant, bring it on home.

Transmetropolitan #41 (Vertigo)
By Warren Ellis, Darick Robertson and Rodney Ramos
The second of three stand-alone issues, "There Is A Reason" examines both the plight of mental patients turned out on to the streets by an uncaring government and some of the Presidential conspiracy that turned outlaw journalist Spider Jerusalem's life into an Oliver Stone film. The City's insane citizens rant on to the only one who'll listen to them -- Spider -- who continues to suffer his mysterious nosebleeds as his assistants wonder when the other shoe drops as Yelena continues her slow morph into a female Spider. "If there's one thing that genuinely frightens me," Spider says on Page 17, "it's that I won't get to finish this." This issue isn't as gripping as last month's "Business," but it fits in solidly as Spider continues to seek the real truths that the City has to know to free itself from the shackles of mediocrity. The series is intended to have a five year run, and things are rapidly moving towards a conclusion that'll have to be phenomenal. A definite must-buy for completists, but something of a rough point for new readers to join the party.

Deadpool #49 (Marvel Comics)
By Jimmy Palmiotti, Buddy Scalera, Michael Lopez and Jon Holdredge
The only improvement from Palmiotti's insulting "Cruel Summer" opening arc is the artwork of Lopez and Holdredge, which shows a fine committment to detail and nuance. The personality and individuality of the art is excellent, from the wedge shaped head of the ER doctor to the faithful depiction of Judge Judy, is so striking an improvement over the last three issues it almost distracts the reader from the writing. It appears, from the "characterization" (and we use that term loosely) that after all these years, the gravity of his life has finally taken Wade's sense of humor, returning him to the grim mercenary persona that was shown before his cancer and the Weapon X program (longtime series readers will recall this from flashbacks in the Ajax/T-Ray period). Now, losing the San Francisco Deadhut, killing a cosmic messiah figure, realizing his sense of identity may be false ... none of that took the jokes from Wade's mouth. Not cancer, not years of killing people, not losing the friendship of those closest to him (Blind Al and Weasel). No, all of a sudden, with no clear explanation his entire personality has changed because ... well, there it is. Moving on, this entire issue plays like an episode of Love, American Style with Wade starring as the image-induced lothario. Wade has sex with two anonymous women, romances two more, and plays good samaritan for yet another. Of course, all of them (like every woman who has ever interacted with Wade in 49 issues of this series and the mini before it) mean bad things for the hard luck anti-hero, but what would you expect from a cover that shows our mystery man in a James Bond tux, dripping with gorgeous women? First, the striking difference between Palmiotti's Deadpool (who has two moods, self-pity and dumbfounded confusion) and, well, the character that has made this book so much of a cult favorite almost makes one hope this is out of continuity. Second, the dry, slow-paced tone of this book is like sipping Nyquil from shot glasses. Third, the implausability of four women, even in the suspension of disbelief Marvel Universe, going for a man who's had such horrible fortunes and him suspecting nothing is simply too much to choke down, unless as noted we simply pretend this doesn't occur in the Marvel Universe or continuity at all, and that the Deadpool of the last decade has no bearing on whoever this character is. Fourth, there's a completely non sequitur page where a high school soccer player is killed horribly that has no connection to, well, everything. So, doing the math, it all adds up to a pedestrian piece of tripe that actually could be less entertaining than DarkDevil. It's even more scary to know Transmetropolitan superstar Darick Robertson is climbing on this sinking ship next month. This issue recieves our strongest recommendation ... that someone run over Jimmy Palmiotti with a truck.

Nightwing #52 (DC Comics)
By Chuck Dixon, Greg Land and Drew Geraci
The funniest thing about this issue is that, save the presence of Batman or Robin, most of the plot occurred in an episode of Batman: The Animated Series. Catwoman, unable to lure the caped crusader with her feminine wiles, makes a pass at the Man Wonder Nightwing. Meanwhile, a jewel heist is afoot, which she and Nightwing work together to foil. Of course, she double crosses him and tries to make off with the goods. Of course she doesn't get away with it. It's an interesting plot, done a little bit more clumsily than the animated version, and done well with some nice twists and additions (a Bludhaven casino, a mob boss robbing himself for double the profits, and a wacky dream sequence where Catwoman marries Batman). Nightwing, overall, is an enjoyable book and even with this departure from form (told from Catwoman's perspective, little mention of Nightwing's rookie police career) it makes a solid issue in the Dixon run. Tangentially, this was supposed to play into the "Batman Dies!" crossover, but readers who know nothing of that will not be left out in the cold. All in all, a good read that's simple, wholesome fun with only animated, not gratuitous, violence.