Batman #11: Court of the Owls finale.

Batman #11
Written by Scott Snyder and James Tynion IV
Art by Greg Capullo, Jonathan Glapion, Rafael Albuquerque, Dave McCaig and FCO Plascencia
Lettering by Richard Starkings, Jimmy Betancourt, and Dezi Sienty
Published by DC Comics
Review by Lan Pitts
'Rama Rating: 9 out of 10

This is it. This is Rocky and Ivan Drago. He-Man and Skeletor. Cain and Abel. Batman #11 gives us the showdown that has been escalating for some time now. Does Batman prevail? Will Lincoln March live on to fight another day to haunt Bruce? Scott Snyder and the rest of Team Batman give us quite the battle, but nothing is ever black and white in Gotham City.

Jumping in right immediately from the last panel of the previous issue, Batman and his so-called brother duke it out all across Gotham with Lincoln getting the upper hand for the majority of the fight. When Bruce finally gets some hits in, he makes sure they count and the two cause some serious collateral damage to the city.

I think given the ending that Snyder has presented is the best route to have gone. Nothing is definite and gives Bruce a mystery he can't solve. The fact that Snyder also makes clear is how nobody owns Gotham is a poignant lesson. Lincoln has some great dialogue here as he's the main voice of the issue. His taunts to Bruce really show his mental instability and given time, will be a fine addition to the already legendary Batman rogues gallery. I do think that Bruce's ending monologue is a tad cliche at the end, and could have been punched up a bit. However, it is definitely an exclamation point for the end of this arc.

The back-up feature continuing Jarvis Pennyworth's story has more emotional weight, especially with Alfred and Bruce at the end. Alfred is more than the butler, or the confidant; he's the voice of reason. Both Bruce and Alfred lost somebody dear to them because of the Court, but where Bruce is determined to want to solve the mystery of Lincoln's heritage and put an end to the ambiguity, Alfred insists that they leave things at rest. This makes sense, and it adds to the whole overall lesson that Gotham is not just a city, but a force of its own.

You have great art teams on this. What can be said about Greg Capullo, Jonathan Glapion, and FCO that hasn't been said over and over. They are just dynamite, and Capullo really has established himself as one of DC's top artists and shown a whole new generation why he's a superstar. He's definitely won me over and I'll be on the lookout for whatever he puts out in the future. The best thing about this art team, that even with the more weaker dialogue, the scenes are still elevated to greater levels because the visuals are just that strong.

Over at the back-up, the mainstay art team of Albuquerque and McCaig literally burn the roof off the place and handle both the intense moments and more subtle ones with ease and panache, you'd easily would want a Bat-book with just them.

Batman #11 gives its readers the finale to something nobody was really expecting: a year long arc that establishes not only a new villain, but a new premise about Gotham City. Bruce has been pushed to the edge and he still fights another day. It's a strong book and one certainly labeled a can't miss one to read. This might be the finale to "The Court of Owls," but it's not an end. Kudos, Team Batman. Kudos.

Alice update by Adam Hicks

Adam got to the inking phase and made some slight alterations. I think he's planning on making a print out of this eventually. My Alice collection has been pretty mild as of late, but this is going to rock it hard.

Blast from the kind of Past: Saga #2 and 3 and Batman #10

 Saga #2
Written by Brian K. Vaughan
Art by Fiona Staples
Lettering by Fonografiks
Published by Image
Review by Lan Pitts
'Rama Rating: 9 out of 10

Last issue, Brian K. Vaughan established a universe that we see rarely in comics these days, rich in culture and political warfare, and filled with characters we instantly grew to love and root for. Here, we have our heroes and their newborn still on the run, and get a bigger scope on this universe as a whole. There's bounty hunters, magic and teenage woodland ghosts that I'm still not exactly quite sure what to think of. Vaughan's ability to seamlessly weave multiple characters into a single cohesive plot is quite the feat. Especially when you consider that these characters are literally worlds apart. I'll hand it to him with some of the dialogue here. We know that Marko and Alana are a couple, but here we seen their interactions and can actually believe it. The secret that Alana tells Marko that aids a spell is priceless, and Marko's devotion to his wife and daughter is obvious and clear.

In just two issues, Vaughan has told a love story, a war story, and a story about survival in a strange world that a lot of writers on the scene today would drag out. Here, nothing is wasted — every bit of dialogue counts for something and adds to the story instead of boggling it down. Again, Fiona Staples shines and brings her art to a whole other stratosphere.

Her talent to just give life to the inhabitants of these worlds is astounding. The design alone for the bounty hunter known as The Stalk is something to behold. The imagery close to the end balances contemporary horror with slices of sci-fi for good measure. While the layouts were still impressive, there were some pages that I thought could have been opened up a bit more, but nothing came across as boring or mundane. Her great use of facial expressions is top-notch and really sell the emotions of the characters involved. The muted palette is perfect for her style. It's laid-back, and makes her linework stand out all that much more. Saga continues to weave it's magic on me and captivate me with far-out world, and monstrous creations.

Honestly, if you haven't picked this up by now, you're more than just missing out—you're denying yourself a book that demonstrates the beauty of what the comic book medium can present to its audience.
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 Saga #3
Written by Brian K. Vaughan
Art by Fiona Staples
Lettering by Fonografiks
Published by Image Comics
Review by Lan Pitts
'Rama Rating: 10 out of 10

Three issues in, and Saga continues its trend of being a perfect blend of sci-fi, fantasy, and horror. It has maintained the quality of the last two issues with Brian K. Vaughan spearheading even more world-building and monster-making. With Marko injured, Alan makes a deal with one of the ghosts of the planet and learns something quite interesting about Marko that makes me still love the idea that anything can truly happen here. Vaughan has some of the best dialog so far in this issue.

Since the story still spans other worlds, the interactions between the more minor players builds, and we get an idea on how vast the story truly goes. Prince Robot IV is becoming one of my favorite villains here. Not just because he's just unique-looking by comparison to most comic book villains, but his demeanor is just a combination of menacing and wacky. Also the premise of how some planets' evolutionary process of some species is just so imaginative, you can't help but silently applaud.

The introduction to Izabel, the girl ghost, is a nice touch. Adding a bit of whimsy, and fun to an otherwise serious tone. The threesome of Alana, Marko, and baby Hazel become a foursome as they try to get ingredients to heal Marko. It's during this that a possible revelation about Marko is uncovered and leaves with you an "oh, crap" moment. Fiona Staples' art is a bit quieter here, but the panels still have a solid flow to them. The way she handles simple interactions like Alana and Izabel talking about kids, to the more complex, like Robot beating the holy hell out of a prisoner. It's all done with a certain level of gravitas so you can't keep your eyes off the page.

The more I think about it, the more I applaud her choice in the pallet used here. It's muted at times, but really complements the book as a whole. You still get the richness of the world around the characters, but it's not too distracting and overpowering. Her grasp on facial expressions is top notch which gives these characters actual, you know, character. Perfect example of this is how Izabel is handled.

Saga is one of the books that has supercharged the comic market. In so little time, it's become one of my favorite books of the year, and the only limit is Vaughan's creativity. By the rare chance you aren't reading this, you are missing out on what is simply a must-read.
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Batman #10
Written by Scott Snyder
Art by Greg Capullo, Jonathan Glapion and FCO Plascencia
Lettering by Richard Starkings and Jimmy B
Published by DC Comics
Review by Lan Pitts
'Rama Rating: 9 out of 10
There has been a large amount of speculation leading up to this issue on who is behind the Court of Owls and who will face Batman in one final showdown. The curveball thrown here is a big-time swerve as Scott Snyder pulls the rug out of all of us and catches us off-guard. What he's also done is create a great antithesis for Bruce Wayne and Batman as well that leaves you in anticipation for their last battle.

 Yes, we still have one more issue until this new villain and Batman slug it out, so here we have the revelation and Snyder playing up Bats' detective skills. He's really laid the groundwork since Day One on how this will play out, and looking back it's all there. It's not obvious at first, but once it hits you, it'll make sense. Though, the big reveal isn't what's really going on. Between the back-up feature with the Jarvis Pennyworth backstory, and this issue, it all comes together in one nice puzzle.

I think Bruce's monologues are the strongest here because he does taste a bit of defeat in the middle of the issue. It's interesting to see Batman really struggle here trying to get to the bottom of things, and keep coming up short. As I mentioned, Bruce's detective skills are keen enough to where he does figure it out, and we're back to the villain and Batman spelling it out for us. I think the dialogue gets in the way of the action in this last scene, and we're left shaking our fists wanting to see the throwdown right then and there.

 So, what about Greg Capullo and Jonathan Glapion that hasn't already been mentioned? There is a lot going on here scene-wise, and both penciler and inker bring their collective A-game and really knock it out of the park. The moody atmosphere that Snyder has envisioned comes to life here as Capullo and Glapion smother the underbelly with graffiti, dirt, and ghosts of the past — it's amazing how seamlessly they can change settings and nail every bit of Gotham seen here so wonderfully. There are some panels, of course, that I thought could have used a stronger delivery, especially with the big reveal. It's not distracting, but when you get an understated revelation when you're anticipating a huge denouement, it leaves you wondering. Still, the artistic treatment of Gotham as not just a city, but an embodiment all its own, is tremendous. Add a fine layer of dank colors to add to the seediness of Gotham by FCO Plascencia, and you've got a great-looking book.

It's been almost a year since the relaunch of DC's publishing line, and Snyder was a good fit to lead the way and give this book a proper direction. Capullo is certainly a breakout star because of it, and the two work great together and have brought us something definitely new to Batman. I love the approach that there are certain things in the Batman mythology that are deemed unchangeable — well, Snyder here may have just laid a game-changer on us all.

Letting a month go by, but hey, new art in progress

Adam Hicks is working his magic again. Soon it will be a fine addition to my Alice collection. I will have my other reviews from the past month on here tomorrow. I just keep forgetting and also to redo the last post and reconfigure the image sizes. Yikes.

Let's play catch up. Batman #8, and Swamp Thing #7

 Swamp Thing #7 
Written by Scott Snyder 
Art by Yanick Paquette and Nathan Fairburn 
Lettering by Travis Lanham 
Published by DC Comics 
Review by Lan Pitts 
'Rama Rating: 9 out of 10

 Swamp Thing, you are amazing.

Having essentially been depowered by the Parliament of Trees, and Abigail Arcane captured by the force known as Sethe, Alec Holland has to face some hard choices and will confront even harder challenges that soon lie ahead. Scott Snyder and company are taking the first step into a world we haven't seen since Alan Moore's take on the character, and even elevates it from there.

 Right off the bat, we're diving into some deep territory here. Holland is being confronted by the Parliament and trialed on basically being too weak, from there he has to earn the right to be a force of nature again, but his reasons differ from that of the Parliament and makes him all that much more human. Snyder does not shy away from usual style of using heavy narration, especially here to demonstrate the transformation of becoming a swamp thing entails, but it's actually much less from his Batman work in the past and present. Here, it's mainly a conversation between Holland and the Trees about the good of man, and his weakness. It's pretty thought provoking, and really gives you an idea of who Holland/Swamp Thing is as a man, monster, and hero.

Without knowing much Swamp Thing mythos, everything is almost spelled out for you and potential new readers could jump right in. Now seriously, Yanick Paquette is a powerhouse here. Using vines and a quasi-nouveau floral pattern to break up the panel construction is still ingenious and gives you a sense of mysticism and sets it apart from the rest of DC's catalog right now. On top of that, you have a some brilliant, yet horrific, imagery of Swamp Thing's world that really echoes his horror roots. It's gory, but visually striking. Paquette is going near J.H. Williams III Detective Comics territory here. Nathan Fairburn is quickly becoming one of my favorite colorists in the field. His rich pallet saturates Paquette's lines, but still distinguishes itself from the characters and environment and doesn't take away from what Paquette does here, but shines it up to perfection. His use of reds and yellows here are just golden and really makes the greens stand out all the much more.

 If you've been wondering about getting into Swamp Thing but not exactly sure where to start, I say at the very least try here. The one flaw here is that it's all set up for the things to come, but you get the gist of what's going on and what's at stake. Snyder hasn't compromised the characters history, but condensed it to make it more tangible for readers unfamiliar with the Swampy universe. --------------------

 
Batman #8 
Written by Scott Snyder and James Tynion IV 
Art by Greg Capullo, Jonathan Glapion, Rafael Albuquerque, Nathan Fairburn and FCO Plascencia 
Lettering by Richard Starkings and Patrick Brosseau 
Published by DC Comics Review by Lan Pitts 
'Rama Rating: 10 out of 10
 "Get the hell out of my house."
This is how you start a crossover event. Since the relaunch of Batman, he's come to terms with learning about a secret society that is hatching plans for complete domination. They have broken him mentally and left him physically drained. The Court of Owls. Leading up to this moment, Bruce Wayne went after them on their turf, but here, the Court comes a knockin' and Bruce and Alfred defend the manor and cave the best they can. Although they are outnumbered, they aren't unmatched. Starting right off the first few pages, Greg Capullo's panel structure breathes some cinematic air onto the pages. The multitude of shots used to cover Gotham City is beautiful right next to the stern silouette of Bruce standing alone in his parlor. An image I'm sure will be a classic, given time. Another good example of this is Bruce going into the cave and seeing that they are already in there.

Scott Snyder handles Batman as we haven't seen him in a long while: at wit's end and nearly defeated. But quick on his feet and hands, ready to take down the foes invading his home with some pretty good results. Snyder upped his dialog here and we really see Alfred and Bruce working as a team, at times showing the famed butler's more comedic side. There is a distinct difference in how Snyder writes Batman and Bruce Wayne this time around. There are mild echoes of Dick Grayson as Batman as Bruce takes down some attackers. Almost quipping away as he breaks a man's arm.

Of course, the back up having Snyder team up with his American Vampire collaborater, Rafael Albuquerque as well as newcomer James Tynion IV. It's weird to see Dave McCaig's colors layer his work, but Nathan Fairburn does great work here, still implementing a warmer pallet than FCO and it's interanesting to see the two worlds collide like that. Along with all of that, you see that sort of stranglehold the Court has Gotham in. Capullo and Glapion's art is brilliant here. Together, they do some great layouts and double-page spreads. This issue heavy on the action, and the art teams pulls no punches. Capullo's eye for detail is in top form here. The crooks and nannies of the cave and Bruce's furniture are highlighted, but doesn't come across as over bearing. Clapion's inks are consistent, and very sharp. There's a lot of energy going on in almost every page.

The back-up, "The Call", features Albuquerque's usual style of broad strokes, and heavy inks, really go hand in hand with the heaviness of the situation at large. We're treated to his great handle of facial expressions and some more double-page spreads. The last one of these setting the ground work for what's to come with the crossover for Night of the Owls. It's just old-fashioned cool with a modern polish. Bruce fighting off the Court in just his night robe for the majority of the issue, shows you the fortitude this man possess. The Batcave is supposed to be his impentrable fortress, but having the Court overwhelming Bruce, also displays their cunning and strength in numbers. With Snyder multitasking duties on books, you'd think he'd run thin eventually. Batman #8 proves that the best is yet to come.

Saga #1 review. And it's THAT good.

Saga #1 Written by Brian K. Vaughan Art by Fiona Staples Lettering by Fonografiks Published by Image Comics Robot Rating: 10 out of 10 It's hard to not just revel in all the awesome that is Saga. As a contemporary sci-fi epic, it is truly set apart from anything else out there in tone and appearance. It's also like nothing else out there because it's not everyday, well these days, that Brian K. Vaughan puts something out. As it's being heralded as Vaughan's return to comics, there's already a certain level of hype to it and I'm here to tell you it lives up to any and all expectations. Trying to explain the layered story without going on and on about it, can be summed up as simple as "Romeo and Juliet in space". But even that doesn't even scratch the surface of the drama, the intensity of war, and political intrigue that gives the book its story. We're introduced to all the plot points, but nothing ever gets complicated or too tangled that we can't comprehend. It's all presented to us in a manner that isn't weighed down and easy to dive into. Vaughan's talent of establishing an emotional connection between characters and reader is in full swing here as even in the first handful of pages, you're already wanting our protagonists, Alana and Marko, to make it through all the hell that they're facing. It reminds me of A New Hope where you're thrown in this huge setting, but you're already rooting for the good guys and feel for them. Even though Marko's horns and Alana's wings set them apart from humanity, their struggle is relatable and easy to grasp onto. Their dialog and scenes together are sharp and poignant. It's nothing we haven't seen before, but doesn't wander into meaningless banter. The very basics of the story itself could easily have been told in a more realistic setting, but the sci-fi environment adds a certain level of majesty to it. Now with Vaughan's character development added to the beautiful vision that come from Fiona Staples, it's just jaw-dropping. The detail she gives the characters and their setting is inspiring on a Jim Steranko level. Everything has a sketchy feel to it, but not over-rendered and definitely has a Phil Noto-esque look in some of the composition, but definitely her own style and certainly left her impression here. I've been a fan of her work for years now and while her name was mentioned several times as a top talent missing from DC's relaunch, I would rather see her bring her talents here than to anything offered from the big two. You can see that her style has evolved to something nobody could have expected for it to go. Even her hand-lettering for certain bits of dialog adds that bit of Staples' vision of the characters matches seamlessly with the dialog, which in turn adds to the emotion of the story and gives us visual storytelling at its finest. With 44 pages and no ads and $2.99 pricetag, it's more than a steal; it's almost a crime if you don't pick it up. 2012 is almost a quarter done, but I'm certain that Saga #1 has already established itself as one of the best comics to have come out thus far. I predict this will rocket Staples to the top of the art scene, and usher in new readers for those who haven't been introduced to Vaughan's work already.

Invincible #89 review

Invincible is one of those books that are my go-to for recommending to new readers that want to get into comics. It's the perfect book for that. While I might have skipped an issue here and there, I think this one needs to be added again to my pullbox soon enough.

Invincible #89 Written by Robert Kirkman Art by Ryan Ottley, Cliff Rathburn, and John Rauch Lettering by Rus Wooton Published by Image Comics Review by Lan Pitts Robot Rating: 8 out of 10 I really need to get back into Invincible. I've always viewed this book as the best parts of Superman and the best parts of Spider-Man coming together to make something pretty amazing. I check in every now and then, but even with me out of the loop, Kirkman still can layout a comprehensive story that mostly anybody could follow along. I have no idea how Mark got infected with some sort of virus, but you get the idea it's serious and actually imposes a threat. He is in the care of a team of Viltrumites, and is soon aided by newly-made ally, Dinosaurus. Apparently in my reading absence, Mark established something called Invincible, Inc. It's briefly mentioned but the gist is that you pay for Invincible's protection and services. Kind of like a super-powered bodyguard and pest control, more than the actual police department. However, since he's in space it seems the business is on the verge of collapsing and Bulletproof dons Mark's costume as Invincible for a client in his absence. The last four panels give a pretty good summary of the setup for the things to come. This is the book where Kirkman still shines. This is a comic book that isn't afraid to be a comic book. Kirkman's brand of humor, edged with some dramatic flare he continues his tradition at being a great storyteller that's not bogged down by minuet details and captures what comics can do. He manages to concentrate on a few central characters, but Invincible's universe still seems large. Only a handful of characters actually have dialog in this issue, but the pacing keeps things along and it's never dull or unnecessary. The fact you have somebody besides Mark stepping into the Invincible costume is a milestone, but doesn't take itself too seriously or make a big deal about it. Bulletproof understands that Invincible has a job to do and he'll step in in the mean time. Ryan Ottley's still has that trademark modern day style that hearkens back to a simpler time in comics. Nothing is over rendered and everything comes out nice and polished. The layouts are solid and easy to comprehend. Though I'm curious on when Even became a lot more curvier. She looks great with them. I'm not too familiar with Cliff Rathburn's inking, though. He does a great job of fleshing out the details, without going crazy. Just adds more subtle layers to already great art. John Rauch on colors though? Man, this is just killer. I've been a big fan of his work for a long while, and his skills are in full effect here, without taking anything away from Ottley or Rathburn. It's layered accordingly, adding that extra pinch of oomph to the pages.

Space Stallions

Space Stallions. A perfect homage to 80's cartoons like Silverhawks and Bravestarr. This was just an animation project but I hope adult swim gets a hold of this or something.

First reviews of the new year! Hello, 2012!

We're almost going on four years here at the Basement. It's still

American Vampire #22 Written by Scott Snyder Art by Rafael Albuquerque and Dave McCaig Lettering by Jared Fletcher Published by Vertigo Review by Lan Pitts 'Rama Rating: 9 out of 10 Twenty-two issues in and almost two years later, American Vampire is still one of my go-to books that I recommend to a person looking to get into reading comics, and this issue is a prime example on why that is. If you haven't been following the book since it came out, there's nothing to really stop you here. It's the beginning of a new arc, new characters, but adds to the mythos of what the American vampire really is. Here, we have Travis Kidd, a greaser-type nineteen-year-old that just happens to be quite adept at killing vampires. Of course his past comes to light and a certain vamp has wiped out his family and everyone he loves. Travis is a bit different from the slayers we've seen before. He's quick, agile, and a slight bit eccentric. He's a troubled youth, but his narration shows he is wise beyond his years. Set in the 1950s, which is almost where I thought a book like this would thrive as it was the beginning to American pop culture. There are some minor clichés here, but the set up is so clean, you can't help but root for Travis in the other three issues to come in the arc. Agent Hobbes sneaks in and his presence is the one thing that ties everything mostly together. There's no Pearl, Henry, Skinner or Felicia, but there doesn't need to be. Snyder has taken the concept of vampires here and taken them nationwide, and not just pigeonholed into any one part of the country. Everything in this issue feels self-contained and would be easy on a new reader's brain. Having Rafael Albuquerque back in the artistic driver's seat is like watching one of your favorite movies and falling back in love with it. While Jordi Bernet effectively did his thing and worked out some of the best visuals the book has had during its run, Albuquerque almost seems like he was born to recreate Smalltown, USA with a slice of macabre. His art has never been more kinetic here as the level to detail on everything from hot rod game of chicken to an old-fashioned rumble in a diner, nothing comes across as mundane. Dave McCaig's colors here with his usual pallet, but concentrates more on blues and purples, rather than the warmer choices he's more prolific with. It adds a certain layer of moodiness that fits right in Albuquerque's heavy shadows. With the original dream team that first made this book the hit it is back together, it makes you wonder how comics could get any more perfect. As mentioned, if you've heard all the buzz about this book but not sure where to start and intimidated by books in their double-digits, fear not. American Vampire #22 reads just as good and strong as it were a first issue. So hop in, buckle up, and enjoy the ride.

Witchblade #151 (Published by Top Cow; Review by Lan Pitts; 'Rama Rating: 6 out of 10): Imagine you're going to see a sequel to a movie, and you're hyped. You loved the first one and even though there is a different director, you remain hopeful that the vision and characters stay intact. However, you notice that the characters you've cared about have a different voice and direction and it deviates from what you had expected, leaving you slightly deflated. That's how I felt after I put down Witchblade #151. Having molded Sara Pezzini and the Witchblade galaxy into something mature and intelligent for the past six or so years, Ron Marz has left the book, and in his place step up writer Tim Seeley (Hack/Slash) and artist Diego Bernard (know from his work on Dynamite's The Man With No Name). I'll give it to Seeley, as he does play to his strengths with a throwback to the Michael Turner-era of Witchblade, but it felt very by the numbers. I think the first-person narrative is a bad idea; it's overwritten, and at times almost comes off as parody of hard-boiled narrative. The story's direction isn't bad, but it feels overcomplicated, like a completed puzzle that still has a few extra pieces. Bernard's art, though, is top notch. It's still weird to see Sara in this light again, but his attention to detail is strong and Sara's new world looks pretty good. I know it will probably take a while for Seeley to find Sara's groove, but this wasn't the first impression I had wanted.

Best of the Year: 2011

Every year the Best Shots team over at Newsarama put their heads together and individually list their thoughts on the best books/creators/titles/publishers/etc of the year. I had a difficult time narrowing my choices to a solid three, but I'm satisfied with my selections here. It's a mix of the best of what 2011 had to offer in the comic book medium.

Bronze — Artifacts (Published by Top Cow): A maxi-series like this doesn't happen every day. While you do have your Blackest Nights and your Sieges and your crossovers and your tie-ins, things can get convoluted and scattered fairly quickly. Here, you have Ron Marz being the architect of one fine story that spans throughout the Top Cow universe. There's Cyber Force, Hunter-Killer, Witchblade, Darkness, Angelus... the whole schmear! What started as Sara getting her daughter back has turned into an emotional and dangerous roller coaster for all involved. While Marz has been the voice of the story, he's had great assistance from artists on the visuals, starting with Michael Broussard, who continues to be a powerhouse, to Whilce Portacio and Jeremy Haun. It was announced that Artifacts would be now an ongoing with Marz still at the helm, it gave me hope that people that have been missing out on the series will eventually pick it up and realize they have indeed been missing out.

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Silver — Jim Henson's The Storyteller (Published by Archaia): Simply put, if you have not had a chance to read Archaia's adaptation of Jim Henson's The Storyteller, I dare say that is a crime. Showcasing a vast array of fresh faces and seasoned vets, this assortment of stories is sure to be the delight of any reader, of any age. When you have talents such as Evan Shaner, Tom Fowler, Katie Cook, Nate Cosby, Ron Marz and many more, what is there not to like? It's an eclectic group of creators and individuals that I'd love to see more work from, especially if it involves a project like this. Archaia has been on a roll with the Henson licenses and Storyteller exceeded all my expectations and gave me a reading experience I haven't had in a long while. A book like this shows the world what non-superhero comics are really capable of: a true work of art, and one of the best books of the year.

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Gold — Daredevil (Published by Marvel Comics): Yes, True Believers! The Man Without Fear has made quite the comeback this past year with a classic take on the fan favorite and Marvel staple. Brought back from the deepest depths that the character has been in since Frank Miller's run by the incredible Mark Waid and a dynamic rotating art team of Paola Rivera and Marcos Martin. After the events of Shadowland left Matt Murdock in the most depressing state I think I've ever read, the road to redemption began here. And it's just plain, old-fashioned cool. Bringing Ol' Hornhead back to his swashbuckling roots, Waid has crafted a hero that doesn't do anything radical to the character, but builds on what has been established and it's actually fun! Rivera and Martin are dynamite and creative with the visuals and it's how a hero like Daredevil should look. When you have the first issue having DD go up against classic E-lister, the Spot, and a few issues later having him outsmart his way out of a shootout, you realize this isn't the Daredevil from last year. This is what superhero comics should achieve to be like, and hands-down the best book Marvel is producing at this time.

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 Item To Watch In 2012 — Justin Jordan: Image's The Strange Talent of Luther Strode has been making strides and gathering tons of buzz over the past couple of months, putting creative team Justin Jordan and Tradd Moore on everybody's radar. Recently though, USA Today named Jordan the Best New Writer, and I have to agree. While Luther is still gaining momentum, one can be sure to keep your eyes peeled on what this bright newcomer has in store.