Dr. Alec Holland’s refusal of the Parliament’s pleas to take up the mantle of Swamp Thing takes its most hellish turn yet in another finely pruned tale of torment and suspense from Scott Snyder.

After saving himself and Abby Arcane from the clutches of the Rot, Alec listens in horror as William Arcane reveals the truth about the Rot’s master plan and how it's winning because of him. Is it too late for Alec to change his mind and body and save the living world and the woman he loves? I for one am dying to find out.

With a story this compelling, it took me until about the middle of the book to really take notice of the subtle differences in the artwork of Swamp Thing #6 –– that the magnificently grotesque artwork of Yanick Paquette was replaced by the equally macabre artistry of Marco Rudy, who keeps with the book’s tradition of twisted vines of life and death and organically grown panels that show us a more lush story at every page.

Together, Snyder’s words and Rudy’s art, along with the heavy reds and auburns of colorists Val Staples and Lee Loughridge, lead our heroes through another chilling chapter that ends in a final panel that’ll leave a scar until next month comes into bloom (or Rot!)

Soulfire, like many of the Aspen Comics line, is a book that was defined by the late Michael Turner's art style, one that exploded onto the scene with some of the most dynamic women and heroic men seen since the days that Jim Lee started drawing the X-Men. They were idealized, they were Barbie-esque, and they were the epitome of why you would do something in the medium of comic books instead of on television or in the movies. It's impossible to find actors and actresses as beautiful as the characters within; when Megan Fox was tapped to play Fathom, for example, it was close enough to silence a few critics, but it's like trying to find the perfect person to portray an immaculate work. They go for different goals; the artist might embrace a lack of flaws, while the real world might find inherent genetic flaws and quirks cute and endearing.

Admirably, Fabok does his best to "ape" Turner's style. Disappointingly, Fabok does his best to "ape" Turner's style. While it's definitely as close as we're likely to get in a post-Turner world, and it's a logical step to take when the original works were so defined by Turner's pencils, it's disappointing that Fabok doesn't get a chance to stretch his legs and explore new styles. Still, a house style is a house style, and Fabok works well within it. John Starr gets to have some fun with coloring in this issue, as a dragon tearing up the world is rendered much like a Green Lantern construct, and at times, the use of blue magic against an orange-purple sky provides a nice contrast. It's visually solid, outside of a few instances of the crew not letting the pencils do their work, instead overshadowing and saturating with darkness.

With regards to the writing, the character of Malikai seems to take a major step in this book, deciding that his fate and destiny are his to control, and using this newfound power, appears to sacrifice himself for the greater good. It's a noble revelation, and one played out well, that long-time readers of the book might find more substance within (or more conflicts without, admittedly). Beyond that, much of the issue is focused on an ever-worsening battle, not allowing for great dialogue or plotting. Malikai's growth comes slow but steady, and it's nice when it overtakes the larger battle with a more personal one.

Soulfire seems to be doing fine without Turner, but might be best left to the master, allowing Fabok and Krul to explore their own worlds, rather than mine the rather short stack of material they were given.

Murky World, a one-shot by legendary Heavy Metal artist Richard Corben, is a unique story that might have best worked as a short tale in the aforementioned book. The plot is murky. There's nothing special about this odd land and the inhabitants of it; and the story largely takes a backseat to Corben's art. It's set on an unspecified world with unspecified inhabitants, all driven by unspecified goals, motives, and dreams. The only unifying theme seems to be greed, despite some semblance of a narrative existing at the heart.

Visually, Corben has some great concepts. The designs are unlike anything you've seen; any time something comes close to comparable to real world works, a curveball is thrown in that you just can't exactly put a name for it. Aborigine? Planet of the Apes? Futurama? There's a certain style for the world that comes close to what you've seen, but is unlike anything you've seen before. Part of it seems almost racist, with characters appearing to be generic 1930s depictions (more like caricatures) of black men that only pop up in "look at how racist the past was" stories, but given that the story is in black and white, that's almost absurd… if these specific characters weren't in subservient roles for many of their appearances. It's too easy to dismiss, and might be the over-analyzations of a reviewer, but it definitely catches your eye.

This book will and should only appeal to the fans of the artist and his visual work; the writing and plotting is a mess, and while the art stands out, it's so unique and polarizing that it won't reach general acceptance.

With issue #3 of Memorial, writer Chris Roberson continues to tease readers as to the greater power and importance of our heroine, Em, while also revealing more about the magical Everlands within the walls of the Ivory Tower of Babylon.

The Ivory Tower has been the most exciting setting Em has yet traveled to in Memorial.  With its roots in history, magic, story, and Memorial itself, the all too brief time spent within the white walls was enlightening and incredibly fun.  Not only did it allow the story to continue to grow and unfold, it also gave artist Rich Ellis a chance to draw some tense and kinetic action sequences, with members of the Ivory Tower battling against Smoke and other Shadows from Darkness Falls.

Beyond Em’s story, Peter makes a brief return, though now captured and tortured at the hands of our leading lady’s greatest enemy.  More importantly, however, is the realization that not even Mistress Moment understands the true power of Em and the key she now holds.

Memorial continues to thrill, with its ever expanding magical world keeping readers on their toes.  Chris Roberson and Rich Ellis have struck gold with their title, and it seems the gold mine of Memorial is far from dead.

If you've skipped out on Buffy's adventures since her show ended, you'd be surprised at where her world has gone. Without the budget of a show to deal with, the series has gone everywhere from having Dawn become a giant to Buffy and Angel having space sex. It's a brand new world, and the books have managed to capture the spirit of the series while soaring beyond the limitations of real-world production, thriving in the comic book medium.

Yet, this issue feels like it could have been an episode of the show. At least, "On Your Own" Part One could have been the beginning half of an episode. Restrained with the supernatural elements and budget-busting special effects (only a few vampires/zompires get slain), the issue more closely resembles the television show's highest point, "The Body," an episode with only one vampire slaying, no soundtrack, and one of the most emotional (and realistic) portrayals of death in the medium. The story of the issue largely deals with Buffy's adjustment to being pregnant, the question of who the father is, and where to go from here.

It's quiet, it's silent, it's small. It's an episode much like "The Body," one that reverberates with solid characterization, good writing, and so forth.

The Slayer doesn't need to kill vampires to dominate the field.

A large-scale Top Cow Universe crossover was never in the cards years ago. Characters like The Darkness and Witchblade would interact, as natural, but taking the whole universe into one event was unheard of. Likewise, giving a soft-reboot to the universe (a staggeringly young universe, at least in comparison to DC's 25-year revamping thrice over and Marvel's near-50 years of superheroes) to set up an easier entry point to these antiheroes was surprising.

Given that most of them came from the extreme and gritty 1990s, yet are having trouble succeeding beyond the comic front (for every enjoyable The Darkness game, there's a Witchblade TV series that just doesn't succeed), these characters are far from the name recognition of a Superman or Spider-Man. Top Cow's made them more approachable than ever while not throwing out anything their audiences have come to expect; things have changed, but the characters might be the same.

Artifacts is, thankfully, easy enough to hop into. Much like many of The New 52, as a new reader you may have heard of the characters, but they're in new situations to you as much as they are to the established fan base. The series was recently changed to an ongoing one, and as Top Cow's crossover/event book, the book amost serves as a guideline for the rebuilt universe.

The art of Stjepan Sejic is simply amazing. Balancing between painted realism and comic book lightness and darkness, the fact that Stjepan covers all aspects of the art alone provides a unity that tends to be ignored and forgotten in a world where comic book pages are too-often passed from one hand to another to a tertiary in an effort to get the most books out on time. The photorealism nearly inherent to this style only serves to indicate how horrifying some of the aspects of this world are, and provide a stark contrast in theme, yet a nice evolution in style.

Marz's writing is equally nice, although it does fall prey a bit to a problem that other post-event books have: a haunting reference to the past, intended purely for the reader, but espoused by a character internally or expositorily takes the reader out of the book, reminding them that cosmic events happened. It's happened in The New 52, with references to how the Teen Titans could have been different, and it's as jarring here as it was there. It's purely for the fan, a nod and a wink that yes, we know what happened in the previous timeline, even if the characters themselves may or may not.

"New Creation" is the perfect jumping-on point not for Artifacts but the whole Top Cow Universe. If you've not paid much attention to their corner of your local comic book shop, this is a great chance to give them a shot.

The Ninjettes is a bizarre, fun, and great read in a brand new franchise.  Following several sexy and seductive female assassins, Ninjettes packs more than just a punch, as readers will be confronted by swords, blood, gore, and delicious black humor.

The first sequence in The Ninjettes perfectly captures the violent, ruthless, black humor influenced, over-the-top tone of the entire book.  The first page depicts a creepy and balding man desperately trying to become “special friends” with his nephew.  Quickly coming to dread the oncoming storm of pages, writer Al Ewing came to save the day, as a sexy Ninjette busts open the degenerate’s door and cuts the him right down the middle with blood and innards filling the room, all the while the book chants “Welcome to Violence.”  The distraught and shocked child, not to be left out as he watches his uncle become mincemeat, is quickly caught in the crossfire and becomes victim number two. 

More than just this one bombastic scene, however, Ewing quickly develops a wide cast of Ninjettes to fill his pages.  Ewing packs his title with several deadly assassins whose beauty only matches their lethal talents, all of whom appear to have a speckled past that is sure be developed in the future.  With the fallout from the issue’s murder scene influencing a new generation of assassin to train, there is no way to tell where Ewing will be taking readers.  If the cliffhanger gives any evidence, however, it is sure to be a disgustingly sick and hilarious ride.

Ewing's partner in crime for Ninjettes is Eman Casallos.  Casallos quickly broke the stereotypical “cheesecake” mold with page after page of action.  The overtly sexy and suggestive art is the perfect fit for the over-the-top tone and characters of the book.  Casallos is not just limited to mere sex appeal, however, as his actions scenes are loud, and the numerous instances of gore end up being the perfect companion to the tone of the book.

The Ninjettes is the type of over-the-top, sexy, and preposterous title that, when done right, works so well.  Luckily for readers, Al Ewing and Eman Casallos deliver an insanely fun and bizarre book of even crazier characters and events.  The Ninjettes definitely stands on its own and must be read.

Cartoon Network’s Adventure Time is a guilty pleasure.  On second thought…  Adventure Time is simply a blast.  Who could deny the preposterous, colorful, and fun world of Jake the Dog, Finn the Human, and The Land of Ooo?  For longtime fans of the bizarre show, Adventure Time #1 reads much like a typical episode, with Finn & Jake bounding off on a crazy adventure against a newfound evil.  For those unexposed to the duo’s universe, however, Adventure Time #1 is a great introduction to the hilarious and strange characters, their weird chemistry, and their outrageous world.

Adventure Time #1 is chock full of the colorful and comedic art, sharp and sarcastic jokes, and beloved characters viewers will recognize.  In this first offering, Finn & Jake find themselves on yet another adventure, battling and joking against an EVIL lich who can trap entire worlds inside his magical “Bag of Holding.”  Along the way, our heroes traverse vibrant lands, form a hilarious Jake-Suit, and meet the Desert Princess and her famed “sand skills.”  Not to be upstaged, the famed Princess Bubblegum makes her debut in a deliciously disgusting back-up that brings both laughs and dry-heaves.

Fans of the show are sure to be delighted by the first issue of Adventure Time.  Expect to be greeted with more of the fun and silly aspects of the show you’ve come to love, while meeting new enemies and transporting to new worlds.  Adventure Time is a fun, light-hearted blast, which should definitely be read.

Two of Image Comics' most popular writers combine to pen the tale of the world’s greatest thief in Thief of Thieves.  Taking a break from the zombie apocalypse and from psychedelic mind-benders are Robert Kirkman and Nick Spencer, who instead ramp up the thievery, cunning, and craft of their new characters.  Following Redmond and his apprentice Celia, Kirkman and Spencer have set off in an unexpected direction for the first step in their new series.

Though Kirkman and Spencer hit some of the necessary steps as they introduce Redmond, the world’s greatest thief, and his apprentice Celia, the two characters are interesting, quirky, and human enough to keep the pages turning quickly.  Celia is quite humorous and fun, but her motives for joining the criminal underground are without-a-doubt the most interesting and relatable aspect of her.  Redmond, on the other hand, is at first glance a typical gruff and tough thief who has seen better days, though after some careful exploration, the world’s greatest thief is far from an average character.  Worn out and perhaps jaded, Redmond is on the verge of alienating several of his most wealthy financial backers just before the biggest heist of his life, making the cliffhanger to Thief of Thieves #1 as much of a great character moment and it is a plot point.

With the majority of Thief of Thieves #1 resting upon the main characters, Kirkman and Spencer found a perfect third partner in artist Shawn Martinbrough.  Celia’s transformation from angst-ridden amateur thief to apprentice, for example, is clearly reflected in her facial expressions, which begin with rigid teeth-grinding frowns and end with confident and elegant smiles.  Beyond pencil work, moreover, Martinbrough makes full use of a variety of colors, with each scene benefiting from its own color palette.  The range of colors, from red interrogation rooms, to orange party scenes, and more, kept each scene from looking stale or recycled. 

Thief of Thieves #1 is a great character focused introduction to Robert Kirkman and Nick Spencer’s new title.  The pair of Redmond and Celia keeps the story fun, as their banter offers several humorous moments, while also highlighting their skill and cunning as thieves.  As Redmond made possibly the biggest mistake of his career at issue’s end, there is no telling where Thief of Thieves is heading.

J.H. Williams steps away from art details in Batwoman #6 to solely focus on the story along with W. Haden Blackman.  The extra story focus that one would anticipate to be the result of such a move sadly is not reflected, resulting in the most lackluster issue of the title to date, one that suffers from odd pacing and construction.

The story of Batwoman #6 is decent, never rising or sinking below that standard, but for the most part strictly serves as a jumping on point for new readers.  For those who have been with the title since the September relaunch, however, the issue plods along slowly, floundering in an odd “in between arcs" state.  The pacing does little to help this issue, as Williams and Blackman bounce back and forth between characters and time frames instead of telling a focused story.

No one can fault Amy Reeder for stepping in for this arc in place of J.H. Williams.  In fact, her art serves the story quite well, with her Batwoman sequences recreating the technical flair of Williams’ intense double-page spreads quite well, while her work with Kate Kane, likewise, looks great.  Reeder is stepping into insanely large boots, with unfair expectations to face, yet she handles those expectations well.

Batwoman #6 serves the story well enough, though it fails to reach the level of quality storytelling seen in previous issues.  Amy Reeder’s art looks great, and considering the pressure on her shoulders, she must be commended.  Though not the greatest of issues, Batwoman #6 is necessary to the greater fold of Kate Kane’s story.