Walking Dead #100 — Writer: Robert Kirkman; Art: Charlie Adlard
This is now officially the best-selling comic of the year, a tribute to both Kirkman’s storytelling skills and luck in catching the cultural zombie zeitgeist at just the right moment, and with just the right media tie-ins and collaborators. Eddie thought it was lazy — it provides just the kind of major-character death that you’d expect, and on top of that it’s got a lot of echoes from the earlier “Governor” storyline. That’s all true; on the other hand, you have to admire the way the brutal, low-tech nature of the death sticks in your memory — and with nary a zombie in sight. After all these years, we care about these characters, and after events like this issue’s want to see them get their revenge; that means that this #100 issue does its job well, because everyone who reads it will finish it wanting to know what happens next, and eagerly awaiting issue #101.
Punk Rock Jesus #1 — Writer/Artist: Sean Murphy
Murphy was the artist on Grant Morrison’s Joe the Barbarian a few years back, and here offers his own solo story. The black-and-white format shows off his artistic chops nicely, and the story itself operates from a cool premise: a reality show provides backing for a genetic scientist to extract DNA from the Shroud of Turin and insert it into the unfertilized egg of a virgin volunteer, thus creating a clone of Jesus. It’s just the kind of poke-the-establishment-in-the-eye plot that the ’90s Vertigo would have reveled in, and the corporate, cultural and religious threads of the idea are worked out cleverly in this first issue, which ends with the birth: if Murphy can sustain the momentum through the rest of the story, this should be an entertaining ride.
Batman #11 — Writer: Scott Snyder; Pencils: Greg Capullo; Inks: Jonathan Glapion
The conclusion of the “Court of Owls” storyline; it’s reminiscent of Walking Dead #100, in that, while it’s made up of bits and pieces of older ideas, they’re executed well enough to keep the reader involved and intrigued, and even the parts that don’t quite make sense (*cough* jet engine *cough*, plus the standard non-ending ending) come off well visually, as Capullo’s shadowy-smooth art continues to make the panels and pages gleam. A new reader wanting to check out a Batman comic in advance of the movie premiere would find this intriguing enough to stick around for more.
Buffy the Vampire Slayer Season Nine #11 — Writer: Andrew Chambliss; Pencils: Georges Jeanty; Inks: Nathan Massengill
I don’t mention this book much, but it continues to roll along, under the watchful executive production of Joss Whedon, building on the events of the TV show instead of just echoing or repeating them. It’s definitely for fans (the ending of this issue depends on the reader knowing why the corporate name “Wolfram and Hart” is significant), but why not? — there are a lot of them out there, and it’s comforting to know that there’s a book still chronicling the lives of these much-loved characters, and doing it so well.
Avenging Spider-Man #9 — Writer: Kelly Sue DeConnick; Pencils: Terry Dodson; Inks: Rachel Dodson
When a character has a secondary book like this, it works best as an anthology, giving various creators the chance to tell fun stories about him, instead of worrying too much about continuity or issue-to-issue subplots. Here, the fun is in the relationship between Spidey and Carol Danvers (DeConnick, knowing that they’re both Avengers, gives them an easy, joshing rapport), the Marvel Team-Up style plot, and the Dodson art. I thought at first that this was a mistake, showing Danvers’ new costume and identity before it happens in “real” Marvel time, but since this deliberately plugs the new Captain Marvel #1, out next week, it’s clear that was a deliberate ploy — and an effective one.
Conan the Barbarian #6 — Writer: Brian Wood; Art: James Harren
The Harren art isn’t bad (although his Conan seems too skinny to be believable, especially at this point in his career, even considering that he’s been in a dungeon for a few days), but Becky Cloonan’s version is missed, and the news that she’ll be back next issue is welcome. Conan as a concept needs both a strong story and compelling art; otherwise, it’s just the same old thing, endlessly repeated. The art can be otherworldly, like Barry Smith’s, or gritty and grounded, like John Buscema’s, but it’s got to do something, and it’s got to be fiercely energetic. Cloonan 
goes the Smith route, and has energy to spare, so having her back will keep me buying this title.
New Avengers #28 — Writer: Brian Michael Bendis; Art: Mike Deodato
Avengers Assemble #5 — Writer: Brian Michael Bendis; Pencils: Mark Bagley; Inks: Danny Miki
Spider-Men #3 — Writer: Brian Michael Bendis; Art: Sara
Pichelli
Three this week from the Bendis comics factory. New Avengers is an AvX tie-in, and typical in that it’s mostly just running in place, without moving the uber-plot along a bit; at least it does it cleverly, though, and the combination of Bendis character bits and Deodato art makes it easy to take. Avengers Assemble is unrelated to 
the big crossover — it’s more movie-centric, with the green Hulk and other members of the cast fighting Thanos; it’s also got the Guardians of the Galaxy (not by accident, since they’re on tap for their own movie soon) and Bagley art, which are more than enough to make it readable. Spider-Men has gotten some online criticism for being too predictable, but here too the art makes it work; Pichelli’s knack for caricatures, expression and action make it a great-looking comic, and Bendis’s long-standing connection to the characters makes it feel “real,” predictable or not.
Stuff I bought, but don’t have anything new to say about, so read previous 
reviews in the archives if you’re interested:
Captain America #14 — Writer: Ed Brubaker; Art: Patch Zircher with Mike Deodato
Defenders #8 — Writer: Matt Fraction; Art: Jamie McKelvie with Mike Norton
The Shade #10 — Writer: James Robinson; Art/Color: Frazer Irving
Wolverine and the X-Men #13 — Writer: Jason Aaron; Pencils: Nick Bradshaw; Inks: Walden Wong, Can Smith and Nick Bradshaw
