The combined efforts of Scottish legends Frank Quitely and Grant Morrison come together for one of the most entertaining Justice League stories of recent years. While the plot lacks the complexity of some of Morrison's JLA run, this isn't a bad thing. The plot moves quickly enough to be a great ride and allows for some nice twists. Like any story involving "evil twins", this contains some character study of DC's big three. This would not be a Morrison story though if it did not feature some questioning of the nature of reality and this is no different. Fortunately for the more casual reader this time round he keeps it relatively simple, so you won't feel left out if you aren't a physicist or a philosopher.

Quitely's art is up to his usual high standard as readers of the more recent All Star Superman will have experienced.

All in all this is a highly entertaining book and definitely worth a look, even if you are not a Justice League fan or are a new reader looking for some background for a taste.

Legendary artist, Alex Ross, teams with writer, Kurt Bursiek, to deliver the history of the Marvel Universe from the perspective of one of it's more normal inhabitants. Issue 4 deals with a more personal story than previous issues as it looks into the life and death of Gwen Stacy. Sheldon helps Gwen investigate the death of her father, blamed on Spider-Man by the media, and in doing so sees the Marvels with the awe that she does as Atlantis invades New York. The death of Gwen Stacy was something of a watershed in comics. This was one of the first times a superhero (Spider-Man) had failed to save someone and Sheldon's shock as he waits to capture Spider-Man's victory on camera reflects that of the readers of Amazing Spider-Man #121. The art is amazing, of course, as is the writing and there is the usual references to other events.

Legendary artist, Alex Ross, teams with writer, Kurt Bursiek, to deliver the history of the Marvel Universe from the perspective of one of it's more normal inhabitants. Issue 3 deals with the Avengers and Fantastic Four saving the planet from annihalation. This all culminates with the arrival of Galactus and Sheldon's increasing disbelief at New York's lack of gratitude to the heroes that defend her. The artwork here is stronger than earlier issues, though that may be because of how spectacular Galactus and the Silver Surfer are (Tim Story take note). The writing is also strong and of course there are references to things happening elsewhere in the Marvel Universe.

Legendary artist, Alex Ross, teams with writer, Kurt Bursiek, to deliver the history of the Marvel Universe from the perspective of one of it's more normal inhabitants. Issue 2 deals with the arrival of the beloved Avengers and the Fantastic Four as well as the feared X-Men. Again, we observe the action from the sidelines with the hopes and fears of New York's ordinary citizens. During the creation of this project, Ross and Bursiek realised that the wedding of Reed Richards and Sue Storm must have occured the same day as the sentinel attack and subsequent anti-mutant riots. The irony is not lost on the protagonist, Phil Sheldon as he hides a mutant child from his hostile neighbors.

Legendary artist, Alex Ross, teams with writer, Kurt Bursiek, to deliver the history of the Marvel Universe from the perspective of one of it's more normal inhabitants. Issue 1 deals with Marvel's "Golden Age", from inventor Phineas Horton's creation, The Human Torch (not Johnny Storm) to Captain America and the superhuman intervention in World War 2. There are numerous references to events in a number of comics that many readers won't be aware off as they were first printed in the late 30s and early 40s. This is a first step in the authors' efforts to chronicle the events of the Marvel Universe and is a spectacular start. Alex Ross's art is amazing and this was one of the comics that helped to make his name within the comic book community. The art is of a standard whereby this book could just be looked at to be enjoyed. The story is well written and helps to immerse the reader in the early days of the Marvel Universe at street, rather than rooftop, level. Bursiek also provides an amusing early look at J. Jonah Jameson, before he is editor of the Daily Bugle.