Greg Burgas has an excellent overview of the last few books of ours, with a concentration on my good friend Charlie Adlard's work with us. He reviews Nobody: "Adlard’s art, as usual, is stupendous. It’s astonishingly detailed, giving us a wonderful sense of both San Francisco and especially New Orleans, where much of the book takes place. Adlard even manages to make a meat locker, where most of the second half of the book occurs, visually interesting. Adlard is particularly good at faces - each character is distinctive and 'normal'-looking. There are no superhuman beauties or ripped abs, just regular folk doing their thing. He uses the black areas on the page to great effect, making the comic even more noir-ish and fitting the tone of the story perfectly. I’m always curious why Adlard hasn’t become a bigger star. It might be by choice, as he doesn’t seem a good fit for superhero stuff, but it’s a shame."

...as well as White Death: "Adlard shifts styles for this book, and the results are staggering. Morrison’s introduction states that he uses charcoal and chalk on gray paper, and what we get is a war comic that looks like war feels - scruffy, dirty, undefined, messy, and even disturbingly majestic. The avalanches are rendered magnificently, becoming over the course of panels a terrifying force, sweeping everything away. In the darkness of the meeting between Pietro and his old comrade, Adlard gives us fear, sadness, regret, and beauty as the two men part, all without Morrison’s help, as the words, while excellent, remain a bit prosaic. And the final battle is astonishing, as snow lightly covers the horror on the ground and reminds us that everything is transitory. The art blends perfectly with the story, and it’s an amazing achievement."

Greg takes a look at Codeflesh: "Issue #8 is one of those comics that changes the way we view comics and how they can be done. It’s the kind of thing that can only be done in comics, and it makes us wish more people used the medium in the way Casey does. Through the first seven issues, Codeflesh is a fairly typical gritty comic about a guy who tries to do good but often makes bad choices - in other words, nothing we haven’t seen in hundreds of comics, television shows, and movies. That doesn’t make it bad, because it’s a compelling read, but it’s nothing terribly special. Issue #8, which concludes the book, is a tour de force of both writing and art. Cameron finally decides to tell Maddie that he puts on a mask and goes bounty hunting, and that’s why he’s often absent for her. He begins to write a letter - on the first page of the issue, we see him writing on paper. Then he gets a phone call about a skipped bond and goes to work, but Casey and Adlard do something fascinating and, as far as I know, unique."

...and looks at Monster Attack Network and Aces, too.

He saves all his love for Dugout, though: "Bello does a good job making Cookie’s world as gritty as possible, and not in a 'grim-n-gritty' way, either. This book takes place in prison and on a baseball diamond, after all, so there’s bound to be dirt. The players look like they’ve just battled in the dust, and he does a nice job surrounding Irene with an aura that seems to wick off all the dirt that settles on everyone else. The baseball scenes work surprisingly well, as Bello chooses to get in for close-ups on players swinging or the ball hitting a glove instead of pulling back to give us a wider shot. It reminds me of low-budget movies that can’t show a wide shot so instead zoom in so we don’t see that the action doesn’t really exist. Except Bello doesn’t have a budget, so he could do wide shots, but the way he lays out the baseball scenes give the games an intense intimacy, and it works very well. It also sets up the final page nicely, although that’s all I’m going to say about that!"

Make sure to hit the first link for a bunch of art from all the projects.