Countdown - plotted by the movie's Roberto Orci and Alex Kurtzman, and scripted by Tim Jones and Mike Johnson from Orci and Kurtzman's production company - doesn't just set up next month's JJ Abrams-led reboot in style (complete with great art by David Messina); it also offers what may be the final canonical Next Generation story, as well, and it's one that satisfies even without knowing that a movie was coming out to follow it.

The series is really an introduction to Nero, the Romulan who'll rewrite history in the movie. What Countdown gives us is the reason why he does that, as well as make you feel some sympathy and empathy for how he ended up the way we'll see him in theaters a month from now. It's not a small-scale origin, however; it takes the destruction of the planet Romulus - and the death of his wife and unborn son - to turn the good-willed miner into the tattooed villain we've seen in trailers and posters, and it's a destruction that may have been averted had things not been the way they were... leading to his desire to change the universe in grander - and, in a way, much smaller - ways than saving his planet.

His ally in trying to save the planet is Spock, at this point the Federation's ambassador to Romulus and - in a nice allusion to Superman's origin - a scientist who warns of the planet's destruction ahead of time, only to be ignored by the powers that be. When Spock and Nero try to take matters into their own hands to save the planet, they run into the Enterprise (now being commanded by Captain Data), as well as Jean-Luc Picard and Geordi La Forge, both living surprising new lives outside of ongoing starship missions. When Romulus is destroyed, midway through the story, we get to see Nero's transformation into the movie's big bad, as well as the way that brings him into conflict with another familar face, Worf, now fully a Klingon warrior.

Ignoring the movie tie-in altogether, this would still be an enjoyable series; the story feels appropriately epic, with characterization that's spot-on to the Enterprise crew(s) that we know and love and shout-outs to Trek past that aren't self-important or pull you out of the plot (The Romulans have retro-fitted Borg technology to create their ultimate battleship, for example). Even the ending, which very clearly sets up the movie, could be taken at face value as a conclusion complete in and of itself (Spock and Nero's ship disappear into a singularity and are presumed dead by the Enterprise crew who watched it happen). The series doesn't just make you want to see the Star Trek movie, it also makes you want to read more Star Trek comics if they'll be as good as this one.

Star Trek: Countdown's collection edition is released this Wednesday, and the individual issues are available in comic stores and at iTunes right now.

In terms of SF comics, 2008 feels a bit... lacking, to be honest; there was nothing with the energy of King City or Wonton Soup, and a lot of the best books were final issues, instead of the start of something new (Collections and reprints-wise, it was a great year, however - I'd point you in the direction of Skyscrapers of the Midwest, The Babysitter and Jack Kirby's OMAC, to begin with - but they weren't really created this year...). It might just be a necessary lull; next year has new work from Paul Pope, Bryan Lee O'Malley, Brandon Graham, James Stokoe, et al, after all. But it did make this year seem curiously anemic in retrospect. So here is the pick, perhaps, of a poor bunch:

BEST
All-Star Superman
Quite simply, the best superhero comic of the last few years. Tapping into the awe-filled tone of the 1950s and '60s Superman stories while still seeming contemporary, Grant Morrison and Frank Quitely's twelve-part reinvigoration of the Man of Steel finished this year with the perfect send-off: Something positive, optimistic and just a little melancholy.

Casanova
Matt Fraction's sci-fi superspy series filled its second run with time-travel, sex and gigantic reality-altering weapons before, in its final issue, folding in on itself with a reveal that, at first, felt like a cheat but ultimately recast everything that had gone before and made you need to re-read it like you need to breath. If only everything was this fearless.

(Fraction almost ended up on this list twice; his Invincible Iron Man series for Marvel was, to my mind, the ideal follow-up to the movie, finally figuring out a way to make the character interesting without making him an asshole.)

Fight Or Run: Shadow Of The Chopper
You can argue amongst yourself whether this silent series of strips is really science fiction or not, but Kevin Huizenga's videogame-inspired shorts that bring two surreal characters face-to-face to see their response works both as an exercise in comic formalism and experimentation, and as a funny, surprising reading experience. Me, I'd probably run.

Final Crisis
Yes, there have been a lot of problems with DC's big 2008 "event" - the seeming inability to hit deadlines and switching of artists midway through the story, to start with - but despite it all, Grant Morrison and company's slow-motion apocalypse has been creepy and hypnotic, all the moreso for the way in which it refuses to play by the rules.

Love & Rockets: New Stories
Dean Martin and Jerry Lewis analogs slaughter aliens. Surely I don't need to say anything else.

Patsy Walker: Hellcat
I don't know if it's the lightness of Kathryn Immonen's writing, the pop of David LaFuente's artwork, or just the sass of the book's star, but there's something wonderful and unexpected in this lowkey miniseries from Marvel about a fashion model-turned-superhero fighting magical demons in Alaska. In the middle of the publisher's highly successful year, this hidden gem is easily the best thing they put out.

Project Superpowers
Again with the "unexpected" thing, I didn't expect much from Alex Ross and Jim Kruger's 1940s superhero revival... and certainly not the most strange and unusual superhero series of the year. The US government creating zombie soldiers in the Middle East? Lying ghosts with hidden agendas? An evil corporation of robots manipulating everyone that just so happens to have the same name as the parent company of the publisher? It's all here, my friends. Just don't ask me what it all means.

Teen Titans: Year One
It took animation writer Amy Wolfram and artist Karl Kerschl to finally fulfill the potential of DC's team of sidekicks, by offering a story that stayed on the right side of cartoony, but kept an undercurrent of angst and insecurity to provide characters who actually acted like teenagers, for a change. Add some of the best art to appear in any comic book this year and you have a very underrated winner.

WORST
Astonishing X-Men: Ghost Boxes
A strange one, this. It's not really the quality of the comic strip itself that lands it in "Worst" position - although the comic strip itself was nothing to write home about, pretty much generic "alternate world"isms from Warren Ellis and friends - but the format. Charging $4.99 for 16 pages of comic book would be a bit much for a small indie company with a lot of overhead and little say in the matter... but for Marvel to do it, especially without letting fans or retailers know that that's what they were doing...? Kind of an unnecessarily low blow.

Batman RIP
It started so well, but... well, finished so badly. There's very little way to look back at RIP without getting frustrated at the lack of resolution and all the unfulfilled potential left untouched. It's called Batman RIP people - Couldn't you have done something with that that didn't have a villain who may or may not have been the Devil and the most unconvincing, inconclusive death scene ever? Or, for that matter, had a story that actually ended in its final chapter?

Countdown To Final Crisis
DC's Final Crisis may be flawed but great, but the 52-part prelude series kind of missed out the "but great" part of that idea. As well as missing out the "coherent plots, interesting dialogue and story you feel involved in" bits. And, to make matters worse, it outright contradicted multiple points of the series it was created to lead into. Worst of all, perhaps, was the fact that it took the goodwill that DC had gained from their first weekly series 52 and pissed it away in record fashion. An own goal of almost cosmic proportions.

DC Universe: Last Will & Testament
What do superheroes do when they expect to die the next day? Exactly what you'd expect them to, sadly, according to this uninspired, ponderous comic. While not as much of a disaster as Countdown, Last Will & Testament may have actually been a worse comic by dint of just being... well, not unlike well-illustrated fan-fiction.

Jenna Jameson: Shadow Hunter
From its very conception, you knew that a comic that recreated pornstar Jameson as a comic book demon hunter was a bad idea, but only the comic itself could convince you just how much of a bad idea it actually was. Confusingly written, with overwrought narration and a plot that didn't really go anywhere, this was a celebrity tie-in that made Ed Burns' Dock Walloper look like a good idea.

One More Day
This is, of course, a bit of a cheat; One More Day started in 2007, and the final issue came out in the dying days of that year (December 27th, I believe)... But nonetheless, the full effect of it was what started off this year in comics, and pretty much sabotaged the start of Marvel's (remarkably not-as-bad-as-you-think) Spider-Man relaunch - all because Peter Parker made a deal with the devil just to get a divorce (Note: This may be a somewhat biased take on what actually happened in the story itself). Who would have thought that a boneheaded, out of character move that turned your everyman character into a Satan-handshakin' single man would have been one of the big comic news stories of the year? Oh, that's right - everyone.

Secret Invasion
Yes, it was hugely successful, and yes, it was on-time (unlike Final Crisis). But if there was a point to Secret Invasion beyond "Let's try and sell lots of comics," I must have missed it. With a story that lacked plot - or, for about half the series, anything actually happening - based around a premise that was abandoned almost immediately (What if aliens had invaded without us knowi- Oh, wait, they've started blowing things up and coming to Earth as giant green monsters), this was slick, showy... and entirely hollow.

Ultimates 3
I was no fan of Mark Millar and Bryan Hitch's Ultimates, but Jeph Loeb's follow-up was a mind-blowing miscalculation that offered fans of the series almost no continuity with its previous incarnation, garish art outshone only by insanely overblown dialogue and, in a reveal that still boggles the mind, a Black Panther who turns out to be the most white of all superheroes. Pretty much an entire series of WTF that led into Loeb's Ultimatum

Marvel Comics are keeping their side of the bargain, admittedly; if you're not interested in the hardcover reprint of poorly-drawn 1980s miniseries Kitty Pryde and Wolverine or the Skrulls! oneshot (pretty much a collection of fact files to bring you up to speed about Secret Invasion's Secret Invaders), then you're pretty much limited to two books: the reprint of the first couple of issues of the Halo: Uprising comic to remind you what happened now that the end is finally nigh, and the far-more-enjoyable-than-it-has-any-right-to-be 500th issue of Uncanny X-Men, where the team moves to San Francisco and parties at the SFMoMA. In other weeks, it'd easily be the must-have book of the week.

Sadly, though, DC are doing their best to claim that title for themselves with the long-long-long awaited return of Ambush Bug in Ambush Bug: Year None, wherein Keith Giffen's fourth-wall breaking snarkfest takes the last five years of DC's output to task for being confusing, depressing and just plain not fun. You know you want to read that. Collections-wise, you can catch up on space religion in the unfortunately-named-but-actually-fun Countdown To Adventure (starring Animal Man, Starfire and Adam Strange from 52), catch up on the joys of matrimony with Green Arrow/Black Canary: The Road To The Altar, and catch up on how the mighty have fallen with Authority: Prime, where superhero comics' one-time most daring title is reduced to generic continuity schlock. If that last sentence made no sense to you, then perhaps you should avoid superheroes altogether and pick up the X-Files Special, instead.

Image Comics are also making a strong showing this week: The next big Witchblade storyline begins in the first issue of Broken Trinity, Mark Millar and Tony Harris get their political satire on with the debut of War Heroes, Mike Allred's Madman questions reality in the first collection of Madman Atomic Comics, and Tori Amos finally becomes the comic character she's always wanted to be in the indie-creator-tastic anthology Comic Book Tattoo.

And just in case none of that is enough for you, consider the two takes on post-Buffy female heroes available in the indie comicsphere this week: Oni Press' The Apocalypstix finally bring their post-nuclear brand of rock, roll and kick-ass to stores at the same time as Cassie Hack of po-mo horror book Hack/Slash teams up with real-life emo pornlets in the Hack/Slash Annual Featuring The Suicide Girls. And, yes, I wish I was joking about that last one as well.

As ever! All of these books and many, many, more are listed here for your perusal and, if you've somehow made it this far without knowing where your local comic book store happens to be, you can find that out by clicking here. It's probably a great week to go to the store, really, because chances are they may be really quiet...

Even though you're undoubtedly waiting to find out more about the schoolgirl, I'm going to go with the musclemen first, I'm afraid. Marvel's Secret Invasion storyline slowly builds in this week's Mighty Avengers #12 (bringing David Hasslehoff and Samuel Jackson's favorite super-spy Nick Fury back after years in hiding, to fight off the Skrulls trying to take over the planet). And DC are going full-steam to prepare for the upcoming Final Crisis, with the final issues of both weekly snorefest Countdown to Final Crisis and attempted epic The Death of The New Gods making sure the good guys lose before Grant Morrison lets all of the evil Gods out to play next month. Morrison's also the one behind the 675th issue of Batman, which lets new readers catch up on all the shenanigans that Bruce Wayne has been part of recently, before Bruce meets a fate worse than death when Batman R.I.P. begins in the next issue.

(If you're looking for something slightly more optimistic yet equally apocalyptic from your favorite DC characters, you could do worse that Justice Society of America: Thy Kingdom Come, Part 1, the start of Geoff Johns' and Alex Ross' sequel/prequel to Ross' dark alternate-future tale Kingdom Come, which also comes out this week.)

Otherwise, this week's releases are all about your usual two needs: Your early '90s nostalgia jones can be fixed with X-O Manowar: Birth, a new hardcover collection of the first seven issues of Valiant's high concept "What if Conan was Iron Man" series. (If you're older than that, then Mike Baron and Steve Rude's Nexus: The Origin one-shot should serve the same purpose for the early 1980s. I really can't help you for the early '70s, sadly.) And your much-easier-to-admit-to-in-public schoolgirl uniform fetish should be sufficiently pleased with the new compendium edition of Josh Howard's Dead@17. For those who haven't experienced Howard's series, imagine Buffy The Vampire Slayer but with more zombies and drawn by a cartoonier Bruce Timm. There may be a Heavenly prophecy or two mixed up in there, but you didn't hear that from me. Who could want any more than that?

As usual, you can find a complete list of the week's releases over here before finding out just where to buy any and all of these wonderful books by putting in your zip code over here. Even if this week's books underwhelm you, look up your closest store: Free Comic Book Day is just around the corner...

Says Brandt:

Countdown is fantastic because it wraps the themes of fate and predestination in a movie that is really a giant puzzle (that will also) be fun for the audience to piece together... The updates that are successful - not just of this but of any of the great 1950s Sci-Fi concepts - are those that take the idea and bring a modern sensibility to it. When it misses sometimes, it's because people get caught up in the story from start to finish.

Physicists disagree violently as to whether more than one version of our universe may exist. The usual fantasy of alternate universes comes from shows like Star Trek or Doctor Who, where you visit another universe and everything's the same except evil, and with more eyepatches or different facial hair. Here's the evil Worf from an alternate universe enjoying some fun leash-play with Garak, from Star Trek: Deep Space Nine:
DC's current weekly comic, Countdown to Final Crisis, featured a long backup feature called "History Of The Multiverse," in which a group of identical men with weird hair tried to summarize every comic in which someone had visited an alternate universe.For some reason, in DC Comics, the only people who are different in the alternate universes are superheroes, so that Batman is married and has kids, or is a pirate, or was around during World War II. We never see an ordinary person who has different versions in different universes, except maybe for the mail-carrier who starred in that weird crossover between the Milestone and DC universes in the 1990s.

So I was super curious to hear what DiDio, who masterminded the return of the multiverse, would say about its appeal. Is there a philosophical background to the obsession with seeing how things could have turned out differently? The first time I asked DiDio, at the DC Nation panel, he said "Good question" and then didn't really answer. I pressed him a bit more, and here's what he said:

The DC Universe has been built on the multiverse concept. We wanted to bring it back to show the strength of that concept and the multiple interpretations of the characters. And now we're going to focus on the current universe and the current versions of the characters.

These answers made sense (especially the part about nostalgia) but they didn't really satisfy me. I wanted to know what it was about alternate timelines that so fascinated a group of writers and editors in their thirties and forties. Was there some intrinsic appeal to the idea of being able to see how your life might have shaped up if you'd made a different set of decisions?

So I cornered DiDio in the hallway a while later, and asked him again what he thought was so intrinsically fascinating about the multiverse. This time, he said it's all about business. He hadn't wanted to give that answer on the panel, because it's boring, but it's also true. DC Comics went on an acquisition binge during the Silver Age, buying up Charlton Comics, Fawcett Comics and a host of other publishers. Because each publisher had its own stable of superhero characters (like Fawcett's Shazam), who barely fit in with the DC characters, it made more sense to pretend that each cast of characters came from a different universe. And then, as the crossovers between the different acquisitions' "universes" became more colorful, they became a fun thing in their own right. As for why DC is revisiting the idea of different universes now, it still seemed to come down to nostalgia, and trying to recharge some old properties.

I never quite got the answer I was hoping for, about the reasons why alternate universes might seem glamorous and exciting to the DC crew. But maybe if I corner Grant Morrison or Dan Jurgens next time, I'll have more luck.

In response to rumors about DC instituting a new zero-tolerance policy for creators who break deadlines, DiDio dropped his usual huckster persona to talk about the problems that the company faces with late books. Admitting that the "reality is, a lot of people can't meet the monthly schedule," he said that DC's aim was to make sure that books shipped in a timely manner:

We had a month where we didn't put any Superman books out because they were all late... In our minds, that was inexcusable.

Asked to "cut back on killing and maiming young heroes" in their comics, VP of Sales responded that "Sidekicks die!" should be the ad copy for upcoming comics. DiDio admitted that it was a concern, and said that they'd try to cease with the teenage torture. On a related topic, the panel all agreed that they didn't want to pull back on teenage suffering of the emotional type, with writer Judd Winick pointing out that "they can't all be happy, who the hell's gonna buy that?"

The amount of potential deaths was also a topic for discussion when it came down to DC's big summer series, Final Crisis. When asked if there would be a limit to the amount of deaths happening in that series, DiDio said that he couldn't promise anything, and announced the official tagline for the series for the first time: "It's the day evil wins." We also found out that "The Great Disaster" that's been the plot McGuffin of Countdown to Final Crisis will happen within the pages of Countdown (and may include a giant turtle version of Jimmy Olsen fighting New God Darkseid), and that the Final Crisis is something altogether different that may spell doom for the multiverse: "It's called Final Crisis for a reason," DiDio said.

Before that happens, fans can expect to see Power Girl go home to Earth-2 in the pages of Justice Society of America in a way that may lead to a future solo series for Superman's parallel-universe cousin. One of the reasons that the multiverse may be about to end again is that even the creators can't keep the various earths straight; when someone asked about Earth-13, no-one on the panel knew exactly what Earth that was. "I have a big white board - " DiDio started to explain, before Countdown editor Mike Carlin cut him off by saying "This is why we have charts."

New titles teased, besides the Batgirl series, were a new Lex Luthor miniseries focusing on his evil genius and technology, as well as a return of the 1990s Milestone characters (better known to most from the WB's Static Shock cartoon); asked about a possible return of those characters, everyone on the panel got very nervous as DiDio chose his words very carefully: "I think the Milestone characters are great," he said, "I think it'd be very exciting to see that creative strength in the DC Universe." Bob Wayne broke in, adding "It's a subject that takes more lawyers than fans to make happen."

The panel closed with DiDio telling everyone that the upcoming The Dark Knight and The New Frontier movies were projects that everyone at DC were very excited about, and inviting everyone to tonight's world premiere of the latter at the convention.