My only complaint with this series is its gimmicky nature. Batman is one of DCsmost successful properties; the TMNT franchise is still going strong ageneration after its debut. Two great tastes that taste great together. Maybethe first time, and a second helping wasnt and either. But if this turns intoan annual event, the novelty quickly wears off, leading the audience to phonein any level of interest they have once had.

I love it when a story becomes self-aware, and self-deprecating becomes the icing on the cake.

Perkins layouts and storytelling techniques are not in doubt, and he has a fine attention to detail (perhaps too fine). Maybe he simply needs the assistance ofan experienced inker to lighten his workload and cultivate a more cohesive visual presentation.

Given thatthere isnt much meat on either of these bones, it is my hope the storyconcludes fairly quickly. It makes me question the wisdom of re-packaging thisparticular story for the monthly issue format, rather than a complete tradepaperback. However, the art team of Kubert and Hope is stellar, and Idappreciate seeing them paired together on more projects in the very nearfuture.

I expect someday DC will explore what transpired on this temporary Earth to whichBizarro and Artemis were transported. Is this trip really necessary? Not really. But perhaps in the right hands, it will provide an entertaining diversion when the creative well of Red Hood solo stories runs dry.

Batgirl has become one of my favorite books. It's not entirely beholden to decades of continuity the way Batman is. Much of that has to with Batman's marketability in other media, but Batgirl's modest success in that area leaves her free to do as she pleases.

I'm getting accustomed to Ande Parks inks over Ric Leonardi. I've made no secret how much I enjoyed his collaboration with Phil Hester, but it's comforting to know neither is co-dependent on the other.

As with most recent DC titles, this issue includes the shrouded spirit of Lex Luthor visiting a DC villain with an offer. Thankfully, he does not go for the obvious A-listers, but in this case, a respectable name in Batman's rogues gallery.

Last time, I commented on Kudranskis artwork. Ilike it better this issue, as it seems the aspects for which I did not care arefar less noticeable, and other qualities have come to the fore. I wouldconsider this the evolution of an artist, in regards to either his skill or thetask before him. If he continues on this path, Im sure he has bright careerahead.

Is the H Dial likely to become a staple of the DCU, like the Bat Signal or the Guardians of Oa. Highly unlikely. But it's a fun property to drag out from time to time and experiement, and remind readers of a time when comic books could be fun, without the doom and gloom introduced by the Dark Knight Returns. If that's your cup of tea, then Dial H is not.

The series is scheduled as a 12-issue maxi-series. It could easily return as an ongoing, or as a second series. I'm fine either way so long as the storytelling retains the high quality established here.

The highpoint of this issue for me was the meeting of the four replacement Nightwings,in which they raise concerns over their mysterious allys backstory. Honestly,Im surprised its taken them this long to question his origins andmotivations, but Im glad its finally happened.

This12-issue series " one of many currently being published " has the mostentertainment potential at this time. Dont miss it if you can.

One couldargue Batmans team building exercise tried to do that, but its not somethingthat happens in a single issue. It requires several adventures. The charactersneed to be in the action, the heat of battle, and given the opportunity tosucceed or fail on their own merits.

The artwork is eerily moody, and Kyle Hotz no small skill in conveying menace as well as the supernatural.

Your mileage may vary, but it does provide a nice wrinkle to the greater Leviathan storyline.

Where Red Hood heads next is up to him. Its the Year of the Villain, as DC keeps reminding us, so he may be a recipient of the offer Luthor is extending to various characters in various titles. Or he may have bigger problems to contend with.

Like many ofDCs recent comics, the next big thing promises to be the Year of theVillain, with a Spectre-like Lex Luthor traveling the DCU and handing outboxes of unknown offerings. We just had Heroesin Crisis, were in the midst ofDCeased and Event Leviathan. Dowe really need YET ANOTHER event to get sucked into? Cant DC just tell usgood, engaging stories for a while?

Batgirl has grown in the time I've been reading her book. She used to be a girl, in her purple outfit with the snap-on cape and yellow Doc Martins. Her new costume (which I thought was a temporary prototype) features a yellow bat-bra motif, perhaps because all the best super-heroes wear their underwear outside their tights. It's indicative of a growth to post-college age, which begs the question: if we've got Batgirl, who needs Batwoman?

Whatever the story may (or may not) lack in appeal, the art is wonderful. I appreciate agood watercolor wash as much as the next reader, but it can be a challenge tomerge it effectively with the heavy pen & ink work of Turtles creator KevinEastman. But this series pulls it off nicely.

DC Comicshas called this the Year of the Villain, presumably offering the bad guys thespotlight for a while in a line-wide event. What that means for Harley " avillain with her own title " remains to be seen. Shes been going straight forthe past 60+ issues, but there are allusions to a possible return to a life ofcrime in the near future.

This appears to be a story of intrigue and deception, (again, right in Ruckaswheelhouse), and I hope it stays that way. Lois has no super-powers, and itwould be a disservice to her growth as a character if she has to rely onSuperman (or any other meta-human) to bail her out. With that in mind, MikePerkins artwork is a bit scratchy in texture, but it fits the tone of thestory very well.

This series gave me new appreciation for theartwork of Jon Davis-Hunt. Im not sure where he goes from here, though it saysWildCATS will return in August. Noword if hell be involved or not, but it would make sense.

The artwork is great. I'm accustomed to seeing inker Ande Parks teamed with Phil Hester, but his work over Ric Leonardi's pencils seems to be blending well, as they become more of a team.

If the series keeps this up and continues to poke good-natured ribbing at comics in general, it won't be long before Marvel wants in on the joke. It may have been Michael J. Fox during his Family Ties days who said that when Mad Magazine makes fun of you, that's when you know you've arrived. Perhaps Dial H will become the new Mad Magazine, the new SNL. I can think of worse strategies.

I cant say Im a fan of Kudranksis art. His bodylanguage and facial expressions are excellent " too excellent. Either hes aphenomenal artist slumming in comics, or hes running photos through imagingsoftware to turn them into line art. While I am all for the use of technology,sometimes it borders on cheating, like drum machines in the 1980s.

The narrative is a bit thin, focusing primarily on the reunion of Batman and the Spectre and the horrific crime that brings them together. But it's only the first chapter, so I'm prepared to be patient and keep an open mind.

If memory serves, this is a 12-issue series. Now that much of the origin is over, I look forward to the next six issues. As a manhunter, I appreciate seeing J'onn in super-hero mode, and seeing the added layers of his budding crime fighter career and eventual JLA membership. If the rest of the series is as good, I see no reason it can't be ongoing.

Given the title is Nightwing, I can't help but wonder if it might be time for Ric Grayson to step off-stage for a while, and leave the crime fighting in the hands of those who now wear the costume. Perhaps a story that reinforces them as a team, or maybe something with a bit more individual character development.

This issue, Carzon and Ottolini's rendering is as clean and crisp as I've ever seen. Combined with Silvana Bris' colors, the art has a polish I find extremely appealing. It's unfortunate such remarkable work isn't featured in a higher profile title.

The chapter ends in a surprising manner, one most fans would NEVER expect, but toMillers credit, it makes TOTAL sense. It bodes well for me that this is infact a key re-telling of the original Siegel & Shuster story, but with refined layering to address the sensibilities of 2019.

Im curiousto see how Hill develops the individual Outsiders. He will likely have afully-formed template for his Batman to follow, but the other members of the teamare a bit more free-form, and open to broader interpretation. This could be anopportunity for them to grow into higher-profile characters.

I would consider this chapter to be the calm before the storm, reinforcing charactersand filling the void to pad the story out to its obligatory six-chapter format.However, seeds are planted that may blossom in the near future, so I encourageus all to maintain an open mind.

Gabriel Picolos artwork serves the story quite well, simple enough to not overwhelmthe reader with visuals, but not so simple it fails to serve the story. DavidCalderon employs a less is more strategy to the coloring, sticking to ablueish/purple palette that suits Raven to a T.

Walker, Hennessy and Fairbairn turn in some of the best art of this entire story arc. It's dynamic, it's tricky, and overall effective in conveying the terror, the challenge and the victory of our heroes. I'm usually skeptical when new villains are introduced, but Arkham Knight was provided a pretty substantial stage on which to maker her debut.

Maleevuses a monochromatic palette that works well here. Darker blues for the Batmanand Lois scenes, bright oranges for others. Its pretty much one or the other,which some might consider rather limiting, but it creates a unifying affect forthe scenes hes presenting, and allowing his rendering to challenge the color "effectively, I might add.

As always,the artwork is superb. Reis, Prado, Albert and Sinclair have obviouslycommitted themselves to making The UnitySaga a genuine event. Its visually ambitious, and they collectivelymeasure up to the challenge. I just hope they still have energy left tocontinue after this particular story arc concludes.

This is the third teaming of in recent years of the two franchises, almost making itan annual event. While I have no objection to doing so, I must wonder how muchlife the idea has in it. Perhaps the Turtles should join another majorcharacter " DC, Marvel or otherwise. After all, if youre going to open thatdoor, open it WIDE!

It remainsto be seen to what degree the events in this issue will have a long-lastingeffect. I anticipate when the adventure is over, matters will return to thestatus quo. Pity that. The recent developments could truly be a bold, newdirection.

The story is a pleasant diversion from Harley's trials as an agent of chaos and order.

As this chapter concludes, it is my hope that the Billy can get back to some regular super-heroing, allowing his super-powered sibling to hang in the background a little more. I don't dislike the new concept of the whole family as a franchise, but I feel it's the sort of thing to be explored judiciously, so that the original Captain Marvel/Shazam can develop front and center.

But all Batman aside, what I enjoyed about this story the most was Alfred's dialogue. He's gotten snarky in his old age, but overshadowing that snark is his admirable competence as a sidekick for Batman.

Imoptimistic the next issue (and those that follow) will build upon theestablished foundation. Answers will be forthcoming, if we are patient. But ifnot, well, I doubt Ill be surprised. Many of DCs recent events have failedto live up to the hype, but this is the first one to feature Bendis. I am toomuch of a DC fan to be anything but optimistic.

If the series can maintain this level of momentum, DC Comics may have an entirely new universe of super-heroic characters for the next 100 years. Superman debuted more than 80 years ago, and it's long past due that the super-hero genre be re-invented.

I thought DC was all about continuity, butapparently not in the manner I expected. I applaud that theyve loosened up,but perhaps theyve gotten too loose.

The art team of Paul Pelletier and Norm Rapmund are joined by Jose Marzan Jr., though it doesn't show. This speaks to his ability to blend his work consistently with that of his artistic teammates. I think that is sometimes the mark of genuine talent " the ability to fill a role without being obvious about it. It makes for good supporting actors and background musicians.

Jurgens has been writing Batman Beyond for over 30 issues. It's refreshing to see that kind of commitment to a title in an era when comic creators rotate among titles so rapidly. I genuinely hope he continues to apply his skills as a storyteller on the book indefinitely.

I'm not a fan of over-extending the story, anything more than four or five issues fails to hold my interest. But the creative team of Tomasi/Walker/Hennessy/Fairbairn have kept matters apace and come together to tell and engaging story. I had my doubts at first, but am pleased to have been proven wrong.

A high point of this issue was discovering how addicting the H dial is. Users become dependent on it, much like other sources of a high, and that's reflected in Summer's backstory with her mother. I hope to see this aspect of the H dial play out in other forms with other people.

Finally, wehave Flee Em in the Museum, as Bugs underground travel mode leads him intothe caveman exhibit of the Natural History Museum. Hmmm cartoon cavemen.Wherever might we find models for such an idea? Thankfully, DC Comics hasanother corporate sibling to draw from. Elmer Fudd is the comedic foil as anoverzealous security guard. Oh, and the title? Yes, it may have a certain ThreeStooges ring to it (Disorder in theCourt, Commotion on the Ocean, etc), but thats recognized within thestory.

I despise cliches. I find them to be indicative of lazy writing. This issue of Martian Manhunter has a big one.

ChrisMooneyhams art works for the book, much as it has on other titles. Maybe Imimagining things, but it has a distinctive style that is reminiscent of DenysCowan inked by Klaus Janson. Not a bad mix, but its only a matter of time whenhe cultivates his own style, if he hasnt already and Im projecting my owninterpretations.

Ivan Reis isprobably my new favorite artist, combining the skills of George Perez with NealAdams. I am pleased he has been able to remain consistent on this title, thoughhe occasionally does get by with a little help from his friends. In this issue,its 100 percent Reis. As long as hes front and center, Im okay with that.

Makeno mistake, this series has a different tone than the original, but that maynot be a bad thing. I am reminded of something supposedly said at DC Comics in1979, when Marv Wolfman proposed reviving the Teen Titans. Then-publisherJenette Kahn asked why, since it had recently failed. According to legend, hisresponse was, Well do it better. Hopefully that continues to hold true forthe Outsiders as well.

I'll admit I was skeptical when this story arc began in Detective Comics #1,000, but that's mainly because DC couldn't seem to allow that issue to be a standalone. The story has become more engaging, and so long as it doesn't drag on too much longer, I'm eager to see where it leads.

I could be wrong, but this seems to be one of those issues where pieces are being movedaround the board prior to the next great conflict. Honestly, I fail to see howthis particular chapter fits the greater narrative, so I will revisit the earlier chapters to refresh my memory. You may want to do the same beforereading this issue.

One might almost consider this series from DC Comics the unofficial sequel to the film. But I hope there is a sequel.

Iinitially considered this project shameless pandering to fans of bothfranchises, but the closer I looked, the more I realized how subtle thesub-references can be. For this, I give credit to the art team. The renderingis exceptional, merging the gritty, grainy quality of early Eastman & Lairdefforts with the current over-stylized DC fare.

I wish tokeep an open mind, but the first issue seems to be cobbled from familiar tropes" Batmans paranoia, torture at the hands of deSaad, zombies, Clarks immediateconcern for Lois and Jon, more zombies. None of the ingredients are anything wehavent tasted before, but Im hoping DC can present them in a fresh, new mix.A bold, new direction, if you will.

But beforewarned " its a multi-part story, so next issue will be more of the same,with a few secrets revealed and surprises thrown in, I am sure.

It's a bold, irreverent book, with a nothing-is-off-limits attitude that I find refreshing. In an era where so many titles are beholden to continuity, it's refreshing to see something so eager to go off the rails. Even the all-ages titles such as Bugs Bunny or Scooby-Doo Team-Up have a need to stay in their respective lanes. But this one, wherever it's going, doesn't need a road.

I am enjoying Eptings work. I may have said itbefore, that it reminds me of Jack Abel, and as most of you know, I am a bigfan of retro. But Epting doesnt merely imitate; he brings his own tools to thetask and makes it his own. It can be a challenge, but Epting makes it lookeasy.

Artists Paul Pelletier and Norm Rapmund have returned to the title after a brief respite, and couldn't be more welcome. I am loving their work and hope they'll be around for many more issues to come.

I am usually a big fan of Dan Jurgens work, but inthis instance, there seems to be a great deal of exposition. All we need isyour fingerprint, Mr. Wayne. We brought up the Powers files but cant getpast the firewall without you. Scanners ready, Mr. Wayne. We get it, BruceWaynes fingerprint scan. But in fairness, all the preceding dialogue comesfrom Matt McGinnis, the former Robin Beyond. I wasnt wrong when I called himannoying, was I?

The chapter ends with the Knight revealing himself.We see him from behind as he removes his helmet, so readers are not yetpermitted to know his identity. Im assuming its a Bruce Wayne from analternate universe, or perhaps one of the Robins having time traveled from apossible future. Either way, its a variation on the evil twin clich, so Imparticularly impressed (yet). Hopefully, next issue will change that.

I hope thisissue is the first of many faster-paced chapters in the overall story.

Thesequestions and more, unfolding amidst the chaos of high adventure and crimefighting, are what make for good comic books, in my opinion.

Despite last months landmark Detective Comics #1,000, its business as usual for the Dark Knight" as it should be. The fact that Detective has reached one of the highestnumbers in comic book history does not elevate the stakes any higher than forany other title. Its objective " and the objective of any title " should be totell entertaining stories that engage the reader. Time will tell hop subsequentissues of Detective Comicsaccomplishes that.

Pete Woods is back at the drawing board, and doing his usual stellar job of it. I'm looking forward to seeing this story play out. I didnt particularly care theJason-Todd-plays-Jack-Reacher, nomadic troubleshooter concept they had goingfor a while. If I wanted to read something like that, Id read, well, JackReacher.

Where theissue suffers is in the art. Like the previous issue or two, it comes across assketchy and unfinished, as if the art team was simply racing to the finish lineto complete the story. I can understand the tendency to not bring youre a gameto a project so near to completion (in high school, we called thatsenioritis), but I rely on a higher degree of professionalism. First issue orlast, there should be a consistent degree of quality.

As always,the art team of Ivan Reis, Brandon Peterson, Joe Prado and Oclair Albert arespot on. Things seem to weaken slightly toward the end of the chapter, butgiven what lies ahead, I can live with it.

Asfor where the story leads, I am uncertain. The future of Green Lantern seemsless about traditional super-heroing, and more about a grand cosmic adventure.But thats par for the course at DC Comics these days. Everything must be doneon an epic scale, because small, personal stories to which every reader canrelate just doesnt measure up anymore.

Like much ofDCs output these days, the emphasis seems to be on spectacle, an immensecanvas of cosmic events that would shake the universe. But its been going onso long, its hard to discern the highs from lows, mainly because the only lowsthat exists are in the cinematic DCU, with all its grim and grit. DC seems tobe trying to turn that around, but the fact is there is no magic formula tomeet the needs/wants of the audience. If they truly want to climb to the top,they should do it one good story at a time.

Im digging Eptings artwork. It kind of has aretro feel to it, one I associate with the work of Jack Abel in the late 60sand 70s. It reinforces that the classic Superman is back, free from theresidue of the New 52. The less said of that, the better.

Regrettably, the work ofartists Paul Pelletier and Norm Rapmund is not featured in this issue. Not sureif theyre taking a break or off the book permanently. But Elena Casagrande andScott Godlewski are suitable replacements, temporary or otherwise. Unfortunately, last issuedovetailed into the Batman Who Laughs,which I never followed up on, so its as if there is a chapter missing. I find itdisappointing that a narrative needs to digress into another title entirely. DCseems to be doing that a bit lately; Id rather they didnt.

Doc Shaner provides the art, and is the lateststellar talent to contribute to the title. Unfortunately, they dont seem tolast. My favorites tend to last only a handful of issues before moving on toother projects. Id really like itif Doc hangs around a bit longer than usual.

The book ends with the opening chapter of what isto come in Detective Comics #1,001. Iunderstand that marketing demands a teaser to keep the readers interested, butI much would have preferred a self-contained issue, with the next 1,000 issuesbeginning next month.

No doubt secrets will be revealed in coming issues, as the magical dial's impact is felt throughout the DCU. But I have to wonder, with the growing powers of magic within the DCU these days (Shazam, Raven, Dial H), what exactly does this mean. Answers will be forthcoming.

I love theobscure, and the Looney Tunes have a broader range of characters than mostpeople realize. I enjoy seeing them given screen time. The latest issue beginswith appearances by Miss Prissy, Wicked Wanda and others.

J'onn did well on the Justice League cartoon, but perhaps making much more central to the JLA franchise might be a better strategy. Allowing him to grow and develop, then launch him in his own series. But it could be argued DC Comics is doing exactly that right now.

Theresnot much of a mystery to be solved here, but thats okay. Its a fun romp amongthe HB pantheon of characters, with the Scoobies to guide the reader. Thereseven a sly reference to an obscure Looney Tunes character. I appreciate a breakfrom the usual formula.

The artwork by Eaglesham is terrific, reminiscent of Neal Adams in his heyday. He anthropomorphizes animals well enough, which is always a challenge to no over-think.

I have nodoubt that Dick Grayson will return, asNightwing. Its the nature of comic books that radical changes are almostalways temporary. Sure, Dick Grayson abandoning his Robin identity has beenpermanent, but considering the Boy Wonder costume has changed hands many times,what was Grayson to do. Join a super-secret spy organization?

You're free to disagree with me, and call me an unsophisticated philistine with no comprehension of A-R-T. Pardon me for saying it, but on the list of things comic books are, "art" is dead last. But if art is in the eye of the beholder, then comic books to me are entertainment, and this series fails to entertain me.

I believe its okay to take a break once in a while, and this issue could have been suchby being all about Jason. Other than a brief flashback scene which served no purpose to me, Red Hood was nowhere to be seen. I can appreciate the title is Red Hood, Outlaw, not Jason Todd, Outlaw, but for all the times we see him in mask and costume for the entire issue, I'm not opposed to not seeing him once in a while.

The art in this issue is weaker than before, in my opinion. It has a sketchy quality, especially on some of the larger panels that depict scale and vistas (shattered shopping malls, crowded scenes, etc). As the series winds down, I cant blamethe art team for cutting corners, especially when their quality of work hasbeen so consistent (until now). Perhaps theyre tired, and see light at the endof the tunnel. Thats okay, but I hope the final issue is a grand slam blowout.

Granted, I'm the kind of comic book reader that would probably complain that an ongoing series had detoured into a miniseries, crying foul as a ploy to sell more books. But in this case, there just seem to be a lot of superfluous breaks, jumping back to Superman and Lois for no obvious reason. Here's hoping it will all be explained at the end.

DC Comics keeps rebranding its franchises, from Hal Jordan and the Green Lantern Corps, to Green Lanterns (note the plural), and now THE Green Lantern, as if there is only one. But unless the Corps is completely defunct, its not really applicable, is it? But seemingly DC Comicswould have you believe there is something new and different about this series,when in fact, there is not. Its just business as usual.

The trialsof Harley Quinn will continue next issue. It appears the story arc still hasthree chapters left to it, though my numbers may be off. But the next trialactually starts here, so dont wait until next issue.

It's an okay story that adds pieces to the puzzle, though nothing is substantially resolved. A few pieces remain missing, though I suspect that may a matter of poor editing.

Unfortunately, the story is to be continued, but that includes a detour into another DC title. At least it's still part of the Bat-franchise, but not one of the better known books. It's a shame if it's only a ploy to juice the readership of that particular title, because it's hardly a sustainable strategy.

Jurgens has resurrected the Joker for one last outing (presumably), and spins a tale well suited for this latter-day legend of the Dark Knight. Thankfully, it's a tale with a clear beginning, middle and end, without some vague conclusion that then dovetails directly into the next adventure.

As a build up, it's just not much of an appetizer. But kudos to the art team, which consists of no less than four individual inkers. One might think their individual styles would detract from the visuals, but they manage to maintain a consistency. Whether that's due to their collective efforts, or the strength of Mahnke's pencils, I am unable to say. Your mileage may vary.

I fell as if now the real story can get under way. Think of Superman: The Movie. Once the origin was told, cast and crew could focus on presenting an original adventure. Same thing here, and believe me, there are far worse storytelling templates to follow.

I'm eager to see what happens. VERY eager. As in, impatient. So, let's move things along, sooner rather than later, please. I don't really care about children eating ice cream and candy.

With no realuse of Nightwing OR Dick Grayson in this issue, its clear to me DC Editorialhas no idea what to do with the property. As one of its oldest characters,thats a genuine pity.

Three simpleentries, all in color for slightly more than a dime. But while the rest of DCis focused on the upcoming 1,000th issue of Detective Comics, leaves us not ignore Scooby-Doo, which is a few issues away from hitting the 100 mark.And is celebrating his 50th anniversary as well.

Itis so painfully obvious to me that this story would work better in film, inwhich case, let Ellis hump it through Hollywood looking for backers. Amazon,Netflix, Hulu, ANYBODY to keep him from foisting this movie-presented-in-comic-book-formon the comic book reading audience.

I have noidea how this particular turn of events came about, or even if I am correctlyinterpreting the final page. But in a comic book where a guy can create abattle suit for fighting supernatural creatures, and manages to actually throwone back into the demonic underworld, you have to forgive a lot. Just go withit.

I'm honestly indifferent to whichever scenario DC Editorial chooses; I just wish they wouldn't appear so indecisive.

If Scooby Apocalypse comes to an end, Iwill miss it. Its told a good, engaging story without being an episodic headache. Maybe there will be a sequel series, or DC Comics will focus its effortson the mainstream Scooby-Doo franchise books. That may not be the worst thing.

Jons storywill continue next issue, so if you want your Superman fix, you should probablycheck out the latest issue of ActionComics, while this series is (temporarily, maybe) retitled Superboy. But that may not be a badthing.

If thischaracter is to be Gotham Citys new protector, Im fine with it, but I thinkit would be far more effective to divorce himself from the Bat-family. Allies,sure, but to bat-theme this nobody so heavily only serves to dilute theoverall-bat brand, and further weaken the legitimate characters such as Robin,Nightwing, and Batgirl. It just seems a cheap ploy to add "diversity" to the Bat-brand, without any genuine strategy.

Thereis another plot point I cant explain without giving much away. But I will goso far as to say that if Grant Morrison thinks he can convince us that Hal isnot undercover, then his reputation is considerably tarnished. His narrativechoices in this issue" telling a disjointed story from two differentperspectives " does nothing to impress me. But honestly, hes never impressed me. Your mileage mayvary, but I doubt by much.

I willadmit, I sometimes wonder how long the Harley series will last. A reformedcriminal trying to go straight, a lovable anti-hero with more than one screwloose seems like it would become tiresome after a while, but this isconsistently one of DCs better books.

As usual,the artwork is Michael Avon Oemings over-stylized cartoony artwork. I wontdisparage his storytelling abilities, but I find his rendering style akin tohigh school notebook doodles. I would expect a writer of Brian Michael Bendisstature to have his pick of collaborators. I would hate to think he actuallychose Oeming as his illustrator.

Though notperfect, the writing has been strong and the artwork superb in the time Ive beenreading this series, maintaining a consistent quality that is nothing short ofrefreshing. In this era where more emphasis is paid to the writer, and less tothe artist(s), this series keeps me coming back for more, month after month.

So, itappears Matt McGinnis will get that crowbar to the head like I hoped for lastissue. Cant say Im proud of that bit of foresight, but if theres one thingwe know about comics, its that nobody stays dead forever.

As thebuild-up to Detective Comics #1,000continues, it is my hope that history will not repeat itself with a rehash of The Untold Legend of the Batman. Comicsoften repeat themselves, retelling old stories younger fans may be unfamiliar with.If its a fresh new spin, fine, Ill be open-minded. Otherwise, let the Detective Comics #1,000 truly be thegreat story it deserves to be.

I usually enjoy all-ages books, butthis title is so all-ages, its reminiscent of the Harvey comics of the 1960s.There is no price point on the cover, but anything over $1 is perhaps too much.

It was a good series while it lasted. Throughout, we have seen Pop Mhan's artwork develop and mature, though there's still some growing to be done. Back in the 1970s and '80s, there were artists like Don Heck and Alex Saviuk who weren't necessarily fan favorites, but they hit their deadlines. Hardly rock stars, but vital to the craft. Pop Mahn may be such an artist, and that's not a bad thing.

Thisstory is a little different that most in the series. Rather than a super-herohelp unmask a bogus ghost, Scooby & Friends help a super-hero fight crime,complete with their own far out code names straight from a golden oldies playlist. Outasight!

There is less action and more mystery as we are given a new world of Shazam to explore. It's only the second issue, so we've a long way to go. And what's with this guy that claims to be Billy Batson's dad?

Ive beenenjoying this storyline, as much as two chapters will allow. It has distilledBatman down to his comfortable basics, much like Batman: The Animated Series once did. I am hopeful this trendcontinues for the foreseeable future, making one of DCs flagship charactersaccessible to all.

Pete Woods artwork remains consistent, which in this case is not the hobgoblin of littleminds. Its a professional quality that enables the artist to render Gotham,middle America, remote Mexico or a decaying industrial environment with equalease. Some artists might complain for being able to draw aliens or spaceships,but thats not the job. The job is draw what the story calls for, and Woods hasthat firmly under control.

Ive said itbefore, Ill say it again: this series continues to impress, if only for itsability to mine new veins of narrative wealth. I never expected it to havelasted this long without running creatively dry several issues ago, but here weare almost three years in and it keeps chugging along.

As usual,the motives and character of Jor-El remain suspect, and I wish they wouldunveil who he really is, once and for all. I struggle to accept his identity atface value, but I have a hard time caring the longer the charade goes on.

All in all its a flawed book. But I can't say I'm really surprised. DC had a good thing going with Hal Jordan and the Green Lantern Corps and Green Lanterns. But they chose to fix them, when they really didn't need fixing at all.

All this leads to confrontation between Batman and Harley, the likes of which we haven't seen since Batman and Harley Quinn(2017). Shes up to the challenge of facing the Dark Knight, not because shes a semi-super-villain, but because with her mom battling cancer, Harleys got nothing to lose. Batman, on the other hand

The series so far is good, but not as great as Bendis would like for you to believe.

Given their amateur status, I have to wonder if the Nightwing team may fragment, with one or members becoming Flamebirds. Yes, you read that right. Because you see, kids, back when Dick Grayson was still Robin, there was another Nightwing, and he had a partner named Flamebird. I honestly doubt DC Comics would resurrect the name/character in some way, but the 11-year-old in me would love it if they did.

While I've made no secret of my dislike for Michael Avon Oemings artwork, it is saved by the coloring of Taki Soma. Somas uses a harsh palette, giving the characters a neon glow effect that works. Much of the action in the issue takes place in a bowling alley, so the lighting is pretty garish. Its a far cry from the benday patterns used in Cave Carson, thankfully.

I must admit, I was skeptical of Bendis transition to DC Comics flagship title. Backin the early 1970s, DC lured Jack Kirby to the character, but hamstrung him byA.) putting him on secondary titles in the franchise; and B.) having someone else render the face. In the 80s, John Byrne came over from Marvel to completely revamp the property but he stuck around only long enough for the re-launch. If DC will give Bendis a free hand to maintain this level of quality, and he sticks around long enough, hell be remembered as one of those long-standing custodians for generations to come.

Pelletier and Rapmund continue their stellar work at the drawing board, while writer Mairghread Scott skates dangerously close to advocating a political position. I don't mind anyones politics, as long as they don't run to either extreme. And I don't mind politics in comics, so long as they don't get preachy. Its an easy landmine to step on, but thankfully Scott avoids it, and rather gracefully, I might add.

Will it bring the Bat-family together? Honestly I hope not. Thats kind of what the wedding storyline of 2018 seemed to do. Id prefer to see a character-building story featuring Bruce and almost no one else. The children " Dick, Barbara,Selina, et al - are grown with live and titles of their own. When they hit #1,000, theyll have their big moment. Until then, this is Bruces story, andshould remain so.

I look forward to next issue. Not because it's the end of the series or any sort of climactic battle between the forces of good and evil. But because the series as a whole will be complete, and I can look forward to enjoying it as a whole, complete story, rather than being spoonfed to me in bits and pieces.

For parents looking for a series they can enjoy with their kids, this one fits the bill nicely. It doesnt require a lot of commitment, yet never fails to entertain, while introducing younger readers to less prominent corners of the DCU. It makes me wish DC would bring back the titles based on its animated universe - or reprint older stories from the 1960s.

With thisstoryline over, I do hope Paul Pelletier and Norm Rapmund will remain on thetitle. Rapmund also inked this months issue of Batman Beyond, so hes wellliked in the Bat-office, but I prefer his work with Pelletier over that of BrettBooth. Fingers crossed.

But toJurgens credit, he played the long game by seeding the Jokers return severalissues ago. Some readers (including myself) may have chosen to not believe whatour eyes showed us, only to have forgetten it a month later when the followingissue was released. IN this chapter, Bruce mentions the voice, but thats thefailing of reading vs. listening: you dont actually hear the voice. Otherwise we may have recognized Joker for who hewas.

Dynamite's series actually makes me more than a little nostalgic for those Sunday nights back in '78.

Ingeneral, a bit of a disappointment for Looney Tunes fans. Granted, the bar isnot especially high, and one must be ready to forgive a lot with an all-agestitle with three stories squeezed into 21 pages. But jinkies, its as if DC gotway desperate for this issue. The premise was strong, but the promise ofentertainment, not so much.

There is a development in this chapter that seems either A.) a waste of a token character; or B.) a plot point to be revisited later. As much as I would hate option A, option B would be even worse. I fear B is a predictable trope of the reluctant hero bailing in the interest of self-preservation, only to return at the 11th hour to save the day.

Not onlydoes this issue feature a special guest villain, but also a guest writer. Ithelps keep the title fresh after 50+ issues. Ive been with it since thebeginning, and while I sometimes find the character of Harley a bit tiresome,her adventures are always interesting and entertaining.

The artworkfor this issue is lackluster as well, as if drawn in haste. It has a Jack Davisflair to it which I might enjoy in a less serious storyline. But here it justseems rushed and unpolished. Perhaps its time for Nightwing to go monthly, instead of prolonging the Rebirth strategyof bi-monthly.

Thisseries is not off to the best of starts. Morrison seems bound and determined torepeat that which has gone before in this and other DC franchises. The highpoint of it is the artwork by Liam Sharp. Its polished, its stylized, andits ambitious, even when handed something so questionable as a volcanicextraterrestrial with no face.

Onething Ive noticed with the Green Lantern franchise the past year or two is howmuch of it is space-based. Hal and the rest of the Corps serve as intergalacticcops, but almost never (in recent memory) has he or the others playedsuper-hero on Earth. I kind of miss that. Cosmic adventures are all fun andambitious, but once in a while I enjoy a simpler tale, as a palette cleanser.But event fatigue is a common problem from DC the past decade or so. Everythinghas to be BIG.

Must of the chapter is a big slugfest between Jason and Batwoman against creatures thatarent much more than rip-offs of the Hulk. Or Solomon Grundy, if you prefer.Whatever happened to that particular co-star? We dont know, and we might neverwill.

For thefirst time, Im looking forward to next issue. I dont know how sustainable theseries can be, because eventually the chase will need to end. But then, I saidthat about Scooby Apocalypse and its still going strong. If Bendis has anendgame in mind, Ill sit back and enjoy the ride.

Ryan Sook's artwork is nothing short of refreshing. Its simple, elegant, and evokes theinnocence for which Superman is recognized, while remaining sophisticated and ambitious. As for the revelation, well, we kind of saw that coming. But thats okay. Its not as if it was painfully obvious like other recent plot elements.

This issue reunites Peter J. Tomasi and Doug Mahnke, one of the most able of creative teams to work on the Caped Crusader in recent years. As such, it promises a strong narrative without a lot of hype to over-sell the story. Just good, capable storytelling.

This issuealso features another chapter of Atom Ant, a misplaced story in my opinion. TheHanna-Barbera character is of a different flavor than Scooby Apocalypse, as well as Atom the greater DCU. PerhapsDyno-Mutt would have been a better back-up feature. But your mileage may vary.

Six issuesinto the new Superman series, one might think this is the obligatory six-issuestory arc most graphic novels are comprised of. But if so, the ending is ratheranti-climactic. Heres hoping the narrative continues next issue, cliffhangerending notwithstanding.

What saved this story from being a complete and total disaster has been the artwork of Carmine Di Giandomenico. Highly stylized, intricately detailed and consistent from one chapter to the next, in an era where most artists on a title for two, maybe three issues before stepping away. Hopefully, his work here is recognized, narrative notwithstanding.

I appreciate Marc Laming's artwork. It almost has an old-school 1960s style, which works well for Bond, even though the story is clearly set in contemporary times. I am uncertain how long this particular story will run, but I hope he is in for the long haul. I'm looking forward to the ride.

Rossmo's artwork is highly stylized, in a manner that works well for a shape-shifting alien. Though far removed from any resemblance to that of Bill Sienkewicz, Rossmo makes the same kind of bold artistic decisions that are immune to distracting from the narrative itself. This only enhances the book's potential

Dale Eaglesham's artwork is clearly a far cry from that of earlier Captain Marvel illustrators, such as C.C. Beck or Kurt Schaffenberger. It's closer to Jerry Ordway's, but seemingly with a touch of Neal Adams as well. It reinforces if you came looking for the original Captain Marvel, he aint here. And for the first time, I don't have a problem with that.

John Timms returns to the drawing board for this issue, seemingly modeling his Harley after actress Evanna Lynch. It's taken me the better part of 50 issues to suss this out, and even though Lynch is Irish, she certainly looks the part.

As with lastissue, we have two artists on deck " Garry Brown and Will Conrad. Their workcompliments one another more easily than last issues Travis Moore/PatchZircher pairing, I think. I didnt notice the transition as much as I did lastissue. Perhaps its time for Nightwing to go back to a monthly, allowing for amore consistent art team (either individual artist or penciler/inker combo) totake the reins. Just a thought.

I'm just not sure it's a good Lone Ranger story. I'm still willing to maintain an open mind, but this issue makes it difficult.

This issuefeatures the artwork of Travis Moore and Patch Zircher. Zirchers work is consistentwith what Ive seen previously in ActionComics. Perhaps too consistent. In more than one scene, Sapienza looks morelike Superman in a Nightwing mask than another person. I think Nightwing is a different book, and callsfor a different artistic approach. But there is time for Zircher to work onthat.

Im sure itcould be fun story, viewed through the proper lens. I just dont happen to haveone. There are too many story elements taken for granted, in my opinion. But infairness, a broader canvas (i.e., more pages) might have enabled Sam Humphriesto flesh them out more, perhaps provide a more ambitious alternative.

Nextissue teases the death of Harvey Dent? Could it truly be? Unlikely. Nobody evertruly stays dead in comics. Perhaps Two-Faces personality comes to the fore,completely subverting former DA Dent. So forgive the spoiler without an alert.Its not likely to happen.

Itsa great book with great art, and suggests a sequel or ongoing may be in ourfuture. If the same creative team remains in place, Im all for it. Hopefully,DC, Simone and Melo are on board for the ride. My only concern is for Plasssidekick. Not sure Im digging the whole gender fluidity thing in such a youngcharacter, but Im willing to be open minded. Hopefully, Ill learn something.

I like theturn this series has taken. In its former incarnation " Red Hood and theOutlaws " the outlaws in question were a thinly-veiled reference to theBig Three. I would have preferred to see him take up with some actualsuper-villains (Kinda like Batman is doing).

I appreciatethe reveals in this issue, but the last one left me a bit disappointed. Its asif the series has circled back to an earlier scenario, one Id hoped wed leftbehind. Maybe it will turn out differently this time around; it very easilycould. But for now, it seems too much like a rehash.

The artworkfor this series has been extraordinary, and it is my hope that the art teamwill remain in place long after the current story arc concludes. Its like amerging of Neal Adams and George Perez, two of comics most capable and dynamicartists.

I like theartwork of German Peralta and John Kalisz. Its consistent with the look of thebook established 46 issues ago, but if also fresh and different. Ive found newappreciation for colorists, who have historically gotten the short of thestick. Their work has evolved from color by numbers of the Silver Age to becomea key element of conveying mood, atmosphere, and overall sense of place. Kudosto Kalisz.

Somehow, allthis sounds familiar, like a bad teen movie. A couple of teen girls squabbleover some imagined offense, leading to alternate misplaced joy and wailing andgnashing of teeth. Eventually it escalates beyond their control and they areforced to make peace. Its so juvenile a situation, you dont know who to rootfor. Hopefully this will end quickly.

This issuereinforces to me one of the pitfalls of modern comics. ITs a single chapter ina larger story. As such, Im not terribly moved toward picking up subsequentinstallments. Casual readers may feel the same, content to wait for the trade.But if everyone felt that way, would there even be a trade to wait for?

ChrisMooneyhams artwork seemed a bit uneven this issue. Uneven compared to whathes done before, I mean. Perhaps he drew it under a tighter deadline thanusual, but it seemed to me a wee bit rushed. But even rushed Mooneyham isbetter than some other artists I could name (but I wont).

But I likethe story so far. Its a slow burn of a storyline, as details are leaked out intiny droplets. Sometimes that works, but with the price of comic books thesedays, Id prefer to see things move faster. I like to feel Im getting mymoneys worth, without a lot of silent panels of the protagonist doing thingsquietly. This is not cinema, where the creator controls the speed of thenarrative.

As the story winds down, it's easy to foresee the customary "misunderstood monster" ploy, but what I failed to anticipate is a comic history reference point most fans should recognize. If you don't, turn in your geek card.

It's a good story, but Huck's presence is somewhat superfluous. He serves as a sounding board for John's doubts, and provides some pithy life advice, but such a role could have been filled by almost anyone.

Despite the artwork being handled by a round robin of two pencilers and two inkers, it's surprisingly consistent. Methinks this book may have been produced under strict deadline, but that's okay. It works for me.

As for me, I can stick with a while longer. But if it doesn't resolve itself in some manner soon, I will probably have to bail on it indefinitely. I hate to do that, but after some much confusion and misdirection, it's easy to run out of fresh things to say.

Bendis seemsintent on elevating the supporting cast. Perry White displays a dimension ofcharacter I havent seen in years, if ever. Hes not simply Clarks boss, hesa man with a job, and an individual with his own agenda. However, Supermansson is only mentioned off-hand, which I dont particularly mind. I stillstruggle with Lois and Clark being married, let alone having a kid. But atleast Bendis gave us the reunion weve been needing.

What thisissue equally focuses on his Barbaras healing. Not just her physical body andher continued ability to walk, but also the growing understanding between herand her father. I consider it effective character development, though mypersonal preference is to see it in a bit more minimized. Growth is an ongoingprocess, and we often experience spurts of understanding. Im pleased to seeDC avoiding emotional scenes in each issue. Occasionally is fine, but too manyvery special moments detract from the narrative as a whole.

The world of Batman Beyond is described as decades from now However, with the respectiveages of the more familiar characters (Bruce, Dick and Barbara), it doesnt seemso far in the future, despite advances in technology. Nevertheless, I enjoy theseries: familiar but fresh, while building on established Batman lore.

Regretfully,one of the problems Ive always had with extended story arcs is I get bored,perhaps sooner than others. This is chapter four, and Im ready to see thingswrapped up. Its an okay story so far, but I have yet to be overly impressed byit.

Only three issues remain in the 12-issue limited run. If the series becomes an ongoing, there is a great deal of opportunity, if DC can cultivate it properly. Some of the characters have yet to impress me, but they've barely been introduced, so there's still time for them to develop, if not here, perhaps elsewhere.

Oneof the things I enjoy about the title is how self-aware it is. When Mystery Incand the Doom Patrol are confronted by the Brotherhood of Evil Mutants,its not lost on them that they face Monsieur Mallah, whom they defeated lastissue. Kudos for that kind attention to continuity, while not taking it soseriously.

On one hand,there is no extended epilogue, which I often find to be overly drawn out. Onthe other hand, with so many story elements involved, perhaps this issue neededit. It seemed a wee bit abbreviated at the end.

If DC Comics(or any comic book publisher, for that matter) were to choose to resurrect anyof the classic Golden age characters, they could do a lot worse than hiringSami Basri to illustrate same. Basris fine lines and smooth textures fit thestreamlined era of the 1930s and 40 so very well.

But forthose wondering how Ric Grayson would carry on as Nightwing, boy, wonder nomore. The answer is on the last page.

Its not asif there wasnt room, as there are four additional pages. Two feature rebuspuzzles with Aquaman, the other two feature minimal Whos Who files on Batmanand the Joker.

Imexpecting answers next issue. These extended story arcs can be frustrating,even with the two-weeks schedule many of DCs titles adhere to. Im eager tosee the stories advance quicker. Heres hoping we will enjoy a more solidchapter in two weeks.

PlasticMan has never been a character that has taken himself very seriously. Theres alot of that going around lately, with self-aware characters who recognize theabsurdity of their comic book lives. Marvels Deadpool has set the bar higherthan ever, and Gail Simone seems to be attempting to beat him at his own game.I can appreciate the notion of, Steal from the best, forget the rest, butrather than copy what the competition is doing (something DC has done a LOTlately), Id rather see the company do its own thing. If I wanted to read somethinglike Deadpool, Id read Deadpool.

It's a good story, the centerpiece being the reunion between Jason and Bruce. I was pleased that Lodbdell recognized the value of Bruce in the situation, rather than go for low hanging fruit by touting a Batman guest appearance to boost sales.

Much happens this issue, though it may present more questions than answers, I'm afraid.

Superman iscurrently starring in three DC titles, with three individual storylines runningthrough each. One o hand, I expect a closer knit continuity, but at the sametime I appreciate a variety of storylines to appeal to as broad an audience aspossible. Something for everyone.

Myappreciation for this series is based entirely on the script alone. I mustadmit I dont particularly care for Oemings artwork. Im hard pressed tosuggest a story or title for which I think its appropriate. I cant help butimagine how the series would look in the hands of a different artist.

I am hopefulnext issue will feature the conclusion of the current story arc. There could bea lot for 21 pages to hold, but Im ready for the story to end. After therecent battles between the GLs and the Dominators, I could do with a simplerstory, of Jessica and Simon putting out fires, stopping bank robberies, andeating pancakes.

But a littlebit of Harley goes a long way. It seem as if there hasnt been a week in recentmonths that there hasnt been a Harley-centric book on the stands. I realizeshe could be the break-out anti-hero " DCs version of Wolverine " but Ido wish they would dial it back. Too much of a good thing is a bad thing.

It's still the same old story " a fight for law and order, against people with too much power and not enough compassion. Not terribly different from today, but if Dynamite wants to portray the Lone Ranger as a 19th century SJW, I'd just as soon stop right now.

I regardthis as a temporary diversion, much like the electric Superman or the AzraelBatman of some years back. Things will change back soon enough. Perhaps whenBooster Gold fixes the Heroes in Crisisfiasco, hell impact time in a way to prevent Nightwings near deathexperience.

Bendisarrival at DC reminds me of the early 1970s, when Jack Kirby transitioned overfrom Marvel. Within a few years, he rejoined Marvel, DC Comics leaving a badtaste in his mouth. It is my hope that Bendiss tenure at DC is betterreceived. Im a little anxious for seeing some of his plotlines resolved, butyour mileage may vary.

It's a typical super-hero murder case, but what makes it a-typical is that the story wouldn't work for just anyone. There's an emotional component that would not work on just anyone; not Batman, not Nightwing, not Green Arrow. Writer Mairghread Scott makes it entirely Batgirl's own. I think that demonstrates not only the strength of the story, but also the strength of the character within it.

This hasbeen a standard five-issue story arc, which n my youth, was an epic adventure.But these days its standard, perfect for re-packaging in TPB form. Im growingmore comfortable with the format, so long as the creative team remains in placethroughout the entire story. Its when each chapter is drawn by a differentartist that I feel the narrative becomes visually disjointed. Thankfully, Batman Beyond is pretty consistent, andits become a personal favorite because of that.

Butthe strength of this issue is in the dialogue, between Batman and Alfred andBatman and Commissioner Gordon. Two of Batmans oldest allies, they have theprivilege of being blunt with the truth, and reminding him that in their eyes,hes not the urban legend that all of Gotham City believes him to be. He needsto hear that more often.

Forlong-time fans of Looney Tunes, this particular issue is fairly weak. Oh, well,you cant win them all.

Its a superfluousdepiction, because yeah, their gay, we already got it. Its not that I have any issue with the LGBTQ community (I honestly dont consider other peoples' sexuality any of my business). But I DO object to comic book writers and artists whose imagination is so limited, their best means of portraying a homosexual character is to depict a same-sex kiss. In my opinion, it's superfluous. The point was already made that Robert was gay, so in my opinion, the kiss is superfluous and gratuitous.

Onemight think Scooby-Doo Team-Up is ajoke of a book; maybe so. But it serves a purpose in providing a forum formaintaining the copyright to DCs more obscure characters. Perhaps some of themshould lapse, but its been the strategy for many team-up titles since thebeginning. So for long-time fans of comic book history, it can be a specialtreat to be reunited with old friends.

I suspectthis will all build up to the forthcoming TheGreen Lantern title, which suggest there will only be one. Perhaps theothers will have be killed, and if so, it wont be long before Hal tries tocreate a new Corps.

It takes alot of art to get this crazy. Fortunately, the extra-sized book also features aroster of artists to illustrate each vignette, many of which are two-pagespreads. My only complaint is that between the ongoing Harley Quinn series, and the occasional special (last weeks Harley Quinn and Gossamer comes tomind), it feels like Ive been riding my Haley every week. Too much of a goodthing is a bad thing, And now that the book has reached its 50thissue, perhaps its time for DC Comics to dial it back to a monthly.

This ischapter II of Harms Way, a brief story-arc-within-a-story-arc as Nightwingcontinues his battle against the Dark Web. Its a tale thats gone on longenough, in my opinion. Like professor Pyg, a little goes a long way, and Ivegrown a little bored with it. Time for DC to wrap this story up.

Withouta firm narrative, there is no conflict in the strictest sense. Instead, theaudience enjoys a series of skirmishes and heated conversations among the alienfactions, government entities, and victimized individuals all seeking some formof peace, either for themselves of for the world they inhabit. Sadly, thiseliminates the potential for a climax, meaning the series (which Id believedto be limited) is now open-ended. It could go on for years. Yay.

Onething I am uncertain is included in the back-to-basics approach is a simplematter: shaving. There was a time when the Bruce Wayne persona was as importantas the Caped Crusader. Toward this end, Bruce presented an appearance of beingthe clean cut corporate head hes supposed to be. But more recently, Batman hasbeen seen with facial stubble, and I cant say it serves him well. Is it anindicator for his emotional state? Perhaps. But mostly it just makes him looksloppy, and not in a charming Don Johnson way. I blame Ben Affleck for this,but even he was clean shaven more often than not.

Ilike Adriana Melos artwork a lot. The line quality is bold and definitive, andlends itself well to simple, bright coloring. No subtle shading, no moodyshadows. It all works together to brighten Plastic Mans world. Certainly theDCU can use the light-heartedness.

Pete Woodsartwork is well-suited for the crime genre RedHood is a part of. Yes, its a super-hero concept, but it deals more withcriminal biker gangs and modern era gangsters, rather than maniacalsuper-villains. As part of the Batman family of titles, it could round out themany different iterations of what it means to be a part of that.

This issuesees the long overdue conclusion of Secret Squirrel. It out-lived its premise.Its been a long time coming, very much like an SNL skit someone tried to turninto a movie. I am hopeful its lackluster performance will lay the Letsreinvent the H-B characters startegy to rest indefinitely.

Im stilltrying to reconcile Superman with Action Comics. Both are written byBendis, but there seems to be two individual storylines taking place. Perhaps Ivemissed allusions to one or the other, or maybe it will all make sense later on.Im willing to be patient " for now.

Harleysrecent crossover with the Looney Tunes universe may have rubbed off on her. Herworld has gone crazy, and nothing makes sense. But such is the inside ofinsanity. So if you have a difficult time buying what Harley is selling, justregard it as the world as seen through Harleys eyes.

I enjoy agood crime story, something we see less of in comic books these days. Comicsare still digging out from under all thecapes, tights, and ray guns of the previous 50 years. I appreciate seeing themarket open to other genres, though crime is often a hard sell. If this book isable to carve a fresh path, it may do well. It has a solid pedigree, whichshould appeal to the fans, but only up to a point. I encourage everyone to giveit a chance.

Barbarasday-to-day wear looks natural " something a 20-something would choose to wear " rather than simplyputting a dress or jeans & t-shirt on a figure. Its a minordetail, but its this level of attention that gives the visuals of the book(any book) veritas. It makes me sit up and take notice.

I canappreciate the merits of this story as an annual, building significantly on theBatgirl universe and her supporting players. It needed the expanded format,though two issues in the regular series might have been more than it required.

Overall,its a fun read, merging the world of the Looney Tunes with the greater DCUniverse. One might expect it to not work, but with the right writer on theright characters, it can, quite easily. If this were an ongoing project, I fearthe efforts might come across as forced, but with the occasional crossover, itbecomes a treat to be enjoyed.

Scott Hannasteps in to finish the issue; perhaps Marco Santucci fell behind or had anotherobligation. I have no issue with this, as the art flows with hardly a visualhiccup to be heard.

Its billedas Harms Way, Part 1, but if this race runs another five issues, Im goingto be mighty tired, and not in a good way. I just dont believe its the typeof scenario that they can pull off that long and still maintain interest. Ihope they can either A.) prove me wrong; or B.) have something else planned. Weshall see.

But despitesuch Batman 66 camp aside, this is afabulous reunion of writer Benjamin Percy and artists Otto Schmidt. They didvery well together on Green Arrow acouple of years ago, and I anticipate equal success on Nightwing. Schmidt has a rendering style that is equal partsPlayboy and Hanna-Barbera. Others might struggle to make that work, but hemakes it look easy.

In all, thisissue reads like a deus ex machine for last issue; a means for Jason to escapeBatman without any real plot development or narrative expansion. Next issue,Jasons original Outlaws may still be broken up, and the new version of theteam still separated by the Multiverse. I do hope I am wrong.

I mustadmit, I was skeptical of Bendis run on the Superman franchise, though thatwas largely because He was such a name at Marvel. It was my fear that histenure might influence Bendis to marvelize the Man of Steel. But as of thiswriting, Im not convinced that would be a bad thing.

However, asmuch as I enjoy Dan Jurgens writing, I fear he is writing comics the way theyused to be written, perhaps applying out-dated sensibilities. Maybe he needs toclip Robins wings, and see how that works within the team dynamic.

Somaybe Batman handing his team over to Black Lightning is a good thing, as itmay bring the Caped Crusader back to his roots. The Outsiders has always been ahaven for the homeless, the DC heroes who would otherwise be an answer to aBronze Age trivia question. And if it breathes new life into them and leads toyet another CW show, well, its not as if I am required to watch.

Futureissues (assuming this isnt the end of the series, which it easily could be)should accelerate the action and lead Violet Paige in her quest for vengeanceagainst Gather House and it represents. Id appreciate seeing a balls-out,no-holds-barred assault on the villains Violet despises. There is no need todraw it out, even to make the six-issue trade. Just let the war last that long,until Vi is the only one standing.

The baron's efforts may lead to the creation of a new Night Force, which may not be a bad thing, as various DC characters seem to be in the process of being re-allocated. Raven's time in the Teen Titans may be over, and she needs to go somewhere. Night Force is as good a solution as any.

Itsa fun read from an innocent time, when one could spend an entire morningbinging on animation, sugary cereals and toy commercials, all in the comfort ofones pajamas. Kids today will never know such simple joys. Thanks to multipleanimated networks and streaming services, they can do it whenever they wish.Its like Christmas every day.

This issue boasts an extra-sized anniversary issue. Two year anniversary? It is #25, but I'm not sure two years is all that laudable in the wake of Action Comics #1,000. Regardless, it does offer four stories of varying quality.

One thing I do appreciate about Batwoman is that she is not a super-cop likeBatman. Shes a soldier, and thinks and acts like one. It perhaps gives her anedge Batman lacks. That may make her flawed as a character, but I dont mindthat.

Im pleasedMarco Santucci continues to illustrate the book. I hope he sticks around, ifnot on Green Lanterns, maybeelsewhere in the DCU. I suspect he might do well on JLA or Flash. Mike Perkinscover, on the other hand, is a bit lacking. It looks cobbled together as anafter thought.

Its a funread, with Harley at her homicidal wackiest. But at least shes chosen theright target. I mean, shes not so bad. She brought home Petite Tina from Apokolips.Heres hoping that act of charity comes to mean something, rather than simplysee another Misfit join Harleys band of Hard Luck Cases.

The story reads as if the audience has entered in the middle. Perhaps it also needed a full issue to flesh out a promising narrative.

Amazingly,this issue is not as confusing as previous installments. Its basically threepairs of characters, all in conversation. Kinda hard to mess that up. How thesefive people (because one of them is used twice) come together in the overallscheme remains to be seen. But, you could say that about any given issue ofthis meandering series.

Illcontinue enjoying this series, if writer Gail Simone can leave the socialcommentary out of it and simply tell a nice, funny story about acriminal-turned-super-hero trying to reform, and have fun doing it.ButAdriana Melos is fabulous. More please.

Twoissues ago I suggested there might be a resurrection of the original Outsiders,and this issue sees DC take a step closer to that. If the intent is to resurrectthe original team " either a brief reunion in Detective Comics or as a prelude to a new ongoing series " Im allfor it. But if its going to be series of teases, Id just as soon DC stopright now. I had enough of that kind of thing in high school.

One of thestrengths of this issue is its dialogue. Venditti is skillful at deliveringHals verbal sparring Tomar Tu, Johns exchanges with Zod, and Guys overallcomments. Together, they represent various facets of the two groups conflictingphilosophies toward achieving the same goal.

Hints are made at deeper secrets of Jason Todd's background, as well as laying the groundwork for future tales of the Outlaws. So perhaps this isn't the end.

The creativeteam adds legendary inker Tom Palmer to its ranks. He has been embellishingcomics for close to 50 years, mostly at Marvel, where he is known for suchseries as the Avengers and Star Wars. Though his skill set has necessarilyevolved over the years, its clear he knows his business, and Scooby Apocalypse is privileged to havehim.

What grabbedme about this issue is the artwork. Reis, Prado and Albert seem to bechanneling their inner Neal Adams. The inking has a rick texture, and thefigure renderings demonstrate stances and facial expressions. I am inclined torevisit past work by Reis and Prado to see if this is a recent development intheir individual styles, or if there has always been a certain mimicry in theirdrawings. Not that thats a bad thing, by any means.

What impressed me about this particular chapter is the artwork of Marco Santucci. I've made no secret that Im a big fan of Bronze Age comics, and Santuccis work reminds me of a blend of Jim Sherman, Mike Nasser and Terry Austin.

This is the conclusion of the current 3-issue story arc, which is fine with me. In the hurly-burly world of Harley, staying too long in one place only allows the humour to wear thin. It devolves into an SNL skit thats gone on too long. It is best for the writer (whomever it may be) to remember she works best as amoving target. Keeping the audience guessing helps keep things interesting.

Kinda reminds me of the much-hyped Identity Crisis series from some years back. All those masks, peeled away in a nano-second. But we'll have to wait until next issue to see what happens, because despite DCs claim, this was no finale.

Karma has upped the ante, proving himself as lethal a foe as the Joker. His taste for murder rivals that of the Jokers early days, but regrettably, Bruce recognizes this too late. His origin almost echoes a scene from this weeks Batman Beyond,suggesting a certain irony seeds planted in the current Batman titles come tofruition a generation later. I rather fancy that idea. But more importantly, itmay harken a return to Batmans solo career, without an extraneous team surrounding him. I see that on the CW shows, and thats what has contributed to me abandoning them.

It is my hope this current story arc has only another issue or two left in it. As Isaid, its dragged in a few places, and Other than a great deal of punching and being punched, I dont know that it has much steam left. I would hate for its conclusion to be too long coming.

If I have a problem with all-ages books such as Looney Tunes and Scooby-Doo, its the price point. Personally, I feel its a bit high for an all-ages book,but the cost of printing doesnt vary from one title to another. I would preferto see all-ages books at a lower cost, and more availability at conveniencestores and supermarkets, where they can catch the eye of smaller children.

Still,one of the great things about Mother Panic is that its not necessarilybeholden to mainstream DC continuity. The opportunities are endless, to createengaging characters and tell compelling stories that might not be suitable forother titles. I hope DC Editorial recognizes that potential, and can avoidsimply telling yet another super-herostory.

Kudos to writer Dan Jurgens for reinventing classic foes for the second-generation Batman. He is crafting a larger world for the Terry McGinnis version of Batman,from allies to enemies. Its my own impatience to see that architecture extend to Gotham City overall, and the greater DCU.

Andheres the non-spoiler: A clock-like drug vending machine, for a drug thatoffers the user a narrow window to the future. Hmmm. Which of Gothamscriminals could THAT possibly be?

Mike Perkinsartwork continues to displease, though not as much as before. He appears to besettling in, growing more comfortable with the challenges of the title, anddiscovering how best to render its unique characters and concepts moreeffectively. Im optimistic he will have a handle on it in due time, given theopportunity.

Now Harlmust suffer the wrath of her granny. Goodness, its enough to make a girl plotzright there in front of Darkseid and everybody. Never fear. Granny has a gadgetthat will remove any embarrassment, and is all too eager to use it on her failureof a Fury (Hey! Alliteration without a hint of sexism. Yay me. Im evolving.)

Totheir credit, the creative team of Warren Ellis and Jon Davis-Hunt are all in. Together,they have maintained a consistent presentation of the story, strengthening thestructure if not the overall narrative. Perhaps I just need to sit down with ahandful of issues and read them all in a single sitting.

Theartwork from Mendoncva and Egea is very good, but somehow it has a bit of aMarvel feel to it. Not that thats a bad thing, mind you, but it seemed alittle off, for Batman. But more importantly, this may lead to Batmandissolving his team of vigilantes, and them splitting off into anotheriteration of the Outsiders. Could it be? Tune in next month, same bat time,same " aw, you know the rest.

I wish comicbook publishers would stop crafting stories geared toward the six-chapter TPBformat. I would expect it to be creatively restricting, and hinders the writerfrom telling a good story. For me as an end-user, I care less about the idealpacking to meet marketing needs and more about being entertained by acompelling narrative.

Butthe humor is still there, such as the moment when Plastic Man is riddled withbullets. I know, since when did murder equal wacky fun? Since he didnt die,its hardly murder. (Nor a spoiler, cuz you dont kill off your star in thesecond issue) (unless your name is Joss Whedon).

Its apotentially powerful issue. I say potentially because Im too jaded to acceptwhat Ive read at face value. Somewhere there may be misdirection and misrepresentation,but I suspect the truth will have to wait for next issue.

I regardthis chapter in the overall story as maneuvering pieces on the board before thenext big moment (be it actual battle or dramatic conflict). The back-up featureos Secret Squirrel appear to be drawing to a conclusion soon. Cant be soonenough to suit me.

In regards to the story as a whole, I see a potential turning point for one of my recent gripes. The two GL titles " Green Lanterns and Hal Jordan and the Green Lantern Corps " have functioned mostly independently of one another, almost to the point of exclusion. But now, it appears that the GL Corps is acknowledged as having a role in the lives of Simon Baz and Jessica Cruz, the stars of this particular series.

Ive always wondered how non-powered characters (Harley, Batman, Green Arrow) manage to traverse the lethal terrain of Apokolips. But again, its comic books. Some things are better left alone. But Harleys vacation isnt over yet, so theres more to come.

In my opinion, the story arc so far lacks the gravitas to justify a six-issue story event, but I could be wrong. But I love the introduction of Nightwings underground bunker, from which he and Batgirl can strategize against the bad guys. However, given its plethora of high-tech hardware, is it not vulnerable to Wyrm as well? Well see.

I applaud Bendis paring down the current Superman lore without making controversial and irrevocable decisions (irrevocable being a rather fluid concept in the world of comic books). Taking Lois off the stage may have been a tough sell, but ultimately, I suspect it will be worth it. The era of Lois & Clark has been put on hold indefinitely, allowing a return to Superman " which is what we read the comics for, is it not?

Whilethe story has layers of merits, the artwork is a little disappointing. ScottGodlewski is good, but this issue is lacking something " an energy levelthat Im used to seeing from previous issues. I dont begrudge him that, assome days the creative well runs dry. But heres hoping hell be back in hisusual fine form ere too long.

This is onlythe second installment in the latest story arc, so theres not so much meat onthis bone. Building blocks of the overall story, but I trust Dan Jurgens. Hesa proven professional who can deliver a quality story. And Batman Beyond is worth staying tuned for.

Inmy opinion, no, he does not. It was the solitary sacrifice of one mansdedicating his life to a war on crime that appeals to me. When heroes begin toform their own armies, I see it as little more than street gangs, with a clearcut definition as to who to root for.

Statusreport, Simon Baz and Jessica Cruz: its like theyre not even GLs any more, asfar as the Corps is concerned.

Iappreciate this alternate reality take on what was another addition to theBat-Family. As I said once before, she seemed redundant at first, but inanother universe, her role has the potential to expand beyond the constrictionsof mainstream DC continuity.

After six issues, I can't say I am particularly impressed by the artwork of Pop Mhan. It seems overly simplistic in this modern era of comic book illustration.

Onemight think teaming the Scoobies with the JSA to be a challenge, but Fischmakes it look easy. Clearly, he enjoys his work and has a great deal of funwriting such stories. Its a shame we havent seen what he could do with one ofDCs high profile titles, but then again, maybe not. He has the luxury of beingable to fly under the radar of DC editorial, free from the constraints ofcontinuity and marketing ploys.

Im curiousto see how the story ends (assuming it ends). Will it be a complete,self-contained story (doubtful), or will it dovetail into other Superman titles?Or will we end up with some sort of non-ending built on the flimsy premise ofClarks mothers name being Martha? Tune in next week.

This is theend of the current story arc, so look for a brand new adventure next issue.Its always a treat to see what kind of mad-cap hijinks our favorite crazy galhas in store for us.

Iam uncertain what audience this title is intended. To see Batman defeated sosimply would probably offend most Bat-fans. But its not his book, so maybe heshouldnt even be in it. Id prefer to see Batwoman challenged by her ownrogues gallery, and respectfully suggest creative efforts be made in creatingsome suitable villains for her.

Id alwaysthought the person of launching this title was to feature Green Lanterns onEarth, but it seems Simon and Jessica have been zipping around the starsdealing with extraterrestrial matters. I thought that was Hal Jordan and the GLCorps. Id rather see Simon and Jess back on Earth. I like the pancakes.

The seriesis a fun and light, much in tune with the original cartoon. I never reallyregarded myself as much of a Scooby fan, but given how many 70s Saturdaymorning cartoons revolved around crime-solving kids, I shouldnt be surprised Ienjoy this title as much as I do.

This issuesartwork is a little too polished for my taste. Its good, but the textures seemso smooth and refined that it seems there is little variance. Everything seemsto have a disco-like sheen to it. I dont know if it Maguires artwork or AlexSinclairs coloring, or a combination of both. Either way, I dont care for it,but your mileage may vary.

The story by Michael Moreci is mostly battle, the tide turning both for and against Batman at various points. Very little is resolved, and there just isn't much meat on these bones. But it fills 22 pages, and serves as a palette cleanser for those weary of major conflict among the various members of Batman's personal Justice League.

The Rise ofthe Darkstars has not been the major story arc I was expecting. It hasntimpacted the whole of the DCU like Id hoped. Its like a musical note thatnever quite reaches its proper pitch, so Im ready to move on to the third act" the aforementioned battle. But wait " didnt the last major story arcconclude with a major battle? Yes, I believe it did.

Had the series focused instead on Kong Kenan and his role as a super-hero for Asia, the series may have had greater potential. Eventually, he may have evolved away from the Superman copycat mold. But we'll never know, and I suppose that's okay.

GailSimones writing is superb, as always. Im confident this will be a fun seriesto read, without being so fun it becomes a parody of itself. Plas is simply oneof thos characters we all know " someone who has a much lighter way of lookingat the world. Adriana Melos artwork is light and simple, in a good way. Itsvery fluid, which is suitable for a character who can bend his body into anynumber of shapes and forms.

Its only the beginning of the story, so theres no way to guess how much Artemis and Bizarro will play into matters with Jason. As co-stars, its safe to say theywill. As Jasons investigation becomes more troublesome, hell need their help. But if this is perhaps a prelude to the series being retitled as a solo book, well, Im okay with that, too.

The back-upfeature of Secret Squirrel is another matter. It has become tiresome, and Ifeel its conclusion is long overdue. I realize theres only so much story to becontained in 00 pages, but thats a factor to be considered in the planningstage. If it warranted more pages, it probably wouldnt be a back-up feature,no?

Perhaps its the fresh perspective by an acknowledged superstar writer, but this is a remarkably solid series (so far) that may set the standard for other Super-titles, if Bendis can maintain this level of storytelling. Judging by his reputation, I see no reason why he wont.

The artwork from Brent Peeples and Richard Friend is serviceable, though a bit puzzling. Laney is portrayed constantly wearing gloves, though I'm completely confused as to why. Not sure if it's a fashion statement or a clue to a greater role alongside the JLC.

In general, this issue seemed to read like a middle segment of a greater story arc. There's no sin in that, as we're (hopefully) on our way to an exciting showdown within the next issue or two.

Ronan Cliquet is back at the drawingboard; hes perhaps my favorite GL artist in recent years. Which brings me tothe subject of the variant cover by Warren Loww. Imagine a Disney-styledrawing, heavily airbrushed to go on the side of your 1970s conversion van.Ick.

The artwork byMirka Andolfo is enjoyable, more so than that of cover artist John Timms. Notthat hes a bad artist, but I dont believe Harley Quinn was a suitable vehiclefor him. Id prefer to see him on another title; Batwoman, perhaps.

I am confidentNightwing is in capable hands, creatively speaking. It seems to me the book hasstruggled since the beginning of Rebirth. Tim Seely and Sam Humphries bothcontributed to getting the book back on its feet, and now its Percys turn.Maybe Im wrong, but all three writers seem intent on providing legitimate,sustainable creative growth.

Whether the Daily Planet will stick around as wellremains to be seen in a later issue. But given that Man of Steel is currently a weekly publication, how long can thatbe? Kudos to DC Comics for rolling out a weekly series, but I can only applaudthat as long as the quality holds. Id rather have it right than right now. Ifneed be, I dont mind going back to a monthly schedule.

As we approach the half-way mark in this series, a stronger narrative has begun to emerge. I hope Wolfman can sustain this momentum, and launch us toward a rollicking fun conclusion. I'm confident in his abilities as a comic book writer. It simply remains a question if the current DC editorial climate will have the sense to get out of the way and let him do what he does best.

The artwork by Eddy Barrows and Eber Ferreira is excellent. It can be much harder than one expects to render a deformed face, or a villain of clay, but they pullit off quite effectively. Flashback layouts involving Hagens father use film borders extensively " perhaps too much " but it adds to the scope of thesegment. And their cover is a reel treat for fans of classic movie posters.

The artworkis very dynamic and stylized, which I appreciate. My only complaint is thatJessica has never looked lovelier. By which I mean to say that Perkins artreinforces the pattern among comic book artists that they are unable to draw normalpeople. Everyone in the world of comics comes across like a CW cast member,unless theres a reason for them to appear doughy and unattractive.

Seeing anice simple Superman story, in which he flies about the city doing good(complete with red trunks) somehow makes me feel all is right with the world ofcomics. Im eager to see more from Bendis.

Batgirlmay be one of DCs most under-appreciated titles. Not because of the strengthof its starring character (which is considerable), but because its Hope Larsonseems to have a simple strategy: tell good stories. Not great stories, not epicstories, but good, solid tales, and she seem to do it consistently. Many comicbook series have ups and downs, but Batgirlhas a consistent quality other titles should envy.

I have enjoyed Batwoman when she has been a supporting player in Detective Comics, but I feel giving herher own title is misplaced. Its as if DC believes Batman is so popular, thatif they place the word bat in front of anything, it will sell. In this case,I suspect they are mistaken. I believe Batwoman requires additional seasoningbefore being worthy of her own book.

This issue also launches a new story arc, one pitting Batman against the future Jokerz, who all seem in fear of a mysterious Bat-monster (The Dark Knight Returns Beyond?). I expect it to be a straightforward adventure, with less character development or expansion of the franchise. If I'm right, thats okay; I could use the rest from epic stories. If I'm wrong, well, thats okay too.

Ethan Van Sciver returns to the drawing board for this issue. I 3enjoy his work, and hiscontributions to the GL franchise. But I grow weary of his on again/off again status. Sure, the load may be more than any one artists can handle, but I'd rather DC assign him an entire story to be published when its finished.

While it may be easy to dismiss the artwork as cartoon simple, the truth is ittakes no small effort to capture that Termite Terrace style made famous and funny by the likes of Chuck Jones and Friz Frieling. Anyone could publish a Looney Tunes title, but the team at DC breathes the Looney Tunes life into it while they do it.

I love that the art team has remained in place. Since the advent of DCs Rebirth,many art teams have come and gone, or rotated around so that no given issue promises a consistent visual appeal. I grew up in an era when art teams stuck around for YEARS, not a handful of issues and then moved on. I appreciate the commitment Ibrahim Moustafa and Jordan Boyd have made to this series.

Its a fun story for fans of 1970s Saturday mornings. And for fans of DC, it pokes fun at one of DCs sacred cows. Because sometimes a project takes on mythic proportions; reputation outgrows reality, and an enjoyable read turns into an overblown, over-hyped, tiresome target for jokes, parody and satire. When you're ready to see a giant taken down a peg, pick up this issue.

The artworkis highly stylized, and might work with another property, but I dont knowwhich one. Because the renderings are basic line drawings, I would suggest oneof the cartoon-based titles where texture and depth-of-field are in lessdemand.

It's not perfect, and I saw some anatomy I'm not quite sure of, but further collaboration should enable them to work the kinks out in due time. I hope they stick around.

Overall, the story (both issues, and all the previous back-up installments) is a worthyentry to the canon of Harley Quinn.

Inthe past, I havent found Ellis stories tend to be this complex, and I wishthere was a re-cap page, or some sort of primer to convey the major charactersand their individual roles. I know thats not popular in comic books thesedays, but if it helps retain readers, maybe its in the best interests of thetitle.

Iveenjoyed this series very much, and am sorry to see it go. I wish Id discoveredit sooner. But thats not to say the Birds of Prey will be out of action forlong. They could always pop up again in any given title of the DCU, until theyfind their way forward once again. I look forward to that. In the meantime, perhapsJulie Benson and Shawna Benson can find their place on Bombshells.

As for theDarkstar saga, I thought it had begun a few issues ago, and was well underway,so I dont understand how this is Darkstars Rising, Chapter 1. Unless thereare chapters within volumes. But it sounds like were in for a long haul for awhile. Given the powers that are being assembled in this issue, Im not sure Imind so much.

Red Hood isone of those titles I look forward to. I tend to wade in the shallow end of theDC Universe, so its refreshing to read characters and properties that donthave decades of baggage and history to constantly reconcile.

Id believedthis series to be somewhat limited, though recent developments have convincedme otherwise. As the cast evolves and events transpire, I realize Giffen andDeMatteis are capable of sustaining the premise in a variety of ways, ratherthan simply building on a single foundation.

Now that I have several issues of Batgirl under my belt, I'm enjoying it, but itseems too heavily aimed for the teen girl audience. Thats not necessarily a bad thing, but it it has overtones that are kind of lost on me, and other members of the audience as well, Im sure. Still, its an pleasant read, which is something to be treasured.

I haven't read many Batman comics in recent years. The franchise has become a bit bloated, much like the old Dick Sprang days when there was a Batman for everynation, and a bat-costume in every color. I wouldnt object to some judicious pruning of the property. Seeing the entire Bat-team in their personal fleet of bat-planes stretches my capacity for rational thought.

Each of the stories is written and drawn by different creators, and given the holiday nature of the one story, I am wondering if they weren't part of a slush pile somewhere, and gathered and published in a ploy to keep the Action Comics #1,000 celebration going. They're not bad stories, mind you, but I have no idea what purpose this Special serves.

I had such hopes when I first picked up this series. I liked the idea, but DC has allowed Marguerite Bennett to hit single notes only. For a book with United in the title, it doesnt seem to be very cohesive, other than the common thread of 1940s versions of female super-heroes. And thats not enough to sustain the series, in my opinion.

I have renewed hope forCyborg, as a character, and as title. I wouldnt be surprised if part of hisinvolvement is an attempt on DCs part to support the franchise as it movecloser to the intended film, scheduled for 2020.

Its an interesting opportunity to see Jessica in an entirely different manner, when she was much more confident. I like her as a character, though I am curious to see how her defining experience changes her on an emotional level. Given what I've seen sofar, it seems so unlikely.

My only concern is that Harley Quinn is an increasingly popular character in danger ofbeing over-exposed. She has her regular title publishing twice a month, and inaddition there have been numerous specials and guest appearances in otherbooks. It is my hope that the audience will not grow weary of her err too long.

Chris Mooneyham is the new artist on deck. His work on Nightwing is different, inthat rather than the polished neon weve seen more recently, Mooneyham appliersa level of grit to the city. Not as much as one might see in Gotham City, butenough to ad veritas to his environments. His still reminds me of Denys Cowans,and thats not a bad thing.

What I enjoyed most was I-Chings interpretation of the S shield, as a path to be walked. Since the advent of its a symbol of hope, the emblem has taken on amuch more abstract concept, and much more philosophical than the original S stands for Superman.

Raven must confront secrets to her past if she expects to ever have a future. And while she may possess magical abilities, it should be remembered she is still a teenager in what is to her an alien world.

I'd said before that Mhan and Kindzierski's artwork is suitably moody for the material at hand, though I've come to realize that is only partially true. They do great with Raven and her environs, but far less so in the scenes set at Baron Winters' mansion. They seem rather flat, in a very Silver Age sort of way.

As for story, the board is still being set, so this issure is a bit of an introduction. While navigating the perils of high school, something is a little off in Raven's world. A mysterious being held by a government think tank seems to call to her. Raven feels a connection, but how or why is yet to be discovered.

The combined talents of Pop Mhan and Lovern Kindzierski are perfectly suited for the material " it's moody and spooky, with enough detail to convey the visual equivalent of techno-babble. Though it's a 12-issue limited series, I do hope they've made the commitment for all 12, rather than replaced after a handful of issues.

I've enjoyed Jurgens' writing for many years. I believe he has a firm grasp of the fan's perspective on these characters. In the case of Batman Beyond, it's an open franchise, not beholden to the continuity issues of most of the DC Universe. That opens the door wide to so much story potential, and I'm eager to see what a creator of Jurgens' caliber can deliver.

This may beone of those epic storylines Green Lantern fans will be talking about for awhile. I feel it has that potential, so Ill be very disappointed if all thiseffort is wasted, and when its over its back to business as usual. Perhaps Imsetting myself up for disappointment, but somehow I dont believe so.

The current story arc is too early in the making for me to form a strong opinion, but the alternate universe idea is a big help. Until her roll on this Earth is determined, I'm willing to keep an open mind. She seemed redundant and wasted on Earth 1, so let's hope for something different in her new world.

Ifind this series to be a fun read, and its not often it disappoints. Ofcourse, my expectations are not terribly high. I consider it the comic bookequivalent of watching some of the classic cartoons of my youth, and I morethan okay with that.

In all, itsa fun issue if you know the 80s well enough. Those of us privileged to haveseen Star Wars on the big screen whenit came out will enjoy it, but if youre much younger than that, and most ofyour memories of the 1980s come from watching Pop Up Videos, well, you may missmore than you realize.

FernandoBlancos artwork serves the Bat-franchise well, and Im confident he would dowell on any of the Bat-books. Combined with the colors of John Rauch, mood andatmosphere become the order of the day. They are an effective team, in that thework of one compliments that of the other without overshadowing it.

I appreciateNeal Adams work as much as the next guy. I think he is perhaps one of the mostinfluential comic book artists the industry has ever seen. However, when itcomes to writing, the man needs help, because when left to his own devices, thestory and dialogue simply dont measure up to the expected stature.

The story asa whole expands on what little is known regarding Jessicas origin: a tragiccrime, followed by crippling anxiety, only to be chosen by the power ring ofEarth 3. But this issue adds layers, much as other major characters have hadnuances to their origins over the years. Maybe it will help re-define Jessica,but I was kind of enjoying getting to know who she is NOW, rather than who she wasTHEN.

There was atime when comic artists developed their skills on back-up features. Today, theydo it by way of the inventory stories, that helps editors refine the work andjudge their response to critique andwork ethic. I could be wrong, but MinkyuJung and Felipe Sobreiro seem ready for prime time. Their work together is as goodif not better than some of the regular artists featured in ongoing titles.

It's a complex story, one I think I would enjoy more reading all the chapters in a single sitting.

Ethan Van Sciver returns to the drawing board for this issue. I would expect no less,given the raise in stakes for this particular storyline. But again, experience has taught me not to expect him to hang around for the entire arc. I hate itwhen that happens: A comic book company puts its a-list talent on a story,only for him to step away (for whatever reason) before the end. Imagine going to a concert, and part way through the show, one of the band members is replaced by a sessions musician. Rather disappointing, no?

Looking back through my reviews, I realize how much Dexter Soy has been a part of theseries. Kudos to him for making that commitment, and his role in building upon the myths of Jason Todd, Artemis and Bizarro. And his art aint so bad either.In fact, its pretty damn good.

Scooby Apocalypse is moving along at a snail's pace the past few issues. Perhaps it's an effort at character development, but I think I've had enough for now. I'm ready to see where the story is going. I've expected the series to be of limited duration, so I'm ready to leave this holding pattern and see some real action.

Thanks to the Edgar Allan Poe reference in the first story, we are treated to a four-page interpretation of Poe's The Raven, brought to you by Norville "Shaggy" Rogers. This is followed by what may be a story in which the Scoobie's investigate a mysterious witch doctor terorrorizing a surfing competition. A date of 2009 in a banner in the background suggest the story might be a re-run.

Bombshells is an interesting notion, up to apoint, and Im uncertain DC has acknowledged that. Its fine for figurines andmerchandise, but an ongoing series? Perhaps not. Maybe it should be publishedon an irregular basis, when there is truly a great story needing to be told.

My onlyissue with this issue is the artwork. Inaki Mirandas work feature some of themanic rendering one might expect from a book about an anti-hero with emotionalissues. But it also has a certain wild, careless style that is not myparticular cup of Earl Gray. I prefer a tighter, more economical line style,but thats just me. Moritat illustrated the latter portion of the book, and as much as I enjoy his retro-style, I'm not Harley Quinn is the best place for it.

Tolong-time comic readers, the source of the secret makes total sense, but thethe Friends " well, thats another matter. And here lies the strength of thestory, and the series as a whole. AstroCity isnt about the heroes, but more about the citizens, the collateraldamage. As a meta-human, believing the unbelievable is easy, but for usordinary folks on the ground, alien invasions and endless time-loops meannothing but fear and panic.

The new Cyborg is loaded with new characters, new components, new villains with fresh motivations. And lots of action.

Several issues back, Simon and Jessica encountered interstellar lawyer scumbag Singularity Jain. Now shes back, and preying on Jessicas weaknesses like any attorney would, Meanwhile, Simon is trying to free Jains latest would-be client from her clutches.

I regard this issue a palette cleanser, until the next ongoing story arc. Perhaps Nightwing will return to Bludhaven, or maybe hell share an adventure with another member of the Bat-family. I think after his lengthy battle with the Judge, hes due for a bit of rest. I know I am.

Batman Beyond is uniquely its own entity, and not beholden to the continuity concerns of the greater DCU. And that's what I enjoy most about it. Its familiar but fresh, and its enjoyable to see the possible future for the Bat-universe. Keepit coming.

As I said, this book stumbled toward the finish line. Brian Chings artwork looks rushed and sketchy, as if the book was published from his pencils without the benefit of an inker. Maybe both DC Comics and Ching were done, and simply eager to move on to a more interesting project.

The story concludes, but not in an entirely satisfying manner. Have read recent issues of Action Comics featuring Zod, I had aninkling as to what it meant for this title. The ending still doesn't make sense, and Im not sure I altogether buy it, but Ive never had much interest in politics, especially in comic book form.

For those of us who grew up on these cartoons, I appreciate the comics remaining true to the roots, with flat areas of color, instead of the excessive shading seen in modern animation. In trying to keep the characters relevant, Warner Brothers Animation has seemingly abandoned its core audience. But the Looney Tunes we know and love are alive and well in these pages.

Moustafa's artwork is more appealing than previous artists. I think they tried very hard to be extremely different in their rendering, perhaps in an effort to set the book apart. That may have worked under different circumstances, but when the book is so derivative of established properties, wandering too far afield seems inconsistent to me. Moustafa's artwork is more traditional.

What I enjoy most about Scooby-Doo Team-Up is that it seems to allow the creative team to draw from just about anywhere in the 80+ years of DC Comics history. For an old-time comic book reader like myself, its a joy to see these obscure characters be resurrected, if only for a single issue. But who knows? Maybe a writer or editor will manage to reinvigorate them for the current audience.

Howard Chaykin and Mac Rey have told a tale everyone with dreams of stardom "especially the ego-maniacal personalities that currently occupy Tinseltown "should try. Its full of the kind of compromises (i.e. extortion) that make theHarvey Weinstien scandal look tame in comparison.

Honestly, though, Ive grown bored with this book. I should probably go back and re-read all the issues together to be sure, but it seems to wander a great deal. There have been moments that have been interesting - such as the visit to Scarecrow's underground lab - but they seem too drawn out to be completely satisfying.

Im not saying its poor storytelling, but for Bennett to offer the same art direction in two stories the same week strikes me as unimaginative on her part. In fairness, I could be wrong and it could be the respective artists of both bookscoming up with the same solution, but I find that unlikely.

Its great to see Neal Adams revisit the characters he helped develop, but I feel his strength lies as an artist MUCH more than as a writer. In this particularinstance, some of his drawing lacks the finished look I expect from someone of his reputation. Despite his standing in the comic book industry, I genuinely wish DC Comics would insist on having a writer craft the story with him.

This issue concludes our current story arc, which ties off the concept of a dating app forsuper-heroes. It raised the question of a romance between Simon and Jessica, which seems inevitable. As GL partners, they share a certain intimacy which sometimes translates into romance (sometimes toxic romance). What becomes of this deeper relationship remains tobe seen.

Harley Quinn is less about a henchgirl-turned-anti-hero. It seems to be a conduit for seldom-used characters from other corners of the DCU. That's not necessarily a bad thing, because it is less beholden to the continuity of high-profile characters like the Bat-cast. It opens the door to new ideas and new interpretations, and that's better for everybody.

Overall, Nightwing is strong title that I am enjoying. My only grievance is how often DC tries to re-write Dick Grayson's history. Hes arguably the third-oldest character in the DCU, so Id prefer to see all that history count for something. For the most part, it has.

Itsonly recently that Ive begun reading Birdsof Prey in earnest. Id reviewed a handful of issues, but a more thoroughperusal has me thinking its one of DC Comics under-appreciated titles. Thethree team members bring passion, intellect and charm to the dynamics, makingup for one anothers shortcomings. I look forward to enjoying more.

The second portion was drawn by Brian Ching. I'm uncertain what his style is, unless hiskey motivation was Get it done by deadline. I often see comic book artwork that I dont care for, but its rare that I see work I would describe as awful. Chings pages look like they were sketched out with a dirty fingernail, penciled but never inked.

Kudos to DCfor pitting the Lanterns against Zod and Family, but for anyone who has readrecent issues of Action Comics, wehave a pretty firm idea of how all this turns out. Id appreciate it if nextissue we get considerably closer to the end of the current story arc.

Dexter Soy is back in at the drawing board. He must be given credit for his consistent quality of work, issue after issue. Its refreshing to see someone remain on a title, in this age of rotating artists. Scott Lobdell deserves equal praise for his stories. The book is surprising fresh, without descending into rehashed clichs and over-used story-telling techniques.

This issue also includes the latest chapter of Secret Squirrel. More bickering goingon there, too, between Agent 000, Moroccan Mole and Agent Honey Bea. And the mastermind behind their mission is exposed, as well as the ridiculosity of the Wiley Wolf (loosely translated).

Artworkis serviceable, in the tried-and-true Hanna-Barbera style. However, the key is not HOW its drawn, but how it tells the story. In this case, theres a scene in the Hypno-Haunt story in which the culprit is shown being led away from the reader, effectively with his back to the camera. It seemed awkward to me, and suggests Randy Elliott should have found another solution to depicting that scene.

It's a very entertaining story, with lots of car chases, fights and other action.The Bensons seem to have decided, Lets get back to basics. There is not alot of needless exposition or characterization. We know who the Birds are, they know themselves and each other. Its a tight little narrative that simply tells a good story, a pleasant palette cleanser amidst all the over-hyped events.More comics should do so well.

As Barbara struggles with the consequences of underestimating the Calculator, another teammate addresses some overdue issues. What this bodes for the nearfuture remains to be seen, but I expect the next several issues will further the value of one of DCs under-appreciated properties.

I like Roge Antonios artwork, for its crusty, bold illustrative style. I thinkit would be perfect for a more traditional crime story. In Birds of Prey, it gives the book that harder edge I appreciate. Hehelps make it clear from the get-go this is not simply another title featuring girl super-heroes.

My only regret is missing the first chapter, which I am guessing would have madethe entire story arc a solid read. I know I took issue with the middle chapter, but that was mostly because the whole radical feminist angle came to light. I dont resent feminism, I just find a radical version of anything to be too muchof a clich these days. I simply filtered it out of my reading experience, andenjoyed a tale of super-heroes vs. extremists. Male, female, black or white, Itried to remain color blind.

But to the credit of Sandy Jarrell, the art this time around is much stronger. In launching a new story arc, perhaps the artist was able to start fresh, afterthe last one got bogged down.

Until now, Ihave been unfamiliar with the work of artists V. Ken Marion and Sandu Floria. Ithink its among the best Ive seen in the GreenLanterns title " detailed, textured and expressive. DC could do a lotworse than make this art team regulars on the book of their choice. I doubtIll see that happen, at least until DC returns to a monthly publishingschedule. But I look forward to seeing more of their work, wherever it mayappear.

I am uncertain about Inaki Mirandas artwork in this issue. I hate to get judgmental right out of the gate, but I was a bit turned off. But I'm willing to keep anopen mind and allow Inaki to settle in more before I start comment on artisticchoices.

Chang's artwork seems not quite up to snuff in this issue, almost as if its lost something. I wasnt even sure it WAS Chang until I read the end credits. But even weak Chang is better than many other artists drawing comics these days.

If you've been bored, waiting for things to happen, this may be the issue for you. It seems to advance the narrative nicely, with some pay off at one point or another. But it seems to me a long time coming. Perhaps too long, but your mileage may vary.

The story seems to conclude, which is fine by me, though I was expecting Superman to return to a timeline different than the one he left " yet another re-set in the DC Universe, to coincide with Action Comics #1,000. Thankfully, that didn't happen, so far as we know.

I enjoy Dan Jurgens writing (both here and in Action Comics) because he is able to offer the kind of art direction that fills in the blanks. One story element was telegraphed to me long before Bruce Wayne felt the need to explain it Matt. Even if I hadn't picked up on it, the exposition is natural, rather than feeling forced vis--vis Captain Obvious.

Aneke returns to the drawing board for this issue. I said in my review of issue #4 the artwork got a little sloppy towards the end. Not so, this time around. Itis much more consistent, so perhaps a few months off for Ameke to polish some skills is just what the doctor ordered. Nevertheless, I am disappointed in the constant rotation of artists this book has experienced. Its almost as if the title has become a try-out series for novice comic book artists.

I'm ready for this story arc to wrap up.

As all-ages titles go, this one is tolerable to my grown-up sensibilities (which, admittedly, are few). My only grievance was a single panel in which threat is conveyed in some vague manner, yet not depicted. Perhaps its a rule not to be broken, or some other guideline to be maintained for all-age titles. Nevertheless, it was awkward, and immediately took me out of the story.

When he chooses to wax political in his work, I appreciate how rather than stand on a soap box and shout the party message, he instead chooses to hold up a mirror to his own left-leaning frres, that they may see how ridiculous they sometimes sound.

The art is so similar to Adams that it straddles the line between respectful homage and blatant rip-off.

I don't know if there is an agenda here - and I don't mind if there is - butI do wish Batwoman could avoid falling into narrative traps, and simply tell a good story. Preferably one that doesn't wander aimlessly for a year. Perhaps it just needs a more experienced writer.

I am uncertainwhere the series will go from here. An allusion is made to other characterswithin the Bombshell franchise, but thats not necessarily a promise.Regardless, I hope its some place fresh and new, where we can see theBombshells kick ass, instead of getting bogged down in too much emotionaldepth.

While Barnaby Bagenda made an auspicious debut last issue, this issue seems less noteworthy. Perhaps its the alien world-building that throws me. When I was in art school, many of my fellow students were remarkable at creating the fantastic, but truly sucked at drawing the boring and mundane. I've known many who can design astarship, but couldnt draw a horse to save their life.

Art chores are split up, with Mirka Andolfo handling the Coney Island action, and Eleonora Carlini mostly illustrating the doings at the ESB. They're two styles mesh well, without creating that jarring effect when there is a sudden change inartists from one page to another. I wish they could have been more exclusive toone scene or another, though.

The art byPhil Jimenez and Santorelli on the flashback sequences helps delineate it fromthat of Jamal Campbell, who draws the present day sequences. I appreciate theidea of using different artists to illustrate different sequences within astory. It alleviates the workload for everyone, without the jarring effect thatoften occurs when multiple artists draw a book.

Overall, the series wraps up nicely, though its been somewhat of a slow build, if memory serves. Perhaps it could have been condensed some, but overall it has remained true to both characters - Conan of Cimmeria and Diana of Themiscyra. Fans of either should be happy with the end results.

My other concern is how little regard Adams pays to the serialized format. Its as if he is counting on a six-issue run to be collected into TPB form. With 20 interior pages per issue, that amounts to 120 total pages. Adams has written the story accordingly, with little regard for where those issue breaks occur. As result,each chapter stops, rather than ends, and rather abruptly at that.

Its great to see the Blackhawks back in action in some form. Im a big fan, and I believe they are be one of DCs sleeping giants, until the right creative team comes along. If the A-Team, and the Expendables can be successful, why not the Blackhawks?

It's nice to see Ethan Van Sciver back at the drawing board. While he's cemented his place within the Green Lantern lore, it's rare to see him draw more than an occasional issue here or there. Perhaps he needed a mortgage payment this month.

It's a good story, with solid ramifications for the future of the team on many levels - not the least of which is a teammate who may be suffering from the cure to whatails him. Either way you look at it, its sure to cause some fractures down the road.

I'm uncertain how long the post-apocalytpic premise of the series can survive before it runs out of steam. Establishing a haven for other survivors is a step in the right direction. Now all they need is the survivors to populate theirs tronghold. Additional supporting characters are needed.

Unfortunately,the writers sometimes dumb it down too far, expecting to write for the youngest(i.e. least sophisticated) of readers. But I appreciate it when a story aims alittle higher, intended to entertain all readers. After all, thats generallythe idea behind and all ages title.

Juan Ferreyra is the artist on deck for this issue. I like his work very much,though it sometimes reminds me of the painted illustrations from Heavy Metal back in the 1980s. Thats not a bad thing, mind you. In the case of Green Arrow, it works quite well. Though I wish there could be ONE artist drawing an entire story arc, soup to nuts. Until DC Comics ends the bimonthly, publishing schedule, I doubt well see it.

This issuefeatures the artwork of Barnaby Bagenda, a name with which Im unfamiliar. Pitythat, because paired with Mick Gray and Ulises Arreola, their combined work isnothing short of delightful. It takes on a watercolor quality, with theunderlying rendering clearly defined. Im certain it could stand on its own,without color, but thats a presentation for another day. I hope to see more oftheir work in future issues.

New writer Frank Tieri seems to be downplaying Harleys sizable supporting cast, which Ifeel is a good strategy. Its become unwieldy, and increasingly difficult tojustify each individuals place within the book. Though replacement artist Mirka Andolfo is perhaps new to the title, the artwork is consistent with whats come before. Almost as if there is a house style that each of DCs majortitles are following.

Artworkis true to the established designs, though I would expect no less. One would believethe cartoon characters to be easy to draw, and to a professional perhaps they are.But as I once learned, Chuck Jones was absolutely right in his strategy ofdrawing a carrot with Bugs Bunny attached to it.

However, the artwork by Ty Templeton is stellar, and its a shame we don't see more ofhis work in mainstream comics. Hes vastly under-appreciated in this age ofoverblown dynamism, and its such a welcome change to see a master draftsman practicing his craft. Keiren Smiths coloring only helps.

I enjoy Bernard Changs artwork. I think it works very well on the title, moreso thanprevious artists in that Chang (and Maiolo) give Bludhaven a polish that all the neon and glitz requires to convey a better sense of place. Sometimes Changs work reminds me of Howard Chaykins, but never so much that he appears to be imitating Chaykin. Perhaps merely an influence.

For those of us who have every run around a backyard with a towel pinned to our shoulders, most comic books are about the heroes. But not everyone gets to wear the cape to be the hero. Or even be the sidekick. They also serve, who standand wait. Those of us who dont get to be Batman sometimes have to settle for being Alfred. And thats good enough.

Regardless, it sets up a conflict to be explored in subsequent issues. It may not entirely place Harley on the side of the angels " and thats okay " but it may establish a less villainous role within the DC Universe, Suicide Squad or not.

There have been rumors of the Watchmen characters being folded into the main DC Universe. Idrather they didnt, but I know Im in the minority. Regardless, I do hope that the fast approaching Action Comics #1,000 has the opportunity to stand alone, rather than become the setting for yet another over-hyped DC event. It would belike having your 50th birthday co-opted by your distant cousin's graduation.

One thing about the Batman Beyond series is its vision of the future. Theoretically its about 40 years from now, based on Bruce Waynes age. But the advancements are extraordinary, which only reinforces the sense of compressed time in ComicBook-land. Afterall, wasn't World War II just a few decades ago?

Overall, I'm not sure that Gotham City Garage is a viable ongoing title. DC already has an alternate-universe, female-centric title with Bombshells.

But Zod's story is not done. He has not been defeated. What this bodes for the DC Universe should be interesting to behold.

One of the benefits of a book like this is it potentially introduces younger fans to the rich history of the DCU. Sure, they know Superman and Batman, and maybe Green Lantern and the Flash. But it features properties they might not otherwise meet, as well as some of the more obscure characters from the DC library.

Next issue promises further developments, but for whom remains a mystery. Perhaps Pamela will be pummeled as she deserves, or maybe Ruff & Reddy will recede into retirement as we deserve. Either way, its very entertaining. And isn't that what Hollywood is all about?

This was a much better issue, as I feel some genuine narrative progress has been made. My biggest complaint with this series is its cast. Though everyone seemsto have a specific role, I am unable to remember anyone month-to-month. A refresher course regarding whos who and their relationships to others would bevery helpful.

The artwork by Scott Godlewski is suitable for the subject at hand. Combined with John Rauchs colors, it tells the story effectively without distracting fromthe narrative. Its unfortunate Godlewski and Rauch didnt have a more ambitious story to illustrate. But perhaps it just sets the stage for some really great storytelling next issue.

The art byMirka Andolfo and David Hahn for this issue is somewhat weak as well. The firstportion of the book is fine, but in the second half, the work seems very flatand stiff. I can appreciate its simplicity, but the figures seem to have arigidity that I cant get past.

Its good to have Ronan Cliquet back at the drawing board. Hes always welcome in the pages of any Green Lantern title " or anyother title, for that matter. His work is polished and professional, and has a refreshing individuality I don't often see these days.

Its been awhile since Ive seen Man-Bat, so a return engagement was welcome. However thetruth was a little bit of a zig-zag of logic. Inaki Mirandas artwork isserviceable, her inking a bit heavy-handed for my taste, but your mileage mayvary.

The flashback sequence was drawn by Klaus Janson, whose work we seldom see these days. Its great to see old-fashioned, hand-drawn comic books by a master ofthe craft. The moment I saw it, Id hoped for it to be a long-forgotten story by Jim Aparo or Eduardo Baretto. But Janson is good enough. However, seeing his work side-by-side with the digitally polished work of Jamal Campbell only widens the gap between the qualities of the two artists.

I'm almost saddened to see this series end, though when collected into trade format, I'm sure it will be a satisfying read for fans of both Conan and Wonder Woman. Perhaps it should have been published in trade format to begin with.