Overall, this issue is another solid entry into Gail Simone's already fantastic work with the character Barbara Gordon. It's also a great jumping-on point for new readers, starting a brand new arc with a new villain while still being sure to shine some light on past events.

Batgirl #29 is a more than worthy entry in Gail Simone's run on the series, continuing the winning streak she's been having with the character. Simone has a level of comfort with Barbara that allows her to try to do new and unexpected things with the title while still keeping everyone in character, and the effect simply works.

Though Batgirl #30 may only be a fill-in issue to give Simone the time to finalize her next arc (or possibly delay a finished arc that references events in the final issue of Forever Evil), it holds its own against the regular issues in the series thanks to rising star Marguerite Bennett's excellent grasp of Barbara and overall skill.

There really isn't anything to knock in Batgirl #31, save from the aforementioned odd faces. Simone's writing is sharp, exciting, and visually rendered beautifully by Pasarin. It's extremely nice to see Batgirl return to form, and proves that Simone is far from out of ideas for this title.

Batgirl #32 is a fantastic issue for many reasons, but the most important has to be it's ability to bring the Barbara fans remember back into the fold and kick off what is sure to be a fantastic storyline. Gail Simone seems to have played the long game with her run, and all of the benefits of that are starting to pay off despite a misstep here and there.

Though at times a bit slow, Batgirl #33 more than adequately continues the story it kicked off in the last issue, injecting enough action into the story to keep readers interested and excited. Writer Gail Simone and artist Fernando Pasarin are certainly building towards a grand finale, and that sense of anticipation continues throughout this issue.

Though Batgirl Annual #2 may be Gail Simone's least interesting issue of her run, it is not necessarily a bad issue. The issue's major sin is how unremarkable it is, and could be a sign that self-contained single issues are not Simone's strong suit.

Overall, Batman Eternal #1 kicks off the weekly series fantastically and does a wonderful job of setting up the first storyline. Time will tell if it can keep its momentum week after week, or if it'll end up slogging down and tripping.

Batman Eternal has consistently been one of the best Bat-books on the racks since it launched just four short weeks ago, and this week's issueis no exception. It really is a wonder that the team has managed to keep the quality consistent week after week with an intriguing plot, multiple character threads, good pacing, and quality art.

It's tough to find anything negative with this issue because Batman Eternal #7 is just plain fun, a word that is not usually associated with the Bat-books these days. If there is anything negative, it's perhaps the title's overall portrayal of (sigh) Police Commissioner Forbes. A character that started as a somewhat crooked cop with a hatred for vigilantes has now become a complete caricature over the course of Batman Eternal, culminating in this issue where he let'sProfessor Pyg gobecause "this city needs to get the message loud and clear. Gotham City P.D. doesn't work with capes." This is afterPyg has enslaved hundredsof people as Dollotrons and killed thousands more since getting out of Arkham Asylum. There is just no way, no way whatsoever, that anyone would do that, even if they work for gangsters and hate vigilantes. It really sticks out as the one blemish on Batman Eternal #7.

Batman Eternal #10 is a fitting entry into the ongoing tale, and is a great example of why Batman Eternal is one of the best Bat-books on the shelves today, if not one of the best in recent years. Artist Riccardo Burchielli also does a more than competent job with art duties, managing to throw a few panels in there that elicit some real emotion. Given a few more years of experience, he could becomeend upgreat. Writer John Layman is doing some of his best Bat-work in his Batman Eternal issues, and this one is no exception despite some missteps in portraying Forbes.

Batman Eternal #13 is not the best issue of Batman Eternal, but it is by no means a bad issue. A lot of important things happen and Tynion does a very good job balancing all of these plots in a way that feels tight and flows extremely well. Despite not having much to draw other than people talking Mikel Janin does a superb job as always. Hopefully DC will be utilizing him on more issues of Eternal in the future.

Batman Eternal #16 is a worthy entry into the grand epic being weaved by the entire Bat-team and this issue is enough of a departure from the style and tone of recent issues, in both writing and art, to help the book remain fresh and exciting.

For yet another week, Batman Eternal continues to shine with Batman Eternal #19. The book has been bringing cohesion to the Bat-verse every week, and seems to be working as a glue holding all those books to one universe. Here is a group of writers who care about the Dark Knight and his city, and it shows through once again despite a couple missteps and missed chances.

Andreyko is really starting to find his place and his voice on Batwoman, and this issue is where it really starts to shine. It's unfortunate to see it brought down by sub-par artwork, but Batwoman #29 is still well worth the read.

Black Science #8 is another fitting entry into Rick Remender and Matteo Scalera's science-fiction saga, taking a break from the frenetic action to showcase some solid character work as the team mourns the loss of some of their own.

The Catwoman title still has a few problems it needs to work through before it becomes a "good" book, but Nocenti is trying. She really, really, is. Though the book itself may only be a two-star book, this issue shows some definite improvement that bumps it up a rank, and I think Nocenti may be able to really start to develop Selina now that she has her working on her own.

This issue started strong but just seemed to fall apart halfway through; it's as if Nocenti didn't know the character of Doctor Phosphorus well enough to come up with a plot and just decided to throw whatever she felt like in there. It feels very out of place, and completely halts any momentum.

Admittedly, Nocenti's run on Catwoman has had a long history of being hit-or-miss. Some issues are great, some are completely nuts. Everything happened to be firing on all cylinders this issue, and it paid off in a big way.

Well-executed art and a commitment to crazy help give Catwoman #26 some strong points,but the entire thing falls apart during the climax in the third act. Now thatthe Underground story is over with, perhaps Nocenti will be able to deliver a solid, competent, exciting new Catwoman story. Fingers crossed.

Detective Comics: Futures End #1 isn't just a great issue of the Futures End event; it's a great issue of Detective Comics, period.

Though well-written, the book does occasionally fall flat in the execution of some of it's more anticipated moments. Still, it is worth a read if only for Nicola Scott's fantastic art and the organic nature of the storytelling.

Grayson #1 is not just a fantastic first issue, it's a fantastic issue in general. Seeley's script is tight, Janin and the rest of the art team are on fire, and reading the issue feels fresh and exciting. It would not be surprising if Grayson slowly makes it's way on to some top series lists in the future.

Grayson #2 is by no means a sophomore slump. Seeley, King, and Janin know exactly what type of story they want to tell and execute it brilliantly once again this month, helping solidify the title's position as one of the most entertaining and refreshing titles DC is publishing today.

In the end, Future's End: Grayson #1 is a terrible and disappointing entry into the series. Hopefully it is not collected in the trade, and hopefully things return to normal when Tim Seeley and Mikel Janin return next month.

With Justice League of America #12, Matt Kindt and Eddy Barrows have proven that the JLA are in good hands, and with this creative team behind them, they're going to keep winning for a long time.

Overall, Justice League of America #13 can be seen as a victim of the success of the previous issue. It's a true sophomore slump and writer Kindt tries his best with what he's been handed, but it's extremely hard to salvage any issue after a plot point that completely negates any emotion and momentum the arc has built up. Eddy Barrows' art is a major plus for this issue, however, and it helps take away a bit of the sting.

Justice League of America #14 feels like an underwhelming send-off for the team. However, when considering the box the title was placed in from the start, the final issue begins to feel more appropriate.

Another solid issue from Tynion that gives us the return of the Arsenal we remember and have wanted to see for quite some time. What's not to like?

This was another strong issue from Tynion, who once again proves that he's one of the most competent rookie writers we've seen in years. He's managing to keep Outlaws fun every single month, which I personally feel is an important element of the book. He also has a strong grip on the characters as well, which the title benefits from even more. Aside from the art woes, another strong read.

Though predictable and a bit disappointing as a result, Saga #22 allows Vaughan and Staples to continues to tell one of the most well-written, original tales in recent memory.

Saga #23 is a true return to form for the series. Though the idea that the series ever lost its stride at all is debatable, this issue certainly fits the bill as a "wham" issue that gets things back on track. The entire issue is a well- written, gorgeously-drawn payoff in return for all of the dark drama that has made up most of the recent arc.

Secret Origins #1 is by no means a perfect beginning to this new anthology of New 52 origin stories, but the series does show promise.

Starlin is clearly trying to get Stormwatch back to the cult status it had long ago, and judging from the direction he's taken after being put on the book it looks like it could definitely get that way. The book may need some polish, but this new run is a lot more interesting and readable than the debut issue was.

Though not a spectacular issue, this entry in Starlin's run is easy to read and does some wonderful things in telling the story of the Kollectives origins and methods. However, the book falls into some familiar traps set up by the framework of the title itself.

Stormwatch #27 is by no means a bad issue, but it does have its flaws. Starlin appears to have rethought his entire writing process for the series, and the switch in style is paying off. The book just has a few bad habits it needs to shake off, and if the writing and art continues to improve, this could be a title worth keeping around (a sentence no one ever thought of uttering before).

I've been following Superboy from issue one, and though I certainly did not think the previous issues were by any means terrible, they grew stale very quickly; for the most part, Superboy kind of wanders around the city until the Teen Titans or Superman come around, and we're off. Lather, rinse, repeat.New writer Justin Jordan has managed to breathe a little bit of fresh air into the book by separating Superboy from his usual companions and sending him off on his own adventures, and it looks like we're in for a fun ride.

Overall, this is an extremely fun issue to read and Jordan's writing on the title has been consistently superb. The book is brought down by some art issues, but it's still a great read.

Justin Jordan has had a fairly nice run on Superboy up until this issue, and it's because of its place as a crossover issue that Superboy #25 suffered. It feels almost unfair to punish the issue because it has the unlucky fate of being part of a crossover, but even crossover issues have been better executed. Once all this nonsense is over with, Jordan can get back to actually writing a book about Kon.

This issue could honestly be placed up on a pedestal as the prime example illustrating why constant crossovers and tie-in issues are not the way to handle a series. Wolfman does his best with what hes inherited, but it just isn't enough to make this issue bearable or sensible to read.

With Superboy #27, its clear that under the pen of Marv Wolfman, this series is becoming one to keep an eye on. Wolfman manages to successfully position a character with villainous intentions as a likable protagonist, a complete reversal in tone from previous issues in the series, and lets the title gain a whole new level of depth and intrigue going forward.