It's no secret that I've been enjoying this story immensely. WithAction Comics #51, Peter Tomasi and another skilled team of artists advance the plot as they have throughout: with outstanding characterization, distinct visuals, and an engaging premise. Three installments in, “Super League” is hands-down my most anticipated pull each week. I can't wait to see what's in store.

I'm not as in-love with “Final Days” as I was initially, but I don't dislike it, either. Tomasi's characterizations of the Clarks and Bruce are still excellent, even if I don't get as much of it all as I want. Eaton and Eaglesham may have some consistency issues, but there wasn't much time to dwell on that during my initial read, as their layouts and storytelling capabilities do a fine job of conveying the tension and action that Tomasi is aiming for. In the end, I suspect this arc will turn out to be a two-month springboard intoRebirth, but if so, it's been an enjoyable one. It may not be quite what was initially solicited, or even what it seemed to be in its early chapters, but this arc is a fun, exciting experience thus far, andAction Comics #52 is a capable installment.

An abrupt ending leaves a sour taste after an otherwise decent-enough issue. The artwork is great, but it's not enough to excuse the poor plotting. Here's hoping we see a quick rebound in three weeks.

Drowned Earth comes to conclusion with a smashing success. It works on multiple levels, offering excitement, humor, and a stirring emotional finale to this event. Manapul and Porter turn in outstanding work throughout, and Manapul, Hi-Fi and Napolitano ice the cake with outstanding colors and near-flawless lettering. This is everything a comic event should be.

A fun caper in Paris and nice artwork provide worthwhile entertainment at first; but rereading Batgirl and the Birds of Prey #18 exaggerates silly dialogue and sloppy details. If you know what you're getting into, and you've got the cash to spare, it may be worth picking up; otherwise, pass.

Batgirl and the Birds of Prey #19 establishes a lofty premise, but never leaves the ground in an attempt to reach it. Poor storytelling from writers and artist make it a slog to get through, and you would do well to move along and read something else.

Batgirl and the Birds of Prey #20 doesn't make me wish DC would rescind this series's cancellation, but it is a significant step up in quality from the previous issue. Huntress has a relatable story, and a good narrative voice; Antonio choreographs an excellent motorcycle fight sequence; and there's some subtle moral commentary that I really appreciate. Don't buy this if you aren't already invested in the series; but, if youare, you're in for one of the better issues thatBatgirl and the Birds of Prey has produced.

Batgirl and the Birds of Prey #21 does a bit better on story than much of the series, but sloppiness and melodrama weight it down. Still, it has some highlights with Dinah and Ollie in the middle, and the whole thing does march along fairly well, so it would not be a waste of time if you decide to check it out.

Batgirl and the Birds of Prey #22 is a fitting end to an underwhelming series. Unnatural dialogue, goofy posturing, and empty emotional conclusions fail to send this title out on a positive note, and some mediocre visual storytelling only further downgrades a slog of a read. If you liked this series, then you'll probably like its conclusion. If you didn't, move along"there's nothing to see here.

As a single issue, this one isn't awful. But it feels like an all-too-familiar start to an all-too-familiar disappointing ride. Ghost Maker is a less-compelling take on a concept we've seen handled better by more capable writers, and with the arc ahead devoted to his conflict with the Dark Knight, I'm not optimistic. Decent visual storytelling from Pagulayan, Anda, and crew help to soften the blow, but with little faith in the overall direction of the story, I find even that is bittersweet. Unless you're one of the Tynion faithful, I say pass.

Batman Annual #1 is on the high end of the spectrum as far as annuals go. Even though I prefer the first three stories' uplifting messages to the final two, the entire issue is an enjoyable read multiple times through. A talented group of creators live up to their reputations, and even when I don't love what someone is doing, I can still find something to appreciate. Don't fear the higher cover price"this one is a lot of bang for the buck.

Batman/Superman #29 is good fun with superb characterizationby Tom Taylor. Subtle comic relief breaks up the detective work at just the right moments, and without undermining the gravity of the situation or Batman's professionalism in handling it. An improved showing by Rocha and companyelevates this issue above the last one, giving Taylor's near-flawless script the near-flawless art that it deserves. Secrets are revealed, but there are enough questions left on the table to draw me into next month's issue#30. If you gave up on this title during Pak's run, or if you've otherwise left it alone, you owe it to yourself to grab this issue and the last: this truly is the Universe's Finest.

While I would have loved to see this arc get a few more issues to stretch its legs, I don't really have all that much to complain about in the final product. Sure, some threads were wrapped up a bit hastily and there's still a little mud on the window, but Taylor'scharacters are written so well, and drawn so well by Rocha, that I can only smile each time I look at this book and its two predecessors. Here's hoping DC does right by Tom Taylor (and us fans!) and puts him on a major book whenRebirth kicks in.

It's not as strong as last week'sSuperman #51, butBatman/Superman #31 is a good read and and a very good second installment in Tomasi's two-month event. Another strong showing from Superman, excellent work by Mahnke and Quintana, and enough mystery and foreboding to propel us into the next chapter make this one a must-read. If you haven't already, pick it up and check it out.

I still like this arc, and I'm still very interested to see what's going to happen next. I would have liked a stronger tether to Clark's health problems, and a better reason for the Great Ten to be included than “we're in China”, but in spite of my complaints, this was still an entertaining read. Too many inkers drag Mahnke down on occasion, and Tomasi's lost (some of) the heart that made the first three installments so strong, but here's hoping he finishes well after the recent lull–I'm certainly rooting for him.

Don't go into this expecting too much. It's a free digital comic that you get for buying a bottle of soda. Enjoy the soda. And when you're done, give the comic a read. It hasn't got the substance I expect in aquality comic book, but it's enough like the real deal that you can tell the resemblance. This is pretty muchthe Diet Dr. Pepper of comic books. And some people like Diet Dr. Pepper, right?

Even having missed out on the previous five issues, I enjoyed this. It shows no signs of the zaniness hinted at in Jay's previous few reviews, instead getting"and staying"serious throughout. It is by no means a masterpiece, but strong characterization from Tomasi and capable visual storytelling by Soy and McCaig make for a satisfying read, well worth the $2.99 paid.

A study in grief and justice, Batman: Creature of the Night #1 succeeds both as a stand-alone exploration of a lost boy finding his way and as a potent seed for future installments. Busiek expertly writes his two leads, and his observations"and illustrations"of a life made shipwreck by tragedy are authentic and moving. Leon's minimalist figures ooze character and emotion, and combined with his bleak color palette, they are Busiek's stirring words made flesh. If you haven't already, go buy this now"you won't be sorry that you did.

As with its predecessor, Creature of the Night #2is a book so skillfully wrought as to live above most technical criticism. Busiek, Leon, and Klein instead invite us to consider the themes woven throughout their tale, and in so doing manage to produce a story that feels truer to Batman's mythos than many of the books now bearing his name.

Creature of the Night has lots some of its punch with the third chapter. A long delay and unnecessary complexity have somewhat detached the story from what made it compelling in the first place. Still, it reads and looks as good as anything else on the stands, and if you've enjoyed the series so far and want to see it through to the end, you should absolutely buy this book.

Batman: Creature of the Night #4 is a long time coming, but it is worth the wait. Bruce Wainright's tale comes to an emotionally-resonant, satisfying end, courtesy of master-class storytelling from three of the greatest comic book creators who have ever lived.

Though a less bombastic premier than that of its predecessor,Batman: Curse of the White Knight #1 is nevertheless a fine debut for Sean Murphy's latest Batman. There's enough mystery, family drama, and visual artistry to hook most any fan of the Bat, and it is well worth your money and time. What more can you ask for?

There are moments that give me pause, both narratively and visually, butBatman: Curse of the White Knight #2 is a compelling, beautifully-illustrated book full of thrills and intrigue. Sean Murphy continues to offer rich reimaginings of Batman and his supporting cast, and I'm delighted to be along for the ride.

DISCLAIMER:Batman News received an advance review copy of this book from DC.

Batman: Curse of the White Knight #4 is without a doubt the most emotional installment in Sean Murphy's Batman tale to date. It also happens to feature strong dialogue, a solid plot, delectable artwork, and excellent lettering. If you haven't been keeping up, see if you can track down the first three, then read this one"it's worth it.

Curse of the White Knight #5 finally lets the closing page of#3 sink in, and things in Gotham look bleak. Murphy and company drop quite a few shocks along the way, delivered"as always"with believable dialogue, and gorgeous ink, color, and letters.

Batman: Curse of the White Knight #6 reveals that thing Jack told Harley to keep from Bruce, and boy is it a doozy. It's the sort of thing you couldn't get away with in-continuity, but that makes for an effective shock here. The action is intense, the emotions strong and believable, and the visual storytelling is on-point. If you decided to pass on this series, you're missing what will hopefully be a much stronger finish than what we saw in the first White Knight. Right that wrong, catch up, and join us as we race to the conclusion over these next two months.

Batman: Curse of the White Knight is one step away from its last, and boy, does Murphy sure set us up for a thriller. This issue may be light on chronological progress, but it primes the emotions and the excitement perfectly as we await the final chapter. Desperate things have been done, but the most desperate may be yet to come, and I can hardly stand the wait until#8 drops next month.

Batman: Curse of the White Knight concludes by taking Batman places I would rather he not go; however, I can't help but be impressed by the strength of narrative and sustained visual storytelling that Murphy brought to this book. I will be buying the next series whenever it, Lord-willing, comes out, and that tells me all I need to know.

Batman: Kings of Fear closes with a poignant rebuttal of the Scarecrow's anti-Bat thesis. There are a few inconsistencies in Kelley Jones's artwork this time around, but the team nevertheless manages to deliver what is an incredibly satisfying conclusion to what has been an enjoyable Batman tale.

Red Hood vs. Anarkyis hardly essential reading, but that doesn't mean it isn't worth your time. Nobody will be talking about its significance in continuity in five weeks, much less five years, but it is nevertheless a very well-put-together book that more than earns its price tag. If you've got a few bucks to spare this week, you could do a lot worse.

Batman: Reptilian #2 is at its worst moments a frustratingly confusing visual story. But on its finer beats, it is a spooky, atmospheric detective story with new dread around every page turn. I want more clarity from Sharp at times, but I wouldn't trade him for another artist, because when he and Ennis are clicking, this story is one of the most engaging Batman tales I've read in a long time.

I feel like Batman: Reptilian #3 crosses a line with some of its dialogue that makes its other flaws a bit more stark. It's still a good mystery, and I still want to see where it goes, but I'm more and more of the opinion that I won't be revisiting it ever again once I'm done.

Batman: Reptilian #4 moves the story to a place I've been wanting it to go. I'm grateful for that, and want to see what comes next. But I'm still not happy with Ennis's Batman, and Sharp's painted work is hit or miss. Here's hoping the mystery will be worth the investment, or I may find myself regretting picking it up in the first place.

This is issue #5 of a 6-issue series. If you've enjoyed Reptilian so far, then I'm sure you'll enjoy this. If you haven't, you won't. It's really that simple.

What an utter disappointment.Batman: Reptilian promised a legendary creator putting his spin on Batman, but what we got instead was what we've gotten far too often lately: a cowl inhabited by the inflated ego of a creator who thinks he's bigger than the characters that have built the industry in which he labors.

It reads better the second time, but Batman: The Dawnbreaker still suffers from an unrecognizable hero and one-too-many ring-related contrivances. It's a shame, because it's a great-looking book that deserves a better implementation of the good idea at the root of it all.

If you're looking for the Tom Taylor on Batman that we've been waiting for, then you're in for a surprise"but not a disappointment. Batman: The Detective takes the Bat out of Gotham, and it leaves the rogues behind, yet this clean slate is the perfect stage for Taylor and Kubert to bring the Dark Knight back to his essence. Here's hoping for much, much more of this in the years to come.

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Batman: The Detective #3 appears to halt its narrative progress in favor of a series of flashbacks, but I suspect there's more at work here. And thanks to some snappy writing, and the usual storytelling prowess of Kubert, it's not too hard waiting til next month to move things forward again.

Batman: The Detective had a strong start. It wasn't the detective story many wanted, but I saw a tale in which we, the readers, were the detective. But Taylor"and his boy Henri Ducard"have been withholding information, and that doesn't feel fair when the audience is trying to take part in the case. And as if that's not enough, one big delay has taken the steam out of the Bat-truck, and we're looking at one more big delay before the finale drops in the second week of November. I hope this book feels worth it by the time it's all wrapped up, but I'm not optimistic.

Batman: The Detective #6 is a fitting end to a series that never quite lived up to its potential. There's much to like, but it suffers from shallow thinking, poor planning, and a self-sabotaged climax. If you've been trade-waiting this book, I suggest you find it at your local library before investing the money.

While it benefits from a tighter origin story than some of its counterparts, The Merciless still feels like a book unworthy of its creators. Neither Tomasi nor Manapul seem on their game, and solid lettering from Napolitano doesn't make the glut of text more palatable. If you've got the extra scratch and want to make a set, pick it up. But you won't miss any vital Metal components by skipping, so there's very little incentive to do otherwise.

Taken as your standard Batman fare,Batman: Unseen is a decent detective story made ridiculous by overcooked dialogue and bizarre visuals. But taken less seriously, the book manages to feel entertaining–fun, even. Moench's detective story is actually pretty good, as is Jones' Gotham and Black Mask, and the poetry and silly poses add a humorous self-awareness that made this stodgy Bat-fan smile.

A familiar story told with sophistication and subtlety, Batman: White Knight #1sets a high bar for creator-driven visions of Gotham's avenger. Layers of verbal and visual artistry further bloom with subsequent reading, and their effects are not diminished by one's awareness of them. Through it all, Murphy provides a frank commentary on the state of truth in the modern world, avoiding the pitfalls of reductionism and one-sided finger-pointing. This is what art speaking into culture can be. This is what it should be.

While it lacks the narrative clarity of the first installment, Batman: White Knight #2 still explores relevant, weighty themes through remarkably effective storytelling. Other than a few bits, Murphy's words are as impressive as his lines and ink, and Klein and Hollingsworth expertly apply their respective finishing touches to the issue. If there's a better book on the stands right now, I haven't read it.

Batman: White Knight #3 adds more players to the mix, but manages to retain its focus on the few main threads that Murphy gave us back in the debut. It's funny, heartbreaking, and absolutely beautiful"and I wouldn't have it any other way.

Another outstanding combination of smart dialogue and gorgeous artwork,Batman: White Knight #4 brings more intrigue and heartbreak for the Dark Knight. It has tremendous relevance for our time, but avoids the Twitterpated reductionism of your average pundit. It's a smart book that doesn't look down on its readers, and that's a rare thing"something we should celebrate.

Featuring some of this series's strongest character work,White Knight #5 nevertheless suffers from some lopsided scripting. Murphy's best work comes early, and while the latter portions are still good, they feel like a letdown after such a satisfying appetizer. That said, it's never bad, and the artwork is never less than stellar, so even as a low(er) point,Batman: White Knight #5 is still worth every penny.

White Knight #6 is the first issue of the series that leaves me cold. It has a few strong beats, and it's never awful, but I miss what this book was. The artwork is excellent, as usual, but overall, I'm disappointed.

It's not a return to form, because the series is now something different, butBatman: White Knight #7 is largely a return to the level of quality that we've come to expect from Sean Murphy's provocative take on the Dark Knight. The artwork shows a few cracks, but is still top-shelf, and the story offers some long-desired resolution. If you've been aboard from the start, this is a must-read; and if you haven't, you've got another solid installment to look forward to when you get your trade in September.

Like so many stories before it, Batman: White Knight in the end shows that it was far better at asking questions than answering them. This final installment has plenty of tasty artwork, fan service, and character resolution; but the deeper issues surfaced in the debut receive only predictable, unsatisfying comment. It was a thrilling ride along the way, but Batman: White Knight fails to deliver on its more compelling premises, and, in consequence, fails as a whole.

I make no attempt at hiding my biases, and I'd be lying if I said I had high hopes for this book before reading it. Even so, I genuinely gave this my best shot. While I can appreciate some of Jarrell's work, and Loughridge's colors are quite good throughout, Fletcher's script gets so bogged down by expository dialogue and puffed-chest posturing that the art is asked to carry a weight that it cannot bear. Weak villains and wasted opportunities for character development overshadow the few bright spots in the script, makingBlack Canary #7 a difficult book to recommend.

My jokes at the top of this review aside, I am serious about not being unkind toward the folks who make these books. If I crack a joke about the content, my goal is to make it easier to cope with having to read it, and to create some enjoyment out of a void of enjoyment. And if I am unabashedly negative, it's because I want folks to understand what they're getting into if they hand overtheir hard-earned money. In the case ofBlack Canary #9, I can only recommend that you hold onto that money. Even if you're a fan of the series, this installment adds nothing to it.

I might have given this issue as high as a 5 based on the absence of the band and the effectiveness of the Babs and Dinah detective work. But unforgivable oversights in the artwork and Fletcher's usual exposition-heavy dialogue hold this one way back. Stay away. Even if you've been reading the series, consider this as good a point as any to drop it.

I liked it! I genuinely detested what came before, but I'm thrilled that it seems like we might end things on a high note. Fletcher stops pelting his reader with accounts of what happened elsewhere and elsewhen, and instead hones in on a captivating conflict and some genuine shockers at the end. I'm actually excited about the next one. Well done,TeamBlack Canary.

This final issue gets a 6, but it is in part paying for the sins of its fathers. In reality, I enjoyed Fletcher's end to this series quite a bit, and I wish he could have found this late-coming quality sooner. If I'm being honest, I won't likely read this run ever again; but I can just as truthfully say that I had a good time with it here at the end.

Truly one of the most unique, entertaining, funny, and moving books that I've read in any category, Paul Dini's Dark Nightis a sometimes-heavy"but never harrowing"testament to the power of story to lift us from despair and push us into restoration. With the help of a cast of familiar, perfectly-characterized Gothamites, Dini shows us once again that he understands both the whatand the whyof Batman as well as anyone else; and in so doing, shows us how that understanding helped him emerge from his trial with more than the muggers took away. If that isn't a True Batman Story, I don't know what is.

Detective Comics once again serves up an action and character-packed adventure. The stakes are higher than they've been, and my investment in thecast continues to deepen as the characters are developed. James Tynion has said that he would love to take this book to #1000; after such a hot start, I'd be happy to follow him all the way there.

We here at Batman News have loved James Tynion's run on Detective Comics because it's just been so darn good. Building on the success of its predecessors, this arc's final installment manages to stand high above what came before. If you've enjoyed "Rise of the Batmen" so far, this issue will blow you away. And if you haven't, it just may change your mind.

A pivotal chapter in “The Victim Syndicate,”Detective Comics #946 contains strong character beats for several members of the team. While Barrows' pencils exhibit the usual quirks in close-up, his layouts are, for the most part, rich storytelling. If you've been waiting for a deeper connection with this arc, this issue may be just what you need, and it sets up what looks to be an emotional thriller of a finale in two weeks.

A predictable, uninspiring stepping stone of an issue,Detective Comics #953 is written well enough and drawn competently enough to merit a read or two; but little actually happens, and generic plot points cannot sustain interest in the absence of more philosophical confrontations. If you've liked "League of Shadows", pick it up. But if you've been thinking about dropping, this one could be the last straw.

Detective #957 fails to add anything substantial to the Spoiler saga that has been brewing since Tim Drake's departure. Steph remains more annoying than sympathetic, and neither the reemergence of Wrath nor a surprise guest add much value to what is largely a boring-but-readable issue. Carnero, Mena, and some additional inkers are the real heroes this week, employing simple-but-effective layouts and a relatively flat color finish that perfectly fits Carnero's style. You could do worse than picking this one up, but be prepared to lean heavily on the art for your enjoyment.

Future installments may elevate this arc-starter, but Detective Comics #958 isn't compelling enough"or tight enough"to get me too excited just yet. It looks great, thanks to Martinez, Fernandez, and Anderson, and it has some bright character moments, but if you've dropped the title, you may want to wait for a stronger incentive for jumping back on. If, however, money is no object, it's worth picking up for a decent read and a delicious Gotham.

Elseworld's Finest has its problems, but honestly, they aren't bigenough to drag downits merits. It's not my favorite genre, so there's only so high it can rise in my estimation, but that's okay. For what it is, it's awfully close to best-of-breed, with a fast-paced script, excellent art, and a creative repurposing of well-known characters. If you can find it for the right price (I got both installments for a few bucks a piece at my local 2nd & Charles), this is definitely worth scooping up and enjoying.

Event Leviathan #1 is a huge disappointment. It looks nice in static, but its oft-abysmal dialogue can't sustain the conversation-centric plot, and the Leviathan sizzle at the end isn't worth the pages that precede it.

Event Leviathan #2 is a massive improvement over the first installment. Bendis has a much better handle on the dialogue this time around, and there's a stronger bond between the script and the artwork. There are some welcome moments of levity cutting through the tension, but the verbal and visual game-play between Batman and his former partner is some of the most impressive comic-booking I've seen lately. My faith is restored!

DISCLAIMER: Batman Newsreceived anadvance review copy of this book from DC Comics.

DISCLAIMER:Batman Newsreceived an advance copy of this comic for review.

Event Leviathan #5 brings us closer to solving the mystery, and the centrality of that mystery is the book's strongest point. Much of the dialogue still feels dull or off, but the overall effect is nevertheless a positive one. At the very least, I'm not dreading the final issue.

Event Leviathan #6 is the perfect conclusion to this book, because it has all of the same problems that have plagued it from the beginning. Poor dialogue, bland visuals, and a mystery nobody cares about add up to one of the most forgettable minis to come out of DC in recent memory.

The lack of clarity in the artwork is a real disappointment here, because the rest of the work is much better than I was expecting. Phillips' Harley is the wisegal I know and love, without the Judd Apatow-esque crudity that seemed to show up in every odd issue of her title I've read in the past five years. I think that's a win, and while Future State is, unfortunately, marred by visual confusion, I'm excited to see what Phillips will bring in the coming months"especially with Rossmo onboard.

I feel like I didn't have much good to say above, and I think that's fair, but I didn't hate reading this. I wanted it to be better, but I still think Phillips has shown a lot of promise overall, and I'm anxious to see what she and Rossmo do once they're outside of this Future State box.

The perfect snack before both Batman and Green Lanterns get heavy, Green Lanterns #16 provides plenty of laughs as it plays Baz off of some familiar Gotham faces. There aren't many surprises here, and the artwork is pretty average, but the character dynamics are as excellent as we've come to expect from Humphries, and that turns out to be all we need.

Without much advancement for the greater Metalstory, Hal Jordan and the Green Lantern Corps #32narrows its focus on a classic battle of will versus fear, light versus darkness. Unnecessary bookends rob the story of some much-needed story time, so what could have and should have been great seems to end rather abruptly. The artwork is still as fabulous as you would expect from names like Ethan Van Sciver, Jason Wright, and Liam Sharp, and the portions of the showdown that we do get to see are legitimately inspiring; so even if it isn't a slam dunk, it's a book worth checking out.

Harley Quinn #1 is a solid"dare I say strong?"relaunch to a title that needed it. Some fans may have a problem with the clear shift in allegiance, but if you keep an open mind, you might be surprised. And with plenty of fun and frenetic visual hijinks, there's a lot to entice you to take that chance.

Harley Quinn #2 properly introduces us to the series' first villain, while taking us a little deeper with Harley's struggle to go legit. With a strong supporting character in Kevin, plenty of fun dialogue (and narration), and Rossmo's playfully creepy aesthetic, this book is a winner, and I'm looking forward to the next one.

Harley Quinn #3 isn't the strongest issue in this series yet, but it's still a solid entry. Rossmo's artwork continues to knock it out of the park, and if Phillips can rein in the inner Snyder and let the narrative breathe, this series could have staying power. DC needs more innocence in its line, and Harley Quinn is a good step in that direction.

Five issues in, and I'm still here. My fear, however, is that DC doesn't understand the potential audience for this book, and that it will ultimately be one more comic cruising for a short run and a reboot. I guess I'll keep enjoying it while it lasts.

A short-but-essential digression fromMetal's main goings-on,Hawkman: Found stands quite well on its own. With a moving story, refined visuals, and beginner-friendly accessibility, this may well be my favorite book to come from this entire event. Whether you're intoMetal or not, you should giveHawkman: Found a chance.

The two stories in Injustice 2 #16read fairly well on their own, but they aren't really all that special. The artwork on "Step Forward" is the better half here, but that's not saying much. It all moves pretty fluidly on the first trip through, but there is little of note to encourage a second pass. If you're part of the Injusticefaithful, pick it up"otherwise, there isn't anything that demands your attention.

I expected this to be my book of the month, and I confess to being a bit disappointed with it now that it's here. It is by no means a bad issue, but it is also not the sort of quality that I've come to expect from Bryan Hitch. It's still worth reading, and it's not even at the bottom of the heap of very strong Rebirthbooks published lately. The team of artists"all of them, down to the letterers"shines brightest this week, covering over some of Hitch's flaws with bright, beautiful pages and an attractive presentation. Hopefully the entire team of creators can succeed together in two weeks. There's a lot of potential here, and I would love to see it realized.

Justice League #2 is not a bad book, but it isn't living up to the potential of its characters or its writer. Hitch proved withJLA that he can write this team well, but there's something missing here. I'm still willing to give him time to get things right, both because I think he can do it and because I really want to be there when he does. I think you should read this, but more for what I hope it will become than for what it is now.

I'm still disappointed. There are definitely some marginal improvements in the script, but Hitch's delivery remains very clunky. The story beneath the storytelling intrigues me, but I still largely dislike the way it's conveyed. Daniel's subtle layout improvements help, even as his detail work continues to suffer (presumably) from tight deadlines; but the whole enterprise appears to be held back by Hitch's inability to trust his artists"even artists as capable as these. If you're going to buyJustice Leagueanyway, hang in there"I still think we'll see things turn around. But if you're on a tight budget, there are a number of other Rebirthtitles that will leave you much more satisfied, and you're better off catching up on this one later.

Justice League #4 advances the plot, but most everything else about this book remains right where we left it last time. Hitch continues to favor expository dialogue and narration over meaningful character interaction, and the chasm between he and his team of artists remains ever-wide. If you're following the story, you'll probably still want to pick this up, but I just can't recommend this book anymore.

At the risk of sounding overly-negative, the only lasting satisfaction I found inJustice League #5 was in knowing that “The Extinction Machines” is over. I like Hitch's big ideas well enough, and wouldn't mind seeing some of them resurface in future stories, but this arc was a slog, and I suspect this book will be better off with its maiden voyage in the past. While it's nice to have Daniel back, his own flaws and inconsistencies make him inadequate consolation for the serious trouble in the script. Amidst a remarkable slate ofRebirth titles,Justice League has been my greatest disappointment, and I'll be glad to put Hitch's first try behind me.

In the wake of a disappointing first arc, I was hoping for better from Justice League #6. Hitch continues to depend on verbal revelation where visual revelation would be more natural, and there remains a disconnect between writer and artist that I've perceived since #1. This issue is the first of a short, two-part story, so if you're looking to save six bucks, skip October and give Justice League another shot next month.

Justice League #7 offers an unsatisfactory conclusion to a mercifully-short arc. There's far too much text, and much of it consists in unbearable whingeing. Substandard artwork doesn't ruin what is already a storytelling failure, but neither does it help. If you're on the fence and reading this review hoping to be swayed one way or the other, let me save you the time and the three bucks by telling you to steer clear of this one.

A better issue than its immediate predecessor, Justice League #8 is nevertheless riddled with the same holes as the larger series. Uncharacteriscally boneheaded choices by Batman and an inhuman Cyborg are particularly troublesome elements, and the decision to go with another mysterious, anonymous foe feels tiresome after the first two arcs leaned partially or entirely on the same device. Edwards produces some decent panels and layouts at times, but he too often misses his mark and generates more distraction than momentum. While not the absolute mess that we saw two weeks ago, Justice League #8 offers no hope or optimism about whatever is coming next. My advice is to leave it on the rack.

What can I say that I haven't said before?Justice League'slatest arc remains a disappointing mashup of mediocre artwork and annoying storytelling. Excessive, poorly-crafted tech-talk and a ridiculous new “feature” of the Green Lantern ring manage to sink this one completely, and the continuing lack of effective character development makes reading a chore. If you haven't already bought this one, don't.

A slow start is quickly forgotten as Justice League suddenly gets fun. Whether or not you consider this an improvement will depend a lot on your particular sensibilities, and what you expect from this title; but for my money, a reclamation of this sort of crazy comics goofiness is exactly what Hitch needed to wash the stink off of DC's flagship. We'll know soon enough if this newfound hope is a lasting one, but for the moment, enjoy one of, if not the single best issue of Justice League since it launched in July. I know that isn't saying much, but I'll take what we can get and hope for more.

Despite signs of potential improvement at the end of last issue, Justice League #11 is a hasty nosedive back into the mess that this series has been for most of its run. If Yanick Paquette's variant for this one was as imaginative as his last, then you might have a reason to shell out a few bucks for this, but it's not (which is not to say it's a bad cover). Read something else this week.

There's not a lot of meat inJustice League #12. A few flashbacks and some fun in the present with Waller round out Max Lord a bit, but there's no strong narrative to hook you in, and the character work establishes Lord as a fairly simplistic, power-mad villain. Still, the book looks good, and the quality of the writing and artwork outshines this week's installment ofJustice League vs. Suicide Squad, as well as any issue ofJustice League in the past two months. Pick it up with reasonable expectations, and you'll get some enjoyment out of it.

I may not love what's happening, but I love the way Seeley and Eaton present it. Great writing and solid visuals raise the stakes for this event by making it a lot more personal, elevating JLVSS even as the event issues themselves have been a mixed bag. I think his one's worth picking up, even if you aren't reading the event.

A bright spot in a disappointing series,Justice League #14 once again shows us what a capable writer Bryan Hitch can be. While short of perfect, his characters and their interactions with one another feel far more natural and readable than they have in a long time. The cynic in me expects him to fall down again in two weeks, but I'm still holding out hope that this marks a genuine turnaround for the book. I want to loveJustice League, andit's in Hitch's hands.

Justice League #15 attempts some new things, but it all backfires in this first installment of “Timeless”. A confusing plot, terrible visual storytelling, and an over-reliance on obscure characters sink this ship with the dock still in view. If you're going to buy this regardless, I can't stop you. But if you haven't yet made up your mind, heed my warning:sometimes, youcan judge a book by its cover"leave this one on the rack.

Just as I had given up hope forJustice League, Bryan Hitch showed that his writing can impress independently from his artwork. He still has much to do if he would rescuehis beleaguered run, butJustice League #16 is by far the most convincing argument that he has the skill and the willingness to do so. An improved showing from Pasarin is icing on the cake. Let's all hope this is the beginning of a change for the better.

Justice League #17 would be forgivably average in another context, but in a series where average is the high bar, it's tough to celebrate rising from “terrible” to “I don't hate it.” Hitch's dialogue-driven approach makes reading this less of a chore, but not much happens, and the characters still don't read like themselves. Pasarin has some nice wide shots, but his humanoid figures still look distractingly strange more often than not, and I found it very hard to immerse myself in his side of the story. I'm happy this wasn't terrible, but I'm not terribly happy"we need better forJustice League than “just okay”.

Readable, yet mediocre, Justice League #18moves the “Timeless” plot forward by inches. Sloppy dialogue and characterization become more evident on subsequent readings, and the two primary points of plot tension have either resolved elsewhere or end up feeling unearned. Read something else.

Justice League continues to be a wreck. Something desperately needs to change. Continue saving your money for less regrettable entertainments.

Better than the last arc, but not very interesting, Justice League #20 won't be worth the money or the time for most of you. Hitch fans may want another book filled with his pages"and they'll get quite a few nice city shots rendered in that trademark style. But as a book about the Justice League, Justice League #20 is still disappointingly average.

Too obsessed with its own short history,Justice League slumps through another issue with lackluster artwork and poor dialogue. Instead of substantial improvements in execution, we get more heavy-handed references to earlier events, and a two-part story with a promising concept falls flat, leaving me with the same bad impressions of this title that I've had since the first arc. Continue to pass on this one.

An excellent break from the norm, Justice League #22 provided plenty of fun and action, with lots of nice character moments gluing it all together. Fontana makes a good case for her new assignment on Wonder Woman, and Briones and Eltaeb are elevated by the context. Show the team some love and go buy this book.

I'm not sure I'll ever read this again, but as short-term entertainment, I enjoyed it. The political overtones are about as subtle as Nightwing's disco duds, but the almost abstract contrast between good and bad here makes it easy to follow and digest. Great artwork fits the story perfectly, and almost makes me wish for the dramatic anatomy and poses of yesteryear. Almost…

Another odd-numbered week, another throwaway issue of Justice League. This one at least has the benefit of tying into an excellent, recently-begun arc in Aquaman; but on the flip side, it has the benefit neither of Stjepan Sejic's artwork nor the sort of storytelling space afforded to Abnett in his main book. There are things to enjoy here, but they come in small doses, and there aren't enough of them to make this particularly memorable. If you've got money and time to spare, check it out. Otherwise, you aren't missing much if you pass.

If you've been reading Justice League for a while, this issue is worth buying for the first half. The rest of the book is quite a bit less satisfying, and the artwork suffers from too much talentin the inkwell, but if you've got the spare cash, I say pick it up.

A brand new pack of flat characters can't rescue Justice League's latest trek through time. It has a few interesting elements poorly realized, and the artwork is a mixed bag, soI can't say I'm looking forward to the next one. I recommend you pass on this issue"and this arc"and wait for November.

November is coming, butJustice League #27 makes it seem awfully far away. A pile of questionable plot points and a bevy of bizarre character faces makes it impossible to enjoy this one. Give your wallet"and your brain"a break for another few months, and then hop back on when this arc is over.

A little better than last time, Justice League #28 is still a mediocre entry in a poorly executed arc and series. If you've enjoyed the run so far, you'll probably still enjoy it now, but for me, November can't get here fast enough.

A modest improvement over earlier installments, Justice League #29 nevertheless suffers from being part of an inferior whole. The tension of battle makes it more readable, but the overarching tensions feels uninflated and, consequently, flat. Pick this up if you're among the faithful; otherwise, you're better off waiting for the changing of the guard.

If you've been on board for Hitch's run up to this point, I suspect you'll be just fine with Justice League #30. But if, like me, you've struggled through inconsistencies, plot contrivances and artwork that falls short of this brand, then you should happily continue avoiding this book until after the next issue. The reveals here are unsatisfying, the artwork is near the bottom of what we've seen thus far, and there's nothing that will sway readers who haven't been convinced yet.

A busy, sentimental finish to a run that hasn't earned our sentiment, Justice League #31 feels like one last twist of the knife. I'm relieved that it's over, but even after a year of suffering, I'm still more disappointed than anything else. I loved Hitch's first crack at JLA, and I wanted desperately for him to succeed. I find no joy in reporting his failure.

As much as I appreciate the respect shown to Victor Stone, and as much as I love seeing Liam Sharp draw a majority of the Justice League,Justice League #32 is just okay. Venditti's central metaphor doesn't quite work for me, and it often feels forced. Unfortunately, this makes Victor come across as someone who thinks he knows more than he actually does, which is an inversion of his character. Still, this is a major bump up from recent adventures inJustice League, so I'll gladly take “just okay” for now.

Its ties toMetalcut it down a bit in my estimation, but Justice League #33's elevation of Cyborg may well be worth the price of admission. The shared artwork is logically divided, and both teams do an excellent job"though the final battle does leave a bit to be desired. This is a decent full-length comic book that happens to hide an excellent “mini” inside the largerMetal madness. If you've grown weary ofMetal's enormous and convoluted scope, this issue is a refreshing reminder that there are compelling characters in the midst of it all.

An excellent kickoff to a new run, Justice League #34delivers the goods with an exciting caper, great dialogue, and plenty of big, bold superheroes courtesy of Pete Woods. We've waited a long time for this, but it seems like Justice Leaguemight at last be in good hands.

Shaky premise aside, Justice League #35 succeeds by combining rock-solid character writing with bombastic, fantastical cartooning. After a long season of darkness, Justice League is back on track. Go pick up your copy and tell DC "good job."

The weakest issue of this arc so far, Justice League #36 suffers from several mischaracterizations. It's still a decent read, and with Woods's excellent artwork and Schu's solid letters, you may find the problems don't bother you quite as much.

Another downgrade from the preceding issue, Justice League #37is still entertaining. An interesting villain overcomes his inconsistent voice, and the stand-in team of Briones and Eltaeb do a respectable job while Woods is out. I wish it was better, but it's a decent book, and worth a few reads.

As if to make it that much harder to wait for Scott Snyder's run, Priest turns in his first true stinker on Justice League. Batman's characterization has been poor all along, but it gets more room to breathe this time, and the ship goes down with its captain. Inconsistent artwork and several pages full of ugly Flash captions make it as hard to look at as it is to read. Even if you're on-board with Priest's story, I would still suggest skipping this chapter.

Priest's run on Justice League will perhaps most be remembered for its tendency to remake established characters into the archetypes it needs them to be. That may not be your cup of tea, but Justice League #39 is at least worth a few reads for its well-written dialogue and outstanding artwork.

I love hearing from readers. Leave a comment below or drop me a line at mrwarshawreadsthecomics@gmail.com. You can read more of my writing at comics-now.com and hear me talk comics on the Comics Now Podcast.

Justice League #41 attempts to tackle a topic worth apprehending, but I contend that it misses. Gross mischaracterization of established characters, clunky “localized” dialogue, and missing context make for a difficult read, and the capable artwork can only carry my experience so far. If you've enjoyed this story, by all means, continue. But if you're on the outside wondering what you've been missing, move along. There's nothing for you here.

Justice League #42 is much more readable than the past few issues of the series, and it has some high-quality moments sprinkled throughout. The conclusion feels cheap, calling to question the need for the rest of this arc, but the return of Woods and a pivot away from wishy-woshy heroism makes for a favorable experience overall.

Christopher Priest manages to stick the philosophical landing with a little help from Deathstroke, but the conclusion of his run is still fairly unsatisfying. It was a messy path to get to this point, and neither Slade's verbal savagery nor Cyborg's eloquent speech can make up for a disappointing run and a muddy final ten pages. Buy this if you're completing the set; otherwise, don't.

Justice League #1 is the triumphant return of what DC once hailed as its flagship title. It is intimate and enormous, inspiring, entertaining, and terrifying. This is how it's done.

It's not quite as impressive as the first issue, but Justice League #2doesn't have to be, either. Strong writing and expert visual storytelling make for a compelling read, and the focus on Lex Luthor continues to pay dividends. His charismatic arrogance is fun to read and to see. If heroes are only as good as their villains, then the Justice League might just be the best around.

Justice League #3 has some moments of visual malaise, but largely succeeds on all fronts. Snyder creates some short-but-impactful moments for Cyborg and Sinestro, Jimenez and Sanchez craft artwork that is both highly-functional and beautiful, and Napolitano subtly uses the placement of the narration boxes to help guide and emphasize. The overall story remains compelling enough, and with high-quality installments like this one, Justice League is a no-brainer for your pull list.

This run on Justice Leaguehas hit us with the sort of big, almost-impenetrable concepts that such books often do; but writer and artists have grounded the whole affair in concepts and characters with strong resonance. Justice League #4moves the proceedings closer to the endgame, and while the universe-threatening forces set against our heroes from inside and out are still quite mysterious, the compelling, unashamed villains and tremendous visual storytelling make those intimidating mysteries worth the extra time needed to grasp them.

This isn't great, but it's definitely not bad, either. Tynion floats some good ideas out there, and even though he fumbles the ball a few times, it's still a pretty readable book throughout. And with Mahnke, Mendoza, Quintana, and Napolitano all at the top of their respective games, you may not pay much mind to the slouched writing anyhow.Justice League #5 is still worth your time.

Justice League #6 is a welcome return of the series' regular creative team. The narration is once again delightful, the conflict"and our heroes' response"is interesting and suspenseful, and I defy you to show me a book that looks better. If you're not reading this series, you should.

Scott Snyder's assumption of theJustice League writer's chair came with much pomp"pomp which has since proven entirely warranted. He and his team of artists have taken DC's flagship title and woken it from a nearly two-year slumber. In this, the final installment of his first arc, Snyder gives us a satisfying conclusion to a complex tale, while Cheung, Mark Morales, Walden Wong, and Morey dole out the superhero bombast as good as anyone in the business. Cap it off with Tom Napolitano's impeccable lettering, and you can't go wrong. DC finally has a worthy successor to the Geoff Johns run on its hands, and I couldn't be happier.

Justice League #8 isn't quite what I wanted at the moment, but it's still quite good"much better, in fact, than Tynion's last issue on the title. The writing is tighter, the artwork from Jann and Cox is attractive and functional, and Napolitano's letters are readable and logically-placed. You could do much worse than this, and if you're followingJustice League, you should pick this one up.

Justice League #9 is a fantastic pause before the train begins rolling again in the next issue. The big story will chug on, but for now, it's a pleasure seeing our heroes"all beautifully rendered"enjoying lower stress (well, some of them anyway) and more contemplative conversations. If you haven't read it yet, go grab a copy and set about enjoying it.

Scott Snyder has clearly put a lot of thought and planning into his run on Justice League"not just in what he wants to happen, but how. His ideas are mature, but so is his structure and technique, and he's being paired with artists who are more than capable of transmuting these elements into artwork that is both aesthetically delightful and functionally sophisticated. In short, these books have been some of the best-looking, best-working comics on the stands for months now. They are the all-too-rare union of well-developed ideas and remarkably able hands, and I don't expect things to slow down any time soon. If "The Totality" showed us that Justice League is back, Drowned Earth seems poised to show us that Justice League is here to stay.

Drowned Earth has been a high-quality event thus far, and this is easily its best installment yet. Snyder's themes are realized expertly in the script, and Manapul's artwork deliciously brings the tale to life. Nobody published a better book this week thanJustice League #11.

The dialogue in Justice League #12 is not great, but it works well enough. The story is still very intriguing, and as the Drowned Earth conflict comes to a head, the excitement is high, and I'm desperate to read the conclusion.

Justice League #13 is easily Tynion's best issue on the book. Paired with March and Prianto's glorious take on the Joker, this is a highly entertaining showdown between two of DC's most sinister villains.

Scott Snyder's breaks from Justice League always remind me how good it is when he's on. Tynion doesn't quite maintain Snyder's level of quality in dialogue, but he still tells a pretty good story, the artwork is great, and I enjoyed Justice League #14 overall.

Justice League #15 could be a lot better, but it's still not bad. Scott Snyder's master plotting goes a long way toward redeeming this one, and even though I don't care for much of Tynion's dialogue, this is, for the most part, competently written. Segovia isn't the headliner we expected on this book, but his storytelling is solid, and in a market full of comics, this is still closer to the top end of the stack.

DISCLAIMER: Batman News received a complimentary review copy of this book from the publisher.

It isn't Snyder and Cheung's best outing, but Justice League #17 is nevertheless an excellent one. An elaboration on the strange relationship between J'onn J'onzz and Lex Luthor, it features the sort of verbal and visual artistry that this book once had, and has desperately needed to recapture. Here's hoping there's lots more like this in the future.

These Legion of Doom issues are character studies, and they are usually pretty interesting ones at that. Justice League #18 is no exception, and while it has its warts, I think it's my favorite issue by James Tynion since he teamed up with Guillem March to put the spotlight on Joker. Ferry and Hi-fi create a distinct aesthetic, and the storytelling works for the most part"even if Ferry drops the ball from time to time. This is a solidly enjoyable read.

Justice League just isn't the same when Scott Snyder isn't around, so it's a treat to be at the start of a six-issue stint. His blend of humor, heart, and hugeness scratches all of my superhero team-up itches, and with Jimenez, Sanchez, and Napolitano giving it life on the page, I couldn't be happier.

DISCLAIMER:DC Comics providedBatman News with an advance review copy ofJustice League #20.

In spite of a disappointingly-abandoned thread from last issue, Justice League #21 is a beautifully-written and illustrated book. The larger story takes a huge step forward, and"to ride the coat tails of another popular franchise"one gets the sense that we're in the endgame now. I can't wait to see what happens next.

Unfortunately, the Tynion-helmed Justice League #22 met my expectations: the writing was verbose, at times incoherent, and error-prone. Manapul's artwork is as gorgeous as we knew it would be, and Napolitano does a fine job with way too many words; but, in the end, this installment of the title fails to add much to the narrative backdrop of New Justice, and likewise misses an opportunity to make Perpetua a rounder character.

Justice League #23 reminds us afresh that Scott Snyder and Jorge Jimenez were made for each other, and that together, they were made for us, we who love comics. There's plenty of heroism, humor, and big comic book action to satisfy our cravings, and all of it is realized impeccably by Jimenez, Sanchez, and Napolitano. When this book is on, it's on, and you should be reading it.

Justice League #24 brings us right up to the edge of "The Sixth Dimension's" conclusion. The big questions of right and wrong, ideals vs. pragmatism, and the fate of the universe are painted clearly and gorgeously in word and pictures, with Snyder, Jimenez, and Sanchez at the absolute tops of their respective games. This is the connected DC Universe at its pinnacle, and I'm thrilled to be along for the ride.

Several small selections in this review were taken from an article I wrote onComics Now.

In terms of excitement, Justice League #26 is definitely a valley compared to the peak of the last issue. This “breather” between big arcs is probably just what the book needs, though it feels like it didn't need these 20 pages of it. Still, Tynion's dialogue is somewhat improved, Fernandez is mostly on target, and Hi-Fi and Napolitano put a nice professional finish on top of everything else. Enjoy it once or twice, don't expect too much, andJustice League #26 should leave you satisfied enough until the next one.

Justice League #27sees writer James Tynion find sure footing for the first time in quite a while. The dialogue is believable, the plot engaging, and the drama unclouded by clunky metaphors. Fernandez, Redondo and Hi-Fi turn in quality pages overall, and there are a few standout moments, as well"including one with some deftly-detailed SFX work from Napolitano. I've long said that Justice Leaguecan't maintain its quality without Snyder doing the writing, but I'm happy to say that, this week, Tynion and co. have proven me wrong.

"Apex Predator" goes out with a bang, setting the stage for the future of Snyder and Tynion's grand Justice League epic. Tynion is writing better than ever, Fernandez and Sampere pool their strengths to create an entire issue that looks good, and I couldn't be happier. You should be reading this book.

Justice League #29's recapping is, at times, a slog; but the Star of this show is Jarro, and no Starro has ever shone brighter. At its peaks, this book is hilarious, action-packed, and even heartwarming"and that's more than enough to make up for the valleys. Even if you don't make a habit of buying Justice League, this one is worth it all by itself.

Justice League #30 may have a verbally-saggy middle, but the overall impression is quite positive. There's plenty of excitement surrounding that mushy center, and enough visual delights to sustain my eyes across space and time. Perhaps most importantly, there is Jarro, and I would follow that sassy starfish into the bowels of the earth"or any other bowels for that matter.

Justice League #31 suffers from the same excess of standing and chatting that has plagued the previous two issues. It finishes well, though, and by the end, Jimenez and Sanchez get to do what they do best: give us beautifully-rendered, beautifully-executed visual storytelling that perfectly illustrates Snyder and Tynion's big ideas.

DISCLAIMER:Batman Newsreceived an advance review copy of this book from DC.

Justice League #33 is a big step back in the right direction. Snyder and Tynion gracefully juggle multiple plot threads, and Redondo, Sampere, and Hi-Fi realize it all beautifully on the page. After a very brief dip, this is once again one of DC's two or three must-read series.

Justice League #34 is perhaps the most rewarding installment ofJustice Doom War yet. Snyder and Tynion begin to pay off a year and a half of storytelling, and they do an admirable job, at that. Redondo and Porter hardly have complimentary styles, but they're both more-than-capable artists, and each brings his A-game to every page. Hi-Fi's colors are the great unifier, and Napolitano lays down a mountain of text with ease. The story is far from over, but this chapter is definitely a milestone worth savoring.

Justice League #35 is the link between two large chunks ofJustice/Doom War, but it's essential material. Snyder and Manapul draw us closer to our heroes as we see the emotional impact of their failure, and the road ahead only looks tougher. 35 issues in, andJustice League is still essential reading.

DISCLAIMER:Batman Newsreceived an advance copy of this book for the purpose of review.

Justice League #37 is essential reading, but it isn't the best this book can be. It's an enjoyable advancement of the plot, with delicious artwork, but the best is behind"and, hopefully, in front.

DISCLAIMER:Batman Newsreceived an advance copy of this comic for the purpose of review.

Justice League #39 is a massive disappointment. It still reads well, thanks to the massive skill of its creators, but the premature termination of a such a beloved series stinks of interference from on high. This may be the final nail in the Rebirth coffin.

Justice League Annual #1 is more of the past month's status quo. Gone are the memorable artwork and well-crafted narration and dialogue that at first caught our interest. In their place: blandness and confusion. If you have to know what happens in the main storyline, then you have to buy this annual; otherwise, skip it.

Drowned Earth kicks off with an action-packed#1. But for one exception, Tynion's dialogue works very well, and the mounting conflict drowns our hopes"as it should"before future issues rescue us from these troubled waters. With excellent artwork from Porter and Hi-Fi, and clean, capable letters from Napolitano,this is just the start this event needs.

A brawl for the ages, strong character work, and the culmination of several of Hitch's big ideas combine for an impressive return for Justice League of America. If you aren't reading this series, you should be, and if you are, you know what I'm talking about. I'm thrilled that Hitch will be sticking around after Rebirth, and I can't wait to see what he comes up with next.

I was this series' biggest cheerleader months ago. I still like it, and I still want to see how it wraps up, but my excitement is greatly diminished. Hitch's big ideas look better when Tony Daniel is drawing them, and having seen that in Rebirth, it's hard going back to Hitch's finishes. This is also a story with huge implications for other stories that already happened, so the stakes feel really low. It's still a satisfying progression of the Rao narrative, so if you were into this book before, you'll probably enjoy it. If you're new to this, though, I can't think of any reason why you wouldn't just wait for the collection.

While fun for a quick read, Justice League of America #10 is a boot to the face of a dying man. This series has been on life support for half a year, barely registering a heart beat, and while it is a relief to finally see it stop suffering, it is nonetheless disappointing to see it go in such a way. The artwork fails to capture the spark that made this book stand out, and the rushed story contains several gaping holes that make it impossible to salvage. Finish it for closure, if you've been reading it. Otherwise give your attention"and your money"to something better.

A pretty good start to Rebirth's first major crossover event, JLVSS #1benefits greatly from the inherent levity of Task Force X, as well as smartly-written Squad dialogue from Williamson. While I'm not convinced Fabok was the right artist for the job, his work is nonetheless breathtaking, and pairing him with Alex Sinclair is an editorial master stroke. Pick it up for a good time with the Squad and a fat stack of beautiful pages.

The bad inJustice League vs. Suicide Squad #2 is downright terrible. It would sink the whole thing, but when it's fun and exciting, it'sreally fun and exciting. Daniel and Florea's excellent line work and Sinclair's colors are a helpful distraction during the dialogical doldrums, and Williamson generates ample interest in Killer Frost and Max Lord's anti-Waller squad to keep this from being nothing more than a good time. It's not great, but it's decent, and if you can pick up one of the two excellent variants, the dollar upcharge is easier to justify.

What is the point of this crossover? I know it will have implications for future series, and perhaps for the larger DC Universe going forward, but I can't help but feel like those goals would have been better served in the normal flow of other books (look at how they're going to handle Batwoman'sRebirth, for example).Justice League vs. Suicide Squad #3 can't hide behind high-end artwork like its predecessors, and with the mask off, there isn't anything left to get me excited about this event. I hope we see a massive uptick in quality for the second half, but I'm not holding my breath.

Artistic shortcomings prevent me from loving this, but a marked improvement in dialogue, focus, and interest allowed me to enjoy it quite a bit. Harley and Wonder Woman were a particular highlight, but Williamson did a better job across the board of playing to the strengths of his zanier characters and letting their personalities move things forward. The emergence of the Eclipso Diamond raises the stakes considerably, and for the first time since this all started, I'm eagerly waiting to see what happens next.

While I have serious problems with how different this book can look from page to page (thanks to its four inkers), the story is the best blend of laughs, awesomeness, and gravity that we've yet seen from this event. We'll see next week if Williamson can wrap things up without making Eclipso look cheap, but for now, JLVSS is on a high note, and that's good enough for me.

At its best,Justice League vs. Suicide Squad has been funny and action-packed. At its worst, it's been face down in a sloppy muck of awful dialogue and unimpressive artwork. This final installment thankfully looks good, and features some nice humor and gravity here and there, but it gets weighed down considerably under Williamson's poorly-constructed speech and nonsensical plot points. If you've been collecting these and want to complete your set, you'll probably buy this whether I tell you to or not. But if you've been on the fence, jump off on the clean side, and wait until you can read this, collected and cheap, in the future.

Justice League: No Justice #1 never gets very deep, but it's a pretty wide concept that looks glorious through the imaginative artwork of Francis Manapul and Hi-Fi. Time will tell if this story lives up to its promising premise, but I like the look of the table that's been set, and I'm looking forward to digging in.

No Justice #2 carries forward what was good in the first installment, while benefiting greatly from having much of the exposition behind it. The artwork is big, bold, and exotic, and the characters are starting to settle in and feel more like themselves. With plenty of humor, action, and cosmic intrigue, No Justice is a signal to fans that DC is once again taking their flagship team-up book seriously.

No Justice #3 is just as fun as the previous two installments, but the conflict that's been brewing since the start bubbles over and adds genuine weight and drama. I have no idea how they will wrap it all up next week, but I'm impatiently waiting to find out. I can't remember the last time an event with such hype actually delivered on its promises, but Snyder and the gang have actually done it.

No Justice #4 may be the weakest installment of the series, but it is still an entertaining"and at times moving"conclusion to the best event DC has published since Darkseid War"and maybe better than that. With Manapul back, the series ends on a high note, and the upcoming Justice League titles have a strong foundation on which to build.

Justice League is in good hands with Bryan Hitch. As sad as it is to see the end of the Johns run, rest assured that there are bright things on the horizon. Hitch's understanding of these characters clearly runs deep, and he is able to put that understanding to use in a way that few other writers can. His last hurrah on pencils is a nice treat, but even if you don't like his style, you'll continue to get the same quality writing with the visual stylings of Tony Daniel in two weeks with Justice League #1. June was a good month to be a DC Comics fan, and if this Rebirthone-shot is any indication, July is set to be a second helping of great comics.

I don't even get to say “I'm glad it's over,” because it's not. Amidst promises of rebirth, hope, and optimism, DC continues to defy sense and publish a book and an author that have both failed to gain any significant traction for some time. A poor final issue ofRed Hood/Arsenal might have otherwise made me hungry forRebirth‘sRed Hood and the Outlaws;but given Lobdell's continuing authorship, and the needlessly extended plot of the present issue, this “final” chapter instead feels like gratuitous, disrespectful money-grubbing.

A decent script by Lobdell, brought to life by Soy and Gandini, Red Hood and the Outlaws #1 is a strong opener. Time will tell if this level of quality endures, but for now, it's a fun book with artwork that demands repeat viewing. I'm still gladly recommending this title.

This is the sweet spot for Jason Todd. He gets to do awesome Red Hood stuff, he makes us laugh, he gets the mess knocked out of him, and he still manages to finish with a smirk. As a writer for an ongoing series, Lobdell's most important job is to make us want to read the next one, and he does that job well here. His cohorts in the art department remain valuable assets, just as Red Hood and the Outlaws remains pleasantly distinct from everything else DC is publishing.

Red Hood and the Outlaws #3 is a sum greater than its parts. I have a number of problems, some more significant than others, but when I reread it, I can only smile. Consistent excellence from its artists, and lots of heart and humor from its writer make this book one that I'm looking forward to each month.

I'll just go ahead and say it: I really, really like this book. I can find flaws, but my experience of reading each month is mostly happiness. Kudos to Lobdell, Soy, Gandini, and Esposito for making me a believer, and for making Red Hood and the Outlaws #4 read even better and look even better than it has before.

There's not as much meat in this month's Red Hood, but there's still an awful lot of flavor. While some of Lobdell's attempts at humor fall flat, and the artwork doesn't have quite the range it has shown before now, this is still a very enjoyable book with a lot to love. Soy and Gandini's people and places continue to look great, and the characters that I've enjoyed from the beginning are all here, even if their internal arcs don't get as much attention this time as we're used to.

Red Hood and the Outlaws is by far my biggest Rebirth surprise. I expected to despise it, but at the close of this first arc, I'm on the verge of saying that I not only really like it, but love it. Likeable characters, beautiful artwork, and a healthy dose of humor have made this book a consistent delight for six months. It's not a fluke, folks"Red Hood is just that good.

Read this book at least twice. If you're like me, you may find that it changes (dramatically) for the better. While the characteristic zing of Artemis takes a break, the touching story of Jason and Bizarro goes gorgeously full-frame, daring you not to be moved. If you're still sitting on the sidelines waiting for Scott Lobdell to slip up, do yourself a favor and stop it. Lobdell and his team of artists have earned your attention, and they aren't taking it for granted. Red Hood and the Outlaws #7 may be the best installment yet.

We're treated to yet another excellent “filler” issue before the start of the next arc, and I've got to tell you: I wouldn't mind seeing a few more bar-room flashback stories in between arcs in the future. The interactions between Jason and Artemis are as excellent as they've been throughout the series, and the fleshing out of Artemis adds a welcome layer to her character without blotting out the qualities that have made her so likable thus far. I've been nervously hesitant about saying this before now, but I may as well declare openly what has become evident these eight months:Red Hood and the Outlaws is one of my favorite books on the stands, and I can't wait to see what happens next.

Beyond all comprehension, Red Hood and the Outlaws remains one of my favorite books on the stands. Even as the balance shifts heavier toward gravity than humor, Lobdell's character investments pay off, Artemis proving as capable of sustaining dramatic interest as she is of evoking belly laughs. And with Dexter Soy returning on pencils,RHATO reasserts itself as the most unique, surprising title in DC's stable. If you're not reading it, you're missing out.

Another outstanding outing with the heroes none of us knew we wanted, Red Hood and the Outlaws #10further develops the surprise hit team of the year. With outstanding artwork from layouts, to lines, to colors, and letters, this book just looks better than almost everything else DC publishes. This one is worth your money and your time"be sure to give it both.

If you were hoping for a worthy conclusion to this latest RHATO arc, you may be disappointed. The Jason Todd faithful will probably see this through rose-colored glasses, but the rest of us will be left wishing for better. It still looks pretty, and Lobdell makes some good character choices, but I'll be glad to put this issue behind me. Here's hoping for a quick bounce back.

Even with a clunky start, Red Hood and the Outlaws #12 manages to deepen my investment in these characters and impress me in fresh ways. If you prefer Tragic-Hero Bizarro over Comic-Relief Bizarro, you'll love this book, as our beloved, bumbling big guy shows the sort of courage and sacrifice that would make his genetic template proud.

DC's most surprising Rebirth victory continues to delight, with an issue chock full of charm. Expect to laugh, expect to be touched, and above all, expect to enjoy yourself. Red Hood and the Outlaws #13 is one of the book's strongest chapters yet.

The artwork dips a bit with a substitute team, but it still works, and the story helps lift the whole affair higher. Bizarro may have experienced a change, but he is still the same lovable guy at his core, and Lobdell does an excellent job presenting both sides of that coin (and making them work together) here. Red Hood and the Outlaws remains one of the best books on the stands, and it continues to add new layers of richness to what was already a diverse and satisfying experience.

While I wish that "Bizarro Reborn" stuck to a smaller cast, and I have some issues with dialogue and character decisions, I largely enjoyed Red Hood and the Outlaws #15. The Bizarro saga still thrums along, the artwork is both attractive and highly functional, and I still want to see where it goes. I'd say that's a good book in the end.

I love hearing from readers. If you've got a question or something to say, leave a comment below or send me an email at mrwarshawreadsthecomics@gmail.com.

While I'm still waiting"somewhat impatiently"for more on Bizarro's decline, Red Hood and the Outlaws #17 provides plenty of fun and spectacular artwork to keep me (mostly) sated in the meantime. Lobdell and co. have created a world where my complaints are usually about wanting more, and that's a much better spot to be in than its opposite.

A return to the elements that made the book so entertaining and endearing early on,Red Hood and the Outlaws #18 puts the focus back on Bizarro and his struggle to maintain his heightened mind. The humor is funny, the team is heartwarming, and the tension feels earned. Great writing from Lobdell and solid artwork from Sandoval, Albarran, Atiyeh, and Esposito come together to make this my favorite issue ofRHATO in months.

The finishes are a little rougher around the edges than usual, but Red Hood and the Outlaws #19 nevertheless looks very good. Paired with an excellent script by Lobdell, this latest installment in the saga of three redeemable irredeemables pushes the story forward, providing plenty of laughs and a few heartfelt moments along the way.

Red Hood and the Outlaws #20 initiates the endgame of Lobdell's tale of Bizarro's brainy rebirth. It might be the best issue of the series in some time, and I'm happy to have the end of "Smart Bizarro" in sight. Soy and Gandini produce another excellent collection of pages, and Taylor Esposito continues to makeRHATO a readable book with clean, well-place balloons, and interesting approaches to SFX. May this book"still the surprise hit ofRebirth almost two years in"receive the recognition it deserves, and may we see it on comic store racks for years to come.

While the plot itself doesn't move very far inRed Hood and the Outlaws #21, the character work is rich and worth the slower pace. The artwork is as luscious as ever, and the lettering is logical, readable, and occasionally even inspired. If you haven't already read this, what are you waiting for?

Another well-illustrated, well-lettered, well-written heartbreaker, Red Hood and the Outlaws #22 moves us one more small step closer to the unraveling of Bizarro's brainy new world. There's a bit of fun, some intrigue, and lots of heart-felt drama. If you haven't been reading, find a way to catch up. Red Hood is still the most consistently high-quality book in DC's post-Rebirth lineup.

Red Hood and the Outlaws steps out of its main narrative this month, and achieves a level of emotional depth and artistic integrity not previously seen in the series. Whether you're a long time fan of Red Hood, or you've been waiting for a reason to care, Red Hood and the Outlaws #23 will likely give you a deeper appreciation for Jason Todd than you had before.

This book will never get the respect it deserves, but Red Hood and the Outlaws #24 is the best book DC has published in a few weeks.

Red Hood and the Outlaws is the unsung hero of DC's now-defunctRebirth initiative. It gave hope and optimism to a set of characters that most folks didn't think deserved them. It gave us heart-warming relationships, plenty of laughter, and pages and pages full of excellent comic artwork.Red Hood and the Outlaws #25 is a touching conclusion to the series' first two years; and while it's sad to let go of how things have been, I'm looking forward to seeing what's in store next.

Red Hood and the Outlaws #26 marks a major tonal shift for the series, but it got here honestly. With a new art team joining Lobdell, and an action-packed, reasonably-self-contained story, this could just as easily be a#1. Fans of the post-Rebirth Red Hood stories will want to follow Jason's ongoing journey, but newcomers will find this an easy starting-point. The script is tight, the artwork is dynamic, andRed Hood and the Outlaws continues to be some of the best that DC has to offer.

The Underlife plot plays second fiddle this issue, but it makes space for a touching exchange between Jason and Bruce that is well worth the diversion. Woods aptly tells the story visually, and Lobdell does a good job of keeping the larger plot warm with some bookends. It isn't as compelling a read as the last issue, but it's still very solid work.

I'm disappointed.Red Hood and the Outlaws has been one of my favorite books of the past few years, but this issue is a sudden departure. Hopefully things will return to form soon. Woods is an able storyteller, and Lobdell is more than capable of producing better work. It just didn't do it for me this time.

Red Hood and the Outlaws #30 is a promising step back in the right direction. Jason's solo trip was never going to be as engaging as the trio, but Lobdell, Woods, and company have given a positive spin on this leg of the journey, and I'm anxious to see what happens next

Red Hood: Outlaw #32 feels like a fresh start for this series. It doesn't abandon what Lobdell has built these past few years; but, in leaving the distractions of the past few months behind, it allows the central drama"both in this run and in Jason Todd's character overall"to come back into the forefront. Segovia is an able partner, particularly with Lokus's quality color work, and this book once again feels like a bargain in quality when compared to other options on the rack.

Red Hood: Outlaw #33 isn't great, but it is a lot of fun. Lobdell's battle banter never gets overly silly, and Woods and Lokus turn in some excellent visual storytelling to keep the kerfuffle moving along.

I still miss Bizarro and Artemis, butRed Hood has managed to remain decent in their absence.#34 emerges from the slower, aimless stuff we've been getting recently and puts us at the outer edge of the conflict Lobdell has been simmering for some time. Solid storytelling from Woods and Lokus, and simple, functional lettering from Peteri make this one an entertaining read. Pick it up for its own merits, but especially for what's coming next.

Like most of this title's issues of late, Red Hood: Outlaw #35 feels like treading water. There's a visually exciting battle, and a promising final page, but if things don't start picking up soon, I might lose faith.

Red Hood: Outlaw #36 is the sigh at the end of a confused scowl. The production value is good, but the aimlessness of the past year on this title hardly set up an exciting"or even satisfying"conclusion. If you're a die-hard Toddler, or if you have some extra scratch, it's hardly a waste of money; but beyond that, you aren't missing out if you skip it.

Kudos to Lobdell, Kirkham, Prianto, and Esposito for knocking this one out of the park. It's got action, heart, and laughs in spades"a perfect bonus story while we wait for the next regular issue. Whether you've been on board since the beginning, or all of the positive buzz has made you curious, make this the week that you check outRed Hood and the Outlaws"you won't be sorry.

Another fine annual from the only DC book that has been consistently excellent for two years, Red Hood and the Outlaws Annual #2 has its own self-contained, fun, touching story, but it also ties in nicely with the larger narrative. The artwork"all of it"is good storytelling, and regular letterer Taylor Esposito continues his flawless record of icing the cake with clean, readable dialogue and creative SFX.

Forget what you know about Scott Lobdell, at least for now. We all gave DC another chance withRebirth, and they haven't disappointed. WithRed Hood and the Outlaws: Rebirth #1, Lobdell shows himself worth of his own fresh start. Maybe it's more hands-on editorial, maybe it's more effort from Lobdell himself, or maybe it's a fluke and we'll be back to business-as-usual in short order"there are, after all, some small echoes of past failures here. Whatever may come next, this issue is worth your time, and I for one will remain cautiously optimistic that there's more good in store. And with a team like Soy and Gandini bringing this vision to life, a truly reborn Lobdell could end up creating the surprise hit ofDC Rebirth.

This was a tough one for me to score. There's not a ton of stuff here, but as they say, sometimes less is more. In one sense, it's the expected set-up installment of a much larger story, but after considering this story a few times, I don't think it depends too heavily on what's coming next.Superman #51 is an entertaining, sweet book all on its own, and while I'm anxious to find out what this is all leading to, I'm looking forward to reading this a few more times over the next week and savoring the simple, heartwarming goodness that Tomasi and Janin have crafted.

This arc began with a bang, but ends with a whimper. It's never sunk so low that I didn't enjoy reading it, but I feel like Tomasi failed to keep the promise and live up to the potential of last month's Superman #51. This final installment attempts to wrap things up, but while it makes a good try of bringing things back down to more intimate, character-driven moments, it ends up feeling like a setup for the new status quo. This Superman had to die so that DC's Superman going forward could be with Lois; and for that to happen, a Superman with an attachment to Wonder Woman would need to be removed. I really wish there was a better reason.

I love this book.Superman has been a joyon just about every level, and this week's installment continues to play to its strengths while layering on some unexpected treats. Every work of art has flaws if you look for them, but the enjoyment of art is not attained by filling out a score card. In spite of its warts,Superman #5 is one of the closest things to perfect I've read in a while.

Giving me everything I wanted from this collision of worlds, and a few things I didn't even know I wanted until I had them,Superman #10 pushes the series to a new high. As far as I'm concerned, this title is the standard for superhero comics, and this issue proves it with enormous spectacle, bold characters, and one heck of a good time. Whether you love or hate the brash son of Batman, his intrusion into the world of Superman and his son is one for the ages, and well worth your time, again and again.

While this issue's dose of Manchester Black may exceed recommended levels, Superman #25 delivers enough of what we've loved about this run to leave a very favorable impression. While the handoff between the two is a bit jarring, both Mahnke and Gleason continue their trend of big action and emotionally-effective character work. A year in, Supermanremains the strongest fulfillment of Rebirth'spromises of purity and quality.

Superman: Leviathan Rising Special #1 is pretty close to perfect. Under Brian Bendis,Action Comics has become one of DC's finest books, and this one-shot is the culmination of its first year of story. Bendis and a large team of collaborators maintain a high level of quality throughout, and I can't wait to see what's coming up inEvent Leviathan.

It's quite possible that I would have knocked another point off of my score if I encountered this book as part of a straight-up monthly series instead of a weekly crossover. And yet, we are getting this story weekly, so it's pretty easy for this particular issue to benefit from the ones that come before (and hopefully from the ones that come after, as well). Tomasi continues to craft decent dialogue, but with Superman's character getting less attention and Wonder Woman's characterization rubbing me the wrong way, I find myself leaning more heavily on the artwork than the script to find enjoyment this time around. Here's hoping the story gets back on track (whatever that looks like) next week.

We're almost at the end. This issue wasn't great, but it has returned to “pretty dang good” after a dip these past few weeks. Other than my beef with Batman and Lois, I don't have any major complaints. The shift of the focus away from characters lowers the ceiling over my potential enjoyment, but the narrowing of the focus gives the big battle the space it needs to make it more than a mindless brawl. This is my kind of scuffle.

I can't say for certain that my expectations for this book had no impact on my (potential) enjoyment of it. What I can say for certain is that it just didn't do anything for me. Not all of the art was terrible, but none of it was remarkable, and some of it was just plain ugly. Pfeifer had some bright spots in the Chamber of Harvest, but a nonsensical pep talk from Tim makes it hard for those bright spots to really shine. At the end of the day, I didn't greatly enjoy it while reading it, and I can't see myself (willingly) reading it again.

In spite of the major shortcomings in dialogue and character, I'm invested enough in the story to want to know what happens next. The issue leaves some interesting questions on the table, and I'm hoping that Pak can answer them and fix Wonder Girl along the way. If he can do that, and tone down the bald exposition, next month could be a good one for the Titans.

I concede: this book needs a break and a reset. I think it's fair to say that it's never been great since the start ofThe New 52, and it's most often been quite bad.Rebirth is coming in June; here's hoping DC chooses teams for theTitans books wisely. A book about teenage superheroes should be an easy sell–it's high time we got aTeen Titans book that lives up to the appeal of its basic premise.

Teen Titans #19is a fitting end to a boring story. Not a whole lot happens, but what does is handicapped by Pak's silly characterization of both Wonder Girl and Wonder Woman. The rest of the Titans add little more than filler dialogue, and Cassandra is an obvious, shallow villain. If you haven't read this one yet, my recommendation is to pass it by. You won't be missing much.

Better than I expected, but not great, Teen Titans #20 makes for a fun, quick read. If you're looking for some light entertainment this week, you likely won't feel cheated; but if you'd rather read DC Universe Rebirth an extra few times instead, you aren't missing anything substantive by passing over the Titans.

Tony Bedard and Miguel Mendonca knock it out of the park. There's nothing deep or enduring here, so I can only score it so high, but this was a welcome treat after watching this title languish for so long. Delightfully goofy villains, huge action, and the absence of angst make Teen Titans #21the single best issue I've read in the New 52incarnations of the series. Enjoy the awesome Rebirthtitles released this week, but when you're done, make time to have a good time with the Titans.

What else is there to say? I can't think of any reason for someone to keep spending money on Teen Titans. It's been a lame duck for months, and other than two issues of mindless fun, it has looked like a lame duck, walked like a lame duck, and angstily quacked like a lame duck. And, oh yeah, there's a promise of H.I.V.E. next time. Goody.

If DC insists on publishing more Teen Titans before Ben Percy takes over next month, that's their right"but I wish they would have made more issues like this than like the one we got last month. #23 fails to make a big splash, but it reads okay at least once, and provides some light entertainment without aspiring to greater significance. My score says it's average, because it is, but this is an average I'm content with as we say goodbye"even if it floats awkwardly outside of current continuity.

This is it"my final word on The New 52 edition of Teen Titans. Much like the series as a whole, issue #24 assumes too much reader investment in its characters and prior events. As someone with negative feelings about almost everything in this run, I suspect that any payoff made by this final installment is earned by James Tynion's Detective Comics. That is the book that (finally) gave us a Tim Drake who will be missed. That is the book that makes the mourning friends here look a little less ridiculous. The sweet moments are still sweet, and the creators did alright with the snowballed mess that they inherited (relatively) late in the game, but there still isn't any good reason to go pick this book up. Let Detective #940have the last word on Tim until such time as he gets put back on the board.

If you're apprehensive about reading this because of Scott Lobdell's previous work on the property, there's plenty here to validate your concern. There's some surprisingly good things, too, but at best, Teen Titans Annual #2 is just okay, and not worth multiple readings. And with the book as we know it ending after September's issue, there's no pressing reason to spend your money on a forgettable story.

It's hard to say where or how things will go from here. We already learned about an artistic shakeup weeks before this issue dropped, and the Titans ultimately have an uphill climb after years of underwhelming stories. Khoi Pham may prove a great replacement for Meyers, and Percy could well stamp out the bad memories of the past five years, but we'll have to wait and see. Past and future aside, this present issue of Teen Titans is a sizable step in the right direction.

Another good-but-not-great installment, Teen Titans #2 is a nice chunk of fun that benefits greatly from front-loading its problems. The last three quarters of the book make it easy to ignore the troublesome flashback at the start, and the complexity of the lead villain creates a much more interesting conflict. Hopefully, Percy can continue iterating and fix the trouble spots, but in the meantime, this is still a decent read.

Teen Titans #3 is a mixture of quality very much in line with the earlier installments in this series. Comic relief and gravitas distract from the sometimes questionable character work, while an overall decent outing from new artist Khoi Pham helps start things off with enough pizazz to carry a lot of weight once things slow down later on.

Ben Percy's Teen Titans continues to show promise, but it also holds onto some of its past flaws (and adds a few new ones). Pham's pencils benefit from far greater consistency than we saw last time, and the narrative tension works quite well; but rushed color work and uncertain characterization take some of the wind out of this book's sails. Even so,Teen Titans provides plenty of entertainment, while occupying a place in DC's line that was poorly served in The New 52.

No single issue of Ben Percy'sTeen Titans has been a home run; but, as I think back on this first arc, I see Percy's consistency producingan uncommonly solid story. The pace has been near-perfect, with strong beats marching each issue toward an ending that arrives in the fullness of time"not a moment sooner or later. This story is, in the end, greater than the sum of its parts, and that's a good deal for everyone involved.

A very good start to the book's second arc,Teen Titans #6 has plenty to laugh at, while trimming (much of) the undesirable elements that clung to the fringes of “Damian Knows Best”. Aqualad's prior fame makes him intriguing enough, but his introduction here stands on its own, and I'm excited to spend more time with him. Great work from Pham, Von Grawbadger, and Charalampidis brings Percy's vision to life with energy and style. If it doesn't already have one, you ought to give this book a spot on your list.

Rebirth has perhaps been no kinder to any title than it has been toTeen Titans. Issue #7 brings Aqualad into the fold with energy, humor, and a little bit of intrigue.The Lazarus Contract looks fun, but I'm looking forward to what Percy, Pham, and the rest of the team have in store once it's done. If you aren't readingTeen Titans, you don't know what you've been missing"and it's time you found out.

Another slow-moving installment in “The Lazarus Contract”,Teen Titans #8 fails to offer much justification for its existence in the wider story. It still has some of the charm that Percy has worked hard to hone these eight months, but they are flashes in an otherwise dull picture. Phamand company are in decent form, but over Hester's busy layouts, it's hard to appreciate the visuals as much as I usually do in this book. Here's hoping the next installment of this crossover makes up for the first two.

While somewhat undermined by inconsistent artwork and the residual effects ofThe Lazarus Contract,Teen Titans #9 nevertheless manages to hit some very high notes. Black Manta looms large over the narrative, even as he only appears on two pages; and Damian, Starfire, and Beast Boy pepper in just enough of the humor thathas made this book a consistently decent read.

It has its flaws in dialogue and character, but in the series's typical form, Teen Titansrises above those shortcomings and finishes strong. Manta's coldness toward Jackson works particularly well, and with excellent artwork, it's easy to gloss over any problems and enjoy what works.

Teen Titans #11 closes out "Blood of the Manta" with very strong showings from Manta and his son. Percy writes the villain as cold and ruthless as he ought to be, and beginning Aqualad's story in reaction to such a father should provide fertile ground for complex character growth in the future. The team dynamic works well, and the artwork is first-rate"maybe the bestTeen Titans has looked in years. Whether you've been following along since the beginning, or you're just now taking notice,Teen Titans #11 is a great finale to a very solid arc, and you owe it to yourself to check it out.

A decent tie-in to Metal, Teen Titans #12 shines brightest when enjoyed for just what it contains: a delightful romp through a deadly maze with some of DC's most distinct characters. Superbly illustrated by Mirka Andolfo and colored by my favorite, the masterful Romulo Fajardo, Jr., Teen Titans #12 is a good time for all, whether you've been reading the related books or not.

A fun adventure, nicely illustrated,Teen Titans #13 continues this series' trend of quality. The parallel adventures are entertaining in their own right, and Percy lays some groundwork that will pay off when they inevitably converge. If you aren't reading this book, now is as good a time as any to jump on.

The little comic that could continues to roll along on rails. Teen Titans never brings me to the highest of heights, but it always entertains me, and I can't complain when I'm getting some bang for my buck each month. The artists bring the same low-profile excellence that they've brought before, and it makes this book a really easy read.

Teen Titans: Rebirth #1 is a quick, enjoyable read. It sets the stage for the series proper with solid character introductions and distinct artwork. If Percy can make good use of what he's established here, and Meyers can keep up, Teen Titans may at last be emerging from its long winter.

It's not great, but Titans #4is good enough to deserve some of your time. Its significance in the larger continuity certainly helps, but it has its own entertaining plot that will entertain you in the short term. There are some distracting artistic elements, but Booth, Rapmund, and Dalhouse please me more than they don't, especially when crafting dynamic action sequences. All-in-all, Titans #4 is a fun read with some significant ties to the larger DC universe. Nothing more, nothing less.

The artwork here is as good as anything Manapul has done previously, and is worth the cost of purchase on its own. But the real achievement comes in the form of an intimate family dinner and a strong premise well-explored.Trinity is not a perfect start, but it's a really good one. I love Manapul's decision to favor character over spectacle, and I am hopeful that the series will remain moored in these interpersonal relationships even asthe action heats up in future installments.

Despite a few technical quirks and a reveal that I did not personally care for, I love this book. It's beautiful in appearance and in spirit, as Francis Manapul puts his focus on the Man of Steel and the man who raised him. The plot moves a surprising amount given the emphasis on character, so even if you're less-interested in the relationships than I am, there are enough strong beats here to satisfy fans of a more straightforward narrative.

As the story shifts to Batman and his baggage,Trinity #3 manages to add another gorgeous layer on top of last month's touching trip to Smallville. Clay Mann, Seth Mann, and Brad Anderson prove the perfect artistic stand-ins for the subject matter, and Manapul flourishes as writer.Trinity is still the best character-focused book in the entire line, and if you aren't reading it, you're missing something truly special.

An excellent fourth installment to one of Rebirth's richest books, Trinity #4provides an enjoyable immersion in Wonder Woman's world. Lupacchino's storytelling methods may require an additional read to fully appreciate for some, but the investment is rewarded with excellent layouts, scenery, and character work. Four issues in, Trinity remains one of the easiest decisions on the rack. You should be reading this book.

Perhaps out of necessity,Trinity #5 never forges the sort of emotional connection we've grown accustomed to in this series. What we get instead is the intriguing revelation of what's driving our heroes' dreams, and a pile of beautiful pages from Manapul. It isn't the best installment ofTrinity, but it will likely prove an important step in moving the story forward"just don't expect it to move you as much as the chapters that came before.

The worst of “Better Together”, Trinity #6 trips over its own feet throughout its sprint to a conclusion. I like where Manapul aims, but ultimately have trouble following him there. Regardless, this remains worth the investment to see how it wraps up, and I have high hopes for whatever this book takes on in the future.

Trinity #7 makes for a welcome tonal variation after "Better Together". Bunn writes the villains (mostly) well, and I can only hope that Manapul plans to water the seeds planted here. Great artwork by Mann and Mendonca immerses us in a dark place (and a dark alliance), even if the two are similar enough to be confusing at times. All-in-all, this is a nice, thought-provoking read that gets better with repeat consideration.

Neither great nor bad,Trinity #8 spins its tires a bit too much, and its new developments hardly deserve twenty pages of exploration. Capable"but disappointingly bland"visuals struggle to generate excitement, although a late spread may make all of that irrelevant. If you're buyingTrinity, it's worth adding this to your collection"just don't expect to be blown away, and you won't be disappointed.

Other than some mindblowing art, there isn't too much to talk about inTrinity #9. It's an enjoyable read (even the second time), but it's pretty basic. The promise of a return to some of the first arc's subject matter has me intrigued, but that payoff is in the future on some undetermined date. Right here, right now, this is just a pretty good story with otherworldly visuals"worth your cash, and lots of looks, but not much extended consideration of the plot or characters.

After starting its run with some truly marvelous character work,Trinity has experienced a prolonged lull. Side-stories and other short interruptions have made it difficult to get back into the book, and what was once a source of excitement for me has become a sad chore. Trinity #11 concludes the latest arc, but that conclusion feels premature, and the finer point Manapul tries to make falls flat. Add artistic inconsistency to the mix, and you have an issue with too many distractions.You could do worse than this book, but you could also do a lot better.

I feel as though most of my criticisms for this arc in Trinity are fairly subjective. Sure, there are some legitimate, incontestable problems, but I suspect they wouldn't bother me as much if I was interested in the story Williams is telling. If you've got a chance to check this out, it's probably still worth a look. The artwork is well done, Constantine is a delight, and you may find your enjoyment of the story rises higher than mine.

I'll never love the concept, but Williams is winning me over by cleaning up some of his mistakes and making his villain quite a bit more compelling. Marion, Florea, and Robeiro turn in a very exciting visual, deftly navigated by Steve Wands, and all of a sudden, Trinity is an enjoyable read once again. Here's hoping this is the start of a trend!

I'm glad to see "Dark Destiny" conclude, and doubly so because the conclusion is enjoyable. I may not be a fan of the premise, but at least this final installment manages to entertain. It succeeds in large part by doing away with the annoyances of past chapters, while continuing to deliver first-rate visuals from the team of Marion, Florea, and Ribeiro. Pick this one up if you've been reading the story, or if you're a Marion fan with a few extra bucks. Otherwise, this isn't essential reading, and you won't be missing anything if you pass it by.

I don't hate Trinity Annual #1, but I don't like it all that much either. It comes at a poor time in the series schedule, and the usually-reliable Rob Williams fails to make this book's intrusion worthwhile. Lots of great pages from Guillem March and Tomeu Morey may be enough to justify the cover price for some of you, but don't say I didn't warn you if you end up feeling let down.