Chris Showalter Comic Reviews

More akin to Lost than traditional superhero storytelling, Absolute Green Lantern #5 is water-cooler comics at its finest.

Exploding with exposition, Absolute Green Lantern #6 pumps the brakes on the horror that has made the title work so well for high-concept sci-fi world-building. Although the trade-off is necessary to answer questions, the title could have benefited from a better balance between the two. Ewing's abandonment of the emotional spectrum for the four levels of light based on types of action is intriguing. Additionally, Jahnoy's work throughout the exposition adds to the ethereal high-concept nature that the creators are trying to convey. Unfortunately, there are a few odd facial expressions at the end that feel off.

Dan Abnett, Joe Bennett and Vincent Cifuentes have created an entertaining finale that uses wonderful character interactions played for comedic effect.

Ultimately, Aquaman and The Flash: Voidsong #1 is an excellent character exploration built on relationships. Kelly and Lanzing's focus on relationships in this issue is a double-edged sword as it allows the reader to gain a deeper understanding of these heroes but also puts the main conflict on the backburner. Unfortunately, a few narrative choices surrounding The Flash's conflict resolution and visual storytelling inconsistencies prevent this issue from reaching perfection.

Aquaman and The Flash: Voidsong #2 strikes the perfect balance between narrative progression and character exploration. Georgiev's artwork does an excellent job illustrating how the heroes' strategies are different, but their punchline remains the same. Additionally, Beredo's colors perfectly capture the balance between our heroes' bright colors and the Void's darkness.

A quick, done-in-one story,Batman/Superman #15is an enjoyable read from start to finish.

Teeming with frantic horror and sci-fi action, Batman/Superman: World's Finest #41 is a Silver Age-inspired feast. Mark Waid's script is top-notch as we rapidly bounce from one plot point to the next in an attempt to figure out what is going on with the time-displaced Robin. Waid's use of Robin as the reader's voice is perfect, as we are dropped into the action with so many questions. Additionally, Gutirrez's artwork perfectly captures the cinematic actions of the Man of Steel as he plows through the hordes of Bizarro Supermen. Matt Herms' colors wonderfully complement Gutirrez's artwork as they do a wonderful job evoking the Silver Age stories that inspired this issue. Unfortunately, the first issue of "Bizarro World Tour is not exactly new reader friendly. However, current readers will find a lot to love about this issue.

Batman/Superman: World’s Finest #52’s is Saturday morning cartoon fun. Although Waid’s narrative lacks depth and demands that we ask the question, “Power to what end?” it oozes with Silver Age spectacle. Thankfully, what the narrative lacks in depth, it more than makes up for with pitch-perfect characterization, world-building, and Gutierrez’s gorgeous artwork.  And, most importantly, if you’re anything like me, you’ve been craving some Saturday Morning Cartoon action with your favorite superheroes. Now, where are my Batman and Superman with dinosaur armor!? I need to smash them together.

Exploding with cinematic action and excellent character-driven drama, Batman/Superman: World’s Finest #53 is a dino-mite conclusion to “Warlords.” As with prior installments, a large portion of this issue’s success is due to Mark Waid’s understanding of each character. Waid does an excellent job not only of using their ideologies to drive this individual issue’s narrative forward but also of weaving them throughout the overarching narrative. However, as strong as Waid’s work is within these pages, Adrián Gutiérrez’s cinematic artwork may be the true star of the show. The new designs for mind-controlled Superman and Batman live up to the hype, looking just as great in action as they did on the final page of the previous issue.

Batman and the Outsiders #7 is one of the best issues of the series due to its refined focus on two conflicts.

Batman Beyond #32 features an excellent mystery begging us to answer the question, "What in the world is wrong with Mr. Wayne?"

Although some foreshadowing may have ruined one of the issue's reveals, Batman Beyond #33 does a good job propelling the mystery forward by providing a new twist that will take the title in an interesting direction.

Despite the required suspension of disbelief, Batman Beyond #34 is a good continuation of the "Divide, Conquer, and Kill" story-line.

Oozing with exposition, Batman Beyond #44 is elevated by excellent artwork. Although Jurgens' exposition sometimes feels superfluous during this issue, some of my favorite moments are those illustrating how the characters have changed. Moreover, Sean Chen's excellently rendered action sequences help break things up. Now that we are past the two introductory issues of this storyline, I am excited to see where everything is going.

Bolstered by heartwarming character reunions and excellent artwork, 'Batman Beyond' #45 is the strongest entry of "The Eradication Agenda" yet.

Although it's a necessary evil, Batman Beyond: Neo-Gothic #1 suffers from so much setup. Unfortunately, trying to retain all the necessary details means you may also lose out on the narrative's emotional beats as they become checklists for the status quo. As a result, the book struggles to make me feel something for the main character. Thankfully, Collin Kelley and Jackson Lanzing present us with an evolved version of Terry McGinnis that provides layers for the fan-favorite character. Additionally, Max Dunbar's artwork with Sebastian Cheng's colors perfectly captures the tone of the original series while pushing it into a new direction. Their action sequences are dynamic and provide a feast for the eyes.

Batman vs. Robin #3 is at its best when exploring Bruce Wayne's relationships with each of his Robins. Although Mahmud Asrar's, Scott Godlewski's, and Jordie Bellaire's dynamic action sequences are a huge selling point for this issue, Mark Waid's scripting elevates each sequence beyond a traditional battle of fisticuffs. By forcing our hero to face his impact on each young hero, Waid adds depth to the Dark Knight Detective.

Batman: Beyond the White Knight #1 is visual storytelling at its finest. Panels and sequences blend seamlessly together to create a gritty narrative tapestry that grabs you by the throat and never lets you go. Additionally, all of the trappings of a traditional Batman Beyond story are present in this issue. Sean Murphy and Dave Stewart's Neo-Gotham is appropriately bathed in darkness with neon-red highlights, and Terry's Batsuit has never looked better. However, the series' writer-and-artist has plenty left up his sleeve to keep even the most die-hard Beyond fans guessing.

Built on a foundation of thrilling family drama, Batman: Beyond the White Knight #2 will leave you in schway city. Sean Gordon Murphy's exploration of the Bat-Family's dynamics is absolute perfection. Murphy's masterful handling of family as a theme does an excellent job of driving the narrative forward, making the story relevant, and establishing new mysteries. This superb character work is bolstered by Sean Gordon Murphy's breathtaking visuals. Murphy's artwork perfectly conveys this story's emotional beats in subtle ways. Additionally, every action sequence will leave you cheering for our hero.

With every panel teeming with gorgeous artwork and excellent character exploration, Batman: Beyond the White Knight #3 is an exemplar of visual storytelling perfection. One part Terry's origin story, one part Bruce Wayne character study Sean Gordon Murphy has crafted a must-read tale for any fan of the Caped Crusader or comics in general.

Compelling and action-packed, Batman: Beyond the White Knight #4 sidelines Bruce Wayne in favor of placing the rest of the Bat-Family in the spotlight. The result is utterly enthralling as Sean Murphy provides meaningful answers to several of the series' questions while posing even more. I am excited to see how Murphy resolves the answers to these questions in upcoming installments.

Wonderfully written by Brian Azzarello and stunningly illustrated by Lee Bermejo, Batman: Damned #1 is a terrific introduction to the horror series and DC's new imprint.

Kelley Jones' art elevates Peterson's narrative based thematically on the concept of fear.

With Batman: Kings of Fear #2, Scott Peterson and Kelley Jones have crafted a solid, straightforward story that ultimately plays it too safe.

Scott Peterson and Kelley Jones use Batman Kings of Fear #3 to aptly assess the Dark Knight's greatest fear and provide depth to the character in spite of the story's slow burn.

Scott Peterson and Kelley Jones continue their excellent character study of the Dark Knight in Batman: Kings of Fear #4. Unfortunately, the slow pacing is beginning to hurt the overall narrative.

Batman: Kings of Fear #5 is a mixed bag. Although Scott Peterson and Kelley Jones' analysis of Batman is excellent, the pacing feels too slow.

Batman: Kings of Fear #6 is a fitting end to the mini-series.

Filled with humor, action, and strange sci-fi spectacle, Black Panther and the Agents of Wakanda is pure fun.

With Kibblesmith's excellent dialogue, Lopez Ortiz's chaotic visuals and Sobreiro's wonderful colors, Black Panther vs. Deadpool will leave you smiling from ear to ear long after putting the book down.

Ultimately, the DK III: The Master Race Book 5s commentary regarding fear and the state of our society save the subpar plot. Supermans quick return may decrease any tension regarding Gothams safety. However, this does increase my curiosity as to how the stakes will change regarding his involvement. What did you think of the issue? Did you find any themes that I may have missed? Sound off in the comment section below!

Well, at least he's effective.Ultimately, Dark Knight Returns: The Last Crusade provides little insight regarding Jason Todd and The Joker beyondADeath in the Family. Despite a lack of ingenuity regarding the topic, the story is told well through the use of visuals provided by Romita Jr. and Steigerwald. Although some may write this book off as an unnecessary cash-grab, the art, in addition to the more subdued and reflective take on the Caped Crusader, provides a decent read for any Batman fan.

A feast of the unusual and bizarre, Dark Nights: Death Metal Legends of the Dark Knights #1 is at its best when deconstructing the Dark Knight.

Oozing with more carnage and over-the-top violence than a hockey mask-wearing psychopath can shake a bloody machete at, Dark Nights: Death Metal Robin King #1's strength lies in its examination of the titular character.

Scott Snyder and Greg Capullo have constructed a meta-cognitive masterpiece surrounding fear, darkness, light and dreams that requires multiple readings.

Scott Snyder and Greg Capullos magnum opus with the DC Universe continues to reveal new facets of information regarding our own personal notions of fear and discovery. Dark Nights Metal #5 is an issue that requires multiple readings to catch the clever details and sub-context presented by the authors. What have you thought about the series thus far? Are there any details that we have missed? Are you excited for the epic conclusion to this tale? Sound off in the comment section below.

Deathstroke/Yogi Bear Special #1 serves as a good Saturday Morning Cartoon crossover that is helped by reveals at the issue's end.

DC Horror Presents: Sgt. Rock vs. The Army of the Dead #3 is pure horror B-movie bliss. All of the creators involved have armed this book to the teeth with excellent narration, dialogue, and action set pieces. Campbell, Risso, and Rossi accomplish their goal of providing escapist entertainment. Unfortunately, Campbell's reliance on style over depth means this issue lacks the bite necessary for staying power. As a result, the action is fun but hollow. Hopefully, future installments will elevate the narrative above the run-of-the-mill Call of Duty mission.

Although Campbell does a good job exploring the titular hero's mindset, there is little more depth to the narrative. However, this is not necessarily a negative, as this book achieves its prime objective: to perfectly capture the balance between B-movie horror, humor, and bombastic action on every page.

DC House of Horror #1 succeeds on its premise of delivering scary or thought-provoking tales regarding our favorite characters. It provides the readers with tales to enjoy throughout this Halloween season as it twists the familiar into something horrific, thought-provoking, and nearly unrecognizable. Ultimately, this book is a horrific treat for those looking for short stories to read this holiday.

Ultimately, DC vs. Vampires: World War V #1 is a jam-packed pumpkin bucket overflowing with treats for every reader to enjoy. However, instead of Reese's Pumpkins and Skittles, we're feasting on action-packed sequences, intriguing mystery, and wonderfully written banter. Unfortunately, this issue feels like waiting for your parents to check your candy before digging in, as Rosenberg must set the stage for the upcoming battle. Thankfully, you're still eating great candy as you wait.

Mixing equal measures of horror, action, and humor, DC vs. Vampires: World War V #11 is a bloody great cocktail prepared to satisfy every creature of the night.

With arresting visuals and witty scripting, DCEASED: Unkillables #1 is absolute perfection.

DCeased: Unkillables #2 will leave your jaw dangling by a single strand of sinew.

Bloody, satisfying, and often bloody satisfying, DCeased: Unkillables #3 is a perfect conclusion to the series. Taylor's excellent script work and Karl Mostert's gripping visuals are a double-tap of humor and horror that will leave you clamoring for more.

Deathstroke #35 contains all of the necessary elements for thrilling entertainment: paternity tests, psychoanalysis, reconciliation and fist fights ending with concussions. Unfortunately, the answer to mystery surrounding the faked paternity tests feels too easy and superficial.

Deathstroke #36 lures you into "Arkham's" doors with a jaw-dropping bloodbath and compels you to stay for the social commentary on justice.

In Deathstroke #37, Priest allows readers to experience an inmate's life inside Arkham Asylum without the need for a straitjacket. For better or worse, some of this may be confusing because of the issue's focus on gaslighting Deathstroke.

Deathstroke #38 is a great issue that creates just as many questions as it does answers. However, Hugo Strange's involvement seems a little out of place.

Between outstanding art, entertaining humor, and engaging themes, there is a lot to love about Deathstroke #39

Bursting at the seams with commentary regarding Arkham Asylum and mental healthcare, Priest's "Deathstroke: Arkham" will leave you blissfully clamoring for one of asylum's padded cells in the pursuit of what is real.

Deathstroke #41 is a dense work that requires multiple readings.

Deathstroke #42 is a great second entry into "The Terminus Agenda." Priest's script provides some payoff from the prologue while also stoking interest for future issues.

Deathstroke #43 is a good but frustrating conclusion to "The Terminus Agenda.

Deathstroke #44's is a true success due to Priest's exploration of coping with grief, honoring parents and the debate surrounding "nature versus nurture."

Deathstroke #45 serves as a great exploration of how different individuals deal with loss.

Deathstroke #46 is a great tie-in to "Year of the Villain" that provides interesting twists for the Jericho and Rose.

From the introduction of new mysteries to Priest's exploration of Nature versus Nurture, there is a lot to love about Deathstroke #47. The mystery surrounding the two Deathstrokes has me clamoring for the next issue. Additionally, Pasarin and Pagulayan's artwork are enough of a reason to pick up this book.

Deathstroke #48 does an excellent job of answering the series' mysteries. Unfortunately, the difference between Pagulayan and Pasarin's artwork is noticeable in this issue.

Deathstroke #49 does an excellent job of not only answering many of this finale storyline's longstanding questions but also setting the stage for Slade's battle against himself.

With great character exploration, relevant themes, and explosive action, Deathstroke #50 is an excellent conclusion to the series.

Fast-paced and action-packed, Deathstroke Inc. #3 is a story with potential multiversal implications masquerading as a done-in-one tale. Joshua Williamson's focus on propelling the overarching narrative forward allows the script to get to the point. Unfortunately, it also lacks necessary character development. However, Howard Porter's expertly rendered action sequences and Hi-Fi's colors help elevate the book by allowing readers to immerse themselves in this issue's fantasy.

Deathstroke Inc. #5 overflows with outstanding character exploration. This issue is at its best when delving into Slade's fractured psyche. Williamson's use of the visions from Crooked House to justify Deathstroke's decisions is perfect. Unfortunately, the book loses footing once the series' antagonists begin to twirl their metaphorical mustaches, as much of this conflict's outcome has been alluded to in upcoming solicitations. Thankfully, Paolo Pantalena's excellent artwork and panel layouts manage to maintain the narrative tension throughout this issue's inevitable conclusion.

Deathstroke Inc. #7 is a must-read prelude to DC's "Shadow War. Bursting at the seams with insane reveals and wonderful character exploration, this issue's success is due to Williamson's masterful handling of both Respawn and Deathstroke. The writer's choice to use the question, "Why are you really doing this? as a recurring theme is absolutely perfect. It provides the creator with an ideal opportunity to explore the title character further. Additionally, Segovia's artwork bolsters this issue with expressive facial expressions and homages to the character's previous run. Moreover, Hi-Fi's darker colors give the narrative a grim feeling, while his muted tones evoke the soft spot Slade has for his children.

Powerfully written and beautifully illustrated, Detective Comics #1030 is a perfect union of Tomasi, Evely, Lopes, and Leigh's work.

Bursting at the seams with excellent character exploration, beautiful artwork, and an enthralling mystery,Detective Comics #1031will leave you clamoring for more.

Detective Comics #1073 provides the accelerando to Ram V's crescendo of tension, character development, and world-building of the series. V's libretto is masterful, delving into what makes Batman tick and providing narrative meat for the reader to sink their teeth into. As a result, this issue demands rereading. All of this is bolstered by expertly rendered sequences from the entire art team of Ivan Reis, Goran Sudzuka, Danny Miki, Brad Anderson, Stefano Raffaele, and Lee Loughridge. Unfortunately, due to the large number of artists involved, there is a lack of consistency between styles. As a result, each change in an artist can take you out of the moment.

Ultimately, Future State: Batman/Superman #1 is gorgeous and captivating. With this issue, Gene Luen Yang has crafted an enthralling story centered thematically on the notion of identity. Yang's excellent work on Superman's character is on full display in this book. Unfortunately, Bruce's characterization feels a bit off. Regardless of Yang's work with characterization, Oliver and Prianto's artwork are worth the price of admission alone.

Outlandish and adrenaline-fueled, Future State: Gotham #15 is manga-inspired entertainment. From the issue's narrative to its artwork, Japanese influence bleeds through every facet of the story. The absurdity of several plot points is this issue's greatest strength, as each evokes fond memories of my favorite manga and anime. Unfortunately, the sheer number of narrative threads limits character exploration in favor of driving to the next plot point.

Harley Quinn #55 is a breath of fresh air that embraces the absurd, comedic elements of the holidays while remaining focused on family.

Harley Quinn #56 provides excellent social commentary without taking itself too seriously nor diminishing the message.

Harley Quinn #57 is an excellent introduction to "The Trials of Harley Quinn." Sam Humphries expertly balances the inherent silliness of silver age stories with intimate character moments.

From Humphries' clever banter between Batman and Harley to John Timms' wonderful artwork and Alex Sinclair's colors, there is a lot to love about Harley Quinn #58.

Between the references Kafka's The Metamorphosis, excellent themes, comedic dialogue, wonderful art and insightful character exploration, there is a lot to love about Harley Quinn #59.

Humphries' humorous scripting and Basri's wonderful artwork make Harley Quinn #60 a trial worth enduring.

Harley Quinn #61 is dressed in the trappings of every great Dungeons and Dragons-inspired adventure: excellent world building, a compelling threat, and plenty of self-aware humor. Sam Humphries' dialogue is sharper than a long-sword.

Between Humphries' excellent scripting and Otto Schmidt's excellent artwork, Harley Quinn #62 is just plain fun.

With a blend of meaningful themes and fourth wall breaking humor, Harley Quinn #63 perfectly answers the question, "Who makes the clown laugh?"

Hilarious and meaningful, Harley Quinn #64 serves as an excellent commentary on crossover events.

Humphries' writing is hilarious yet somehow finds a way to punch you right in your emotional nut basket.

Behind its murder mystery facade, 'Harley Quinn' #72 is an excellent character study centered on grief.

With 'Harley Quinn' #73, Sam Humphries and Sami Basri have created a socially relevant and humorous character study.

'Harley Quinn' #74 is a satisfying conclusion to "California or Death" but will not take home the title belt.

Ultimately, Harley Quinn #1 is an excellent introduction to the series and its new status quo. This issue's success is due to Stephanie Phillips' expert approach to Harley's characterization and Riley Rossmo's beautiful artwork. With such an excellent first issue, we can only hope that, like Harley, the entire creative team is ready to call Gotham home.

Harley Quinn #2 is overflowing with excellent character exploration, wonderfully written dialogue, and gorgeous artwork. Additionally, Stephanie Phillips presents a conflict not far removed from our society. A large portion of this issue's success involves the use of Harley as the reader's voice and the exploration of Kevin's tragic backstory. However, none of this story would work as well without Riley Rossmo's wonderful artwork and Ivan Plascencia's beautiful colors.

Cleverly written and gorgeously illustrated, Harley Quinn #3 is an entertaining lesson on the psychology of smiles.

A pleasure to read from cover to cover,Harley Quinn #4represents the perfect union between writer and artist. In this issue, Stephanie Phillips, Riley Rossmo, and Ivan Plascencia are firing on all cylinders.

Overflowing with witty writing and dynamic artwork, Harley Quinn #5 is a pleasure to read from cover to cover. A large portion of this issue's success is the result of Stephanie Phillips' ability to draw parallels between Harley Quinn's heroic journey and Hugo Strange's shtick as a copycat Batman. Additionally, Phillips' discussion of literary elements throughout Harley's narration is a humorous method of delivering each plot point as well as her thesis on storytelling. However, this story would feel incomplete without Riley Rossmo's energetic artwork.

Ultimately, Harley Quinn #28 is an entertaining case study in Relativism. Tini Howard's expert script work is on full display throughout the issue. Her ability to subtly weave this philosophical doctrine as a theme throughout the narrative is exceptional and her humor is spot-on for the title character. Additionally, the script is bolstered by Sweeny Boo's vibrant, kinetic, and playful artwork. There's one thing Harley Quinn #28 makes absolutely clear: this duo is the perfect team for this book.

Saturated with comedy and combat, Harley Quinn #52 is pure, unadulterated comic book junk food. Elliot Kalan's Looney Tunes-inspired humor is addictive, leading you mindlessly flip from one page to the next. Mindy Lee's artwork and Triona Farrell's colors add to the narrative's humor and cartoonish tone. Unfortunately, there's little substance to leave you satisfied long after reading the book. There's a message in here about politics and gentrification, yet it feels more like an afterthought than a through-line for the reader to follow. As a result, the titular characters' Merry Melodies-fueled hijinks drown out the themes.

One part introduction to Harley’s new status quo, one part love letter to Frank Miller’s The Dark Knight Returns, Harley Quinn #60 demonstrates that Harley is the knife. Well, if that knife is made out of plastic and trying to saw through several feet of concrete. Elliot Kalan’s script does an excellent job riffing on The Dark Knight’s greatest hits while also maintaining Harley’s iconic sense of humor. Carlos Olivares' artwork expertly conveys the kinetic energy of each action sequence. Unfortunately, this issue spends most of its time exploring Harley’s new status quo without defining a clear conflict to drive the narrative forward. Thankfully, Kalan establishes a mystery during the book’s final moments that will bring readers back for more.

An engaging read from start to finish, I Am Batman #16 is built on the crumbling foundation of the lies one weaves. This issue's success is largely due to Ridley's handling of the narrative dual themes. By interweaving themes surrounding lies and life's randomness, Ridley builds the narrative so each sequence crescendos to this issue's final reveal, leaving you clamoring for more. Additionally, Christian Duce's artwork with Rex Lokus' colors does an excellent job of balancing the drama necessary for every quiet moment with the tension necessary for every action sequence.

Compelling and deeply personal, I am Batman #17 strikes the perfect balance between drama and action. This issue's success is largely due to Ridley's focus on tension mounting within the Fox family and thematically tying it into the action sequences. The result is powerful, as Ridley presents the reader with a relatable, fledgling Dark Knight. Christian Duce, Eduardo Pansica, and Julio Ferreira's artwork are astounding throughout every sequence. Unfortunately, the differences in art styles between each creator are noticeable enough to take you out of the moment.

Brilliantly written and illustrated, John Constantine, Hellblazer: Dead in America #6 is a stunning examination of everyone's favorite storytelling medium: comic books. Spurrier's text explodes with horror and humor that only a Hellblazer comic can bring to the table. Spurrier uses the inherent horror of Hellblazer to perfectly convey the subtext surrounding sacrifice. Additionally, Aaron Campbell's panel work perfectly captures the fourth-wall-breaking abilities of the metamancer and the horror vibes of the story's conflict. Moreover, Jordie Bellaire's colors bring the story of our perished protagonist to life.

Intelligent, funny, and beautifully illustrated, John Constantine, Hellblazer: Dead in America #7 is a perfect examination of palimpsesting. Spurrier's use of this technique to construct his narrative while allowing the villain to use it for nefarious deeds is absolute perfection. Additionally, Campbell's artwork with Bellaire's colors perfectly captures the brutality of Garner's atrocities while maintaining the narrative's ethereal tone. If you haven't already, rewrite your actions to include a visit to your local comic shop and pick up this book. As for me, you'll find me rereading this book. I'm sure I've missed something that might change its meaning.

Beautifully written in both prose and pentameter, after reading this issue it's clear Si is no amateur. Spurrier's dialogue is spot-on and hilariously written, with this issue I find myself completely smitten. His analysis of Liberty's New Colossus is fresh and intriguing, and with his interpretation of Hell there can be no critiquing. Estherren's artwork perfectly captures the blood and the gore, his panels are never a bore. Delpeche's colors give the issue a sense of despair, a perfect mood to represent Hell's flair. My only wish after reading a book so sublime is that I could stop making sentences rhyme.

With a seamless blend of powerful themes, intriguing narrative and striking artwork, Justice League Dark #12 doesn't ask for your attention; it demands it.

This is no manipulation, Justice League Dark #13 is a masterful retelling of Kent Nelson and Constantine's origin stories that pushes the narrative forward while providing new insight.

Gorgeously illustrated by Dan Mora and Fico Ossio, Justice League Unlimited #20 is an entertaining clash of egos. Mark Waid’s characterization of all the main players is the true star of this show. Waid’s Batman and Luthor are outstanding. However, none of this would be as successful without Dan Mora and Fico Ossio’s artwork.

Visually gripping and incredibly entertaining, Justice League Unlimited #21 is at its best when exploring the tension between Batman and Luthor. Mark Waid's understanding of each character is still a highlight of this series as each pitch-perfect voice makes every verbal sparring match popcorn-worthy. However, Mora and Ossio's artwork is a huge selling point for this issue. Their kinetic and cinematic visual storytelling does an excellent job capturing the team's desperation as the Brainiac Queen runs rampant. Unfortunately, despite the creators' expert execution, this issue feels like an extended advertisement for Justice League: Knight Vision Special #1. Thankfully, the campaign is really effective as I find myself clamoring for more Batman and Luthor: The Discordant Duo.

Justice League Odyssey #4 features a lot of intriguing ideas. Unfortunately, the payoff for some of these ideas falls flat.

With Justice League Odyssey #5, Williamson provides us with the tightest and strongest narrative since the series' first issue.

Dan Abnett starts off his first issue of Justice League Odyssey with a bang. Literally. Unfortunately, a lot of the momentum that had been built throughout the previous issue has been lost due to a few storytelling choices. Abnett's narration boxes are entertaining to read, but I think some moments would benefit more from the "show-don't-tell" approach.

With strong character moments and wonderful art, Abnett, Conrad and Beredo make up for the fact that Justice League Odyssey #7 provides no new answers regarding the series' ongoing mystery.

With Justice League Odyssey #8, Dan Abnett has crafted an enjoyable issue that strikes an excellent balance between answering longstanding questions and asking new ones.

With excellent character work and artwork that allows the readers to empathize with the characters, Justice League Odyssey #9 is easily the best issue of the series thus far.

Filled with exposition and action, Justice League Odyssey #10 is a good transition issue as the team moves into the second phase of their plan to save the multiverse.

Justice League Odyssey #11 is an excellent exploration of identity bolstered by Will Conrad's artwork with Ivan Plascencia & Pete Pantazis' colors.

With Justice League Odyssey #12, Abnett has given fans of the series their Empire Strikes Back moment.

Justice League Odyssey #13 feels like a new issue #1 for the series. Abnett's success with this issue lies in establishing compelling mysteries around the new characters without ever making them feel like replacements for the team we lost.

Oozing with thrilling action, humor, and gorgeous artwork, King in Black: Thunderbolts #1 is pure fun.

Ultimately, Legends of the Dark Knight #2 seeks to engage readers by answering the often-asked question, "Will Batman kill the Joker?" Although Robertson does a satisfactory job answering this inquiry, he does little to provide new insight into the conversation. As a result, we once again witness the same argument that Batman doesn't kill because he doesn't want to become what he hates. This issue's true strength lies within the introduction of a new character who drives the overarching narrative forward. Unfortunately, the narrative can feel disjointed at times as the combined chapters have different themes surrounding the Dark Knight.

A one-two punch of humor and action, Maestro: War and Pax #1 is pure fun from cover to cover. Unfortunately, a few missteps prevent this issue from becoming a true knockout.

An excellent examination of both addiction and the titular character, Man-Bat #1 is a compelling introduction to the series.

Exploding with wonderful artwork, Man-Bat #3 is an excellent examination of Kirk Langstrom and his alter-ego.

Full of mystery, social commentary, and violence, Punisher 2099 #1 is an intriguing sci-fi thriller. Unfortunately, we are missing some information necessary for Hector's transformation into Punisher 2099.

Nightwing Annual #1 is a great story that sets up future story arcs and benefits from relevant themes and excellent dialogue. Some story beats could benefit from some closure.

Nightwing #57 is a mixed bag. Your enjoyment of the issue may depend on how much you enjoy awkward, high school level flirtation and social commentary.

Nightwing #61 is a decent end to the "City Ablaze" storyline that robs Hutch of some closure.

Gushing with more vulgar humor than you can reasonably rinse off with a hose, Peacemaker Tries Hard #2 will leave you smiling. Starks' impeccable ability to capture the tone and humor of James Gunn's The Suicide Squad and the subsequent Peacemaker series is a perfect match for DC's Black Label.

Brutal, hilarious, and often brutally hilarious, Peacemaker Tries Hard! #3 is drenched with action and humor. Although this book slows the story's pace to a crawl, it is also some of the most fun I've had reading in a long time. The creative team is clearly firing on all cylinders as humor permeates nearly every sequence with each line or dialogue or panel of artwork. That's not to say that it's all fun and games, as Starks' dark opening sequence presents a theme for the story to follow. However, this issue is at its best when finding the perfect marriage between action and comedy.

Peacemaker Tries Hard! #4 is the most fun I've had reading a comic in quite some time. Kyle Starks' script is pitch-perfect, using a masterful handling of each character's personality to add variety to each joke and punchline. All of this would be impossible without Steve Pugh's artwork, Jordie Bellaire's colors, and Becca Carey's letters. The trio perfectly conveys the visual aspect of each gag. Additionally, the creative team perfectly captures the cinematic nature of each action sequence. The result is an absolute knockout that demands a read by fans of Christopher Smith.

Red Hood: Outlaw Annual #3 is full of interesting ideas but is lacking in their execution.

Red Hood: Outlaw #42 is at its best when exploring Red Hood and Artemis' relationship and at its worst when establishing the team's next threat.

Venditti, Maurer and Mutti tell a story that not only resonates with readers but also pays tribute to those who have served our country.

Suicide Squad #46 is a solid entry in the "Sink Atlantis" crossover. We just need more King Shark versus Killer Croc!

Rob Williams and Philippe Briones have created a fun, done-in-one issue exploring Captain Boomerang.

Rob Williams is in exemplary form with Suicide Squad #48 as he nails the team dynamic and character's dialogue. Unfortunately, some of the characters' facial expressions can be jarring for the reader.

Suicide Squad #49 is a great continuation of the "Squad on Trial" story arc that advances the storyline in a meaningful way while also wrapping up nearly 50 issues of plot.

Suicide Squad #50 is not only an excellent conclusion to the "Rocket to Russia" story-line but also a perfect bookend to the current volume of the series.

Tom Taylor breathes new life into the Suicide Squad.

Suicide Squad #3 is intriguing and cinematically illustrated, sprinkling out the breadcrumbs for the series' mysteries and future conflicts. Although the entire premise of this story focuses on Waller's acquisition of Bolt, this issue's success lies in the hints of future contention amongst the team. Additionally, Eduardo Pansica's pencils, Julio Ferreira's inks, and Marcel Maiolo's colors give each sequence an epic tone fit for the big screen. Unfortunately, a few storytelling cliches and inconsistencies within the artwork prevent this book from receiving top marks.

Although the title of this book is Suicide Squad, Red X is clearly the star of the show. Thompson's focus on Red X is Suicide Squad #4'sgreatest strength, as he and artist Eduardo Pansica expertly demonstrate X's overall level of badassery. Unfortunately, the attention given to Red X is the issue's greatest weakness as the book feels like a commercial begging the reader to pick upTeen Titans Academy. This is a shame because I don't want to seeSuicide Squadbecome a vehicle that serves only as an introduction to other titles within DC's publishing line without pushing its narrative forward. Thankfully, Thompson alleviates my fears for the time being with Red X's reveals for each character.

An excellent introduction of Bloodsport to the title, Suicide Squad #5, is wonderfully illustrated. Robbie Thompson's use of field reports is a creative delivery method for DuBois' internal monologue. Although Bloodsport's narration does a great job introducing the character and his new movie-accurate helmet to the reader, it, unfortunately, hurts the story by telling rather than showing. However, Dexter Soy, Eduardo Pansica, Julio Ferreira, and Joe Prado's artwork overcome these narrative shortcomings by expertly crafting this book's dynamic action sequences.

Sprinkling more details for the series' ongoing Superboy mystery,Suicide Squad #6grabs readers' attention by asking just as many questions as it answers. The surprising reveal on this issue's final page has me clamoring for more from the creators.Unfortunately, the switch between these protagonists causes the narrative to gloss over specific details. As a result, there is a disjointed feeling between this book and the previous entry Bloodsport's conclusion feels rushed. Despite an excellent artistic team, the artwork does add to this disjointed feeling due to some noticeable differences in the creators' styles.

Humorous and cinematically illustrated, Suicide Squad #7 is a great set-up for Task Force X's conflict in Hell.

Suicide Squad #13 oozes with fast-paced action. Although this issue's story is straightforward, Hopeless and Thompson build narrative tension by weaving moments of the past and present together. The result is an entertaining and often humorous read bolstered by excellent artwork. However, this structure is both this issue's greatest strength and its biggest weakness. It works best when driving the overarching plot forward; unfortunately, a few of the earlier sequences feel disconnected as they do little to drive "War for Earth-3" forward. Additionally, the rotating roster of artists throughout this issue creates a visual inconsistency that adds to this disjointed feeling.

Mixing equal measures of It's a Wonderful Life and dystopian futures with heaping helpings of horror, Tales from the Dark Multiverse: Batman: Hush #1 is an excellent inversion of the original tale.

Tales from the Dark Multiverse: The Death of Superman #1 is a great examination of Superman's legacy as well how anger can pervert our best intentions.

Teen Titans #28 is a good introductory issue, but suffers from many of the issues that plague crossovers.

Teen Titans #29 presents an interesting conflict focused on team drama and the ethical treatment of super-villains.

With Glass' work with characterization and Chang's excellent artwork, Teen Titans #30 is a fitting end to "The Terminus Protocol."

Unlike Lobo's questionable parenting style, Teen Titans #31 will not let you down.

Teen Titans #32 is a mosh-pit filled with Glass' expert exploration of team dynamics, excellent characterization, and violence.

Adam Glass' use of "free-will" as a theme to connect each of the plot points makes Teen Titans #33 an great read.

Glass' exploration of themes involving free-will make Teen Titans #34 a must-read.

Teen Titans #35 sticks the landing on the traitor storyline. Although it could have benefitted from more foreshadowing, the reveal is made meaningful by great character work.

Thompson's use of self-discovery is a strength of 'Teen Titans' #43. Unfortunately, some of this work is hurt by some questionable dialogue from Crush and Robin's monologue.

Both insane and hilarious, and often insanely hilarious, Deadpool: The End #1 is the perfect "final story" for the Merc with a Mouth.