D.M. Grant Comic Reviews

Cecil Castellucci's run on this title is not one I'd recommend to people looking to read Batgirl, but it's also indicative of the core problem with the "Babsgirl" topic to begin with. The main story was full-speed ahead in either having Barbara retire from the role or reveal herself to Jim and Jason, yet she does neither. James Jr. is forgotten about after the first scene, and nothing is fundamentally different, aside from his death. The illusion of change, like the use of real-world social issues, is a time-honored tradition in comic books, but the transparency of that illusion is demeaning to everyone involved. Like with Simone and Maigrhead Scott before her, one wonders how much editorial influenced this run to its detriment. Nevertheless, it is symbolic of how aggressively this final issue tries to punctuate the need for Barbara and Batgirl, and it results in the complete failure in relaying that need.

This is a solid start to a book that has a ton of potential, and above all else, the creators have proven their bonafides in representing two of the coolest women in comics.

It's the last act of the issue that brings my feeling up a bit. While the characterization has been solid where Cass is concerned, I've not loved Shiva's depiction. But as I started off saying, I'm still buying.

Overall I had to remind myself I liked this issue because the dialogue was really bothering me. It gets better as the plot returns to Casandra's inner monologues and observations, and we're staying with her headspace in driving the book. It can be better, but it's still, overall, solid character work.

With so little talking, allowing for Miyazawa's action to take center stage and Cassandra Cain at maximum aura, this is the best presentation of the character since Batgirls #14 in 2023.

At the end of the day, I was left unsatisfied with this opening arc, but not with the title. Brombal has shown off enough Batgirl bonafides to keep me invested in where she goes next, but I've had my fill over overwroughtly-written Shiva screaming matches for one story.

I must once again admit to heavy bias when it comes to Shiva, and lend clemency to Brombal for putting so much time into reestablishing her for this new era of DC. To each their own. We're going to get into her history with Richard Dragon and Bronze Tiger soon, which will really threaten to endanger the original elements of her creation. It will also show what parts of her character Brombal enjoys, and what parts he just throws out for simple retooling. Either way, I'm looking forward to more Isaac Goodhart artwork!

I'm excited again for next issue. I am wanting the book to get back to our girl Cass, but I at least enjoyed this chapter in the new origin of Shiva. Not perfect, but overall fun and interesting.

I'm toughing out this arc, and hoping that we'll be done with this road trip by the year's end. I'm eager to see Brombal's take on Cassandra in Gotham and her interacting with her real family again. Miyazaki's artwork is still solid, but much of the emotional beats have me rolling my eyes. I really hope there's not another violent outburst in next month's issue...

There's other things I could mention, like the Bronze Tiger and David Cain flashback, and Bronze Tiger deciding that everything's okay now and his underaged teenage son can go into a den of trained killers despite winning no fights since we've been introduced to him, but I've been harping on Batgirl #11 enough.

I am still eager for this Unburied arc to end, because it really isn't compelling, but Batgirl #12 was a good issue for Cass' development and to take inventory on how she's been dealing with all these revelations and adventures. The cover to the issue has exactly nothing to do with the story, except that we are back on track for Cass being the star of the book.

That's essentially it. Batgirl #13 is a good issue, with a good cliffhanger. Here's to the next one bringing this book three solid issues in a row.

I can't wait to see our girl back in Gotham, for both a change of pace and to invite voices into the book that shouldn't be written like these characters have been for the past year. Will his voices for Batman, Oracle and Stephanie Brown go down better than Shiva and Nyssa? God, I hope so. As for this arc, for me it overstayed it's welcome after Shiva left the series.

Overall Miyazawa's artwork was quite solid, and Brombal served up a strong start to a new storyline. Will he manage to keep the momentum going in part 2? We'll find out together next month!

I didn't like this, but it wasn't terrible. It made coming to review this comic a drag because I knew it would be negative, but the craft - while almost sloppy - is still decent enough for the story it's telling. But eighteen issues in and I'm not happy with how this book has established itself.

I thoroughly enjoyed Batman #2. It's my favorite characters at their best, with a cliffhanger that's almost traditional every now and then, leaving me excited to see what happens next.

I have to say that the Batman/Deadpool main story really met the hype of the concept's potential. I don't know if it will work for newer readers who may never have read a DC/Marvel crossover before, especially those who aren't familiar at all with DC vs Marvel, but I was 100% the target audience for this specific story, and it worked on all points for me.

This series is imperfect, but it's still fun for longtime fans. It's also cool to see a third chapter in the continuity of Season One Static. Two issues in, I'm enjoying where we are.

So the little niggles I had with Batman/Static: Beyond #4 were relatively tame compared to larger annoyances I find with other books I review for TBU like Batgirl. This is simply a professionally composed, competent piece of superhero action. Less compelling than the last couple of issues, but nowhere near bad.

We're reaching the final issue here, and I'd be surprised if it's a let down. This series has been a terrific entry into the history of Static and Batman Beyond since the beginning. Looking forward to seeing how everything wraps up.

This was a straightforward, by-the-numbers finale that still very much worked. Mendonca's art does much of the heavy lifting, but Narcisse's stellar pacing gave scenes like battling Shutdown and tracing his whereabouts real heft. Lesser comics would've blitzed through them in a single page.

Waid's characterization of Batman and Samnee's classic artwork carries this solid first issue. But nitpicks are only those - nitpicks. With great artwork and storytelling, there's little else you could ask for. And for Batman and Robin, this miniseries could be just what the Dynamic Duo need moving forward into the future.

This is quickly one of DC's best books right now, and Waid and artist Chris Samnee aren't really doing anything against the grain to make it work. It's just good old-fashioned quality comic book writing. The characterization is on point, the surprises and details are fun and it feels like vintage Batman comics. Bring on issue #3!

With Robin captured at the end of Batman and Robin: Year One #5 's cliffhanger, we've got the opportunity to focus on his headspace in that situation. But with how the book's been written for a while now, I doubt we won't simply cut to Batman's plan to rescue him and spend the whole pencil mileage detailing that until Robin's back in the cave, with no look into his thought process throughout. I hope Waid proves me wrong.

While the book has been a solid read, the character development remains frustratingly shallow. However, I am a biased reader. These are my two favorite characters, and that favoritism was built during a time when the industry specialized in a slower, more methodical form of storytelling.

Batman & Robin: Year One #9 was a B&R Year One issue by numbers until the end with Grimaldi's death. That bumped it up for me. Excited to see what happens next.

Nearing the end of this series (I believe it's meant for twelve issues), I still don't think this is the sharpest saga Waid's ever crafted. I still wish Dick were characterized a little better and that the continuity were a tiny bit tighter. But Batman an Robin: Year One #10 plays to everyone's strengths, and I was gobbling up each page. Really hoping we continue this momentum from here on out.

It's Mark Waid, so I'd be surprised if the ending is fumbled badly enough to regret my goodwill at this point in the story.

As things stands, this is a good ending and helps make this a good series to read for fans of Batman, Robin, or Batman and Robin. Bravo gentlemen.

Final Thoughts: We know that Ra's isn't going to, permanently or otherwise, turn Jefferson. Shiva isn't going to turn Jefferson or Cassandra. We're nine issues into the series, there just isn't any believability in threatening the loyalty of the team yet, unless it's new 52 Birds of Prey and one of them is a bad guy. So, like a recent arc of Teen Titans, this story seems deadlocked in a behavioral standstill. Either it follows protocol and keeps its heroes pure and unwavering, or they turn for shock value and the readers lose a fan favorite. There are more avenues outside of that binary, but the story isn't being written as flexible to imply that there are.

This book is written as an action book, first - last - and always, but it has the potential to be much more. More scenes establishing the dynamics of Bruce and Jefferson, Jefferson and Duke, Duke and Tatsu, Cassandra and Jefferson - all of that would be appreciated. It's very single-minded on its main hero/villain plot, and that only goes so far in terms of interest. It's right on the cusp of being truly good.

I want to like this book so much then I am, and I feel iconoclastic writing about it. Everything that happens - on paper - is awesome. The fact of the Outsiders rolling over Ra's' men is cool, but there's no excitement in the scripting. If the plots stayed the same, but there was a different approach to the dialogue and outlining of the events and sequencing, this would be an easy series to recommend. But every month each scene reads as rote, uninspired, and obligatory. I know it can be better. There's too much potential in the characters to really spark off the page.

This arc heads towards a mostly satisfying conclusion, though Hill's problematic characterization from previous issues still remains a problem.

This issue feels like more of the same as the previous one, but the change in artists made this more fun to read.

This issue accomplished what it set out to do in getting us to the final battle, but it wasn't very dynamic in arriving there. Still, the book is always moderately enjoyable, and we are at the precipice of a big finale.

I'm disappointed because the series has felt bereft of ideas beyond the basic premise, unable to elaborate or even search for anything else to talk about, resulting in a one-dimensional good guy/bad guy fight that has very little personality right up to its end. Of course, I'll be interested to read the final issue, but aside from the redemption of Shiva, this book has ended up feeling terribly inconsequential. It's an annoying shame.

Hill ended this series with possibly the best issue of the run. The title overall could be repetitive and slow going, but his attention to character growth was never underappreciated from me. It was a great series that collected several characters of color together and put them in a spotlight that showed real consideration and care. It was never perfect, but it was always a series that I enjoyed having just as a fact of DC Comics' history. For that reason, Bryan Edward Hill has a lot to be proud of, even more so with this final story.

The artwork is pretty good, but the politics and writing come across as hollow, focusing more on showboating melodrama than actual substance.

This saga needs to tighten up quickly because it's hard to care about the character beyond his relationship with Lucius Fox. The potential is great but diminishes if it goes unfulfilled. For its own sake, I'm really hoping this can get itself together.

Suffice to say, I wasn't a fan of Knight Terrors: Nightwing. I'm glad it was only two issues, but even for a filler arc, this left me desperately wanting to get back to the main storyline with Tom Taylor and Bruno Redondo.

Nightwing #78 is not perfect, but this first issue brings a ton of goodwill into the run. Here's to what I hope will be a promising future for Dick Grayson. It's great to see him back in action.

Nightwing #79 is just as good as the last issue, possibly more. The character of Nightwing continues to be a solid and faithful representation of one of DC's best, and it's my most anticipated book from here on out.

This isn't much of an issue to get into plot-wise. It's very straightforward, with its plot bare bones and the character interaction doing the heavy work. From Dick's Black Canary t-shirt to his Adam West Batman mug to the return of Chuck Dixon era villains Brutale and Electrocutioner, this is pure comic book fun from top to bottom. No surprises, but a lot of enjoyment.

It's a solid issue. Nothing much wrong with it once again. But the reveal has me antsy. Tom Taylor knows Dick Grayson in and out, but does this new character have a place in his history? Is there more to be revealed? Can he pull it off? I hope so.

The story is well told, as is the art. The plot, however, comes across as convoluted and hits readers with too much, too fast, which comes across as off-putting.

This is a fine issue. Nothing stupendous, but it's certainly not a bad read. Decent all around, with the faults only due to the fact that it's a requisite tie-in issue, to a story that's been good anyway. I eagerly await the return of Taylor's story, but I would still recommend this for the month.

Nightwing #86 is a simple, straightforward Fear State tie-in. All of the character interactions are fun, and it's simply lovely to see some of my very favorite characters in DC fighting side by side.

It's another solid entry in the Taylor and Redondo Nightwing run, with solid writing and solid artwork. My criticisms are closer to observations than anything that prevented me from digging the issue. Happy to see the consistency and looking forward to next issue.

This is a near-perfect issue, only lacking the little bit of extra to put it over but still worth every penny all the same. And that's how this book has been for a long time. Cut the check.

Every few issues there's something that Taylor writes that showcases a slight weakness in his scripting. This isn't a bad issue, but it's indicative of the run's failures as a whole, and I'm hoping it actually leads to a place that's more thoughtful conceptually. It can't all be ice cream and sprinkles for Nightwing; he's got to struggle a lot more than he has been.

Like the last issue, this was a solid read that had some eye-raising moments which I couldn't not think of when writing this review. But it's all still good.

Taylor's a very good writer, and Redondo and Lucas' artwork kills it every time, but the Blockbuster part is the weak link in this run. It's simply ineffective as a challenge to Nightwing insofar as its not threatening to - at the very least - this reader. I'm still loving the book, but its weaknesses are as consistent as its strengths.

Nightwing #93 picks up the pace from the previous issue, setting up some antagonistic forces in Dick Grayson's life that are compelling.

This was a chapter of plot development with forwarding progression that works well for a good pay-off if given the chance. Very solid with no real problems, but the next issue will have more riding on it with how things have ended up for Melinda here.

I do like this run, I truly do. It's just a bit of a letdown that Blockbuster's fall was - at the end of the day - not that big of a deal when Nightwing can call in a favor from anyone and everyone he knows at a moment's notice because that robs the stakes for future adversaries. Will Heartless be a far darker, more immediate threat? We shall see...

The end twist was great, and I applaud the creators for not leaving the Ric Grayson era in the dust. It wasn't a beloved era, but it still has dramatic potential. Unlike the Melinda cliffhanger, I honestly cannot predict where this might lead.

This was good! Not great, but easy fun. It's been almost two years with Taylor on the title, and the average issue has either been solid or really good. The median of quality is always under excellent, but that consistency puts the run as a whole over just a bit. It's always nice to have a comedy issue here and there, and with such an idea as the 5th-dimensional imps, he made it work here no sweat.

I'm not sure how this connects to the Heartless storyline, as it's listed as Part 3, but while it continues Dick's battle for Bldhaven, it wasn't my favorite story Taylor and crew have ever done.

This is solid, with no qualms or fat to bring down any enjoyment. The respect towards the past was perfectly presented without feeling performative, and it worked wonderfully in the ongoing Nightwing saga that Taylor and friends have been crafting.

This was solid all around, from writing to art for both stories. Very good work by the creators.

Overall I've very few complaints about this. Sure, I would've scripted some of the action differently, but that's not really in the realm of erring in writing. Solid story.

Nothing wrong with the story whatsoever. It's moderately entertaining. On to part four.

While it's nice that Dick and the Titans are save-the-day heroes, this was just too bland a presentation for the story of Neron tempting Nightwing with superpowers. Ultimately, nothing happened.

Minus a couple of minor issues with the details, Nightwing #105 is a solid story that hopefully means a return to the Heartless arc. Bruno Redondo is back and so is the best art we've seen in a while!

Not exactly a perfect issue, but a perfectly solid one altogether.

I liked this quite a bit, the most I've enjoyed a Nightwing issue in a while.

This is the Tom Taylor issue of Nightwing that I've disliked the most in his entire run. Fleeting moments like Dick describing how one of the Robins stole tires from the Batmobile are nice, but the overall sense of time wasted poisons the whole story. It's almost as though we've gone the other way with Taylor's Nightwing in the modern DC era in contrast to the previous one I described before under Dan Didio. Now characters are too nice, and incidents are wrapped up far too easily. The phrase "super easy, barely an inconvenience" couldn't be more aptly applied in this run.

This issue is harmless, with the art team working above and beyond to sell it more than the writing. An extra half-point goes entire to their awesome efforts.

We are officially beginning the end of the Taylor era of this character, and though I've been growing increasingly cooler on it, I'm still very much excited to see how things wrap up.

As it stands, Nightwing #112 is a classic comic book tale of yesteryear that's been overwritten to the point where the positivity and optimism run in the face of an otherwise great story. It's too overt.

Overall, this issue is good. It's a suitable, if quiet, celebration of the character and a decent victory lap before the inevitable fall from grace.

With the return of Bruno Redondo, this book is a return to the title's best issues, and I cannot wait for more. Hopefully this arc sticks the landing.

The team of Tom Taylor and Bruno Redondo keep the fires burning with Fallen Grayson Part 2, where the rhythm of Dick's descent increases which each new calamity.

Overall my quibbles with this issue were big to me but still personal. Things like Dick's escape and Bruce's suggestions are really minor compared to the overall story. I think there were stronger ways to write this issue, but they don't detract too much from the idea of this issue.

Not a bad issue strictly, but an unsatisfying one considering what it was doing and what it had to do given the circumstances of all the plot threads. I am disappointed however at how things are wrapping up, and it's impacted my excitement for the finale unfortunately.

This issue is far from the series' best, but it's floor-level of quality only speaks to the highs it rose to, and holds above many that came before it. Here's to the future.

Solid scripts, very solid artwork, and a really good origin for the new villain. Fun stuff all around.

Editors Note: DC Comics provided TBU with a review copy of this title. You can purchase your own copy by heading over to Amazon.

Another solid Taylor and Redondo issue, even if it's odd to be reading this as a Superman comic, and not Nightwing, despite almost everything to the contrary.