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.

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.

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.

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.

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.

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

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

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.

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!

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.

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.

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

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.

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.

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

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.

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.

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...

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.

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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 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.

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

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.