Robin & Batman #1 is a near-perfect coming-of-age story about the moment when Dick Grayson transitions from Bruce Wayne's ward to Robin. The human elements and emotional complexities are spot-on and believable for the foster relationship between Dick and Bruce, and the comic interweaves the family drama aspects seamlessly into a proper Batman detective story. This is one of the best Batman-family comics I've read in years.

Robin & Batman #2 blew me away. The story builds and builds for a young boy having possibly the greatest day of his life, and then the twist ending elevates the story to something completely different. The art captures every ounce of wide-eyed wonder, and this is going to be my pick of the week.

Robin & Batman #3 is a masterful coming-of-age story about the Boy Wonder coming into his own as a hero. It's perfect in what it does, and Nguyen's art accentuates every nuance expertly.

Swamp Thing: Green Hell #1 imagines a world on the brink of destruction when the powers decide it's time to start over. Lemire's writing is grim and hard-hitting in all the best ways, and the art team has created a world that feels like it's at the end of its rope. However, when the monsters come out to do their worst, familiar faces make this story feel entirely fresh and friendly at the same time.

Swamp Thing: Green Hell #2 returns to the mini-series after a year-long break to offer a chapter rich with dramatic layers, nuanced emotions, complex conflicts, and phenomenal art.

Swamp Thing: Green Hell #3 ends the mini-series with big action, big stakes, big emotion, and a big conclusion that changes the Green and the Red as we know them. Lemire's writing is mesmerizing, and Mahnke's art is top-notch.

After a disastrous few years of lackluster and outright bad Aquaman titles, Aquaman / The Flash: Voidsong #1 is a surprising breath of fresh air. The alien threat feels epic, the logic behind the unlikely team-up makes sense, and the art is gorgeous.

Aquaman / The Flash: Voidsong #2 may be the best comic we've read from Kelly and Lanzing. Despite the double-sized issue, the pacing moves like lightning, the character interactions are engaging, the action is intense, the plot drops more than one surprise, and the art is great.

Aquaman / The Flash: Voidsong #3 ends the arc with big action and plenty of heart. The pacing, dialog, and plotting are all on-point, and the resolution is satisfying. However, the epilogue drags on way too long, overstepping several moments to gracefully end the story.

Batman & Robin: Year One #1is an excellent start for a series detailing the first outings of the Dynamic Duo. Mar Waid's pacing, dialog, action, and central mystery have a classic Batman detective feel that we haven't seen in a long time, and Chris Samnee's art suits the story and timeframe perfectly. That said, the story feels like stories we've already seen multiple times, so it's unclear why DC decided to create yet another Batman title.

Batman/Superman: World's Finest #1 leaves me feeling a bit cold. Waid stuffs in too much too fast, with most of the top villains showing up in one form or another. Much like eating a whole box of Twinkies, you feel like you ate a lot, but it wasn't particularly healthy or satisfying. That said, the art is phenomenal, and DC couldn't have assembled a better art team.

Batman/Superman: World's Finest #2 takes everything that worked about the first issue and builds on it. Then, it takes everything that wasn't right in the first issue and corrects it. This is a perfect example of classic superhero storytelling and a highly recommended pick for anyone that wants to remember why they liked reading superhero comics.

Batman / Superman: World's Finest #3 has everything you'll ever want in a DC team comic (and more) with fantastic art, non-stop story progress, cameos galore, and a shocking last-page twist. Waid expertly gives you a ton of exposition but rewards you by giving you incredible battles first. Mora's art is beyond reproach. This story is a little too busy at times with the sheer volume of cameos and references it tries to stuff in.

Batman / Superman: World's Finest #4 is the master template for everything that's sorely been missing from the Big 2 for years. Big action, big surprises, non-stop wow moments, urgency, drama, and excitement.

Batman / Superman: World's Finest #5 is a superhero comic lover's dream. The remaining heroes face off against Nezha (and each other) in a fight full of wow moments and heroic determination. The pacing, energy, drama, and excitement are firing on all cylinders while the art is practically perfect.

Batman / Superman: World's Finest #6 takes a break from the big, blockbuster action for a circus-set murder mystery that fits snugly in the wholesomeness of the Golden Age of comics. The adventure is charming, the mood is slightly corny but in an endearing way, and the art doesn't miss a beat in the hand-off from Dan Mora to Travis Moore.

Batman / Superman: World's Finest #7 pulls another obscure character from Superman's past to tell an updated origin story about the Boy Thunder, pay a visit to Kandor, tease a new threat on the horizon, and smack you in the face with all the awesome art, emotional moments, and cool Easter Eggs you could ask for.

Batman / Superman: World's Finest #8 lives up to its title as one of the world's finest superhero comics on the market. The action-filled story matches tons of emotional weight, exquisite art, and pitch-perfect intrigue.

Batman/Superman: World's Finest #9 is a perfect delivery of superhero action comics at their finest. Waid's writing is on-point with fun adventures and deep character moments while Mora's art is exquisite.

Batman / Superman: World's Finest #10 continues to hold the top spot as DC Comics' best comic series. Everything about this comic screams "QUALITY," from the outstanding writing by Waid to the mesmerizing art by Mora. But for a confusing stumble in the third act, this would be a perfect comic.

Batman / Superman: World's Finest #11 is the shining example that all comics from DC and Marvel should be following. The issue is filled with perfect art, exciting action, powerfully emotional moments, and a satisfying conclusion to this phase of David's journey.

Batman / Superman: World's Finest #12 breaks from world-ending events and lethal villains for a lighthearted and thoroughly amusing comedy of errors. Waid's gift for awkward comedy is on full display, and the guest art team's execution reasonably matches Dan Mora's immaculate style.

Batman/Superman: World's Finest #13 is as good a DC Comic as you'll likely find anywhere. The story is fun, with an intriguing mystery. Multiple characters appear, but each gets proper attention, and the art is brilliant.

Batman / Superman: World's Finest #14 takes a few pages to get going, but once the clues and action kick in, Waid and Mora prove they are the World's Finest DC comics creators around. The sheer volume of character cameos (some not seen in years) is astounding, the action is fun, and the mystery reveal promises a much bigger story on the horizon.

Batman / Superman: World's Finest #15 escalates the Simon Stagg murder mystery into a world-ending robot revolution without a single hero strong enough to stop it. The pacing is lightning quick to a fault, the laundry list of character cameos (some recent, others ancient) is astounding, and the art is perfect.

Batman / Superman: World's Finest #16 puts Batman in the driver's seat to free Superman and their fellow captives to begin pushing back on Newmazo's genocidal plan. The story is an exciting adventure from start to finish, and Dan Mora's art is Amazo-ing. (Yes, that's terrible, and I don't even care).

Batman / Superman: World's Finest #17 is the Grade-A stuff of superhero comic legendry you wish DC and Marvel would do more of. The battles are amazing, the pacing and urgency keep you on the edge of your seat with every page turn, and the twist ending is clever. Couple Waid's top-tier writing with Dan Mora's exquisite art, and you get DC's Finest comic team.

Batman/Superman: World's Finest #18 re-imagines the first meeting between Batman and Superman (again) with solid art, entertaining cameos, and a solid cliffhanger.

Batman/Superman: World's Finest #19 concludes Jax-Ur's escape from the Phantom Zone with plenty of high-flying heroics, clever twists, and cool art. That said, retelling (again) Superman and Batman's first meeting felt like a quick excuse to set up a deep-cut villain, prepping to make a splash later in the year.

Batman / Superman: World's Finest #20 gets back to the original creative team with a captivating story that seems to be setting up a prequel to Kingdom Come. Waid's timing and scene ideas are perfect, and Mora's art is the best of any book in DC.

Batman / Superman: World's Finest #21 is a fast-paced, energetic superhero action romp from start to finish. Waid smartly furthers the story through the action, and Mora's art is the best of any DC book on the shelves.

Batman / Superman: World's Finest #22 is the bee's knees. Waid delivers an action-packed issue with wow moments, interesting story reveals, and fast pacing for a worthy prequel to Kingdom Come. As a bonus, Dan Mora's art is spectacular.

Batman / Superman: World's Finest #23 delivers excitement, adventure, and stupendous art. Waid is working hard to give readers a Kingdom Come prequel that lives up to the original, and Mora's art is unmatched at DC.

Batman / Superman: World's Finest #24 almost sticks the landing with a multiversal battle against Darkseid that leaves one character damaged for a very long time, another dead, and hope for one Earth after its greatest challenge arrives in the future. Fans of Kingdom Come will have a lot to like in this issue, fans of great superhero art will love this issue, and DC fans finally have a comic worth looking forward to.

Batman / Superman: World's Finest #25 delivers the goods with an amusing team-up between Lex Luthor and Joker that turns out exactly as you'd expect, in the best way, and the setup to the World's Finest next adventure. In all, this was a highly amusing issue.

Batman / Superman: World's Finest #26 overflows with action, adventure, excitement, and jaw-dropping art. The challenge facing the World's Finest feels huge, and the mysterious villain is an attention-grabber. But for some odd character work for Mxyzptlk, this would be a near-perfect issue.

Batman / Superman: World's Finest #27 brings all the fun, excitement, action, adventure, and even a wee bit of fan service nostalgia to give readers the most entertaining superhero comic around. Waid's fast-paced script delivers non-stop cool moments, and Mora's art is peak superhero goodness.

Batman / Superman: World's Finest #28 shoots you in the face with a firehose of action, twists, energy, and big, loud developments. That said, Mark Waid's tale of interdimensional imps run amok is turning into hyper-hero overload, and the art team's quality takes a slight dip.

Batman/Superman: World's Finest #29 ends the arc with fast-paced fun, action, adventure, and excitement. Dan Mora's artwork and Mark Waid's script wrap the adventure up with a pleasant mix of heart and fun. That said, Waid takes a few shortcuts to the finish line that are a little too big to ignore.

Batman/Superman: World's Finest #30 is another winning issue in a sea of DC mediocrity. Mark Waid's interpretation of the first adventure of the Holy Trinity highlights the strengths of each character and serves as a great humping-on point for new readers who know nothing about Wonder Woman's home. Plus, Gleb Melnikov's artwork is stellar. The issue feels a bit rushed towards the end, but it's a solid pick overall.

Batman/Superman: World's Finest #31kicks off the last arc in Mark Waid's run with an action-packed, thrilling return of Eclipso. Waid's core premise and creative setup are top-notch despite a few rushed moments in the execution, and Adrin Gutirrez's turn on the title would make Dan Mora proud.

Batman / Superman: World's Finest #33races to the finish line to end Eclipso's reign of terror with a non-stop action fest. Mark Wiad pulls out all the stops to make the arc's finale as exciting as possible, and Adrian Gutierrez does a commendable job living up to Dan Mora's high bar.8.3/10

Batman & The Joker: The Deadly Duo #1 brings a new phase in the Batman/Joker relationship to life as a monstrous, unstoppable killer with ties to the Joker forces the perennial enemies to become partners. The story is an above-average Batman tale with solid pacing, plotting, and dialog, but the Batman/Joker relationship forms a little too quickly. Silvestri's artwork, however, is the best its ever been.

Batman & The Joker: The Deadly Duo #2 takes the boilerplate setup from issue #1 and amps up the horror elements in surprisingly new directions for an issue with spectacular art and a suddenly more intriguing story.

Batman & The Joker: The Deadly Duo #3 shifts away from nailbiting action into full-on detective mode as Batman hunts down the monster maker. Silvestri's artwork is next-level, the detective work is smart yet engaging, and the mystery unfolds at just the right pace to be satisfying.

Batman & The Joker: The Deadly Duo #4 breaks from the plot progression to fill in Simms's backstory and add more detail to the monster-making process. The details are interesting and give the story texture and death, but the story's forward momentum loses steam.

Batman & The Joker: The Deadly Duo #5 amps up the detective work and the exposition to uncover the "true" threat behind the monsters, kidnappings, and murders. The art is gloriously good, Batman's detecting work is solid, and the mystery reveal is surprising. That said, this is a very dialog-heavy issue with little action, and many questions still need to be answered.

Batman & The Joker: The Deadly Duo #6 uses the penultimate issue in the 7-issue run to answer lingering questions, deliver big fights, hit you with surprise twists, and set the stage for a big finale. Most but not all answers are satisfying, and the art is next-level brilliant.

Batman & The Joker: The Deadly Duo #7 ends a gorgeously-crafted mini-series on a strong note. Batman's challenges are clever, he overcomes them with equal cleverness and grit, and Silvestri's artwork truly is a work of art.

Jay Garrick: The Flash #1 is good, old-fashioned, classic superhero storytelling with a modern twist. All the characters are instantly likable, the action is plentiful, and the mystery surrounding Judy's disappearance is perfectly introduced. Combined with Olortegui's eye-catching art, this comic is a winner. 

Jay Garrick: The Flash #2 is a charming, wholesome, energetic issue that lays the foundation for the first big challenge to attack the Garrick family. Adams's wholesome family spirit bubbles up on every page, getting you to instantly care about the Garricks, and Olortegui's art is a good fit for the story.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.Follow @ComicalOpinions on Facebook, Instagram, and TwitterBits and Pieces:Jay Garrick: The Flash #3 continues to impress with lots of cool action, fun character moments, and a captivating mystery. Jeremy Adams has elevated this title to the strongest of the three Golden Age mini-series, and Ortegui's art is a crowd-pleaser.

Jay Garrick: The Flash #4 takes a breather to recount and retcon Jay Garrick's origin story. However, Jeremy Adams pulls off the best kind of retcon by changing the facts you don't see while keeping the original story intact. Of the three Golden Age imprint titles, this one is shaping up to be the best.

Jay Garrick: The Flash #5 delivers fun, action, adventure, drama, and excitement in short order. The story concept works, Jay and Judy's father/daughter chemistry is on-point, and Olortegui's art is energetic.

Jay Garrick: The Flash #6 hits a home run with a climactic finale to stop Dr. Elemental's plans that threaten the world. Flash fans get plenty of big action, emotional beats that hit you in the feels with a sledgehammer, and a pitch-perfect ending.

Stargirl: The Lost Children #1 is pure, wholesome superhero fun from start to finish. Johns's writing lays out a near-perfect setup for a larger mystery that spans decades, and Hauck's art is spectacular.

Stargirl: The Lost Children #2 is pure, unadulterated, family-friendly, superhero adventure, and fun. Courtney and Emiko's quest is intriguing, the breadcrumbs of discovery are curiously entertaining, and the art is fantastic. This comic is all about fun, and we need more fun comics from DC right about now.

Stargirl: The Lost Children #3 nails the fun and excitement of a sidekick-centered mystery. Several plot points from the previous issue get resolved while an equal amount more present themselves to keep you entertained and curious about what happens next.

Stargirl: The Lost Children #4 continues to show that this title is still one of the best non-Trinity books DC offers, with fun characters, big stakes, plenty of drama, and exciting action. That said, this issue is guilty of trying to tie too much into DC canon, making the explanation for the sidekicks' disappearance more complicated than it needs to be.

Stargirl: The Lost Children #5 is an action-packed, penultimate issue in the mini-series that puts readers through a roller-coaster of excitement in both the writing and the art. Johns moves mountains to give as many characters as possible a moment to shine, and Nauck's artwork is gorgeous.

Stargirl: The Lost Children #6 brims with explosive action, heart, twists, turns, surprises, excitement, and fun. The story ends on an emotionally high note and drops hints for more in the future, but you'll enjoy this finale best if you don't think about all the loose threads Johns' fails to tie up.

Absolute Wonder Woman #1presents a rougher, darker, mystical Wonder Woman, fit to fight all comers in a universe spawned by Darkseid energy. Despite the mildly annoying lack of setup in a few spots, Kelly Thompson nailed the assignment to create a Wonder Woman who's recognizable but stands wholly apart from her Earth Prime counterpart. Sadly, the material needed art with a harder, sharper edge, so the visuals don't live up to the script.8.5/10

Superman: The Last Days of Lex Luthor #1 is a rich, mature, thoughtful story that puts the Man of Steel's convictions to the test. Mark Waid's ideas are thought-provoking, and Bryan Hitch's art is immaculate, but it becomes apparent very quickly that this story is under-served in this format.

City Boy #1 is a dead-solid perfect origin story for DC's latest hero. Greg Pak packs motivation, depth, and intrigue into every page, and the artwork is Grade-A. If you were intending to pass on City Boy after his odd introduction in Lazarus Planet, this comic may change your mind.

City Boy #2 is a thrilling, action-packed, dramatic second entry in the series, pushing it head and shoulders over any other new title from DC at the moment. Pak's writing develops Cameron's character and gives him plenty of opportunity to let loose, albeit recklessly, and the stakes are potentially massive.

City Boy #3 continues to impress as one of the best new characters from DC in a very long time. Rather than using Superman's cameo as a shiny distraction, Greg Pak uses Superman's experience and wisdom to allow Cameron to grow into the hero he could be. This issue is an outstanding example of character development.

City Boy #3 is a fine issue that's starting to settle into the adventure-of-the-month model. There's nothing wrong with episodic adventures, but the great momentum and direction built up in the first three issues is noticeably absent. Still, the art is very good, and Cameron's power use is maturing nicely.

Sgt. Rock vs. The Army of the Dead #1 is a dead solid (*heh*) start to a WWII-era zombie story of history-changing proportions. The setup is rock solid (*heh again*), the exposition and scene progression seamlessly draw readers into Campbell's world, and the challenge instantly establishes high stakes. However, the exposition lettering is a little too dense in spots, and the pencils/inks lack detail.

Sgt. Rock vs. The Army of the Dead #2 is a fun, energetic horror/war mashup that drops Sgt. Rock into the heat of battle with excellent pacing, plotting, and dialog. The action is fun, the deaths are gross, and the stakes take a significant bump up at the end.

DC Horror Presents: Sgt. Rock vs. The Army of the Dead #3 is pure entertainment from start to finish. Campbell nails the personalities of Easy Company's members and the joy they take in kicking Nazi Zombie butt. Risso and Rossi up their game with better visuals and exhilarating action.

DC Horror Presents: Sgt. Rock vs. The Army of the Dead #4 is an unapologetic hoot of a wartime/horror mashup. The plot only moves forward a little since Easy Company is distracted with surviving their trek through the countryside, but the lack of plot is more than made up for with eye-popping action, wit, and excitement.

DC Horror Presents: Sgt. Rock vs. The Army Of The Dead #6 gives horror/grindhouse fans exactly the ending they want to see. The brutal fight between Sgt. Rock and Hitler is cheer-worthy, and the epilogue teases even weirder adventures.

World's Finest: Teen Titans #1 sets the high bar for the best Titans book on the shelf. Waid creates a team that likes each other and can get the job done but still, butts heads as headstrong sidekicks just coming together should. If you're hungry for a return to Perez/Wolfman-era Titans, this issue gets very close.

World's Finest: Teen Titans #2 improves on the first issue by bringing the team together to find a missing girl in a spooky house. Instead of crafting the Titans version of a Scooby Doo adventure, Waid delivers a mature, emotionally resonant plot. Waid is doing something unique with this title, don't sleep on it.

World's Finest: Teen Titans #3 may feel like Mark Waid's version of a YA comic, but the story (and Lupacchino's art) is surprisingly rich and complex. Without question, this is the best Titans book on the market.

World's Finest: Teen Titans #4 is a masterclass in character development and emotional storytelling. Waid gets you to care about the individuals that make up the Titans instead of simply throwing the team into one brawl after another. That said, the plot takes a backseat to the character development, so readers looking for many Titans' actions will be left wanting.

World's Finest: Teen Titans #5 is a surprisingly strong example of a well-done, YA-focused comic set in the main universe. The team's lack of maturity and trust bubbles over into a series of engaging dramas, and the superhero aspects fit right in with the best of classic Teen Titans or Young Justice.

World's Finest: Teen Titans #6 brings the mini-series to a satisfying close with rousing action, genuine heart, and a group that finally feels like they've become a team. Waid's coming-of-age storytelling is pitch-perfect, and the art team delivered an action-packed finale.

Batman vs. Robin #1 is a worthy partner to Waid's run on World's Finest with plenty of drama, excitement, emotion, thrills, and magic. If the last issue finishes as well as the first issue starts, this will be an arc worth remembering.

Batman vs. Robin #2 gives readers a little insight into the next phase of Nezha's plan and spends most of the book replaying flashbacks to a known plot point from other titles. While the information is useful for new readers, fans of World's Finest and the recent Robin series may find themselves tuning out. Coupled with a step down in art quality and a last-page twist that may irritate more than a few readers, this entry in the series is a mixed bag.

Batman vs. Robin #3 is a mature, heartfelt, emotionally weighty issue matched only by exciting action and surprising revelations. The scale and complexity of the Demon Nezha's plan take a giant leap forward, and Batman's failure as a "father" come back to haunt him powerfully.

Batman vs. Robin #4 is a cataclysmic battle between father and son underneath Lazarus Island, just in time to kick of 2023's Lazarus Planet event. The brutal hand-to-hand action is fierce, and the outcome feels essential.

Batman vs. Robin #5 puts a capper on the conflict against the Demon Nezha with a fight between father and son, with the world's fate in the balance. The action, pacing, and sense of momentum work, and the art are generally good, but the final solution to Batman's possession may have some readers groaning rather than cheering.

Knight Terrors: Detective Comics #1, like most Knight Terrors tie-ins, has almost nothing to do with the Knight Terrors plot, but this first issue is an excellent horror comic and surpasses the main Knight Terrors story in terms of art quality and intrigue. If you're not into Knight Terrors, get this issue anyway. You'll be glad you did.

Knight Terrors: Detective Comics #2 concludes the two-parter tie-in with a mature, metaphorical, thought-provoking story about Jim Gordon's real insecurities and fears that fit within his age and place in life. The art is stunning enough to stand on its own, and Watters mostly gives you more than your money's worth, but the high concept, multi-idea ending trips over itself for a fumbled ending.

Green Lantern #1 does exactly what it needs to do - re-establish Hal Jordan as the greatest Green Lantern and get back to basics. Xermnico's art is excellent, and Adams's script is a perfect jumping on point with action, motivations, and a smile-inducing final page.

Green Lantern #2 leans into the joy and fun of having the most powerful device in the universe at your disposal. Jeremy Adams leans into the whimsy with a bit of humor, and Xermnico's art is top-notch. Unfortunately, all the momentum this series started to generate runs smack dab into the Knight Terrors wall, so time will tell if it can recover.

Green Lantern #3 quickly dispenses with the nightmare of Knight Terrors to get Hal Jordan settled in with his new ring by learning what it can and can't do while he has fun figuring it out. Adams is playing it smart by returning to a simple, clean Lantern story, and the art is fantastic.

Green Lantern #4 is a bright, fun, action-packed team-up story with the guest hero, The Flash, pitching in to stop two disasters in the making. The team-up action is fun, and Barry and Hal have a natural rapport with each other, but the overall series may be taking a little too long to present Hal with his first big challenge.

Green Lantern #5 is a ring-slinging dream for Lantern enthusiasts. Jeremy Adams delivers past-paced Lantern action from beginning to end with a killer cliffhanger, and Xermnico's art is excellent.

Green Lantern #6 is an action fans dream with big constructs fighting big battles with big stakes. That said, Adams doesn't give enough attention to the mysteries or further the story through the action, so this issue is a lot of eye candy with little substance.

Green Lantern #7 is an issue-long flashback answering the question of Kilowog's death. For his part, Adams gives readers a thorough depiction of events, showing how Kilowog gave his life doing his duty, even if his death feels meaningless. Whether or not Kilowog is truly dead remains to be seen.

Green Lantern #8 is the issue we've been waiting for in Adams's tenure on the series as the big questions surrounding a disruption in the emotional spectrum and the origins of Hal's new ring start to come into focus. The mysteries are intriguing, now that we have a few clues to fill in the blanks, and the art looks great.

Green Lantern #9 is the issue that pays off what's been lacking in this series - meaningful answers. With a new status quo for all GLs and badly needed canon fixes, Adams is on the right track to get the Green Lanterns back to their place of prominence in the galaxy.

Green Lantern #10 gives readers starving for more Lanterns, besides Hal Jordan, all they could want and more. The cameos fit within the larger UP conspiracy, the Resistance has a big problem on their hands, and anticipation is high for where the series could go.

Green Lantern #11 is another strong entry in the series when Hal and his rebel group of Lanterns expose the U.P., and Carol Ferris makes an impulsive move. Adams excels at telling stories that correct and improve on past mistakes from previous writers, so this does well to stand on its own and set the stage for potentially cool developments in the future.

Green Lantern #12 delivers action, energy, excitement, and adventure wrapped up in a power-packed package. Jeremy Adams is dead set on giving Jordan more trouble than he can handle, and Xermnico's art is great. If only the rest of DC's title lineup was this much fun. Even the backup is worth your time.

Green Lantern #13 serves as one of the stronger, if not THE strongest, tie-ins to Absolute Power, with surprises that create shockingly high amounts of anticipation and excellent art in both the main story and backup. That said, the least interesting thing about this Absolute Power tie-in is everything related to Amanda Waller and Absolute Power.

Green Lantern #14 is one of the strongest tie-ins to Absolute Power because Jeremy Adams gives you plenty of cool developments, action, excitement, and adventure while finding an organic way to further the plot on Green Lantern. There isn't a bad spot scene in this entire comic, and the art team delivers.

Green Lantern #15 continues to be the best Absolute Power tie-in, with tons of action, drama, personality, and meaningful contributions to the main event. Plus, Jeremy Adams continues to weave in plot developments for the regular series to keep Green Lantern fans happy, and the art team's output is excellent.

Green Lantern #16 is a hard-hitting, all-out action fest to begin a war with stakes, consequences, drama, and surprises. Jeremy Adams's script makes this issue feel more important than anything DC has produced in years. Plus, Xermnico's art is excellent.9/10

Green Lantern #17is a blistering war comic that bombards you with action, adventure, twists, turns, and surprises. Jeremy Adams's script grabs you by the scruff of the neck and sprints to the reaches of space, and Xermnico's art looks gorgeous. That said, Adams almost does too much too fast, leaving little time to appreciate the cooler developments.8.5/10

Action Comics 2023 Annual #1 is a fitting end to the New Worlds arc and Phillip Kennedy Johnson's time on Action Comics. Admittedly, the smaller scenes feel rushed in spots due to lack of page space, but the final fight feels big against a formidable villain with an army, and the art looks great.

Generally, good art and good writing make for a huge prelude to the end (or beginning) of the DC Multiverse. Some vignettes were better than others, but all of them had some part to play in establishing the outcome of the big battle. If you're invested in the Death Metal event up to this point, this book feels more essential than a tangential tie-in.

Flash #789 ends the arc with a big reveal about Mayor Wolfe that should be a big threat to the entire world. Wally handles the threat well enough, but the light, mellow tone deflates any sense of danger, urgency, or stakes. It's a good ending, just not a great one.

The Flash #790 is a solid kickoff story that brings up readers up to speed (*heh*) on all the Flash-related characters just in time for a massive alien invasion. The stakes are huge, the alien threat is immediately overwhelming, and the art looks great. That said, this issue is mostly a setup issue to establish who's who and what's what, so current Flash readers won't get much out of this issue until the last few pages.

The Flash #791 is a better-than-average DC comic that delivers plenty of action and revelations. However, the art doesn't sell the drama the script calls for, and the villains are increasingly one-dimensional.

The Flash #792 picks up the pace and the fun of the One-Minute War event with a Wallace and Bart-centric issue. Adams nails the slightly juvenile charm of the leads, the execution and success of their mission make sense, and the action is a lot of fun.

The Flash #793 amps up the family feel, the frenetic energy, and the fun for a rousing plan to stop the Fraction. The family dynamics, during the big action moments and the small quiet moments, sell this issue, making this the best entry in the One-Minute War.

The Flash #794 is another strong issue in the One-Minute War event, with an Irey-centric issue that cements her place as a hero in the Flash Family. The family dynamics and their teamwork are what make this issue work, and you get that family feeling from start to finish.

The Flash #795 puts Barry's new plan into motion with exciting super-speed action, strong emotional beats, high stakes, and a twist reveal at the end that could pave the way for big Flash changes in the future. That said, the mixture of artists in this book don't have complementary styles, causing the art quality to suffer.

The Flash #796 is an almost strong finish to an event that started weakly and got better as it progressed. The tone, dialog, and action hit all the right notes for what Flash Family fans could want, but the cobbled-together art from too many artists with too-different styles is off-putting.

The Flash #797 kicks off a new arc where the Flash Kids and Animal Girl get kidnapped by a gangster with a wishing machine. The hijinks and sibling dynamics are fun, but the threat level is deflated by an overly light tone, and the art looks rushed.

The Flash #798 marks the beginning of the end for Jeremy Adams's run on The Flash, and this last arc kicks off a new adventure in style, with a big heart, big explosions, and an adventure that's all about family.

The Flash #799 is pure entertainment from start to finish. Adams has rightfully chosen to turn the imagination and fun factor up to 11 as he exits the title, and readers are reaping the benefits. The art could be better, but the story's over-the-top determination to be fun more than makes up for any art flaws.

The Flash #800 delivers five short stories to warm your heart and excite your senses, reminding readers why the Flash has the best family around. Collectively, all the shorts have fun and interesting moments, but Jeremy Adams's short scores the top spot for pure entertainment. On the other hand, Si Spurrier's short, portending his assumption of the main title, projects a dark, gloomy, and unfun future for the Scarlet Speedster.

Rogues #2 is fascinating in that it finds ways to surprise you on almost every page.  Williamson subverts expectations (in a good way) by creating an unexpected version of Gorilla City with a Grodd, unlike one you've seen before.  This story is memorable for all the right reasons.

Rogues #3 is an all-out, crazy, bank-heist-gone-wrong adventure that keeps you on the edge of your seat from start to finish. The dialog, plotting, and pacing are reminiscent of something out of a Michael Mann film, and the spiraling events get crazier with each page. Unfortunately, however, the sketchy linework is no match for the writing and is the only thing holding this comic back from achieving a top score.

Rogues #4 is packed with hard-hitting, sometimes-bloody action, and plenty of character-building for Leonard Snart, but the ending is simply sad and makes the whole mini-series feel pointless. Williamson did not stick the landing on this one.

Penguin #1 is a promising start to an interesting idea about what would happen if one of Batman's rogues tried to retire. The character work is (surprisingly for King) on-point, and the art is top-notch. It's unclear where this plot is headed, but there's enough interest after issue #1 to find out.

Superboy: The Man Of Tomorrow #1 is a very strong start to a Conner-centric story about the Kryptonian clone looking for his place in the world (or galaxy). The writing and art are both rock-solid, except for an odd consistency issue with the art, and the adventure holds your interest.

Superboy: The Man of Tomorrow #2 is a respectable follow-up issue wherein Connor Kent is forced to confront his self-doubt and "heroes" with a faulty moral compass. Porter's writing is solid from start to finish, and Lindsay's art is excellent.

Superboy: The Man of Tomorrow #3 gives you all the basics of what you want out of a Conner Kent comic. You get big action, strong dialog, plot twists, and great art. Unfortunately, the issue lacks heart, and Conner is the least interesting aspect of this comic.

Superboy: The Man of Tomorrow #4 turns a typical slugfest into a surprisingly complex moral and ethical dilemma for Conner Kent. From practically every angle, Conner is in a no-win scenario. We like to see these stories because they force the characters to evolve and grow. If Porter can stick the landing, this series may be the sleeper hit of the year.

Absolute Batman #1 is a banger of a first issue that introduces readers to a new-ish kind of Batman, Alfred and Gotham City. Scott Snyder's knack for hard-hitting action and drama is on full display, and Nick Dragotta's art sings during the big fight. That said, Absolute Batman is almost too similar to regular Batman, so you may wonder why creating an alternate version was necessary.9/10

Absolute Batman #2is a mixed bag of an issue that doesn't match the energy and cool moments in issue #1. To Scott Snyder's credit, he fills in a lot of information quickly but in a manner that makes the comic readable, and Nick Dragotta's art is strong, but the issue feels at times overstuffed and unevenly paced. Plus, the Absolute Batmobile debut is both head-scratching and eye-rolling.6.5/10

Absolute Superman #1imagines a slightly different Superman who comes to Earth as an adult and sets out on his mission to save the oppressed and disadvantaged workers of the world, inspired by a Kryptonian legacy of class discrimination. Jason Aaron's glum take on Superman feels like a cross between Jon Kent's activist personality mixed with Zack Snyder's dour Man of Steel, sprinkled with a dash of inspiration from Straczynski's Superman: Year One. In a world where it's tough to find shining beacons of hope, Absolute Superman chooses not to be that beacon, but at least Rafa Sandoval's art looks fantastic.7.8/10

Batgirl #1is a simple, straightforward start to a Batgirl miniseries that should make Cassandra Cain fans happy. This issue isn't breaking new ground or reinventing the medium, but Tate Brombal brings Cain back to form and Takeshi Miyazawa's art is very good.7.8/10

The Flash: The Fastest Man Alive #1 makes a great tie-in to the Flash film (if and when it ever comes out), showcasing the Snyderverse Flash's evolution into Central City's beloved hero. The Snyderverse Easter Eggs and aesthetic are present, Flash comes into his own, which makes for good character growth, and the art is fairly good. However, Girder is formidable but misused in the fight scenes, pulling you out of the story.

The Flash: The Fastest Man Alive #2 is an above-average movie tie-in that successfully expands the Flash's life circumstances and Rogues Gallery for a standard-but-fun Flash adventure.

Green Lantern: War Journal #1 sets up a Jon Stewart-centric story that puts his life of quiet retirement on the back burner. There's plenty of creative ring-slinging, and the art is strong, but readers who missed the backups from the main Green Lantern title may feel a little left behind.

Green Lantern: War Journal #2 is a solid entry in the series that brings the Revenant Queen's hunt to Earth and puts John Stewart's mother in the crossfire. The Revenant Queen presents as a formidable threat with high stakes, and the art is decent.

Green Lantern: War Journal #3 is a dramatic, emotionally weighty take on the classic hero's journey as John is forced to accept his mission to fight the Revenant Queen. Johnson's script contains aspects of a classically mature war drama, and Montos's meaty art is aces.

Knight Terrors: Green Lantern #1 is a well-written and well-drawn comic that didn't need to exist. It has nothing to do with the main Knight Terrors conflict and nothing to do with the main Green Lantern series already in progress. Overall, Adams does a great job with what he was given.

Knight Terrors: Green Lantern #2 is jam-packed with ring-slinging action and fun. GL fans who've missed Hal at his peak will love this comic. However, if you're invested in Knight Terrors and only want to know what's happening with Insomnia, there's nothing here for you.

Wesley Dodds: The Sandman #1 does what it sets out to do. If you're a Sandman fan, there's a lot to like in this comic. The action, pacing, drama, and story are all firmly entrenched in the Golden Age of crime noir serial films, and Rossmo's art is surprisingly good compared to his previous work.

Wesley Dodds: The Sandman #2 leans heavily into the detective noir genre when Dodds tracks down a villain who stole lethally dangerous information. Venditti's writing is a love letter to the Golden Age of detective comics, and Rossmo's art is much improved.

Wesley Dodds: The Sandman #3 leans into the crime noir aesthetic of pulp detective stories for a grounded, gritty mystery. Venditti's pacing, dialog, and mystery development are on-point, and Rossmo's art is notably better than any of his prior titles. However, some readers may be put off by the lack of big superhero energy and Rossmo's wonky fight choreography.

Wesley Dodds: The Sandman #4 is another excellent, pulp serial-inspired detective story in Robert Venditti's mini-series. Riley Rossmo's art oddities are still in effect, albeit toned down, but Rossmo's action choreography is improving. Overall, this series is turning out to be a close second in the race to be the best of DC's Golden Age imprint.

Wesley Dodds: The Sandman #5 brings the penultimate issue to a close with the end of the mystery before a last-minute twist sets up a physical and emotional conflict in the finale. Venditti's detective noir style and execution are on point, and Rossmo's art is as good as it gets in this issue, so here's hoping the creative team can stick the landing.

Wesley Dodds: The Sandman #6 ends the mini-series the best way it could with a climactic fight to decide the fate of the world, couched in a battle of philosophies and wills. Venditti proves he's just the guy to carry an OG JSA title, but Rossmo's art is best suited for other things.

Batman: White Knight Presents Harley Quinn #3 takes the detective crime drama and sprinkles in just enough DC lore to make it familiar while still being strong enough to stand on its own. The art style is squarely in the Murphy-verse, which is a compliment, and big props to the artists for Harley's street clothes design. Her regular clothes are a smart blend of her alter ego and professional detective leisure suit that adds to her presence. If I had to pick one word that encapsulates this run so far, that would be it: Smart.

Batman: White Knight Presents: Harley Quinn #4 continues its run with consistently great art and excellent character writing. The big reveal of Starlet's identity and motivation was satisfying enough, but it felt a little vanilla. Thankfully, there's enough wonkiness with Hector's messed up mind to keep readers invested for the next issue.

Batman: White Knight Presents: Harley Quinn #5 tosses in a bunch of cameos and makes a lot of nice, but ultimately doesn't make much progress on the story. The art is good, and honestly, everything about the book is skillfully done, but cameos and Easter Eggs are a poor substitute for story.

Bits and Pieces:Batman: White Knight Presents: Harley Quinn #6 finishes off a unique detective drama with alternate takes on familiar characters but doesn't quite stick the landing. The art is great, and the action works, but the number of dangling threads detracts from the conclusion.

Titans United: Bloodpact #1 is a standard, vanilla, standard Titans adventure with magic, battles, and a parallel Earth twist. The technical execution in the writing is solid, and the art is great, but the story isn't terribly original and lacks an intriguing hook.

Titans United: Bloodpact #2 is equally satisfying and frustrating as Tim Drake struggles to understand this isn't his reality against all apparent signs. At the same time, his growing group of allies fights against Raven's forces. The pacing and dialog are solid, and the art is very good, but Tim's clueless demeanor feels wildly out of place.

Titans United: Bloodpact #3 is a solid entry in the series that improves on the previous issues with more action, emotion, and essential revelations that move the story forward. This is the best Titans title around right now.

Lazarus Planet: Omega #1 ends the world-changing event with big action, big stakes, stellar art, and a true, albeit loosely defined, status quo change for the DC Universe. Waid finishes almost as strongly as he started, so fans of the Alpha issue will be generally pleased with the Omega.

Lazarus Planet: Alpha #1 is the bee's knees in more ways than one. The crisis feels epic by every measure, the assemblage of heroes and how they're used makes sense, the stakes are world-ending, and the wow moments hit hard. Plus, the art is phenomenal.

Lazarus Planet: Legends Reborn #1 recounts three weird tales of heroes grappling with the aftereffects of the Lazarus Storm. The shorts range from just okay to just plain weird, and none has a material impact on the Lazarus Planet event.

Lazarus Planet: Dark Fate #1 delivers four short stories that act as preludes to other DC series coming in the future. The shorts are interesting and end on solid cliffhangers, but almost nothing in this collection has anything to do with the Lazarus Planet event.

Superman #1 is the return to form Superman fans have been waiting for. The visuals are bright and hopeful, all the characters feel like the classic/best versions of themselves, and enough status quo changes are revealed to give you the feeling the Man of Steel is moving forward into a better tomorrow.

Superman #2 is another winner with a seemingly insurmountable threat, plenty of exciting action, emotional moments, dramatic tension, and a killer cliffhanger. Plus, the introduction of a new anti-hero shows promise.

Superman #3 delivers big action, stellar art, and a clever resolution to resolve Parasite's viral swarm. The pacing, dialog, and plot are top-notch, but an important-yet-unexplained plot point sullies the satisfaction level.

Superman #4 continues Superman's struggle to find and stop Dr. Pharm and Graft with Lex Luthor's reluctant help. The story gets better and better as the issue progresses, and the last-moment twist is amazing. Couple a great story with fantastic art, and this issue is a winner.

Superman #5 may be the best issue in Williamson's run, with a highly entertaining and amusing mix of action, heart, drama, and humor. Jimmy Olsen gets a big moment to shine with Superman, and the art is fantastic.

Superman #6 pulls back on the sunny, hopeful tone of adventure when the Pharm/Graft duo leads Superman to uncover Lex's secret project. Williamson creates a building atmosphere of tension that suits the story's direction, and Melnikov's style works to make the new villain as creepy as possible.

Superman #7 is not bad, but it feels disjointed and cobbled together. Williamson introduces multiple plot lines, some of which have nothing to do with the main conflict, and the eclectic art team delivers serviceable art with frequently inconsistent styles.

Superman #8 is a perfectly decent conclusion to The Unchained's reign of terror with solid art and a respectable cliffhanger. Nothing in this issue will blow you away, and the overarching plot involving Pharm and Graft is still sidelined, but Superman fans will enjoy this comic.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.Follow @ComicalOpinions on Facebook, Instagram, and TwitterBits and Pieces:Superman #9 gives Superman more than one cool suit, sets course for a new adventure in Time, and finally gets around to presenting the legend of Marilyn Moonlight. That said, Williamson makes Marilyn Moonlight a known quantity to everyone except the reader, and the technically proficient art lacks grit.

Superman #10 promised big things with an opportunity to tell the Marilyn Moonlight origin story but completely wastes the chance with a mediocre villain fight. If you skip this issue, you'll miss nothing.

Superman #11 sets up the penultimate end to Pharm and Graft's master plan to destroy Lex Luthor with great art, several cool moments, and interesting revelations. That said, Williamson's script rushes through a laundry list of twists, turns, and reveals to get to an end that may have caught up with Williamson sooner than he planned.

Superman #7 quickly rifles through the list of major questions to rush through the answers and end the arc in a petite yet unsatisfying little package. The art looks great, and the ending feels technically complete, but the end result is ultimately mediocre.

Superman #13 has the makings of a rock-solid Superman adventure. The plot developments are intriguing, Williamson's possible motivations for Brainiac could open the door for a new status quo for the character, and the action is on-point.

Superman #14 cranks up the action, the twists, and the wow moments to give readers a fast-paced superhero comic. Williamson keeps the story moving with meaningful developments, albeit with a frustrating misstep in the mystery behind Brainiac's motivations, and the art looks fantastic.

Superman #16 is one of the strongest tie-ins to Absolute Power by showing a ragtag group of heroes slowly coming together to mount a counter-attack to Amanda Waller's coup. Williamson's script gives you plenty of action and surprises with the atmosphere of a world at war, and Jamal Campbell's art is super-great.

Superman #17 is one of the better-crafted Absolute Power tie-ins because Superman and Zatanna take a walking scavenger hunt tour of the criminally underused magic side of the DC universe. That said, Joshua Williamson's script reads more like a transition issue that only serves to get our heroes from Point A to B, which isn't bad, but it doesn't read as important.

Superman #18 concludes Superman's magical adventure with Zatanna and continues the fight for Absolute Power. Joshua Williamson does his darndest to pull out every trick and shiny spoon to make the issue look cool, but the story essentially ended after page five, so everything afterward is a chaotic waste of page space.

Superman #19is a quick, simple, yet effective start for a Superman tale about a visitor from the future who arrives with a dire warning. Williamson's script stays laser-focused on setting a rock-solid foundation for what comes next, and Dan Mora's art is unbeatable.8.8/10

Titans: Beast World #1 is a weirdly mixed bag of a comic. Tom Taylor's energy, drama, action, and pacing are on point for once, but the story is riddled with plot holes and contrivances. Still, it's a fun read as long as you turn your brain off first, and Ivan Reis's art is stupendous.

Titans: Beast World #2 is a surprisingly entertaining action-fest as the Earth's heroes rally to stop Garro's spore infection from taking over the world. Taylor is showing an uncharacteristic skill at superhero storytelling you don't see in his other titles, and Reis's art is next-level.

Titans: Beast World #3 shows Amanda Waller making moves in her grand plan, and things happen, but the fundamental flaws in Tom Taylor's setup are starting to show their cracks. You get plenty of big action, and the plot is moving toward some outcome, but the story only works if you ignore two things - the history of Starro and Waller's goals to have the world see heroes as monsters.

Titans: Beast World #4 answers one of the bigger questions about this crossover - how will Amanda Waller stop Garro? And the result is a big bang moment. Taylor is doing a fine job is keeping readers engaged in the moment, even if the setup relies too heavily on assumptions and coincidences, and Robert Carey's art is excellent. This crossover works, but only if you don't think about it.

Titans: Beast World #5 maximizes the penultimate issue in this crossover with escalated stakes, big emotional beats. plenty of action, and fantastic art. Whoever kicked Tom Taylor in the pants to craft this story should continue kicking because this is the most enjoyable superhero comic from Taylor in years. That said, plot holes abound, so don't think too hard about the story or it falls apart.

Titans: Beast World #6 brings the crossover event to a close with big, wild action, decent emotional beats, and a few open threads to portend things to come. Sure, there are plenty of knuckleheaded plot holes, and you could see the twists coming from a mile away, but Beast World is still one of the more entertaining DC events in the last few years.

Black Lightning #1is a refreshingly solid first issue to spotlight Black Lightning's new role in the Justice League and portray the trauma he still feels after Absolute Power. Brandon Thomas turns in a rock-solid script, and Fico Ossio's artwork is on point.

Knight Terrors: Nightwing #1 is another comic in a growing list of Knight Terrors tie-in comics that have nothing to do with the main event. However, this is one of the better tie-ins as it leans into the disorienting discomfort of trapping Nightwing in a situation he can't escape. Solid writing and art make this one of the more distressing tie-ins in the event, and that's a good thing.

Knight Terrors: Nightwing #2 is a completely fine standalone story about Nightwing having a nightmare. Except for a brief cameo by Insomnia, there's nothing to connect this story to Knight Terrors, but surprisingly, this end to a two-parter has more grit and energy than the main Nightwing title. Maybe, Cloonan and Conrad would be a better fit than Tom Taylor.

Knight Terrors: Shazam! #1 is a grim, dark, psychological nightmare for Mary Marvel that turns her worst fears against her. Waid's writing is in top form, and the art team delivers solid work, but this issue barely has anything to do with Insominia, so file this one under "optional" for Knight Terrors.

Knight Terrors: Shazam! #2 ends the two-parter with big action, the SHAZAM! family getting their powers back (briefly), and a walk-through of Mary Marvel's siblings. The art is great, and Mary Marvel gets her time to shine, but this issue, like most Knight Terrors tie-ins, is ultimately pointless.

Steelworks #1 is a solid, simple, but engaging first issue that sets up John Henry Irons as a big hero with a big plan to give power to the people. Dorn's character work., plot structure, pacing, and dialog are excellent, and Sami Basri's art is fantastic. It's too soon to tell if this series is a winner, but issue #1 is a very promising start.

Steelworks #2 is a surprisingly solid entry in the miseries as Dorn establishes stakes, a formidable villain, exciting action, and an impactful cliffhanger. The art looks great, despite the number of artists tapped to pull it off, and the reading experience is enjoyable overall.

Steelworks #3 is a perfectly fine comic that unveils John Henry Irons's world-changing invention and drops plenty of seeds for what's to come. The art team delivers excellent work, and Michael Dorn's writing is solid.

Steelworks #4 brings one mystery to a close and begins a new one when John's new invention puts him and all the supers in the crosshairs of a vindictive industrialist. Dorn's pacing, dialog, and character work are solid, but John uses multiple red herrings in the last act, and it gets confusing.

Steelworks #6 brings the mini to a close with surprises, big action, and a satisfying conclusion to tie up all the loose ends. In retrospect, Dorn's first outing as a DC writer is solid, and the art team's efforts elevated this story to be one of the better Dawn of DC offerings.

The Bat-Man: First Knight #1 is the bee's knees and exactly what you want out of a Black Label title. Jurgens nails the simmering tension of Gotham City at the time of global upheaval, and the art captures the gritty, crime noir atmosphere perfectly. Except for one or two minor stumbles, this issue is an excellent start.

The Bat-Man: First Knight #2 continues to unveil the period-specific evolution of the Dark Knight into the legendary hero with a gritty, grounded detective story. The art is excellent, and Bat-Man's tactics show the early signs of who he will become, but Jurgens's script frequently gets bogged down with subplots that go nowhere or take too long to get to the point.

The Bat-Man: First Knight #3 ends the Rated M for Mature adventure of the Bat-Man in the 1930s with excellent detective work, an explosive plot to take over Gotham City, and strong art. Plus, the reveal of the Voice's identity is a well-constructed surprise. That said, Jurgens's script has pacing problems due to extraneous characters and subplots that go nowhere and an imbalance between the dialog and the action.

Shazam! #1 serves as a near-perfect jumping-on point for new readers who want a superhero comic dripping with wholesome, classic fun and adventure. Waid's writing captures Billy's youthful optimism, and Mora's art is tremendous.

Shazam #2 is a treat. Filled with fun action, powerful art, and a masterfully constructed mystery to keep you guessing without frustrating, Shazam #2 is a near-perfect blend of modern comic storytelling with a Silver Age twist you won't find anywhere else.

Shazam! #3 leans even further into the Silver Age wackiness with eclectic characters and clarity surrounding who is behind the Captain's bizarre outbursts. Waid's reveal makes sense, even in a silly Silver Age way, and Dan Mora's art is exquisite, but the villain doesn't seem to have a plan (yet), and Mora's exquisite art sometimes seems out of place with the Silver Age tone.

Shazam! #4 is a weird, wiley, wacky issue that's tons of fun but takes itself seriously enough to deliver an exciting adventure. Waid's homage to Silver Age storytelling is on-point, and Mora's art is perfect.

Shazam! #5 brings Billy's mystery about his erratic superpowers to a head after a wild but thoroughly entertaining battle on the Moon. The Silver Age-inspired story is a welcome respite from DC's typically glum offerings, and Mora's art is the best around.

Shazam! #6 is wall-to-wall fun, adventure, and excitement when the Batson family faces off against Zeus and the Pantheon of Gods. Waid's script is a near-perfect blend of Silver Age imagination and modern polish, and Mora's art is some of the best in any DC comic.

Shazam! #7 cranks up the silliness as Billy Batson gets tripped up by one wild development after another. The artist changeover to Suduka ensures the series is in good artistic hands, and Waid's story pulls no punches in terms of Silver Age inspiration.

Shazam! #8 brings the space dinosaur arc to a close with heartwarming silliness, lessons learned, and seeds planted for future problems. That said, the writing and art lack the wit, charm, and fun of the previous issues.

Shazam! #9 is a fun little break from DC's typically morose storytelling for a breezy, one-and-done pairing of The Captain with The Creeper. New readers will find this issue a great jumping-on point to learn about The Creeper, and the art is excellent, but the fight to capture an ethereal villain gets shortchanged in favor of a slow start.

Shazam! #10 continues the Silver Age take on the Captain with a brand new creative team. Unfortunately, the title suffers from the change on almost every level. This isn't the worst comic I've ever read, but the drop in quality, in writing and art, is hard not to notice.

Shazam! #11 transitions to a new creative team with a noticeable downgrade in the writing and art. Campbell's script has a few interesting beats, but the execution is sorely lacking. Lupacchino and Mulvihill's art is bright and colorful, but the technical execution of character placement and panel composition ranges from okay to bizarre.

Shazam #12 sends readers on an emotional rollercoaster as Billy uncovers secrets kept to protect him, which could destroy all reality if he learns the truth. Campbell successfully crafts a script with momentum and emotional stakes, albeit riddled with plot holes, and the art is a noticeable improvement over the previous issue.

Bits and PiecesAction Comics #1049 brings Superman back to classic Superman form with big fights and evil Luthor plans in the making. That said, the Luthor thread feels oddly disconnected from the main plot, and Perkins's weird body distortions don't fit a book starring the Man of Steel.

Action Comics #1050 is a return to form for the Man of Steel with a dastardly action by Lex Luthor that resolves the secret identity problem, adds worldwide stakes, and teases big things to come. That said, the wildly inconsistent art makes this issue feel disjointed and jarring from one page to the next.

Action Comics #1051 kicks off a new era in the long-running title by converting the series into an anthology book. Two of the three shorts in this book are pretty darn good, with solid art and enormous potential. That said, the Powergirl short is a low-energy snoozefest.

Action Comics #1052 delivers three chapters in ongoing stories about the Superfamily and their adventures, past and present. Of the three chapters, House of Metallo has the strongest art, and Home Again has the strongest writing, but none of the chapters is an outright dud.

Action Comics #1053 delivers three stories to whet your Kryptonian whistle. The strongest stories center around Superman and his family as they fight against an assortment of threats. The Power Girl short, however, is a mess.

Action Comics #1054 is the best entry in the series since the title moved to an anthology format. There's a clear first-second-third pecking order in the shorts, but they're close enough to each other in story quality and art style to make the end result worth the cover price.

Well, two out of three ain't bad. Action Comics #1055 delivers an impressive ensemble story that will make Reign of the Supermen fans giddy. Dan Jurgens's chapter about a teenage despot who kidnaps young Jon Kent has solid action and an interesting moral dilemma. But Dorado Quick's Steel story is all kinds of terrible.

Action Comics #1056 gives readers plenty of Super action with three tales showcasing members of the immediate and extended Super-Family. Phillip Kennedy Johnson's story is easily the best of the bunch, but the Steel story falls short on every level.

Action Comics #1057 starts a new Superman arc that raises the Blue Earth's threat level, ends the Kent family's adventure with an alien princess in a wonky, rushed fashion, and undoes all of Conner Kent's character growth in a single blow. Collectively, the art is strong, but Johnson's new arc about the Blue Earth movement is the only winning story in the bunch.

Action Comics #1058 delivers two power-packed, rock-solid, entertaining stories to get your Super fix. Both stories are strong in different ways and plant mysteries that hold your attention for the next issue. As a plus, the art is consistently excellent throughout.

Action Comics #1059 represents the good, the bad, and the ugly of comics. Phillip Kennedy Johnson's good story contains a big twist reveal, Keenan King's lackluster resurrection and fight with China's Batman is clunky enough to be bad, and Dan Parent's pointless Jon and Jay date is made ugly with Sauvage's washed-out art.

Action Comics #1060 ends the main story with a tease and teases two new stories that continue in other titles. Of the three shorts, Phillip Kennedy Johnson's penultimate chapter of New Worlds is the most complete, and Nicole Maines and Steve Orlando's setup for Dreamer on the Suicide Squad is the most contrived and messy.

Action Comics #1061 marks Jason Aaron's first run at the title with a tried and true Superman adventure, albeit with a "been there, done that" plot. Aaron delivers an exciting, action-packed first issue, and Timms's art looks fantastic. I just wish the plot didn't feel so much like something that's been done before.

Action Comics #1062 turns the world upside down and backward when Bizarro's spell goes global. Aaron and Timms really capture the isolation and hopelessness Superman feels when all attempts to stop the spell fail, but the plot and themes feel uncomfortably similar to better-known literary works.

Action Comics #1063 ends the I, Bizarro... arc with a mixed bag of excellent art and eye-catching action with poor story choices. The Joker's anti-climactic involvement and the hasty resolution are a bummer.

Action Comics #1064 kicks off a Brainiac attack for the ages that portends big trouble on the horizon for the Man of Steel. That said, the issue suffers from pacing issues and supposedly smart characters making unwise decisions, resulting in a comic that feels uneven and forced.

Action Comics #1065 maintains the high bar for one of Joshua Williamson's better arcs in the series. The action and excitement are high, the developments are big, and the art looks great. That said, Brainiac's plan is not much of a surprise to anyone, so dragging out the mystery is becoming a sore spot.

Action Comics #1068 continues Superman's contest of champions with Earth's survival as the prize. Gail Simone's tale keeps the pace, energy, and smart action high for a rousing tale. Plus, the art team's execution is generally on point, except for wonky faces on Jimmy. That said, Rainbow Rowell's backup story is a bizarre headscratcher.

Action Comics #1070 starts a new adventure that prompts Superman to visit the Phantom Zone. Mark Waid's particular knack for quintessential superhero fare is on point, and Clayton Henry's bright, hopeful art is immaculate. But for a less-ideal backup, and one or two hand-waving plot hole covers, this issue is off to an excellent start.

Gotham City: Year One #1 effectively retells the Lindbergh Baby Kidnapping set in the DC universe. The story mimics the real crime down to exacting details while putting Slam Bradley at the heart of the investigation. If fictional history crime stories are your cup of tea, you might enjoy this. For everyone else, it's a wait-and-see to find out if King injects more originality into the premise.

Gotham City: Year One #2 is a solid detective noir story with plenty of twists, turns, and drama. However, King strangely morphs Slam Bradley and femme fatale Sue into a proto-Bat/Cat, which changes a potentially fresh idea into a reskin of an old idea.

Gotham City: Year One #3 is an excellent example of detective noir done right. Slam Bradley's gritty detective work is matched only by Hester's moody, atmospheric art. That said, the depiction of the Wayne family's moral flaws is gratuitous, unnecessary, and off-putting, holding back a very good comic from being a great comic.

Gotham City: Year One #4 uncovers the truth behind Helen Wayne's murder and gets the main character, Slam Bradley, beaten up... a lot. All that's left to do is find out how Slam resolves the murder while keeping the Wayne legacy intact, so we'll see how it goes. In the meantime, this issue is a serviceable time waster.

The Human Target #1 kicks off a detective noir mystery that feels authentic to the 1950s in both writing and art, partly because it's almost a direct lift of a film from that time period. The narration has a hard, gumshoe edge, the dialog is snappy, and the book is visually engaging.

Human Target #2 is a sharp, clean, clever homage to classic detective cinema with one of the better introductions of an unexpected femme fatale you'll likely see in recent memory. Smallwood's art is phenomenal, and the surprise twist at the end shows exactly why Christopher Chance may give Batman some competition for World's Greatest Detective.

Human Target #3 blends stellar art, a classic detective noir story, and amusing character moments to give readers a solid enough read. Unfortunately, the bizarrely egregious characterization of Guy Gardner robs the issue of any lasting enjoyment.

Human Target #4 takes the subtle route by planting seeds of doubt and misdirection for a detective story that holds up. The art is stellar, and while this version of Ted Kord is wildly out of joint for his established character, the writing is excellently executed. The character assassination of Guy Gardner in the last issue still stings, but this issue makes up for it... a little.8.5/10

The Human Target #5 is a mixed bag of interesting training to defend against mind readers and salacious details about Martian Manhunter's sex life. Surprisingly, this issue makes considerable progress towards finding out the identity of Chance's killer but you may feel like you need to take a bath afterward. If nothing else, Smallwood's art is top-notch.

The Human Target #6 drops a little clue about Chance's killer and thoroughly decimates any respect or good feelings you might have had for Guy Gardner. The writing is incredibly skillful, even if the character reinterpretations are downright distasteful. In any case, Smallwood's art is beyond reproach and worth the price of admission.

The Human Target #7 is gorgeous, well-paced, and ends with a key piece of information in Chance's murder investigation. However, the journey from the first page to the last is effectively one long, mildly tense conversation that will bore most readers.

The Human Target #8 tells an exciting story about a visit from another JLI member, but the series appears to be going nowhere. Come for Smallwood's stellar art, but the story, much like Christopher Chance, is simply waiting for the end.

The Human Target #9 appears to be waiting. Chance is waiting to die, and this series isn't doing much else besides waiting along with him. In fairness, the character moments are strong, and Smallwood's art is next level, but unless King comes up with a bait-and-switch revelation, this series has turned into a very lovely waiting room.

Human Target #10 is a gorgeous, well-constructed issue that goes nowhere and does nothing important. Smallwood's art is fantastic, and the dialog between diverse characters is mildly amusing, but the plot is at a dead stop.

The Human Target #11 treads water, waiting for the series to end. It's beautiful, engaging water treading, but it's still water treading, leaving you to conclude King got 12 issues to tell a 6-issue story.

The Human Target #12 finishes the run with a mild plot twist and a final act to end the story with typical Tom King hallmarks. The character work is bizarre, and the final resolution comes at least five issues too late, but Small wood's art is mesmerizing.

Supergirl: Woman of Tomorrow #2 continues the True Grit "homage," adds in some stakes for Kara to accept Ruthye's mission, and it's all weird in an interesting sort of way.

Supergirl: Woman of Tomorrow #3 is a skillfully constructed, gorgeously rendered comic that adds a very different story to the Supergirl legend. However, King appears to be setting up Supergirl to pick up where Strange Adventures leaves off next month with a story that reads like Schindler's List edited down to just the concentration camp scenes. Some folks have a strange idea of entertainment. The score is reflective of the technical execution of this comic, not the entertainment value.

Supergirl: Woman of Tomorrow #4 is a story about endurance. How much shock and horror can Supergirl endure before it becomes too much, and by extension, this comic asks the same of its readers. Evely's art is mindbendingly good and the real tragedy is how much the art is violated by the misery of the story it's being forced to tell.

Supergirl: Woman of Tomorrow #5 traps Supergirl and Ruthye on a planet deadly for Kryptonians to ask the one question on everyone's mind - how much tougher is Supergirl compared to Superman? With deadly dinosaur designs and generally gorgeous art, the issue looks great and reads even better. However, it's a pointless filler that belongs in an anthology. Not in a limited-run arc that's halfway done.

Supergirl: Woman of Tomorrow #6 is expertly structured and beautifully drawn, but it suffers from too much tell and not enough show for the emotional moments. While the recount of Krypton's demise is engaging, this is effectively a filler issue that gives readers roughly three pages worth of progress. In short, it's a beautiful waste.

Supergirl: Woman of Tomorrow #7 is filled with fantastic art, fascinating dialog, and tense, dramatic moments. The questions that's plagues this series from the beginning persists - What is Tom King trying to say and why is he saying it in such a weird and out-of-character way?

Supergirl: Woman of Tomorrow #8 ends the latest Tom King experiment with a bait-and-switch ending, misery, suffering, and lies.  Of course, this is a Tom King series, so it's to be expected.  That said, the art is exquisite, and if nothing else, you'll be happy with the visuals.

Batman '89 #1 is a promising start to the continuation of Burton's version of the Batman legend. The characters look and sound great, and the plot works. However, the design of Gotham lacks the Burton flare, and the motivation behind Dent's actions feels forced.

Bits and Pieces:  Batman '89 #2 leans into the real-life sociopolitical issues to craft a Harvey Dent that feels like a character ripped from the pages of today's headlines. However, where the urban life drama succeeds, Hamm does little to build up a character you believe could become Two-Face. On top of the push for realism at the expense of a known character's origin, the light introduction to Robin is eye-rolling, and the overall aesthetic of Gotham lacks any of the gothic hallmarks of a Burton film.

Batman '89 #3 has the most Batman-like look and feel of all the entries in the series so far. Harvey Dent's transition into Two-Face is believable and probably the best version depicted to date. And the (re)introduction of Catwoman adds complexity to Gotham's corruption woes that escalate tensions further, leading to a huge challenge for Batman.

Batman '89 #4 is the big introduction to the film version of Two-Face and Robin for fans of Burton's Batman. The character designs are greats, and the frantic personality of Two-Face would have been a fantastic sight if it had been depicted on screen as it is here. That said, Hamm goes extreme with out-of-character versions of Bullock as a racist cop intent on beating people of color and using Bullock's antics to justify turning Robin into something he shouldn't be.  It all makes for a thoroughly distasteful (if that was even possible) version of Gotham.

Batman '89 #5 feels most like a proper Batman adventure with a grand crime, dramatic action, and the main criminal pushed past his limits of sanity. The art is excellent, and the writing is even better.

Batman '89 #6 brings the comic interpretation of Burton's scuttled third film with a finale with great-looking characters but little more to crow about. The Gotham City aesthetic is wholly absent, the story moves at a snail's pace with overlong dialog and narration, and the ending lacks gravitas.

Batman Beyond: Neo-Year #1 examines a future Gotham where Terry McGinnis is entirely on his own and a Gotham-Powers Enterprises run by criminals. The art is excellent, but the narration can be confusing, and the issue lacks any emotional weight. You'll get your money's worth if you want a standard Batman Beyond issue with familiar settings and action. If you want a Batman Beyond issue that puts in the effort to grab your attention, look elsewhere.

Bits and Pieces Batman Beyond: Neo-Year #2 is a serviceable entry in the series with a story that forces Terry to fulfill his mission against Gotham's AI with decreasing resources at his disposal. That said, the components of the story are present with nary an emotional beat to be found, and it's increasingly difficult to care about what's happening.

Batman Beyond Neo-Year #3 is all talk and no action with a retirement party that drops one or two useful nuggets of information for a future issue. The costume designs and set pieces look great, and the art team does their level best to make the conversations dynamic, but this issue is more style than substance.

Batman Beyond: Neo-Year #4 pits a weakened Terry against the Sword of Gotham to reveal that not all is as it seems. The art is excellent, and the story is furthered through the action. Still, when the Sword of Gotham's true identity is revealed, the creators seem to suggest that this arc draws heavily from another, better property. In isolation, this is a solid issue, but the future direction of this story is now cast in doubt.

Batman Beyond: Neo Year #5 is one of the better issues in the series, just in time for the finale next month. All the mysteries are resolved, the stakes are raised, and the forthcoming battle appears promising.

Batman Beyond: Neo-Year #6 ends the arc with a new status quo for Terry with a fancy new Batsuit and a new Bat-Team to fight crime across Neo-Gotham. The art is very good, and the ending ties up (most of) the loose ends, but the ending is surprising for its lack of surprise and the speed/ease with which Batman wins in the end.

Arkham City: The Order Of The World #1 is David Fincher's Seven in a Gotham City without a Batman. How does a city cope when Arkham inmates are on the loose and only the GCPD and one criminal psychologist are on the job to stop/save them? It's too early to tell if this is an entertaining read, but it's certainly a dark one.

Arkham City: The Order Of The World #2 pulls the grim, darkness aside enough to lay the groundwork for a potentially compelling story. The point of the plot is firmly established and makes sense in a Fear State world without bending to accommodate Fear State in an inorganic way. The complicated characters make for unpredictable actions, and that may be the best way to position this type of story. Dani's hyper-stylized art may not be for everyone, but it certainly fits the gritty, urban aesthetic of the story.

Arkham City: The Order of the World #3 has a plethora of cool concepts and ideas, but the story is getting weighed down by volumes of subtext and double meaning in every scene. While the backstory on Gotham's origin and what it means for Ten Eyed Man's ritual is fascinating, the pacing and constant injection of symbolism, double-meanings, and red herrings drag the energy down.

Arkham City: The Order of the World #4 ironically has bits and pieces (pun intended) of a story here, but it's not coming together after four issues. At points, the issue feels like the creators are jumping from one cool moment to the next but not heading anywhere in particular. Who are we supposed to care about? Does any character in this comic know where they're going? Couple the chaos of the story with stylized art that tips the line into sloppiness, and you get an issue (possibly a series) that's going nowhere.

Arkham City: The Order of the World #5 is a reveal-filled penultimate issue in this limited series. The mysterious players are brought to the light, even if their motives are unclear. The art is less sloppy than the previous issue, and there are some genuine moments of tension within. That said, the reveals instill dread but lack punch, so it's a wait-and-see recommendation.

In all, Arkham City: The Order of the World #6 ends a creepy, atmospheric, violent story with more creepiness, atmosphere, and violence. That said, the ending brings readers almost right back to where we started, and the theme of the story is not entirely clear. If you're looking for style and atmosphere without much more, this book may be what you're looking for.

Batman: Killing Time #1 kicks off an exceptionally strong start for a traditional Batman detective story. The heist is well-planned and executed, all the advertised Rogues are present and acting as their traditional selves, and the mystery of what was stolen elicits enough curiosity to want to know more. Beyond the story, the art is simply phenomenal.

Batman: Killing Time #2 took all the goodwill from a super-strong first issue and nearly squandered all of it with tedious and unnecessarily complicated time jumps, very little plot development or action, and a build-up to a mystery that already doesn't seem interesting. On the positive side, the art is gorgeous and almost worth the cover price. Almost.

Bit and Pieces: Batman: Killing Time #3 continues the tale of theft, double-crosses, and payback as a new player enters the race for a mysterious artifact.  The art is phenomenal, and the plot points introduced are intriguing.  However, the excessive flip-flopping in the timeline makes for a tedious reading experience.

Batman: Killing Time #4 contains the most jaw-dropping art of any DC title on the shelf. Unfortunately, the best art in DC pairs with some of the most mind-boggling creative decisions that turn what can be an engaging mystery into a tedious, ponderous reading experience.

Batman: Killing Time #5 peels back the veil of mystery on the series' biggest questions. The answers, however, are most remarkable for giving readers no surprises or satisfaction. Thankfully, the art is phenomenal, so come for the answers but stay for the art.

Batman: Killing Time #6 completes the run with a finale that's all exposition and clarifies what we've already suspected. This series was nothing more than Clock King doing something because he had nothing better to do. The art is gorgeous, but the reading experience was intentionally, unnecessarily tedious, and the big revelations fell flat.

Batman: The Brave and The Bold #1 assembles four short chapters centering on Batman and his allies from alternate times and alternate realities. The collection has a little something for everyone, but Dan Mora's B&W short is the best of the bunch.

Batman: The Brave and the Bold #2 gives you different views into the Dark Knight with generally great art. But each chapter is either significantly flawed or lacks anything to get excited about.

Batman: The Brave And The Bold #3 delivers a mixed bag of one-off shorts and continuing chapters to give you a little DC variety in your life. Jorge Molina's Manga-inspired Batman short is gorgeous, but Christopher Cantwell's finale to his Golden Age Superman story is shockingly miserable.

Batman: The Brave And The Bold #4 continues Ed Brisson's Stormwatch story but shakes up the rest of the anthology with newer creators and different stories for a greater variety than the previous issues. The most intriguing short is Rob Williams's first chapter in an Emilia Harcourt story, and the best art goes to Beln Ortega for a character piece about family.

Batman: The Brave And The Bold #6 is a disjointed mix of unsatisfying endings, enjoyable beginnings, and weird one-shots. Guillem March's first chapter is a hit, so there's at least one bright spot in this mixed bag.

Batman: The Brave And The Bold #7 is one of the stronger entries in the anthology series, with four chapters of tales from regular and little-seen characters from DC. Overall, there isn't a stinker in the bunch, and Kyle Starks's take on Wild Dog is the most amusing short in the issue.

Batman: The Brave And The Bold #8 is one of the better entries in the series, with plenty of action, drama, excitement, and humor. Of the four chapters presented, Guillem March and Kyle Starks tie for the top story, but all shorts have an interesting premise to offer.

Batman: The Brave And The Bold #9 wraps up Tom King's take on the first Batman/Joker meeting, Wild Dog's journey to upping his hero status, and Aquaman's team-up with the apes from Gorilla City. For their part, each story ends at least as well as each started, if not stronger, and the art is excellent on average.

Batman: The Brave And The Bold #10 kicks off five new stories to add some Bat-variety into your life. Three of the five chapters are winners, so you'll mostly get your money's worth.

Batman: The Brave And The Bold #11 traverses the genre gamut from Old West theatrics to murderous cults. All the shorts have something to offer, but the next chapter of Mother's Day is the strongest, and the next chapter of Artemis's personal journey is the weakest.

Batman: The Brave And The Bold #12 is a solid entry in the anthology series that gives readers a variety of eclectic characters and their stories. Karl Kerschl's take on the Dark Knight is one of the most quintessential Batman tales I've read in some time, so it's the highlight. However, the ongoing Artemis tale turns out to be an ill-advised tie-in to Tom King's Wonder Woman series. In short, this issue has a lot of good with two extremes on the great/terrible scale.

Bits and PiecesFlashpoint Beyond #0 takes a game-changing Elseworlds event and goes back to do it again. The writing execution is excellent, but the concept feels played out and boring. Coupled with bland, uninspired art, I'd be tempted to say "skip it" if not for a few hints of wow moments in the future.

Flashpoint Beyond #1 does an excellent job continuing the Flashpoint timeline when Barry Allen's assassination forces Thomas Wayne to seek answers amid a blossoming war between Atlantis and the Amazons. The dialog, pacing, plot developments, and art were executed beautifully. That said, the novelty of this story is wearing thin.

Flashpoint Beyond #2 is filled with great art, plenty of clues to tease you about what's going on, and a few interesting Flashpoint versions of characters. However, the issue makes little progress towards solving the mystery of Clockwork Killer's identity, resulting in an issue that's mostly a teaser for what's to come.

I want to have fun with Flashpoint Beyond #3. The art is fantastic. The pacing, dialog, and little Easter Eggs of Flashpoint characters are cool. And, Butler Penguin is the breakout bright spot of the series. However, there's a lot to keep straight, and you feel like this is tied into something bigger, but the conflict for the main character (Thomas Wayne must undo Flashpoint) still feels like a retread with a fresh coat of paint.

Flashpoint Beyond #4 starts assembling the pieces to the Clockwork Killer's identity, and when the killer is revealed, you may love it or hate it. The art is excellent, and the storytelling is top-notch. However, this series seems more interested in the novelty of Flashpoint and Easter Eggs and hasn't entirely locked down a reason to exist. A closer tie to Dark Crisis may be at play, but the nuggets we get here barely rise above mild curiosity.

Flashpoint Beyond #5 starkly spells out everything wrong with DC continuity and confirms why this title hasn't justified returning to the Flashpoint timeline. The big reveal surrounding who, why, and how is so shockingly dumb that it boggles the imagination. The art is great, but the story is repellent.

Flashpoint Beyond #6 unveils the big mystery behind how and why the Flashpoint timeline was resurrected, and it's not for reasons you would suspect. The execution is well done, even if the motivations of certain characters, particularly Batman, are out of character. In the end, some may find the ending satisfying, but others may see the ending as a complicated setup for the forthcoming JSA book.

Wonder Girl #1 is a fresh and engaging take on the Wonder Girl using the best character to come out of Future State. The art is gorgeous and it works seamlessly with the dialog to tell an epic story that begs you to continue into the next issue.

Wonder Girl #2 builds sprawling, mysterious mythology to set the foundation for the world's next Wonder Girl. Despite a small slip in the art, this issue maintains the high quality started in the first issue.

Wonder Girl #3 is on the downslide. Two artists with radically different styles make this issue visually offputting, and the story seems to be throwing random happenings out of nowhere to get the plot to travel a short distance from A to B. We get no information about why Yara's arrival is a global threat, and having no information about the main character or the central plot is not a good place to be on issue #3.

Wonder Girl #4 picks up well after the last issue, and further still, largely ignores most of the story that led up to this point. Many of the unanswered questions surrounding strange events happening once Yara arrives in Brazil are ignored or briefly answered to get them out of the way. The art is excellent in this issue and the transition between Jones and Melo works a lot better than the transition in issue #3. It's a fine issue but unsatisfying if you've followed the series from the beginning.

Wonder Girl #5 is quickly devolving into a nothing series with nothing to say and no direction. Random events are happening, whole scenes are inserted that serve no purpose, and the hand-off of art duties proves to be a downgrade in art quality.

Wonder Girl #6 is a beautifully drawn collection of random scenes that make no sense and don't appear to be following anything remotely considered a story. Instead, the reader gets scattered information, and then things happen with a complete absence of flow or direction.

Wonder Girl #7 crosses the finish line of the unceremoniously canceled series by the thinnest of margins. Yara Flor winds up with a new status quo. Some story elements (her mother's death) get a semblance of closure. And, the art by Del Duca reasonably lives up to Jones's level. Given the troubles of this series, this finale is probably the best a reader could expect.

Absolute Power #1 presents oodles of action, adventure, excitement, and drama to get readers on board with DC's big Summer event. As a bonus, Dan Mora's art is an exquisite match for Mark Waid's surprisingly engaging script. That said, the story only works if you choose to believe Amanda Waller can take over the world without anyone lifting a finger to stop her, which is a mighty big pill to swallow.

Absolute Power #2 hits like a freight train when Amanda Waller's plan for world domination slaps the remaining heroes with even more devastation. Waid's script packs in all the scale, drama, and energy you want from a big Summer event, and Dan Mora's art is fantastic. Nothing can convince readers Waller was able to pull off this attack, but it sure is fun watching it play out.

Absolute Power #3 races readers from one scene to the next at Flash-levels of speed to cram in as much story as possible. For readers who favor non-stop, fast-paced action, this comic will feel like an absolute win. For the rest of us who would rather let the story breathe and unfold naturally to let the drama and emotional impact set in, this comic reads like a frantic panic attack.

Absolute Power #4technically wraps up DC's biggest event of the year by putting almost everyone and everything back the way it was, confirming the mountain of tie-ins and interruptions was completely pointless. Absolute Power isn't a multi-month, epic crossover to shake the pillars of the DC Universe. Absolute Power is a three-part miniseries that got blown way out of proportion and cost with little to show for it.

Batman / Spawn #1 is a surprisingly creative story about a plan by the Court of Owls to trick Batman and Spawn into killing one another. While creative, the plan takes a couple of read-thrus to figure out, so some readers may need help with it. That said, the art is simply stunning, so if you don't enjoy the story, you'll probably love the art.

JSA #1brings the Justice Society back to the forefront in a big way as they tackle conflict from within and without. Jeff Lemire gives multiple characters we haven't seen in a while a moment to shine, and the mysteries plaguing the group are interesting. That said, Lemire pushes the bicker button a little too hard, and Ortegui's art looks rushed in spots.

Knight Terrors: The Flash #1 is a solid, urgent, emotional adventure for Bally Allen and his Flash-family. The issue contains great writing from Paknadel and fascinating art from Bayliss, but oddly, this issue has almost nothing to do with nightmares, Insomnia, or Knight Terrors.

Knight Terrors: The Flash #2 ends Barry Allen's nightmare run with frustration, body horror, and desperate acts. Paknadel's story reads as a frustrating nightmare rather than a scary one, and Barry's body horror change is interesting but doesn't match the story.

Sensational Wonder Woman #1 projects a sincere attempt at telling stories that inspire hope from Wonder Woman. While the sincerity is ever-present, the execution is frequently clunky or incomplete. Overall, the art is good, so there are plenty of visuals to warrant the cover price if you're a Wonder Woman completest.

Spirit World #1 is a serviceable beginning to the story of a new hero, filled with mysticism, magic, monsters, and a little bit of heart. The art's decent enough, and the story moves along well, but a painfully awkward creative choice may have hurt the character's journey before it's even begun.

Superman Annual (2023) #1 delivers a mildly amusing collection of Daily Planet news assignments to bring updates on an assortment of characters, presumably heading back to Superman post-Knight Terrors. Each assignment has a certain entertaining charm, but a Superman Annual with barely any Superman seems a letdown, and the large artist pool results in inconsistent art. As a positive, the final page tease spells big things for Big Blue soon.

Batman #125 is a strange tale that portends the beginning of the end for the Caped Crusader. The strangest aspect of all is a wildly uncharacteristic take on Penguin that paints him as a having a school shooter mentality rather than a ruthless and opportunistic gangster. The pacing, dialog, and art are fantastic, so the technical execution is masterful, even if the character depictions are uncharacteristic.

Batman #126 does what every superhero comic should - confront the hero with a more powerful villain. The art is gorgeous and powerful, the action is intense, and the writing execution is on-point. However, the last-page revelation will make longtime Batman fans say "Yes!" or "Oh, no!"

Batman #127 keeps up the rock-em-sock-em action from the previous issue as Zur-En-Arrh Batman tags into the fight with Failsafe with mixed results. Zdarsky's pacing and rise-and-fall in the action make for an engrossing read, while a ton of exposition and flashbacks fill readers in on how Failsafe came to be. The art is gritty and kinetic, and the backup story drops a tidbit with big implications for the main story.

Batman #128 pits Failsafe against the entire Justice League for an updated (possibly better) version of Tower of Babel for a knockdown, drag-out fight that truly puts the JL on the defensive. The writing is clean, rapid-fire, and impactful, and Jimenez's art packs a punch.

Batman #129 begins Failsafe's chase anew with clever traps, hard-hitting action, and relentless pacing. The art's fantastic, and the cliffhanger is as perfectly impossible a situation as you can imagine.

Batman #130 tops the impossible cliffhanger from issue #129 with a rescue/survival resolution that's patently ridiculous to the point of infuriating. In a series brimming with clever writing and cool action, this finale to the first part of the Failsafe arc is a massive disappointment.

Batman #131 takes a big step backward in the creativity department by transporting Batman to an alternate Earth where everything is slightly off. The technical execution is fine, but the story concept is so played out, it's become a boring clich.

Batman #132 picks up steam by putting a new twist on a classic story to show Bruce what a Gotham without Batman looks like. The pacing, dialog, and action are on point, and some of the confusing elements from the previous issues get answered, so on the whole, this is the best arc issue so far.

Batman #133 finds Bruce Wayne donning a street-level cape and cowl to save an alternate world's Gotham from criminal corruption. The art and writing are solid, and the plot feels like it's moving, but the lack of urgency on Bruce's behalf to get back home and stop Failsafe is somehow unsettling.

Batman #134 continues the World Without A Batman story with several surprises. Some surprises are strangely unsurprising, and at least one surprise is shockingly big. The art is generally okay, albeit too bright for an underground adventure, and the ending will get people talking.

Batman #135 reads like Chip Zdarsky watched Spider-Man: No Way Home and said, "Yeah, I can top that." And he does. The small army of artists gives you every Batman you can imagine for a multiversal adventure for the ages, and it works.

Batman #136 gets the one-handed Batman settled back into life in Gotham as he discovers who's who and what's what since Failsafe banished him to an alternate universe. Zdarrsky's plot movement, pacing, and dialog are top-tier, and Ortega's first crack at art on Zdarsky's Batman is impressive.

Batman #137 takes the foolishness of Catwoman's plan from the Battle Lines prologue comic and Turns it up to 11 when the entire Bat Family (except Damian) suddenly decides Catwoman's Henchmen Union is a great idea and actively scheme to stop Batman from interfering with Catwoman's approved robbers. This story is ridiculous, the execution is ridiculous, and DC is absurd for sending it to print.

Batman #138 is a bizarre fever dream of nonsense storytelling. Zdarsky creates one plot development with a "black box," and then jumps to another plot development with another "black box." Then Vandal Savage shows up to take over the world. What is happening? Somebody send out a search party for Chip Zdarsky because he might not be okay.

Batman #139 gets back to basics as a focused Batman (sans support from the Batfamily) resumes his mission to hunt down the Joker. But for Joker's antics looking too much like the Riddler, this is a gritty, taut crime thriller with gorgeous art. Unfortunately, the story is mildly tainted by too many connections to the Gotham War and the lack of follow-up concerning Jason Todd or Failsafe.

Batman #140 is the little acorn that could become the mighty oak if Zdarsky can keep the story going in the direction it's headed. The action is fierce, and several plot developments are introduced that have big potential for Batman and Joker, so it's on Zdarsky to pay off the setup.

Batman #141 gets back to basic (and ignores most of 2023) by picking up the next round against Failsafe. The action is fast and furious, Batman appears locked in a no-win scenario, and Jimenez's art is stellar.

Batman #141 puts Failsafe and Zur-En-Arrh on the backburner (again) to begin a completely unrelated story detailing the Joker's first year after his transformation juxtaposed with a tale in the future where old man Batman hunts the Joker after unleashing a deadly plague on Gotham. Zdarsky tries to do his best Frank Miller impersonation and mostly succeeds but falls short in the clarity department. Likewise, the art team does their best impressions of Frank Quitely, Liam Sharp, and Bill Sienkiewicz to present a visually appealing comic.

Batman #143 is a surprisingly taut and engaging continuation of Joker's Year One story. Continuity purists may take issue with Zdarsky's retcons, but at this point, if DC doesn't care, there's nothing to be done about it. Regardless, Batman #143 is a dramatic read.

Batman #144 concludes the Joker: Year One art by not telling you anything you didn't already know, confusing what you already knew, and focusing on nothing that matters. At least the art looks great, but this needless interruption to the Failsafe story is a complete waste of time.

Batman #145 delivers great art, action, pacing, and cool plot developments for a present threat to Batman and a future threat to the world in the forthcoming Absolute Power event. That said, this issue almost immediately invalidates the Joker: Year One arc, which means DC Editorial is doing a very poor job by wasting everyone's time and money.

Batman #146 rushes to explain how Captio is the mastermind behind everything, which explains a lot in a complex, exposition-heavy end to this act, just in time for Absolute Power. Unfortunately, Zdarsky's complex explanation often sounds confusing, and several plot holes are left on the table.

Batman #147 is one of the better examples of a setup issue that moves the players in place for the next big thing. Bruce's next steps to reclaim the mantle of Batman from Failsafe are intriguing. Damian's realization that he's been duped leads to a surprising reaction from Failsafe, and momentum is building. Even the backup shows promise.

Batman #148 brings Chip Zdarsky's first major villain arc to a close with big fights, family hugs, great art, and a slapdash sprint to wrap it all up in time for Absolute Power. Never in the annals of comic history has a villain with so much potential been so utterly squandered.

Batman #150 is a time-filling one-shot about a henchmen looking to cash in on Batman's real identity. Zdarsky's attempt at filling the publishing calendar has been done before (and better), and Denys Cowan's art is surprisingly weak. However, the backup ties into Absolute Power with a tidbit of useful information and confirmation that putting Amanda Waller at the heart of the event was a mistake.

Batman #151 ties into the Absolute Power event when Batman and Catwoman head to Okinawa to steal Amanda Waller's mother box. Chip Zdarsky's adventure is a perfectly serviceable mix of action, spycraft, and stakes, but the issue lacks the same intensity and urgency as the main Absolute Power story.

Batman #152 is a thrill ride of nearly silly proportions. Chip Zdarsky throws everything and the kitchen sink at Batman to get the Caped Crusader out of the painted corner Zdarsky put him in. At least the art team does their level best to sell the action and cover for the paper-thin plot.

Batman #153 begins a new arc that depicts Gotham City heading toward a brighter day while dark forces plot to tear it all down. Zdarsky's setup checks all the right boxes on the surface, but there's an obvious shift in Bruce Wayne's personality that feels off somehow. This issue is better than the majority of Zdarsky's run, so we'll see if he can pay off the setup.

Batman #154has the seeds of a few intriguing mysteries surrounding a murder and a new vigilante in town. Sadly, Chip Zdarsky resorts to cheap shocks and needless retcons to tear down every father figure in Batman's life, which puts a stinking cloud of desperation over the long-suffering run. Keep your daddy issues to yourself, DC.

Justice Society of America #1 kicks off a time-travel adventure involving past and future JSA teams. The opening scenes feel disjointed and clunky, but the issue ends on a high note. The art is generally good, but the high volume of close-ups makes the setting feel small.

Justice Society of America #2 continues Huntress's trippy adventure through time with an issue that's more confusing than satisfying. The art's first-rate, and the character cameos are interesting in their brief moments, but the constant jumping back and forth needs to be held together into a story you can follow.

Justice Society of America #3 makes it difficult to keep reading this title because there appears to be little plot or direction to ground the story. There's an intriguing mystery at the heart of the series, but excessive time jumps, random scene transitions, and a general lack of focus keep the mystery buried under a lot of noise.

The Justice Society of America #4 brings clarity to the chaos with an explanation of Degaton's plan that establishes the threat and stakes in a big way. The writing is technically solid, and the art is great, but the details of Degaton's plan don't quite pay off the build-up.

Justice Society of America #5 brings the conflict with Per Degaton to a close with a massive battle using every JSA team from across the timeline. The character cameos are fun, the battle is energetic, and the resolution is complete, but Degaton's defeat felt rushed, and issue #5 seems an odd place to end an arc in a 12-issue maxi-series.

Justice Society of America #6 is as good a setup issue as you could hope for when the Golden Age sidekicks, lost to Time, find their way into the modern world for the beginning of a new super team. Johns's character setup and introductions are charming, and Santucci keeps a dialog-heavy issue visually appealing, but it's too soon to tell where this max-series is headed or if it's worth continuing.

Justice Society Of America #7 has cool art, cool character moments, and a prevailing sense that Geoff Johns is gathering the pieces for some larger purpose. However, this issue is all setup and transition without any clear sense of direction or purpose. Casual readers will feel like this issue is simply treading water.

Justice Society Of America #8 continues Huntress's self-serving recruitment drive to Russia when Alan Scott tracks down the daughter of the original Red Lantern. Johns liberally hints at a deeper story about the relationship between Alan Scott and Agent Sorkov, possibly in connection to the current Alan Scott miniseries, which could be an interesting dramatic twist. However, the constant delays are a momentum killer, and the series' hook is too weak to make this a must-read.

Justice Society Of America #9 returns from a hiatus to continue Huntress's recruitment drive. The last-page twist reveal is interesting, and the potential for what happens next is sky-high, but the central premise (willing a future JSA from another timeline into existence) feels increasingly forced.

Justice Society Of America #10 is a short and sweet chapter to show how well (or not) young Mordru is acclimating to life as a member of the JSA. Geoff Johns gives readers an enjoyable mix of action, surprises, emotional beats, and at least one wow moment, but the long delays between issues, and the jarring art change mid-issue is a downer.

Justice Society of America #11 marks the end of Young Mordru's bid to avoid his villainous future with a knockdown, drag-out fight against multiple adversaries. Geoff Johns takes multiple shortcuts and off-panel liberties to make this battle work, but Marco Santucci's spectacular art almost makes you forget how much Johns cheats the script to get you there.

Justice Society Of America #12 ends the long-delayed maxiseries with a one-shot love letter to Stargirl as she gives her Valedictorian speech during graduation. Todd Nauck's art is aces, and Geoff Johns writes his favorite character with more heart than a single comic can hold, but this isn't a JSA comic, and there's no story. Make of that what you will.

Absolute Power: Ground Zero #1 delivers three short stories to explain how three individuals came to be in Amanda Waller's service as a lead-up to the Absolute Power event. Of the three, Williamson's take on the Brainiac Queen has the best mix of art and story, but the overall anthology is relatively solid.

Absolute Power: Super Son #1 takes a deep dive into Jon Kent's mind as he subconsciously battles the vestiges of Brainiac Queen's programming. The issue starts and ends well enough, but the chaotic visions through most of the middle are tough to follow. However, the strangely large number of artists tapped to put this comic together did a great job. For Absolute Power readers, this issue is for completists only.

Batman / Superman #15, available from DC Comics on December 22nd, 2020, run offense and defense on a mission of mercy for DC's favorite swamp zombie. The simple story is fine for what it is as long as you don't think about it too much, especially when the silliness gets turned up to 11 in a few spots. The art is bold and memorable, the colors bring a lot of contour and gravity to the characters with some really nice shading, and the lettering keeps the story moving through a LOT of exposition.

Bit and Pieces:Batman: The Detective #1 is an okay start to a new arc for the Caped Crusader. The art is great. The jury is still out on the story. It's not flawed. It's just that there's nothing to blow you away or really hook you.

Batman: The Detective #2 is a gorgeous book with unique characters and an original setup but it lacks emotional weight or a sense of stakes. When you add in a nonsensical plot contrivance, this second issue feels disconnected and gives you nothing to care about. The score will be higher than you might expect based purely on the strength of the art.

Batman: The Detective #3 looks great and reads great, but it's not much more than one giant flashback of character-developing filler. If Taylor and the team want to keep readers engaged, they need to stop wasting time and put some meat on the table.

In Batman: The Detective #4 you get a little forward progress in Bruce Wayne's investigation, putting him through the wringer to make this feel more like a James Bond story than a Batman story. With no information to understand or care about Equilbirium, the story is starting to feel small and frustrating.

Batman: The Detective #5 uncovers all the mysteries and plans of Equilibirum in the penultimate issue for the series. While the telling works well enough, the villain's lackluster identity and her rationale for becoming a mass murderer strains credibility. You'll enjoy this issue if you're simply in it for the novelty of Batman in Europe, but temper your expectations for a big surprise reveal.

Batman: The Detective #6 ends this near-feature European Vacation with a little backstory on Squire, the reveal of Equilibrium's big plan, and a final conflict that ends with a phone call. Equilibrium has the potential to be one of Batman's better, crazier entries in his rogue's gallery, but this story won't be remembered for much else.

How are they going to get everyone off the train with only a few minutes left? Why they're not getting off. They're going to steal the train, of course. And that's the setup for the next issue.Bits and Pieces:Future State: Catwoman #1 is a simple clean heist story that's enough in the future to explain the high tech components but not so far that our lack of backstory is a problem. Ram V's story keeps things moving at a pleasantly brisk pace, and the art is a perfect match for this story. This is s strong recommend.

Future State: Batman/Superman #1 successfully combines Batman's detective skills and Superman's brawn to work out a growing conspiracy, using the Magistrate as a catalyst rather than the main plot point. The art is excellent, and I especially like the interaction between Batman and Superman as less friendly and more like colleagues with a tension between them because of the difference in their operating styles. They respect each other, but there's a clear sense of turf and different methods that work well here.

Future State: Superman / Wonder Woman #1 is a mess. Confusing story. Meta mythology may have some cultural accuracy but doesn't make a lick of sense in this specific context. And rough, inconsistent art makes for a tough book to get through. If you're keen on getting to know Yara Flor / Wonder Woman, Future State: Wonder Woman #1 is a much better book.

Future State: Kara Zor-El Superwoman #1 plops the reader into the middle of a personal journey with a hazy beginning and no clear destination. The art is an interesting standout, and the story has potential, but the writing has too many holes to really hook you.

Future State: Aquaman #1 is filled with great art, great action, intensely emotional moments, and an exciting Sliders/Quantum Leap-esque story with an edge. Despite only a few plot holes, the story is well-constructed, and I'm hooked to see what happens next. Where the heck was Brandon Thomas when the regular Aquaman title was running?!?

Future State: Wonder Woman #1 ain't your grandmother's Wonder Woman. The main character is stunning and exudes a gruff charm, but her moral flaws work against the nature of what we've always known as the Wonder Woman character. At the very least, I'm very interested to see what they can do with this character in the very short time Future State is in effect.

A few points to consider. First, It's misleading to call the Nubia story a backup since it's just as long as the Wonder Woman story. Second, the art is better than the Wonder Woman story. Not a lot better but better. Third, there might be a printing issue (at least in the review copy) as all the word balloons and lettering were repeated and superimposed on top of the art from the opening dialog between Grail and the museum guard to the first fight scene between Nubia and Grail. Hopefully, that won't show up in print but that's a major publishing error if it does.Bits and PiecesImmortal Wonder Woman #1 does it's best impression of The Neverending Story and falls well short. The story is clunky and the art is just plain terrible. The Nubia backup story has mildly better story and art, but not for the cover price. Read at your own risk.

Future State: Wonder Woman #2 takes the promising start from issue #1 and sticks the landing with an extra backflip just to show off. The art is excellent, the emotional impact is turned up to 11, and this comic introducing a new character does exactly what it's supposed to do - leave me wanting more.

Future State: Batman/Superman #2 concludes this very near Future State title with glacial pacing, explanations that are paper-thin, and gross body horror art. Thankfully, the art is the highlight of the issue, but this title is one of the mediocre Future State experiments.

Future State: Kara Zor-El Superwoman #2 wraps up the Future State version of Kara Zor-El in a way that makes Kara sadder and pitiable more than the hero she's always been. The art oscillates between gorgeous and blinding, and the story, for better or worse, is done.

Future State: Aquaman #2 takes all the mystery and anticipation of the first issue and completely discards it in favor of a problematic, survival, coming-of-age story. The art is great and the character designs are imaginative, but what could have been an epic bookend falls flat.

Future State: Superman / Wonder Woman #2 is a less confusing chapter to this particular title than the first issue. However, an overly convenient plot device, an eyerolling super punch, and inconsistent facial art keep the issue from rising above mediocre.

Future State: Immortal Wonder Woman #2, suffers from art ill-suited for action and storytelling that disregards sense. It would be best for everyone involved if this Future State entry was put back in the drawer it was pulled from. If there's any saving grace, the Nubia story has some potential going forward.

If the intent was to paint Harley Quinn as a calculating, heartless, sociopath, mission accomplished.Bits and Pieces:Future State: Harley Quinn #2 is an uneven ending to a better-than-average Future State title. The art is consistently bizarre, and the story wraps up on an ugly note. If you like a comic where everyone is terrible and they all do terrible things to each other, this one is for you.

Future State: Catwoman #2 is one of the best entries in the Future State collection by taking the best of comics storytelling and pushing it far enough into the future to feel fresh without sacrificing what makes the heroes (and villains) familiar. The art is action-packed and tight, and the story keeps you hooked from cover to cover.

We end with Grifter in cuffs, on his knees, and smiling all the way.Bits and Pieces:Future State: Dark Detective #3 gives us a Bruce Wayne that thinks a lot, does little, and learns almost nothing. On the other hand, Grifter fights, wins, gets double-crossed, and gets captured. And he looks like he's loving every minute of it.

Jurassic League #1 is an interesting idea that doesn't seem to have anything interesting in the execution other than the art design. It's like reading a comic version of the Flintstones where the characters are nearly exact reproductions of the originals, tweaked to fit the setting. Whatever magic intended to come out of this concept may unfold in later issues, but this first issue is only a strange homage.

The Jurassic League #2 continues the trend from the last issue by presenting a basic, formulaic World's Finest comic with the characters reskinned in dinosaur form. So far, it's all about the novelty of dinosaur designs, and that novelty has almost entirely worn off.

Bits and Pieces:Jurassic League #3 continues to tell a standard, run-of-the-mill Justice League story where all the characters are reskinned with dinosaur heads. The writing is simplistically fine but doesn't take the creative step of leaning into the setting, and the art messily approximates Johnson's style without the drama or nuance. This issue is a mild recommendation for preschoolers but a skip for everyone else.

Jurassic League #4 is fine for what it is. The art seems to have dropped to more cartoonish levels, but the characters' voices are correct, and the story is a solid version of a Justice League origin story.

The Jurassic League #5 is an adequate continuation of a basic Justice League story reskinned with dinosaurs. The character development and plot are all basic retellings of work we've already seen before, but if you're into dinosaur reskinning as a novelty, there's plenty to like here for small children.

Jurassic League #6 ends the series with action, emotion, and a big ending that hits you right in the heart. If you peel back the layers, this is a reskinned and VERY basic Justice League story, but all the elements are present for a bang-up adventure suitable for children.

Strange Adventures #9 is a tragedy. The art is great, as it has been the whole series, but the overall tone is just depressing. So, so depressing.

Strange Adventures #10 reveals the plan. The plan doesn't make you feel good about Adam Strange. You understand him, you get why he did what he did, but ultimately you're left wondering if this was a story that needed to be told.  The score will be a reflection of the quality of the art and storytelling, not necessarily whether or not the reviewer liked the story.

Strange Adventures #11 is a masterful exercise in inflicting misery on both the characters of the story and the readers brave enough to buy this book. If watching a couple argue as their marriage falls apart sounds like a good time, this one is right up your alley. The score reflects the technical quality of the art and writing. Enjoyment has no place here.

Strange Adventures #12 ends the series with an extended prologue that realigns the status quo but ultimately resolves nothing. The war continues, the main characters continue to act awfully towards each other, and readers are left to wonder "what was the point?" I suspect this is one of those series that will receive accolades for technical execution but will ultimately be remembered as the series readers would rather forget existed.

Tales of the Titans #1 takes a nice, safe look at Starfire as she wrestles with being "too emotional" for her friends and people. The adventure and its lessons about being in touch with your feelings are best suited for young readers, and the drama-less art keeps the action and seriousness to a minimum.

Tales Of The Titans #2 delivers a solid primer on the history of Raven's family through an adventure involving a young woman experiencing the same dilemma as Raven's mother. The art is great, and Tini Howard's technical writing is on-point, but be advised... this issue is a thin allegory for Teen Pregnancy and the Anti-Life debate.

Blood Syndicate #1 is a refreshed take on the origins of the Blood Syndicate, with homecoming soldiers learning their town has developed a power vacuum after Icon and Rocket cleared out the drug cartels. The art is above average, with excellent coloring for a solid visual experience, and the plot is pretty straightforward. Thorne puts enormous effort into making the dialog as authentic as possible, sometimes at the expense of accessibility and clarity.

Blood Syndicate #2 does an excellent job of laying out how the main character's life has fallen apart since he left for the military. The art, particularly the coloring, is excellent, and the story feels authentically grounded. That said, the main character doesn't give readers a reason to get emotionally invested in his journey, and the dialog is a chore to get through in spots.

Follow ComicalOpinions on Facebook, Instagram, and TwitterBits and Pieces:Blood Syndicate #3 brings the new crew together to fight Holocaust before he burns the city down. The profuse use of Spanish without translation will make this book difficult to read for some, the opening prologue is jarring and poorly set up, and the big moment of superheroes deciding to form a crew feels small and cavalier.

Blood Syndicate #4 is a jumbled mess of a story with cool visuals and plenty of action. The story simply rushes from scene to the next with barely any transition, no character setup when a host of new players are introduced, and barely any sense of focus. The story is moving in a direction, but it's a bumpy ride to get there.

Blood Syndicate #5 delivers exactly what a penultimate issue in a superhero comic should. The action is big, the villain is finally elevated to a formidable threat instead of just a bully, and the cliffhanger offers the promise of a banger of a finale.

Aquaman: The Becoming #1is the YA version of Aquaman you've always dreamed of having. Jackson Hyde is the perfect, All-American High School sweetheart that practically helps old ladies across the street, saves kittens trapped in trees, and has an emotionally healthy relationship with everyone in his life. For some, the wholesomeness may be too saccharine-sweet for your taste, but YA fans will eat it up and ask for more.

Aquaman: The Becoming #2 is a jarring shift in focus and tone from issue #1 as a slice-of-life-with-a-little-drama comic to a police procedural drama. The characterization of Mera as a shrewd (and slightly combative) person of interest really sells the drama. The art is great considering the multiple artists, and the mild cliffhanger hints at a bigger conspiracy that piques interest for what's to come.

Aquaman: the Becoming #3 is a tense chase story following Jackson Hyde's attempts to get away long enough from the forces chasing him to figure out who framed him and why. The mechanics of his escape drop a nugget of information about the inner workings of the JL that's as interesting as the conflict in this arc. The reveal of the big bad is surprising but may be a little too much soap opera for some tastes.

Aquaman: The Becoming #4 is a well-drawn and well-structured comic, but the creators fall short by forcing a "ripped from the headlines" narrative that doesn't focus enough on the main character. If you're looking for an exciting adventure that shows why Jackson Hyde is worthy enough to be the next Aquaman, this isn't it.

Aquaman: The Becoming #5 is a wasted opportunity to take one of the newer and popular characters from DC Comics and actually do something meaningful to build his character up. Instead, the main character is barely an influence on his own story. If you wanted to get to know Jackson Hyde and find out why he deserves to be the next Aquaman, this ain't it.

Aquaman: The Becoming #6 is as effective a single issue finale as the whole series - meaning not effective at all. There's plenty of action and forced emotion to keep your attention, but the attempt to make Jackson a worthy successor to Arthur Curry as the next Aquaman is no more eventful than Jackson saying, "I'm Aquaman now!" Sure you are, little buddy. Sure you are.

Overall, I like this first issue much more than I expected. The material and characters are probably most relatable to a tween girl audience with a tone and style reminiscent of DC's Super Hero Girls. Still, the story and character work are no less engaging. As a result, I'm interested in reading more.

Batgirls #2 plays up the silly banter and the lack of stakes to build toward a mystery that has no apparent purpose... yet. Corona's art style appears more exaggerated in this issue, further enhancing the nonsense. The issue isn't necessarily bad, but the focus, right now, is on dropping clues about an undefined mystery. At the same time, the oddly re-characterized Batgirls don't treat their situation any more seriously than a collection of middle school hijinx.

Batgirls #3 increasingly shows this arc suffers from a fatal lack of focus. There are three villains at various stages of activity level, but it's not clear who the Batgirls should be prioritizing or why. Not a good place to be when you're at the mid-point of a 6-issue run. The art is fine is you like stylized anatomy, but this issue shows some weakness in the art choice due to lack of clarity.

Batgirls #4 takes an already overstuffed story with four separate villains and adds more to the mix. The stylized art might not be everyone's cup of tea, but it suits the neon YA tone of the book. I just hope the creative team can tighten up the story before this first arc ends.

Make sure to listen to our Weekly DC Comics Recap and Review Podcast to hear us talk more about this book.  Just look up "Weird Science DC Comics" anywhere you listen to podcasts, and make sure to rate, review, and subscribe! Bits and Pieces Batgirls #5 earns a gold star in the series for "most improved" by paring back the number of villains taking up page space and focusing on the conflict. The tone and style of the art are consistent with the previous issues, so this net issue turns out to be just okay, which is an improvement.

Batgirls #6 is the best issue of the series. The stylized art is an acquired taste, but there were plenty of visually striking moments in this issue. The central conflict with Tutor and Spellbinder ends satisfyingly, and you have a couple of moments of genuine emotion. However, Barbara's fight scene was ridiculous, some bait and switch went on, and the closing pages turned into a heavy-handed PSA.

Batgirls #7 moves on from Tutor/Spellbinder to deal with the Saints (again) and Seer. A new art team takes over with mixed results, and the story is just serviceable in an issue that's mostly setup for issue #8. As long as you know that Seer has been captured by the Saints, you could skip this issue and not miss a beat.

Batgirls #8 wraps up the conflict with the Seer and the Saints with light (read: low-tension) resolution that puts the saints out of commission and takes away Seer's power (for now). The art style and the story focus are significantly better than in the previous issue, but the coloring is not good, and the lack of story tension leads to a forgettable ending.

Batgirls #9 takes the scenic route to set up the conflict with the last mystery left in this series - the identity of the Hill Ripper. The pacing, dialog, and overall execution are fine, but there are no stakes, no urgency, and no drama. If you're looking for some airy, disposable, forgettable comic entertainment, this is it.

Follow @ComicalOpinions on Facebook, Instagram, and TwitterBits and Pieces:Batgirls #10 amps up the middle school YA shenanigans and turns down the dramatic tension in the Batgirls' search for a killer. The art is fine, and the plot makes a mild amount of progress, but the corny, childish dialog may be off-putting for some, and the leisurely pace prevents creating any excitement or anticipation.

Batgirls #11 is a light, fluffy, non-serious, non-urgent murder investigation that puts the cauldron one step closer to catching the Hill Ripper. This issue is the closest yet to a Scholastic Scooby-Doo mystery with friends being friends and kiddish hi-jinks at the zoo. Not a recommendation unless you like something to read while you drink your juice box during recess.

Batgirls #12 brings the hunt for the Hill Ripper to an end with a respectable amount of dramatic tension, plenty of action, and a decent conclusion to the killing spree. That said, the dialog in the first half is terrible, the tone is wildly inconsistent compared to the previous issue, and the art, especially the coloring, is odd.

Batgirls #13 wraps up the body swap adventure by waiting for the spell to wear off. You get the impression Cloonan and Conrad are throwing in goofy developments to pad space and bide time while DC figures out if the title will continue after issue #15. In effect, this title is quickly devolving into a timewaster.

Batgirls #15 is a passable issue that delivers a scene of heartfelt emotion surrounded by a contrived plot and functional art with terrible colors.

Batgirls #16 takes the weirdest, most nonsensical path to resolve Mad Hatter's evil plan, even though this issue is the first one where he actually makes an appearance. The plot is bizarrely random, and the art is sub-par compared to the last few issues.

Batgirls #17 begins a new arc heading into cancellation, and if this is the way the Batgirls is going to ride into the sunset, it would have been better for DC to cancel the title at issue #16. A potentially taut crime thriller about a mad sniper is marred by inconsistent art, terrible coloring, and a shockingly tone-deaf lecture about gun control from armored, armed, and illegal vigilantes.

Batgirls #18 is a decent little crime thriller with solid detective work, snappy dialog, strong emotional beats, and engaging drama. This issue exemplifies what the series should have been from the beginning. Conversely, the art is uneven, and the coloring is terrible.

Batgirls #19 ends the arc, the creative team's tenure, and the title with a final confrontation to stop a mad sniper from terrorizing the city. The resolution is serviceable, the killer's mysterious identity was telegraphed early on (although, the identity has a twist), and the art is passable with terrible colors.

Danger Street #1 kicks off an odd, slightly surreal drama about a collection of characters who intersect through opportunity and tragedy. The artwork is acceptable, and the plot (such as it is) is unpredictable, but the overall reading experience is mired in drab characters burdened by angst and misery.

The Flash: One-Minute War Special #1 delivers a rich backstory for the Fraction and fills in the rest of the oversized issue with filler. If you're interested in reading a comic that provides context for the main villain, this is the one for you. If not, you can skip it.

Green Lantern: Civil Corps Special #1 is an odd, double-sized issue that integrates the main plot point from the main Green Lantern ongoing and the recently canceled War Journal series to clear the board of dangling plot threads and reset the status quo. The art is fine, and Green Lantern fans will have plenty of stories to chew on that aren't interrupted by Absolute Power or any other external events. That said, this issue relies heavily on War Journal, which may leave some readers confused and feeling left behind.6.5/10

Knight Terrors: Action Comics #1 is a mixed tie-in for the Knight Terrors event, having almost nothing to do with Knight Terrors. The Powergirl story by Leah Williams is a miss, the Cyborg Superman story by Phillip Kennedy Johnson is a hit, and both have strong art.

Knight Terrors: Action Comics #2 gives you two tales of terror conclusions for the cover price with an okay Powergirl story and a better-than-okay Cyborg Superman nightmare. Neither short has anything to do with Knight Terrors, but this issue at least tries to give you something worth reading.

Monkey Prince #1 is a decent, middle-of-the-road origin story about DC's latest teen superhero. The art is excellent and the highlight of the issue. However, the writing and overall plot are filled with too many minor flaws and rushed shortcuts to get readers hooked on the character, making for an underwhelming debut.

Monkey Prince #2 has too many things happening, too fast, and all at once. The art is bright and colorful, but the story has no time to breathe so the characters can react and feel what's happening around them.

 Bits and Pieces Monkey Prince #3 has potential if it can just get out of its own way.  Unfortunately, there's nothing remarkable enough about the main character to like.  Plus, there's too much reliance on Batman & Robin to do the heavy lifting.  As a result, the story wastes its time with extra scenes that do nothing for the character or the plot.  Monkey Prince #3 is not a bad issue, but it never rises above mediocre except for the art.

Monkey Prince #4 concludes this first leg of the arc to build confidence in the main character and set his family on a new path. Again, the writing is complete but too rushed and too convenient to be satisfying. The art, however, is excellent overall.

Monkey Prince #5 moves Marcus and his family to a new town for a new arc in the Monkey Prince's early days. The art is great with improved coloring, and the pacing is more palatable, but the story feels like a replay of the first arc without much reason for it.

Monkey Prince #6 throws everything and the kitchen sink at you to move Marcus's journey forward as quickly and thoroughly as possible. Taking the exact opposite approach to decompressed storytelling, Yang crams the issue so full of developments, contrivances, logic leaps, and flashbacks that you don't know where to start, and by the time you get to the last page you may wish you hadn't.

Monkey Prince #7 is a loud, energetic, mindless, chaotic brand of fun. The art pops with excitement, and the dialog is good, but the chaotic story is overstuffed with too many things happening all at once, and the main characters treat everything happening with all the seriousness of a video game.

Monkey Prince #8 has a solid first half with a big battle at the gates of Atlantis, but it falls apart with the clunky, jarring introduction of the Big Bad and a final scene that sells Marcus (and this series) short.

Monkey Prince #9 brings the titular character and his family to Metropolis for the last leg of the limited run to kick off an arc that digs deeper into Marcus's family tree and makes the Big Bad a formal presence in the story. While King Fire Bull is an intriguing character, and the art looks (mostly) great, the story is overwhelmed with chaotic happenings and random character appearances for a somewhat enjoyable but sloppy read.

Monkey Prince #12 ends the series with fun action and at least one big reveal, but most of the plot points are not set up or explained, so it feels like the creators threw the issue together to be done with it.

Olympus Rebirth (One-Shot) is an overlong, dialog-heavy exposition issue that focuses on fleshing out Olympus and the gods after their rescue from the Graveyard of the Gods. The information is useful, and a few tidbits foreshadow Wonder Woman's future, but the issue is largely a boring information dump.

Superman: Lost #1 delivers a super-simple but a granite-solid setup for a Superman adventure that pulls him out of time and space for years without anyone realizing it. The plot is clear, concise, and to the point, and the art is equally good. You'd be right to complain about the excessive cover price for a standard-sized comic, but the story (so far) is worth your money.

Superman: Lost #2 shows early signs of trouble for the maxi-series. The art looks fantastic, and the settings are intriguing, but this issue has no story. It's a mildly odd tour of an alien world wrapped around a supply run and a costume change. If this is the story DC intends to tell, there's no way to justify the elevated cover price.

Superman: Lost #3 is a weirdly beautiful and alien book with fantastic art, but Priest sets up a story that never goes anywhere or finishes. It's as if the creative team said, "Let's make it pretty, and we'll worry about telling a story later." At a $4.99 price point, with no backup, "telling a story later" isn't good enough.

Superman: Lost #4 is gibberish wrapped in nonsense. Priest is going out of his way to use Superman's time lost in space to create as many on-the-nose metaphors for real-life social ills as possible. It reads like a city hall meeting agenda rattled off in random order, printed on excellent art. If Priest is using Superman's predicament to make a soapbox point, he's missing the mark spectacularly.

Whether by accident or design, Superman: Lost #5 has the seed of a dramatic story worth telling when a Green Lantern enters Clark's lost life. The "plot" developments are interesting, and Hope breathes life into a floundering maxi-series.

Superman: Lost #6 doesn't pay off the cliffhanger from the next issue and instead jumps forward ten years where Clark's new planet is heading for catastrophe. Priest plays with interesting ideas and concepts, some of which feel wholly original and others heavily imply real-world allegory, but the pieces never come together.

Batman: One Bad Day - The Riddler #1 has only one goal: Push Batman to break his one rule. Unfortunately, it's set it up in such an unbelievable way that you're horrified by the misery of the story while dismissing it under basic examination. This story will leave you feeling dirty and depressed.

Batman: One Bad Day - Mr. Freeze #1 is a unique Holiday-themed one-shot that gives one of Batman's greatest villains a shot at redemption. The writing execution is rock solid, and Scalera's art is gorgeous. Unfortunately, the "One Bad Day" concept is missing, and Duggan retcons a piece of Freeze's history in a way that potentially "breaks" the character.

Batman: One Bad Day - Two-Face #1 succeeds by executing a basic Batman/Two-Face story but utterly fails to create a "One Bad Day" scenario. The setup is basic, the twist reveal is telegraphed from a mile away, and Batman is depicted as inept. Whatever assignment the creators were given, they get a 'C' for effort and 'F' for imagination.

Batman: One Bad Day - Penguin #1, as with the previous "One Bad Day" issues, appears to have nothing to do with the "One Bad Day" concept. However, Penguin's quest to regain his former glory in a villainous version of a hero's journey has a surprising amount of heart and wit. Ignore the title, but enjoy the story.

Green Arrow #1 is a super-strong start to the Emerald Archer's latest adventure with fast-paced action and hard-hitting emotional beats surrounding a Grade A mystery. Green Arrow fans will like this issue a lot.

Green Arrow #2 is a generally good comic with great art, great action, emotional weight, and gobs of character motivation. However, issue #2 isn't as good as issue #1 for a few reasons - namely, over-designed costumes, over-used tropes, and yet another unnecessary appearance by Peacemaker.

Green Arrow #3 goes a long way toward explaining why the Arrow family is separated, why/how the random teleportations are happening, and the justification behind it all. Unfortunately, this is a case where the answer is less satisfying than you hoped. Williamson has time to make it make sense, but this issue feels like a step back for the series.

Green Arrow #4 gives readers excellent art (except for the costume redesigns), cool character moments, and a cathartic fight. That said, the plot centers around a mystery with no clues and no believability, so the entire journey is just plain boring.