Gabe Hernandez Comic Reviews

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 Batman #3is the strongest and most gripping issue in the series so far. Scott Snyder finally confronts Absolute Batman with a problem that can't be solved with fists or gadgets, and Nick Dragotta's stylistic art makes even the quiet dialog moments captivating. Even if you find the Bat-Dump Truck a step too far, check out this issue.9.3/10

Absolute Batman #4is a qualified success for presenting the most heartfelt, authentic depiction yet of the relationship between young Bruce Wayne and his father, Thomas. Scott Snyder cleverly interweaves layers of meaning from Thomas's life lessons that eventually find their way into Batman's design. However, the sketchy, indie style from guest artist Gabriel Hernndez Walta won't be everyone's cup of tea.8/10

Absolute Batman #5may or may not be a banger issue, depending on your point of view. Scott Snyder's script draws you into a roller-coaster of tension and anticipation, and Nick Dragotta's return to art duties is a surprisingly brutal return to form. That said, Snyder's tale of woe builds up more than it pays off, so readers may feel unsatisfied by the ending.8.5/10

Absolute Batman #6ends the Absolute Batman's fight against Black Mask with twists, tension, emotional beats, and a shakeup to the status quo. Scott Snyder's script is the best in the series so far, except for a Bat-God moment that will make you groan, and Nick Dragotta's art is in top form.

Absolute Batman #7is one of the strongest issues in the series showcasing Bruce's investigation skills and presenting a horrific twist on a familiar Batman villain. Scott Snyder's script tones down the over-the-top theatrics to present a gritty detective story, and Marcos Martn's art is solid, albeit not complimentary to the series' main artist, Nick Dragotta.

Absolute Batman #8is a dramatic, emotional comic embedded in a harrowing tale of horror and escape. Scott Snyder's script well exceeds the level of depth you'd expect to see in a Batman comic as Bruce fights to live rather than fight to the death. I'm not sold on Marcos Martn's flat, squiggly art style, but he reimagines Mr. Freeze as a creepy, formidable threat.

Absolute Batman #9introduces Absolute Bane as the one being who is powerful enough to destroy Batman. Scott Snyder's reimaging of the classic villain is quite possibly an improvement on the original, and Nick Dragotta's exaggerated art is a perfect match for Bane's grotesque physicality.

Absolute Batman #10 is a triumph in its raw portrayal of survival and indomitable will. The writing is sharp, the art is visceral, and the characterizations are potent. It's a dark, compelling read that redefines the limits of Batman's endurance.

Absolute Batman #11 delivers a brutal, focused tale, plunging Batman into an inescapable nightmare. The detailed exploration of Bane's grim origins is a standout, even if it occasionally leans on exposition. While the art powerfully portrays the darkness, Batman becomes more of a punching bag than a protagonist. It's a stark, uncompromising chapter, but don't expect the Caped Crusader to be in top form.

Absolute Batman #12 is a bruiser: dark, sharp, packed with venom, and proud of it. Snyder's writing punches above its weight, and Dragotta's art looks ready for a hospital visit itself. If Gotham is a pressure cooker, this issue cranks the heat to boiling, daring readers to stick around for the inevitable burn.

Absolute Batman #13 runs like a well-oiled Batmobile but never dares leave the road; it keeps the engine roaring without ever shifting gear. Lightning pacing, bruising character drama, and killer art keep the book crackling, but don't expect fireworks when Harley shows up. Her entrance lands with a thud. As Gotham's biggest brawl brews, this issue proves that sometimes, the best you get is a solid punch, not a knockout

Absolute Batman #14 delivers the promised Bane showdown with enough brutal punch and smart structural choices that it feels like a solid pick for a tight pull list, especially if you've been following the arc. The heavy narration and fairly traditional "Batman wins by being more Batman resolution keep it from greatness, but the clean action, character payoff for both Bruce and Waylon, and a nasty little coda mean you are getting your time's worth, not just a pretty cover.

Absolute Batman #15 is a calculated risk that mostly lands. Snyder's decision to pivot from kinetic action into conspiracy thriller territory is bold, and the execution demonstrates skill in building atmosphere and emotional weight through dialogue and visual restraint. However, the issue sacrifices narrative momentum and tangible stakes in service of setup. Readers looking for payoff will find this issue frustrating; those willing to sit with mystery and speculation will find it intriguing. Whether the promised threat justifies the slow burn remains to be seen. For a reader with limited resources and finite pull list space, this issue is a qualified recommendation only for those already invested in the Snyder Absolute Batman line and willing to tolerate a full issue of setup before the confrontation begins.

Absolute Batman #16 is a solid, confident issue that understands when to lean into character and when to swing for spectacle. The issue justifies taking a weird left turn into Greek myth because it uses that premise to interrogate Bruce's priorities as a human being rather than just a cape. The art carries visual weight throughout, and the emotional stakes feel grounded despite the fantastical setting. If you have been following this arc and care about Killer Croc as a character, this detour earns its place in your collection and sets up interesting consequences down the road.

Absolute Batman #17 catapults Poison Ivy into monstrous relevance, demanding your shelf space if series momentum fuels your pulls; it earns the slot through inventive dread, even if connective threads snag slightly on the climb.

Absolute Batman Annual (2025) #1 pits the Beefy Bat against one-dimensional white supremacists and a masked gang with a hot tip for goods to steal, fueled by a son's hate. The stylistic art from both creators is worth the price of admission, but both stories struggle to establish motivations that make the stories feel complete and memorable.

Absolute Batman: Ark M Special #1 is a solid psychological horror story that asks meaningful questions about the nature of evil and institutional failure, wrapped in atmospheric artwork and clever narrative structure. The problem is that it's also a half-answered question masquerading as a complete story. The twist lands effectively and the tragedy is genuinely tragic, but readers finish the issue knowing they've gotten the setup rather than the payoff. If you're hunting for a Batman comic that explores the asylum's dark roots and doesn't rely on familiar rogues gallery appearances, this delivers.

Absolute Flash #1is a perfectly serviceable reimagining of Wally West's origin story when a bored teenager with potential finds himself in the wrong place at the wrong time. Jeff Lemire's script utilizes a classic structure of Fate stepping in to change a person's life, but the execution lacks thought and believability. On the plus side, Nick Robles's art is excellent.

Absolute Flash #2is a mostly positive mixed bag, with great art to showcase Wally's nascent powers and the Rogue's abilities, but multiple mysteries add up to a head-scratcher. Jeff Lemire's script imagines a more realistic reaction to someone suddenly gaining powers, but the confusion and chaos go overboard. Thankfully, Nick Robles's energetic art takes the rough edges off Lemire's execution.

Absolute Flash #3 hands waves away most of the open questions, creates a surprisingly charming friendship between Wally and Grodd, and runs off into the sunset as if the last three issues never happened. Jeff Lemire's script gets Wally into his super suit with a few strong emotional beats, but the big ending feels cheap and unearned.

Absolute Flash #5 is a visually ambitious comic that unfortunately trips over its own ambition. While it offers some intense action and hints at a grander narrative, the lack of clarity and significant art issues make it a frustrating read. It feels like a chapter that expects you to already know the entire book, leaving new readers, or even those catching up, in the dust.

Absolute Flash #7 cranks the dial on drama and bad weather, tossing Wally into the meat grinder with just enough snark and heart to keep him interesting. The Rogues are entertainingly dysfunctional, Grodd steals scenes with tragic charm, and the colors pop off the page whenever a bolt hits the ground. It's not all smooth runningsome plot gaps remain puddle deepbut this issue makes a splash: bring an umbrella and enjoy the ride

Absolute Flash #8 reaches for mythic depth but too often trips on its own circuitry. It's an ambitious entry that reimagines Barry's origin with rare intellect but delivers the spectacle in grayscale instead of lightning bolts. Under sharper coloring and a less tone-deaf retcon, this issue might have sprinted toward greatness; instead, it stumbles across the finish line, out of breath and missing a spark.

Absolute Flash #9 pulls off high-concept drama with a zippy mix of science and speedster strife, juggling humor and cosmic risk with both hands, though sometimes dropping a ball or two. If razor-sharp art and ambitious storytelling are what you're after, this issue mostly delivers, though the tangled structure and breathless pacing mean only the most attentive reader will reap every reward. For those seeking clarity and depth alongside spectacle, consider whether the ride is worth the sprint.

Absolute Flash #10 builds ambitious thematic architecture atop a foundation of internal contradiction. The emotional character work is genuine, and the cosmic horror elements arrive with real menace, but these positives rest on character logic that collapses under scrutiny.

Absolute Flash #11 builds fascinating cosmological architecture while failing to secure basic narrative clarity in its climactic moments. The emotional work lands, and Lemire's commitment to character consequence resonates, but the issue sacrifices readability for atmosphere and expects readers to decode action sequences rather than follow them.

Absolute Green Lantern #1is a decent start to a reimagined type of Green Lantern mythology. Al Ewing's twist on humans granted energy power feels like something out of a sci-fi horror story, and Jahnoy Lindsay's art captures the spirit of fear and mystery perfectly. That said, Al Ewing's script skips the basics of setting up a story and relies on curiosity and teasing to hook the reader. For some readers, that may be enough. For many other readers, it's not.

Absolute Green Lantern #2is a dour, gruesome, confusing attempt at making the Green Lantern lore a sci-fi horror mashup. Janoy Lindsay's artwork beautifully portrays the horror of Earthlings slaughtered by an alien, but Al Ewing's script puts too much emphasis on shock and intricate narrative flow. It's weird and different but not entertaining.

Absolute Green Lantern #3brings to light an interesting revelation about Abin Sur's power, but there's not much more to the issue. Al Ewing's homage to sci-fi horror has the right tone, but the pacing is too slow, and the lack of urgency and wow moments is an energy killer. Jahnoy Lindsay's artwork is a great fit for the sci-fi horror feel, but it's not enough to save the script's inability to grab you.

Absolute Green Lantern #5 is a prime example of a comic that struggles to find its footing. The narrative ambiguity is overwhelming, leaving readers more frustrated than entertained. While there are hints of interesting ideas, they are lost in the chaotic execution of both the writing and the art. It's a shame, as the potential is there, but this issue simply fails to deliver a cohesive or engaging experience.

Absolute Martian Manhunter #1goes way out of its way to create a trippy, esoteric scenario about an FBI agent looking for answers. Deniz Camp's script is long on weird imagery and uncertainty but falls well short on the basic foundation of a story that will hook you. Pick it up for the novelty of the art and atmosphere, but most readers will get bored with the novelty quickly.

Absolute Martian Manhunter #2fills in some of the blanks regarding Agent Jones's new partner when the two embark on their first mission together to stop an active shooter. Deniz Camp's plot leaps ahead of the first issue by clarifying enough bits about the Martian's presence on Earth to make the story accessible, and Javier Rodriguez's art will continue to please his existing fans. That said, this issue raises a flag of concern about Camp's intentions for this series.

Absolute Martian Manhunter #3brings a little more clarity to the series, but the basics of plot and storytelling are woefully incomplete. Deniz Camp's drug-fueled homage to changing perception through the "smoke" is probably better enjoyed if you read the collection on April 20th.

Absolute Martian Manhunter #5 is an ambitious but ultimately failed attempt at a psychological horror comic. While it has some striking visuals, the overwhelming narrative ambiguity and lack of coherent storytelling make it a frustrating and unsatisfying read. It's a comic that prioritizes abstract concepts over clear communication, leaving the reader lost in its own self-created darkness.

Absolute Martian Manhunter #6 is an absolute train wreck. What it lacks in a coherent plot it tries to make up for in a baffling artistic style and overly philosophical dialogue. It's a frustrating read that feels like a bunch of random ideas thrown together on a page. The narrative is so scattered that you'll have no idea what's happening or why it matters. Don't waste your time trying to make sense of this one.

Absolute Martian Manhunter #7 is a comic that mistakes obscurity for depth and padding for substance. The issue opens with genuine promise, suggesting a character study of trauma and institutional alienation that could resonate. However, it quickly pivots into abstract dialogue that communicates nothing, murky artwork that obscures rather than illuminates, and a narrative structure that feels designed to confuse rather than engage. For readers picking up this issue expecting narrative progression, character development, or even basic coherence, this comic fails on every level.

Absolute Martian Manhunter #8 is a comic that sacrifices its own character work on the altar of political messaging. The issue opens with genuine emotional beats showing John Jones attempting to reconnect with his family, creating real stakes and human conflict. However, that narrative momentum gets abandoned halfway through for extended monologues about gun symbolism and American historical violence that have nothing to do with John's actual problem. The art becomes experimental and unclear at the exact moment clarity is most needed.

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.

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.

Absolute Power: Task Force VII #1 takes all the urgency, dramatic tension, and seriousness of the Absolute Power event and tosses it out the window in favor of a silly, disjointed, poorly constructed mess of a comic. Williams's script has all the weight of a deflated balloon, and Yarsky's confused action choreography is shockingly unskilled.

Absolute Power: Task Force VII #2 gives readers a view into how Amanda Waller's Absolute Power attack subdued Aquaman, Atlantis, and the Doom Patrol. Sadly, most of that fight takes place off-panel, and the rest of the information adds nothing meaningful to the event. In every sense of the word, this tie-in is pointless, but at least Max Raynor's art looks darn good.

Absolute Power: Task Force VII #3 is one of the better tie-ins in the Absolute Power event because it maintains consistency across titles, shows intriguing developments, and presents it all in a relatively pretty package. Adams continues to prove he's the DC guy who can make lemons out of lemonade, and Santucci's solid art is made better by Arif Prianto's excellent coloring.

Absolute Power: Task Force VII #4 delivers another one-off issue focusing on another member of Task Force VII - Failsafe. In and of itself, Pornsak Pichetshote's story is fine, but the characters involved here, particularly Nightwing, suggest the story is out of step with the main event. At best, this comic is just okay.

Absolute Power: Task Force VII #5 is a fun, Flash-centered issue that teaches Velocity a thing or two about what it really means to be a Speedster. Flash fans will get a kick out of the story, but its contribution to Absolute Power is negligible. That said, the tacked-on scenes starring Steve Trevor on Gamorra Island finally lead to a big reveal about Amanda Waller's allies in this event, which makes this issue a big deal.

Absolute Power: Task Force VII #6 accomplishes little, is riddled with terrible narration and dialog, and again demonstrates how each writer is simply making up the rules of how Amazos work. If you had misgivings about Absolute Power, this issue might just put you off for good.

Absolute Power: Task Force VII #7 ends the weirdly unnecessary miniseries with a weirdly unnecessary conclusion that ultimately contributes nothing to Absolute Power. The art is okay, and the story flows well enough for the concept, but this issue fails at the one thing every comic must accomplish - justify its own existence.

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

Absolute Superman #2is an improvement over the first issue. Jason Aaron's script spends much less time on Krypton and more time showing what this alternate version of the Man of Steel can do. Plus, the art team creatively brings Kal-El's range of unique gadgets to life. That said, the script suffers from odd narration, heavy-handed messaging about the use of A.I., and weird action where the suit does most of the work.8/10

Absolute Superman #3is an absolute treat for Superman fans who want an entire issue set in Krypton and don't care if Superman shows up or not. Jason Aaron delivers oodles of forethought and details about Krypton's last days, and Rafa Sandoval's art is excellent. However, readers who insist Superman be the focus of a Superman comic will come away unsatisfied with this issue. Maybe Aaron is trying to out-Hickman Jonathan Hickman on Ultimate Spider-Man.

Absolute Superman #4is a perfectly decent character-building issue that gives readers a better picture of Agent Lois Lane. Jason Aaron puts considerable thought into fleshing out the Absolute Earth's rival groups and Agent Lane's relationship with her father. That said, readers expecting a comic titled Absolute Superman to have Absolute Superman show up for more than a couple of pages will be sorely disappointed... again.5.5/10

Absolute Superman #5brings the first arc and the fate of Krypton to a close with a harrowing race to escape destruction. Jason Aaron put gobs of thought and effort into depicting the last days of Krypton, and Raf Sandoval's artwork gives you all the spectacle you could want in a world-ending drama. That said, Absolute Superman is a non-issue again. The destruction of Krypton doesn't tell you anything you haven't seen before, and the extra effort Aaron puts into creating Krypton's oppressive class structure comes off as flawed and superficial soapboxing.

Absolute Superman #6picks up the pace and re-centers focus on Kal-El when he first arrives on Earth. Jason Aaron's script reinvigorates the series by building out Kal's character and explaining why he thinks and feels the way he does about Earth and Lazarus Corporation. Sadly, the five-issue building up to this point leads you to the classic Superman origin story with just a few tweaks, underlying a lack of imagination or surprise in Aaron's concept.

Absolute Superman #7turns in the secret origin of the Absolute Brainiac as a sadistic, disturbed cyborg hell-bent on learning Superman's secret. Rafa Sandoval's body horror artwork is great, as usual, and Jason Aaron's twist on a classic Superman villain crafts him as a dangerous threat. That said, the series is still spending too much time on world-building and backstory, putting the main character on the back burner...again.

Absolute Superman #8turns up the action, shakes up the status quo, and builds out several of the characters. Unfortunately, all the good is offset by a lazy setup and a complete lack of development for the one character who matters most - Superman. Jason Aaron's script reads well, and Rafa Sandoval's artwork is phenomenal, but the story almost treats Superman like a guest character.

Absolute Superman #9 is a powerful and visually stunning issue that puts the Man of Steel through the wringer. It's a testament to Superman's enduring spirit, even when facing threats from his own past and a morally ambiguous future. The stakes are high, the action is intense, and the character moments resonate. It leaves you eagerly anticipating what comes next for Superman and his unlikely new allies.

Absolute Superman #10 is an adrenaline-fueled issue that continues to solidify this new vision of the character. The art and pacing are phenomenal, and while the writing has a few minor flaws, it delivers a thrilling and impactful story. The comic successfully balances its core themes of revolution and legacy with raw, explosive action, making it a definite must-read.

Absolute Superman #11 is a thrilling and thought-provoking descent into Superman's subconscious. It's a sharp, terrifying, and gruesome comic that breaks all the rules of a typical Superman comic and creates something new and exciting in the process. It's a perfect read for those who want a Superman story that is as intelligent as it is entertaining.

Absolute Superman #12 proves you can pack a Kryptonian punch even when standing perfectly still. While the action crawls, the art and emotional honesty break new ground, and the characters deliver the feels, even as the plot pretty much finds a comfy diner booth and orders another round of pancakes. If you're hungry for jaw-dropping visuals and soulful character moments, dig in. If you're looking for narrative speed, bring coffee... and maybe a crossword.

Absolute Superman #13 does not waste your day. Every panel is loaded with tension and grit, and the creative team wrings the Kansas siege premise for all it's worth. While ambition sometimes outpaces nuance, the issue is a resounding win for fans seeking action, character drama, and a landscape where every choice feels costly. Whether you're following the series week-to-week or eyeing a sharp return, this chapter earns a spot in a limited pull list.

For readers willing to trade some subtlety for emotional blunt force and excellent art, this is a worthwhile purchase; for everyone else, it is a solid read that might be better grabbed in a discounted bundle or collected edition rather than as a must-have single.

Absolute Superman #15 is a comic that mistakes ambition for execution and exhaustion for depth. The idea of exploring what comes after victory is genuinely worthwhile, and Ferreyra's art deserves praise for selling isolation and exhaustion through color and composition, but Aaron's script lacks focus and stakes. The heavy-handed social commentary about billionaires and environmental collapse reads like a checklist of issues Superman should care about rather than a story that trusts readers to understand why these moments matter. Without clear narrative momentum or meaningful character growth, the issue feels like Superman is running in place, screaming at crises he cannot solve while readers watch and wait for something to actually happen.

Absolute Superman #16 packs mentor mayhem and villain twists that reward your stack time with solid hooks and brawls. It earns a spot if you're chasing Absolute Universe buildup, but casual wallets might wait for the Parasite payoff. Sharp enough to fly above average monthly fare.

Absolute Wonder Woman Annual #1 is a sharp, visually arresting detour that manages to actually matter to the main series. It avoids the usual filler trap by delivering a emotionally resonant aspect to Diana's worldview that will likely have consequences in her relationship with the gods. However, some readers may find the dialog-heavy resolution to be weak.

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

Absolute Wonder Woman #2 unveils the big boss behind Harbinger Prime's attack and introduces readers to Absolute Steve Trevor. Unfortunately, Kelly Thompson's lack of setup and disjointed narrative flow hurt this sophomore issue in a big way, and Hayden Sherman's indie arthouse style only suits the parts of the story that don't involve action.

Absolute Wonder Woman #3is a strange mix of cool character developments and interpersonal interactions for Diana, paired with an oddly incomplete plot. Kelly Thompson's script at least gives you the most different Absolute version of one of the Holy Trinity, but the lack of character motivations and pretext, combined with Hayden Sherman's uneven artwork, makes this issue a tough recommendation.6.8/10

Absolute Wonder Woman #4brings the fight against the Tetracide to an end when Diana visits a witch for a little magical help. Kelly Thompson's script continues to mix the present battle with intriguing tidbits about Diana's origins for a strong sense of mythology. That said, the flat energy and lax pacing make the battle's outcome anticlimactic, and Hayden Sherman's sedate, uneven art falls short.

Absolute Wonder Woman #5is possibly the best issue in the series to date. Kelly Thompson's script isn't without its flaws, but the story makes up for its shortcomings through strong pacing, solid action, and a surprising resolution. Readers on the fence about this series may want to check out this issue.7.5/10

Absolute Wonder Woman #6begins the long story of explaining how Diana obtained her special weapons and escaped Hell when Hades calls her to account. Kelly Thompson's script has the right concept and ideas, but the overwritten, ponderous dialog slows the issue to a crawl. Conversely, Mattia De Iulis's exquisite art makes this series look ten times better.

Absolute Wonder Woman #7looks gorgeous, reads well, and has all the makings of a great comic except for a narrative stumble at the end. Kelly Thompson's script shows the potential of what a great Wonder Woman comic could be, and Mattia De Iulis's artwork is breathtaking. That said, a crisscross of ideas creates a jumbled resolution.

Absolute Wonder Woman #8is a decent, albeit incomplete start to a new arc when Diana sets out to find other Amazons. Kelly Thompson's script builds on the foundational aspects of the first arc for a relatable start. However, this arc starts without anything resembling stakes or urgency. Plus Hayden Sherman's return to the title regrettably looks like a downgrade compared to the previous two issues.

Absolute Wonder Woman #10 is a high-energy brawl dripping with dense myth and strange beauty, let down only by uneven pacing and a habit of telling what it should be showing. Sharp writing, bold art, but a crowd of undercooked side characters and a few too many monologues hold it back from greatness.6.5/10

Absolute Wonder Woman #11 is a perfect example of style over substance. It's a visually stunning comic that's bogged down by a slow, ponderous plot and dialogue that is more philosophical than functional. While the art is beautiful, it's not enough to save a comic that reads more like a a philosophy paper than a compelling story. It's a frustratingly boring and disappointing read that fails to deliver any of the action or excitement that a Wonder Woman comic should have.

Absolute Wonder Woman #12 proves that even trident-wielding heroes can't save a book from a visual misfire. Come for breathless plot and tantalizing setups, but just know you'll be squinting through the splash pages wondering if the artist dropped a pencil or just gave up. Here's hoping the next issue hands the visuals a lifeline.

Absolute Wonder Woman #13 feels like a storm worth standing in: stunning to watch, faintly chilling to feel, but missing the lightning strike that would make it unforgettable. Its mystery and art shimmer, its introspection intrigues, but the emotional resonance never breaks the surface tension. It's a gorgeous issue that promises more than it delivers, yet you can't look away while waiting to see if the next one finally does.

Absolute Wonder Woman #15 is a comic that works technically but fails to justify its existence emotionally or narratively. You're paying four dollars to watch two of DC's most compelling characters stand in a swamp and explain magic theory to each other for half the issue. The closing act and final pages do the heavy lifting to keep this from being a total loss, and the concept of a Diana and Batman team-up still has real potential, but this particular execution doesn't earn the space it occupies on the shelf.

Absolute Wonder Woman #16 rights the ship and proves that issue 15's problems weren't terminal. This is a comic that understands the difference between setup and execution; it plants threats while Diana remains oblivious, it develops character through action rather than exposition, and it trusts readers to piece together danger without being told. The book isn't perfect. The Parasite remains vague enough to confuse, the magic-binding mechanism needs clarification, and Area 41 feels visually generic. But the improvements are substantial and measurable.

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.

Action Comics #1082 digs deep into the weighty philosophical question of what makes a superpowered person choose to be a villain over a hero. John Ridley's thoughtful exploration of that question through Clark Kent's reporting research is interesting fodder for philosophy students, but it's an utter snooze fest for somebody wanting to read a Superman comic with action. It's John Ridley. Are you really surprised?5/10

Action Comics #1083pulls back the curtain on the "mystery" surrounding Major Disaster's fall from recovery. John Ridley's criminal conspiracy is an even mix of convoluted plot and boring execution with a hefty dash of plot holes sprinkled on top. The art's decent enough, but the story is a mess.5/10

Action Comics #1084ends the 3-part adventure on a sour note when Superman and Scorch defeat villains who may not technically be villains while turning a blind eye to a killing. John Ridley's lopsided script is exactly the type of Superman storytelling DC doesn't need, even if Inaki Miranda's artwork is great.

Action Comics #1085 begins a wacky, Silver Age-inspired adventure when Clark Kent heads to Antarctica for a story and finds a deadly threat. G. Willow Wilson's script reads like a kid-friendly adventure you'd find at a Scholastic Book Fair, flaws and all, and Gavin Guidry's art is a decent match for Wilson's vibe.

Action Comics #1088 is a serviceable but forgettable entry in the Superman mythos. The writing is safe, the art is passable, and the stakes feel artificially inflated. There's a kernel of heart at the story's center, but it's buried under layers of mediocrity. For longtime fans, it's just another day in Smallville; for newcomers, it's hardly a compelling invitation to stick around.

Action Comics #1089is a beautifully illustrated comic that builds a charming and believable world. However, the story itself is an exercise in wheel-spinning. The slow pacing and absence of any real drama make this a forgettable read. The issue has all the components for a great storya mysterious new character, a hero in training, and a conflict at schoolbut it fails to tie them together in a compelling way.

Action Comics #1090 is a flashy flyer weighed down by sluggish storytelling and recycled emotional beats. Even with Superman clocking sixty thousand miles per hour, the drama barely hits school zone speed. Next issue had better pack a punch, or this series risks becoming less "Summer of Superman, and more "Nap Time of Smallville.

Action Comics #1092 puts growth and accountability above easy spectacle, asking if even the sunniest super-teen can recover from one bad day. The result isn't fireworks but an honest, sharply executed slice of superhero growing pains; a clear recommendation for readers who expect more than capes and punches for their comic budget.

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.

Adventures of Superman: Book of El #1 is a perfect example of trying to do too much at once. It's a frantic, dizzying rush of ideas that never cohere into a compelling story. It's got a lot of flash, but beneath the glossy exterior is a hollow, incomprehensible mess.

Adventures of Superman: Jon Kent #1 looks great, reads great, and gives you plenty of super action for the cover price in a story that sets up Jon Kent's long-awaited confrontation with Ultraman. Unfortunately, the setup that gets Jon involved in the fight has more plot holes than a wheel of Swiss cheese, so the setup feels more contrived than it should for a moment this big.

Adventures of Superman: Jon Kent #2 definitively (or as definitively as it can in comics) ends the conflict between Jon Kent and Ultraman with a one-on-one fight across the multiverse. Henry and Bellaire's art sings, and the emergence of Jon's new (old?) Electric Blue Superman powers look great. However, the fight's ending will either be loved or hated.

Adventures of Superman: Jon Kent #3 marks the midway point of Taylor's final story for Jon Kent, and the plot is nowhere to be seen. Jon spends the issue listening, learning, and taking in the sights of the Injustice world, but at best, this issue is mostly conversations with great art.

Adventures of Superman: Jon Kent #4 serves as an excellent primer that explains to Jon Kent how Injustice Earth came to be in its current state. That said, this issue is almost all exposition, the plot hasn't quite come together, Jon Kent is barely a participant in his own min-series, and the information only holds your attention if you know nothing about the previous Injustice stories. With two issues left, it's hard to imagine this mini will end well when it hasn't even started.

Adventures of Superman: Jon Kent #5 turns the momentum meter up a half-notch for a penultimate issue that delivers lots of talking and hand-wringing but no excitement or dramatic tension. Clayton Henry is doing his best to make a bland script seem visually interesting, but this comic is a forgettable miss.

Adventures of Superman: Jon Kent #6 is a laughable ending to Jon Kent's adventure on the Injustice Earth. Rather than use the dwindling opportunity to push Jon Kent to mature into the Superman he needs to be, Taylor dumbs down the enemies, the world, and the universe to make a simple hug the answer to everyone's problems. What a waste.

Alan Scott: Green Lantern #1 is a thoughtful exploration of what it might have been like to be a soldier, a superhero, and a gay man during WWII. The art looks great, and Sheridan plants a couple of intriguing mysteries. That said, so much focus is spent painting Alan Scott as an oppressed victim that the hero aspects get very little play. And the extreme retcons verge on salacious.

Alan Scott: The Green Lantern #2 isn't a superhero comic. It's an egregious piece of fanfic designed to retcon Alan Scott into a tragically oppressed man dealing with homophobic social ills in WWII-era America. The main plot gets no attention in an issue-long flashback that pulls Green Lantern's origin far enough away from the source material to be almost unrecognizable.

Alan Scott: The Green Lantern #3 is a decent detective noir murder tale. Sheridan's mystery construction is on-point, and the art looks great, but if you are looking for a superhero book that focuses on the Green Lantern part of Alan Scott, you may want to look elsewhere.

Alan Scott: The Green Lantern #4 gets to the heart of the issue by giving readers the full scoop on the Red Lantern's origins. While the reveal isn't the least bit surprising, it's well done. That said, Sheridan succeeds in building Red Lantern up by tearing Alan Scott down into a confused, chronically horny man whose libido clouds his judgment at every turn.

Alan Scott: The Green Lantern #5 gives readers everything this miniseries has been missing - action, excitement, drama, and cool wow moments. There's even a retcon that serves to align Alan Scott with the rest of the Green Lantern Corps in an interesting way. That said, the retcon creates decades' worth of plot holes, so continuity kings may have a tough time with the change.

Alan Scott: The Green Lantern #6 ends the retconning miniseries with brief but entertaining action, richer context to the relationship between Alan Scott and the new Red Lantern in Geoff Johns's current JSA run, and much too much self-affirmation. If the goal was to elevate Alan Scott into his new status quo, Tim Sheridan missed the mark in more ways than one.

Aquaman #1is an impressive start for the return of the King of Atlantis. Jeremy Adams brings Aquaman back to prominence with an inaugural issue built on a rock-solid foundation, an intriguing mystery, and a banger of a cliffhanger. Couple Adams's pristine script with killer art by John Timms, and you get a winner.9/10

Aquaman #2is a weird epic, in the classical sense, that pits Arthur against monsters, trolls, and evil queens. Jeremy Adams draws inspiration from a myriad of legends for a fascinating and intriguing tale, and John Timms's art looks gorgeous.9/10

Aquaman #3continues Arthur Curry's mythic journey to save his people and stop an ancient evil. Jeremy Adams's surprising twist on Arthurian legends is a treat, and John Timms's art is stellar. Between this title and Green Lantern, Jeremy Adams has the secret formula all of DC should be following.

Aquaman #4leans on the "Rule of Cool" to show Arthur kicking ass and taking names when he escapes the clutches of Dagon's mercenaries. Jeremey Adams's script elevates Aquaman's badassery score by fifty points, and John Timms's artwork looks amazing. That said, the issue is more action than story, so the plot takes a pause.

Aquaman #5 continues Arthur's mythological journey as the wandering king searching for his people. Jeremy Adams adds more familiar members to the fellowship, enhancing the vibe of a journey that echoes the best adventure tales from classic literature, and John Timms shows his worth as one of the best artists around.

Aquaman #7 is a visually appealing comic with some exciting moments, but it struggles to maintain a consistent pace and fully develop its emotional beats. While it sets the stage for a dramatic showdown, the journey there feels a bit underdeveloped.

Aquaman #8 is a fantastic issue that delivers on all fronts, combining a strong emotional narrative with explosive action. The character development for Arthur is a standout, and his transformation into something new and powerful is a thrilling cliffhanger. The art is beautiful and complements the story perfectly. This comic is a must-read for any Aquaman fan and an excellent jumping-on point for new readers looking for a high-energy superhero story.

Aquaman #9 proves the ocean's depths hold more than monsters. They hide magical mysteries and tidal waves of potential. With a grieving king, new powers, and Atlantis in ruins, this series swims in dangerous waters and dares the reader to keep up.

Aquaman #10 is a boisterous slice of supernatural seafaring, surging with enough pirate grit and sorcerous chaos to leave readers gasping for air. While the plot occasionally knots itself in mystic fog, it's all hands on deck for spectacle, suspense, and some much-needed comic swashbuckling. If every storm ends with a treasure, consider this one worth its weight in Atlantean gold.

Aquaman #11 doesn't waste time or space. It goes full throttle from page one, daring readers to keep up with a plot that's as turbulent as its oceans. The result is a visually striking, if occasionally overwhelming, ride through family drama and cataclysmic danger. If you crave your superheroes with a side of cosmic chaos and emotional whiplash, you'll get your money's worth here. Just don't expect to come up for air.

If you're following DC K.O. and want to see how Aquaman's story threads into the larger tournament, this absolutely earns its place in your pull list.

Aquaman #13 has the bones of a genuinely compelling story, with Mera stepping into her own spotlight and a mystery villain that promises real consequences for the underwater world. Unfortunately, the issue tries to juggle too many plot threads in too little space, leaving both the surface and undersea narratives feeling rushed and underdeveloped. If you're already invested in the K.O. crossover and Aquaman's mythology, this issue delivers enough forward momentum to justify picking it up.

If your pull list is already leaning heavy, Aquaman #14 is the kind of issue you buy only if you are locked into the K.O. storyline and need every puzzle piece on the board. The lore dump does important work for the larger myth arc, and the visuals go all in on scale, but the actual reading experience sits in that awkward space between "important" and "fun." Mera fans will find enough here to justify the time, especially with Nereus's farewell and the promise of a brutal confrontation with Lolanna, but Aquaman himself feels like a supporting character in his own title.

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.

Aquaman: Andromeda #1 is an interesting premise about a horror from space crashing in the ocean with only the King of Atlantis to stop whatever horror is coming. The character, vessel, and creature designs are cool, and there's plenty of moody mystery to build tension. However, the line work ranges from detailed to unfinished, the color palette is mostly dark and drab, and the writing is pretentiously bloated throughout the dialog and narration.7/10

Aquaman: Andromeda #2 swerves the story in a new direction to reveal the mysterious alien ship is not an alien ship at all. The swerve opens up a wide swath of storytelling potential, but the new direction is oddly familiar. Couple the strange-but-intriguing new direction with painfully uneven art, and you get a mixed bag overall.

Aquaman: Andromeda #3 ends the mini-series with a story about stories that create stories. Filled with over-narration, and exposition, the arc boils down to a DC Comics version of the movie Sphere (1998). Just watch the film instead.

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.

Aquamen #1 kicks off with large-scale mayhem and stakes. The art is decent, there's plenty of big action, but the characters all feel off and bizarrely disconnected from what's happening around them.7/10

Aquamen #2 drops nuggets of information surrounding the mystery of Orm's attack and seemingly random surface dwellers going berserk. The issue is filled with tense moments, generally great art, and plenty of curiosity-building to keep readers hooked for the next issue. That said, Jackson takes a big step toward becoming a villain and is not ready to take over the title of Aquaman.

Aquamen #3 starts to fill in the puzzle pieces behind the sleeper cell activations and the looming disaster to follow. Each page is filled with great action and generally good art. Every reveal and plot development generates as much excitement as a lead balloon. However, it's hard not to shrug and move on when the Big Bad is revealed to be a C-list Aquaman villain.

Aquamen #4 is another acceptable entry in the series. The plot moves forward, and the dialog, pacing, and action are fine. What's missing is any sense of scale from the attacks, a motivation behind the attacks, or stakes beyond stopping bad people from doing bad things. Again, the technical execution is here, but this comic never crosses the line between competent and memorable.

Aquamen #5 is a below-average entry in the series. The art is very good, but everything surrounding the rescue plan, its execution, its operation, and even the original terrorist plot, is either convoluted, unnecessarily complicated or doesn't make sense. With one more issue in the series, there's time to end on a high note, but it will take a minor miracle.

Follow ComicalOpinions on Facebook, Instagram, and TwitterBits and PiecesAquamen #6 is what happens when creators and editors know a title is canceled but can't be bothered to wrap up the arc with any semblance of sense or caring. Despite a valiant effort by the art team, the story simply skips the resolution in favor of a semi-emotional epilogue for a mild Dark Crisis lead-in.

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.

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

Batgirl #2is a super-solid entry in the miniseries that takes everything that worked about the first issue and builds on it. Tate Brombal's script is a pleasant mix of fighting and heart, and Takeshi Miyazawa's art style suits the story beautifully. That said, Brombal's lack of clarity about the nature of the conflict is a sore spot.8/10

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.

Batgirls 2022 Annual sets up the next phase of the cauldron's adventures with an out-of-nowhere body swap, character cameos, decent art with bad coloring, and a lot of unnecessary slice-of-life scenes to pad out the pages.

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 #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.

Batman #155delivers an ugly next chapter in Chip Zdarsky's last run. Zdarsky's quest to tear down all the family figures in Batman's life is depressing, and Jim Gordon's character makes a series of foolishly bad choices. Further, the art is a step down from the previous issue.4.5/10

Batman #157ends Chip Zdarsky's troubled run with more Bat God shenanigans. The art is great, and the bigger plot points get resolved, but the ending strains plausibility on multiple levels, so it's a mess.

Batman #158is a back-to-basic Batman tale with stupendous art but a lackluster story. Jeph Loeb's script has all the right pieces, but it reads more like a clunky checklist than an engaging narrative. However, Jim Lee's Batman art can't be topped, so pull it for the visuals, but adjust your expectations for the story.

Batman #159amps up the interpersonal drama when Batman is forced to take unusual measures to save Joker. Jeph Loeb's script is serviceable script is high on tension but short on surprises or Hush, and Jim Lee's art is masterful. Get it for the Jim Lee art, but don't expect to be blown away by the story.

Batman #160delivers more urgency, action, and characters than you can handle. Jim Lee's art is unimpeachable, and Loeb certainly strives hard to cram in as many characters as possible, but the net result feels rushed and chaotic.

Batman #161 stumbles hard under the weight of its own ambition. There's intrigue, there's action, and there's gorgeous Gotham noir in the artwork, but it's all riddled with bizarre character breaks and plot leaps that rob the story of credibility. If this issue were a chess match, it's one where every piece forgets how it moves. 5.5/10

Batman #162 is a pulpy, propulsive chapter in the arc with just enough sharp edges to keep you reading, even if genuine surprises are in short supply. If you're after dynamic art and Bat-family mayhem, it's worth your time, even if your heart (and wallet) would appreciate a little more innovation and depth next month.

Batman #1is an unfortunate example of style over substance. Despite some great art, the comic is a complete letdown with its unoriginal plot and a cast of characters that are about as exciting as a wet newspaper. This is a limp start to what should have been an electrifying new run.

Batman #2 is a visual feast stapled to a wild ride where logic buckles under spectacle. Fraction and Jimenez deliver fireworks, but next time, someone should keep an eye on the script's steering wheel. Preferably not in broad daylight.

Batman #3 gives you bang for your buck if kinetic art and meaty Bat-family drama are draws, but its Bat-braininess sometimes leaves the plot gasping for focus. This comic justifies a slot on your pull list - barely - but Bat-fans hoping for fuss-free thrills or tight logic might need to park the Batmobile elsewhere next month.

Batman #4 is a gorgeous comic wrapped around a frustrating one. Jimnez's art is doing heavy lifting that would make most gym memberships jealous, and the Torus concept has real legs as a fresh approach to Gotham's criminal underworld. But Fraction's script undermines its own premise by making Batman look oblivious and wasting pages on scenes that go nowhere.

Batman #5 is a pretty comic with nothing to say. The art carries nearly the entire load while the script coasts on repetitive date jokes and a cliffhanger that demands investment nobody has earned yet. This issue proves that even exceptional artwork can't salvage a story with no forward momentum, no connection to its larger narrative context, and no payoff beyond a question mark.

Batman #6 looks good and sounds important, but functions like a holding pattern in a run that keeps hinting at big ideas then refuses to actually land them. If your comic budget is tight and you are not already ride or die on this arc, this issue does not justify itself as an essential purchase, since you can likely skip it and still track the broad strokes once the story finally wakes up.

Batman/Catwoman: Gotham War - Battle Lines #1 kicks off the Gotham War event with Batman coming out of a long sleep to find Catwoman solving Gotahm's crime problem with a very un-Batman-like approach. The moral dilemma facing Batman is interesting, and the art looks great, but the plan that creates Batman's moral dilemma is riddled (*heh*) with logical flaws that lead you to believe the writers didn't think things through.

Batman / Catwoman: The Gotham War: Red Hood #2 is a pointless mess and a waste of time. There is no story here, the timeline doesn't fit within Gotham War, and the outcome is just a cheap excuse to read other titles. In the strongest possible terms, this comic is a hard pass.

Batman / Catwoman: The Gotham War - Scorched Earth #1 is unintentionally scarier than the Knight Terrors event because it's terrifying that DC allowed such an embarrassingly bad comic to ever see the light of day. The story is nonsensical, plot points come out of nowhere, things happen that aren't possible, nobody acts with any sense or reason, and everyone is still acting as if the biggest problem with what happened in this "war" is Batman. Two points for mediocre art.

DC/Marvel Batman / Deadpool #1 understands the assignment by pairing the Dark Knight and the Merc with a Mouth together for a trippy adventure that holds your attention, even if it doesn't always make sense. Pair the main story with four backups that are at least mildly entertaining, and you wind up with an anthology that's far superior to Marvel's version of this cross-publisher collaboration.

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.

Unless you're a die-hard completionist or just adore these characters, this isn't the comic to top your pull list this month. Batman/Static: Beyond #1 sounds revolutionary, but the execution is muddled enough that your time and money might be better spent elsewhere, barring a shocking twist in future issues. Reader beware: This crossover crossover invests in chaos more than coherence, so prepare for a bumpy ride.

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.

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/Superman: World's Finest #36is a fast-paced, surprisingly entertaining read when the Floronic Man appears in an Aquaman story. Mark Waid's talent for mixing heroes in surprising ways pays off yet again, and Adrin Gutirrez's art is a commendably good complement to Dan Mora's style.

Batman / Superman: World's Finest Annual: 2025unveils the secret plan of Gorilla Grodd to assemble the Legion of Doom and take over the world. Christopher Cantwell and Mark Waid's script is packed with nostalgic fun, and Dan Mc Daid's art style is super solid. That said, Grodd's plan doesn't sound smart or effective, so you'll be left with a resounding "Huh?"

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 & 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.

Batman And Robin #1 is a solid start to a series that solves a mysterious conspiracy while Bruce and Damian struggle to connect as father and son. The art is outstanding, and the quiet relationship moments are captivating, but the conspiracy is only teased enough to generate mild curiosity.

Batman And Robin #2 is an entertaining, Damian-centric issue to help you get to know the latest Boy Wonder. That said, the plot doesn't move much, and the art is a mixed bag. If you're a Speculator, pick this issue up for the introduction of Shush. For everyone else, consider waiting for the inevitable trade.

Batman And Robin #3 benefits from high energy, fast-paced action, and (mostly) great art. That said, there are too many contradictory plot developments, and the point of the story is still a mystery

Batman And Robin #4 goes a long way toward explaining what's happening and uncovering the puppetmasters behind the scenes, but this issue (and the series) lacks any wow moments, dramatic tension, or a reason to exist other than to flood LCS shelves with more Batman books.

Batman And Robin #5 takes an odd break from the urgent drive to find Man-Bat for an amusing issue showing Bruce and Damian infiltrating High School life to expose Principal Stone as Shush. Williamson appears to be having fun holding Damian back from unleashing his true potential on H.S. bullies, and the mildly Manga-influenced art amplifies the amusing tone of the investigation. That said, Man-Bat's plan is still a blank slate, which reflects poor pacing by Williamson.

Batman And Robin #6 is a surprisingly entertaining and wholesome entry in the series when the Dynamic Duo stops crime while starting to build a familial bond. Williamson's emotional beats and relationship dynamic are on point, and imeija's looks great during the emotional and action scenes. However, the mystery surrounding Principal Stone is starting to get silly, and imeija's art loses too much character detail in the wider panels.

Batman And Robin #7 has potential in the growing bond between Damian and Bruce, but that potential is getting lost in a malformed subplot (Cult of Man-Bat) and a villain who is starting to become more annoying than intriguing (Shush).

Batman And Robin #8 delivers plenty of energy and plot developments, but the fast-paced issue frequently leaves sense and focus at the door. Williamson shortcuts several scenes to keep the pace up, lowering the Dynamic Duo's competence. At least the art is better than solid.

Batman And Robin #9 is a sloppy, lazy mess of a comic. The Mistress Harsh/Shush reveal goes over like a lead balloon, and a guest artist was brought in to redo whole sections of the comic just to get the reveal out of the way. If you're paying for this comic, you're wasting your time and money.

Batman And Robin #10 brings the first arc in this series to a close with lots of action and a few emotional beats. That said, Williamson's central plot concept is poorly thought out, the script is riddled with plot holes and unanswered questions, and the art team's disparate styles don't mesh well. In all, this finale and the arc as a whole are a miss.

Batman And Robin #14 is a perfectly fine start to a new Batman and Robin adventure with a new creative team. But for a step backward in Damian's character growth, the setup and new villain introduction are well done. Overall, the new creative team is headed in the right direction.

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.

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.

Batman: Gotham By Gaslight - The Kryptonian Age #1 brings readers back to the Gotham By Gaslight Elseworld, with a setup that implies Earth and Krypton have a hidden history. The art and basic premise feel authentic to the Victorian Age, so Gotham By Gaslight fans will enjoy the aesthetic, but readers will be disappointed with the almost total lack of anything Kryptonian in this first issue to get you excited.

Batman: Gotham by Gaslight - The Kryptonian Age #2 starts the downward trend from mildly interesting in issue #1 to confusing, frustrating, and boring in issue #2. Leandro Fernandez's art is solid, and the number of Victorian-era cameos have potential, but the plot is a muddled chore.

Batman: Gotham By Gaslight - The Kryptonian Age #3 heaps on all kinds of cool Easter Eggs, twists on familiar characters and events, and a super curious cliffhanger for the strongest issue in the maxiseries yet. That said, the least interesting thing about this comic is everything surrounding Batman and Gotham City, so the result doesn't live up to expectations.

Batman: Gotham By Gaslight - The Kryptonian Age #4 gives Elseworlds fans plenty of cool developments to chew on with the introduction of Superman's supporting cast of characters and the first Green Lantern. Admittedly, the plot and direction of the story take a back seat to the world-building, but the twists are interesting enough to hold your attention for the time being.

Batman: Gotham By Gaslight - The Kryptonian Age #5 introduces even more Victorian-era version of the characters you already know as the Gotham By Gaslight world draws closer to some impending doom. Andy Diggle comes up with creative ways to reinvent classic characters, but there's so much going on that you'll need to take notes before your head starts spinning.

Batman: Gotham By Gaslight - The Kryptonian Age #6is a frustrating, sometimes boring read. Andy Diggle places all effort on world-building and Vectorian-era versions of DC characters, but the plot is almost non-existent. World-build should be a good thing, but when that's all you've got, the comic turns into a slog.5/10

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: 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 - 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.

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 - 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: 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.

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.

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.

Birds of Prey #1 is a mixed bag of a comic with a strong central premise and solid interpretation of the characters' voices. However, Dinah's roster selection lacks sense, especially for Harley Quinn, and the art is serviceable at best.

Birds Of Prey #2 abandons any dramatic tension or seriousness in favor of a sanitized version of the Harley Quinn HBO cartoon with less cursing and more MCU Phase 4 levels of humor. The reason for Sin's predicament is explained, albeit poorly, and the team makes slapsticky progress on their mission, but it's very clear Thompson is writing for a very small audience that does NOT include legacy BoP fans, and Romero's art makes that small target audience even smaller.

Birds Of Prey # is an absurd comic. The flaws in the central premise grow wider with each page turn, the character work is just plain bad, and Romero's art is dull.

Birds Of Prey #4 is a severe miss in an already troubled mini-series. At its core, the plot is flawed. Too many developments happen off-panel, the creative choices frequently don't make sense, and Wonder Woman's big revelation makes the first three issues pointless. This is an amateur effort from creators who should know better.

Birds Of Prey #5 is the turning point in the series, where the fight to rescue Sin from a powerful demon devolves into Looney Tune-styled silliness. Bringing Arist Deyn as a guest artist is a significant improvement in the action, but the character work is abysmal, Megaera's "personality" is ridiculous, and the revelation behind Megaera's motivation to possess Sin is just plain eye-rolling.

Birds Of Prey #6 ends the first arc with a big action moment, a new status quo for at least one character, and the groundwork for the title's future. That said, many of the plot points that didn't sit right in the beginning resulted in too many plot holes that are either ignored or lazily explained away, suggesting the Birds of Prey is NOT in capable hands.

Birds Of Prey #7 is an oddball way to kick off a new arc. Meridian's placement as a time traveler makes little sense when she doesn't seem to know what's happening now (her past). The story jumps from scene to scene with little setup or transitions. Everyone jumps to huge conclusions that happen to be right, and Vixen's plan appears to be an excuse to play dress-up in skimpy outfits.

Birds Of Prey #8 is a confused, chaotic mess of a comic from beginning to end. Even the Birds Of Prey don't know what they're doing, why they're in this situation, or what's happening. I predicted the BoP was not in capable hands, and unfortunately, that prediction has come true.

Birds Of Prey #9 is a waste of time, space, and money. The plot goes nowhere and makes no sense, Thompson's character work and story structure are abysmal, and the series as a whole is getting worse, not better.

Birds Of Prey #10 is the can't-miss issue that explains everything about the mysterious time traveler trying to kill Barbara Gordon. Unfortunately, the answers don't come remotely close to anything you might have guessed. The answers are so overthought, overcomplicated, and unnecessarily overblown that you'll wonder how Thompson had enough hours in the day to go out of her way at every opportunity to make a simple concept unbearably not simple. Plus, the art team's style is unique... until it's too muddled to understand what you're seeing.

Birds Of Prey #11 is another shrugs and hugs issue that reveals a useful tidbit about Maia's portal and spends the rest of the story on hugs and validation. Thompson's script is cleaner than the last issue, and the art team is a step up compared to the first arc, but the wonky plot lacks tension, urgency, or basic common sense.

Birds Of Prey #12 is a silly yet serviceable issue that sends the BoP into Cartoon Land(???). Kelly Thompson's setup makes little sense, and this issue lacks dramatic tension or urgency, but this issue may have the clearest and most purposeful plot yet. Plus, kudos to the art team for making the most out of a bizarre assignment.

Birds Of Prey #13 ends the arc with an issue-long battle full of energy, action, and clever twists. Plus, Gavin Guidry makes the finale as visually engaging as possible. Unfortunately, Kelly Thompson completely botches the ending with a ridiculous resolution and wasted cameos.

Black Canary: Best Of The Best #1begins a seemingly impossible fight for Black Canary, in and out of the ring, when she accepts an offer to fight Lady Shiva for a very important reason. Tom King's laundry list of quirks is blessedly absent in favor of an emotionally impactful tale, and Ryan Sook's art is immaculate.

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.

Black Lightning #2 has all the makings of a great story as one of the few DC titles showing the consequences of Absolute Power. Unfortunately, Brandon Thomas's directionless plot and disjointed execution waste the opportunity.5/10

Bleeding Hearts #1 is a smart, nasty little thought experiment about what happens when the monsters finally notice the weight of what they have done, and whether that realization matters. The issue gives you dense worldbuilding, vivid art, and a lead whose sudden heartbeat pushes him toward the same moral territory Warm Bodies (2013) walked, only with a colder, more satirical grin. What it does not give you yet is a lot of concrete plot movement or emotionally explosive moments, since it is still busy setting the table and labeling every grotesque dish.

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.

Bits and PiecesCatwoman #29 continues the trend of portraying Catwoman with a heart of 14-carat gold. She helps but always with selfish motives, which makes you believe she can be heroic without becoming a hero. The introduction of Wight Witch is both cool and intimidating, something I wish they would learn with all the new villains in the main Batman run. 

Catwoman #57 is a slightly better issue compared to the previous Catwoman issues, but all focus is on the Gotham War event, which has a broken foundation right from the start. The art is great, and there are one or two interesting developments in this issue, but the central premise is flawed, and the characters act wildly out of character.

Catwoman #58 is a disaster. Howard either has never read a Batman comic or has no idea how to present a valid Batman in her own script. The plot is a haphazard sequence of events, and the character work leaves much to be desired. Overall, this issue and event have been lackluster at best.

Challengers Of The Unknown #1is a decent enough start toa series of missions that puts the Challengers on the trails of anomalies created by Darkseid's demise. Christopher Cantwell's script does a decent enough job introducing the team and their mission, but the setup and some of the character work is off-kilter. Likewise, the art is decent enough, but the details are lacking.6.5/10

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.

Cyborg #1 is a thoughtful, emotionally weighty jumping-on point for new readers to get acquainted with Victor Stone. The issue gives you everything you need to know about Cyborg's troubled past and sets up an interesting mystery for the arc to come. That said, readers looking for Cyborg superhero action will find very little action of any kind, the story is almost all setup we've already seen before (and done better), and the art is serviceable but not appealing.

Cyborg #2 builds on the mystery of a robot housing Silas Stone's mind, and all signs point to funny business at Solace. Tom Raney's art is fine, and the mystery of Silas's A.I. is worth watching, but the mystery is buried under an overwhelming amount of negativity as every character, including Cyborg, is constantly angry, terrible, or both.

Cyborg #3 increases the scale and scope of the villain's plan and adds a cameo from a Teen Titans cartoon character to spice things up. However, the big plan seems far-fetched and lacks motivation, which makes the villain come off as one-dimensional.

Cyborg #4 continues the downside of the series with a deeply flawed plot, inconsistent/weak art, and reliance on an overused trope for Cyborg's character.

Cyborg #6 ends the miniseries with some character growth for our hero, strong emotional beats, and plenty of robot-fighting action. That said, the clever path to victory isn't so clever, so the final fight ends on a flat note.

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.

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.

DC All In Special #1 begins a new era for the reformed Justice League just in time for Darkseid to hatch his most diabolical plan yet. Broken up into two comics as a gimmick works in theory, but the execution is far from perfect, with the first half stumbling toward the end and a second half that delivers much less quality overall when compared to the first. This was supposed to be DC's most important comic in years, but it sure doesn't feel like it.

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.

DC K.O. #1 is a multiversal haymaker with ambition and twists to spare, steamrolling its heroes, villains, and timeline over forty-something frenetic pages. It throws cosmic spaghetti at the wall so hard some bits splatter, but the meat of the story sticks. If Snyder's script doesn't stop your heart, Fernandez's artwork will. Just don't blink, or Darkseid might win again while you're still looking for the page numbers.

DC K.O. #2 delivers a loud, lethal, and surprisingly sharp middle round that actually moves Superman and Lex forward instead of just burning pages on cool poses. Readers who enjoy event chaos with a real ethical knife twist, this is a solid pick for a limited budget slot. If you prefer your big crossovers slower, cleaner, and less jammed with cameos, the cluttered battlefield and brisk emotional fallout might make this feel more like a flashy extra than an essential buy, but anyone already interested in seeing how far Clark will bend before he breaks will probably consider this issue money well spent.

DC K.O. #3 earns a soft recommendation if you are here for sharp looking, creative tag team mayhem and do not mind the bracket rules wobbling whenever Joker or Superman needs a boost. The art, layouts, and wild power plays absolutely carry their weight, so actionhungry readers will get good pagetopanel value even if the script cheats on the score sheet. But if you care about the tournament making sense across the event, Joker's magical survival upgrade and Superman's convenient Shazam pick quietly tell you that drama matters more than the promised "anyone can win structure.

DC K.O. #4 is the kind of penultimate chapter that absolutely delivers on spectacle and character beats, then quietly trips over its own tournament rulebook. If you are investing in this for big Superman pain tolerance moments, a ruthless Lex payoff, and punchy, visually legible brawls against Darkseid-laced doppelgangers, you get enough on the page to justify the time and cash it asks for. If you need the bracket to function like a real competition with consistent rules and transparent scoring, the winner will probably feel like the writers skipped the last few steps on the scorecard.

If your comic budget is tight and you need story first, DC K.O.: Boss Battle #1 is an easy skim and skip. If you are the kind of reader who buys on art and wild crossovers alone, this can justify a spot as a flashy one-time read, not a must-own. It feels like the kind of book you read once, talk about the crazy matchups with a friend, and then file away rather than revisit. In short, it is a fun curiosity, not an essential purchase.

DC K.O.: Green Lantern Galactic Slam #1 is a genuinely entertaining romp that knows exactly what it is and executes the premise with impressive confidence and visual clarity. It commits fully to its wrestling spectacle without apologizing for the absurdity, and that commitment makes it work. However, it stumbles at the finish line with artificial rule insertions and a tonal disconnect from the K.O. event's serious apocalyptic stakes.

DC K.O.: Harley Quinn vs. Zatanna #1 is a tournament side-round that wastes its premise and character potential on tone-deaf choices. Harley's refusal to take anything seriously combined with Zatanna's inexplicable reluctance to fight for universe-saving stakes creates a narrative that undercuts itself at every turn. You're spending money on a fight where neither combatant seems to understand why they're actually fighting, which is a fundamental failure for a tournament story.

DC K.O.: Red Hood vs. The Joker #1 wants to be the definitive showdown between a son and the monster who claimed to birth him. Instead, it's a frustratingly muddled retread of emotional ground DC has mined a dozen times already, buried under fight choreography so unclear you'll find yourself rereading panels to figure out who's winning. The philosophical victory Jason achieves is solid in concept but feels hollow in execution, since the Joker never meaningfully challenges him, just talks while getting stabbed repeatedly.

DC K.O.: Superman vs. Captain Atom #1 starts as a solid superhero grudge match with real thematic stakes but collapses under the weight of its own confusion in the third round.

DC K.O.: The Kids Are All Fight Special #1 takes a compelling setup and flattens it into rushed action beats that serve plot mechanics instead of character moments. Every theme introduced gets abandoned for the next exposition dump. Every young hero introduced gets treated as background furniture in their own story. The climactic battle proves they're ineffective. The rescue by a stranger proves they're unnecessary. And the ending promises to do it all again next time. Skip this one.

DC K.O.: Wonder Woman vs. Lobo #1 represents a profound misalignment between its established stakes and its comedic execution. The tournament exists to forge a champion who can save reality from destruction, yet this installment treats the match as an extended punchline, abandoning character development and genuine conflict for crude humor and slapstick violence. Wonder Woman deserves better than a fight where her opponent spends thirty pages making sexual advances, and readers deserve better than paying for a tournament match that resolves through divine plot intervention. The multiple artists, relentless vulgarity, and tonal whiplash between apocalyptic stakes and cartoon comedy combine to create an issue that actively works against the event's larger narrative.

The issue works best as character exploration rather than plot advancement, which isn't necessarily bad but means readers expecting a tournament arc with clear progression might feel unsatisfied.

DC K.O. Knightfight #3 swings wildly between genuine character work and confusing narrative sprawl, creating a reading experience that frustrates more than it engages. The Tim Drake sequence proves Williamson understands emotional storytelling and can use the psychological torture premise effectively, but the murder mystery section feels like filler that doesn't justify its page count. Mora's artwork carries the visual storytelling competently despite tonal chaos, but even his skills can't fully overcome the structural confusion. The issue exists in an awkward middle space, too ambitious to be straightforward entertainment and too unclear to function as intentional mind-bending storytelling.

DC K.O.: Knightfight #4 earns a spot in your pull list if Bat-Family feels hit you right; it trains you to care deeply before the knockout punch. Skip if endless tournament setups wear you thin, as even sharp execution can't fully escape the formula. Your wallet thanks the wit, but demands proof next arc delivers.

DC x AEW #1 slams the mat with spectacle, but the breakneck cram leaves you winded, not invested. It earns a spot if your budget bends for crossover hype and wrestler flair. Skip if you crave story meat over match highlights.

Bits and PiecesDetective Comics #1066 takes a few steps forward to reveal the Orghams are up to something shady, and Gael is also up to something shady. What's that shadiness? You'll have to wait for another issue. However, the art is simply gorgeous, and Ram V's execution in what you're reading is interesting enough to keep you invested.

Detective Comics #1067 makes some much-needed progress on the plot with an Orgham-sponsored takeover of the Narrows. The art is fantastic, and the plot looks like it's taking on shape and form, but the needlessly heavy dialog and narration drag the story to a crawl.

Detective Comics #1068 is a collection of things happening and potentially interesting ideas. Still, the plot moves at a snail's pace, and there needs to be a clear direction or motivation for the villains.

Detective Comics #1069 is another slow, complex, ponderous entry in an arc that appears to need direction or sense of momentum toward an eventual goal. The art is spot-on for a dark, grim thriller, but the glacial pacing and overwritten text need to come together in a story that will hold your interest.

Detective Comics #1070 takes a break from an already slow-moving story to introduce a few interesting ideas, tease a little bit about the Orghams' history, and devote the rest of the issue to a backdoor pilot for the upcoming The Vigil comic (also written by Ram V). If you're all in on the Orghams, you could skip this issue and not miss a thing.

Detective Comics #1071 takes a slow train to nowhere with a plot that doesn't move, an extended flashback that isn't interesting or adds anything of value to the challenge confronting Batman, and a lot of unanswered questions. The art's decent enough, but you could skip this issue and not miss out on any important information.

Detective Comics #1072 feels like the beginning of a climactic finale, but the bizarre lack of motivations, stakes, or clarity results in a comic where explosive things happen that have no meaning or purpose. Reis and Raffaele deliver stunning art, and the action scenes look great, but it's not clear if this title (or Ram V) knows where it's going, or if the creative team is just making it up as they move along. Right now, it feels like the latter.

Detective Comics #1073 is a confusing, convoluted, bloated mess of a story that tries its darnedest to make the Orghams seem like masterminds but winds up making them look like inefficient idiots. The more Ram V's master plan comes to light, the less sense it makes, and the art is woefully uneven.