If this story was written for a different or new character I might have looked upon it more favorably. What was written simply doesnt connect with Harley Quinn, or rather, who Harley Quinn should be. I am okay with and understand character changes and growth, but this latest addition to the DC canon strips Harley of her identity and demeans and degrades her integrity. I love Harley Quinn and she deserves better treatment than shes been getting.

At times, great art and a creative or exciting action sequence can be the saving grace of an issue where the writing has failed. While there is some action here, it's never particularly exciting or even entertaining. Jim Fern's art is almost equally disappointing and there are times where the sequential flow of the art just doesn't make any sense. Poor anatomy and major perspective issues, combined with a lack of detail which renders Amanda Waller almost unrecognizable at times, gives this book a look that could be best described as Liefeld-esque.

There are good pieces in Suicide Squad #27, but it never quite manages to come together. The placement of this issue is just puzzling, coming in the middle of an arc and slowing things down considerably. While its interesting to learn more about the character, it shouldnt have come at the expense of the story. With the exception of a rather egregious boobs and butt pose, the art is definitely the saving grace. Suicide Squad #27 ultimately is an underwhelming effort that didnt feel like it was worth the cover price for the story alone.

There isn't much that can be said about the art that hasn't been said countless times. Francis Manapul's art is one of the best in the industry and he continues to astonish. His art is undoubtedly the high point of the issue and each page is nothing short of beautiful. Despite it feeling out of place the action sequences are incredibly well drawn and spectacular to behold. Manapul gives a fluid and almost cinematic flow to them while the colors are rich, moody, and evocative.

If readers can accept Suicide Squad #30 as an idea what to expect fromNew Suicide Squad, then the future, while shaky, holds a glimmer of promise. Despite the numerous problems — many of which can be attributed to previous writers and editorial interference — the issue remains fairly enjoyable and readable.Suicide Squad #30 is a promising prologue for the new title, but an ultimately disappointing finale for the current one.

Bane #1 simply spent too much time retreading things. Tomasis writing was strong and Nolans art was a treat, but it felt like something youd already read before, because most of it you already had. This was definitely an enjoyable. If youre new to DC or havent been keeping up with Banes appearances in Talon Id strongly recommend picking this up. If youre a longtime fan, however, Id suggest giving it a read if you can.

Marc Andreykos run of Batwoman is off to a shaky but solid start. Andreyko came into this late in the game and most likely, the Zero Year crossover wasnt his idea. Andreyko is a talented writer and fans of Batwoman, as well as those interested in the character, should give him at least another issue or two.

The art team of Mark Buckingham pencilling, Gary Erskine & Andrew Pepoy inking, and Lee Loughridge on colors create some striking imagery that keeps this issue afloat. The art is expressive and manages to convey quite a bit of emotion. The issue is beautifully drawn and there are a few action sequences that, while hard to understand how things transition from panel to panel at times, are sure to get readers to flip through again to admire the art. The Legendary Todd Klein also deserves mention for his terrific lettering. The various fonts for dialogue and sound effects that Klein creates adds a bit of character and a new dimension to the pages.

To be fair, the story does remains interesting throughout, and watching Bruce's keen analytical mind at work certainly is enjoyable. The exposition that actually pushed things forward is compelling and even with all the problems,Detective Comics #29 is still a fun read. There are plenty of unique ideas and concepts in play that readers will enjoy, but they never quite come together and are never the focal point. Many of the best moments are fleeting and, much like the strong interaction between Batman and Catwoman or the concept of Gothtopia, never gets the attention they deserve and fail to live up to their potential.

Matt Kindt started off strong in his first issue of Suicide Squad. Although it wasnt without problems it was definitely and enjoyable read from start to finish, and even better the second time through, leaving you excited for the next issue. I was originally hesitant about Matt Kindt on Suicide Squad after his portrayal of Harley Quinn during Villains Month but this issue did a lot to set my worries aside. With Kindts writing and Zirchers art this book remains one of the most enjoyable books of the New 52 and one I strongly recommend reading if you havent already.

The biggest problem that this issue had was that it failed to engage or connect with the reader, who was treated as a third-party spectator as opposed to being in the head of the protagonist. This style of storytelling created an uncomfortable disconnect. The most successful scenes concerned Casey Washington. Thats not to say this was a bad issue. While others may enjoy this issue more, I found Talon #10 underwhelming. Hopefully next months issue will be more engaging and, with luck, showcase the big rematch between Calvin Rose and Bane.

While Ive always felt that a good story is the most important thing in a book, this shows how much bad art can drag down good writing. Tynion gave us another great chapter in Calvin and Caseys Saga, throwing in a few special guest appearances and a great ending that definitely makes this issue worth checking out.

Justice League 3000 is everything Giffen and DeMatteis' have become synonymous with. The series continues to be a refreshing change of pace for readers, offering a distinct blend of action, comedy, and character work that is truly unlike anything else the New 52 has to offer. Their unique brand of humor is all over the book, including some possibly overlooked bits on the title page, and a consistent highlight of the series which reminds readers that comics can still be fun.

Giffen and DeMatteis'sJustice League 3000 has been something different than the current offerings at DC. The title goes so against the grain of their current lineup that it's likely to alienate some of its core readership. However, the series pulls in readers who want something different and fun from DC, and for those it delivers in spades. Despite the occasional bump here or there the legendary writing duo has consistently delivered enjoyable and entertaining issues while the series flies under the radar. Justice League 3000 #9 is no exception and while it may have its flaws it's not without its charm. The characters and dialogue continue to be a highlight and some of the strongest in a title DC publishes today. Fans of the series are sure to enjoy this issue but it won't win over any of its dissenting voices.

Mike Henderson and Adam Guzowski continue their excellent work as they realize the world of Nailbiter. The two blend to create a beautiful and unique visual experience from theSilence of the Lambs inspired cover, a striking image that features a baby Warren wearing Hannibal Lector's famous muzzle, to the subdued boilerplate aesthetics of the interior. Henderson is a fantastic visual storyteller and there's never a wasted panel as he fleshes out the world, characters, and story. To say that Guzowski's colors are impressive would be an understatement as he sets the tone of the title. Muted purples and reds pop out visually against even more muted or neutral backgrounds while bright and vibrant blue eyes gaze out beyond the page.

Nailbiter #10is a perfect example of 'Your-Mileage-May-Vary'. Unfortunately the underwhelming second act could potentially undermine the issue's strengths for some readers who could seeNailbiter #10 as writer Joshua Williamson's first major misstep. On the other hand the issue starts off strong and ends on a high note, filled with enough excitement, tension, and mystery to keep many readers thoroughly entertained as Williamson continues to explore the entrancing and mysterious and charming town of Buckaroo.Regardless of opinion it's an important issue of Nailbiter which expands upon the series mythology and provides plenty of thrills for fans of horror.

Ties to A New Hope and the prequels create a strong foundation for Darth Vader #7 to build off of. There's a bit of nostalgia to be found and writer Kieron Gillen is able to turn it into poignant and emotional moments thanks to strong plotting, dialogue, and the great art of Salvador Larroca and Edgar Delgado. last page reveal is somewhat shocking, though not entirely unsurprising, and teases a heist to come while setting up a promising next issue.

Batwoman #26 is the must-read start of a brand new arc and a great starting point for new readers. Marc Andreyko and Jeremy Haun start off strong right out of the gate to bring a fresh new take on Batwoman that readers both new and old are sure to enjoy.

Marc Andreyko and Jeremy Haun continue to prove that Batwoman is in good hands. The new creative team has been a fresh breath of air for the title, setting up an interesting new direction that manages to stay respectful to the work of the creative team before them. While Batwoman #27 may read a bit thin, its a solid issue and guest artist Francis Manapul more than makes up for it with some truly breathtaking imagery

While Gage's focus on character has made for some great stories it's unfortunately been at the cost of a Big Bad's presence and a strong over-arching narrative. It's a small but noticeable blemish against an expansive and rich issue that blends action, humor, and drama together to create a genuinely authentic experience that fans both new and old have become enraptured by. The issue features what is sure to be some of the season's most memorable moments and it's all brought to life by artist Megan Levens as she fills in for Rebekah Isaacs. Alongside series colorist Dan Jackson they create a vivid and vibrant world that keeps in the spirit of Isaacs's work and the Buffyverse.

Guest artist Megan Levens is a worthy fill-in with a style that, while similar to Rebekah Isaacs's, shines in its own unique way. Her characters have expressive faces and body language, sometimes overly so it in a way that adds a layer to the comedy. Her art is clean, sharp, and easy to follow but the backgrounds can be a bit bare at times. The opening and closing sequences are a highlight of Levens's work on the title, filled with impactful, dramatic, and evocative imagery that is only enhanced by colorist Dan Jackson's rich palette.

Gage and Brendan continue to capture the voice and spirit of the series by blending tense, emotional drama with a charming cocktail of high and low-brow humor. The character voices come through loud and clear and there's an undeniable energy to the dialogue. While many elements of a season long arc have been introduced, they tend to disappear shortly after and likely to be picked up again later in the season.

The return of everyone's favorite brooding vampire is as exciting as fans could have hoped. Christos Gage and Rebekah Isaacs deliver another incredible issue of Buffy the Vampire Slayer with a perfect blend of action and drama. While the plot developments don't exactly surprise they tighten up the season's storyline and provide a fantastic foundation for "Old Demons."

An action-packed adventure with all the spectacle and thrills a crossover with Angel & Faith deserves, Christos Gage and Rebekah Isaacs's bring the “Old Demons” arc to an explosive and entertaining conclusion.

There are plenty of character and plot related developments that make this one of the stronger issues of Dead Boy Detectives. While the "Halfway House" arc has only just begun, the budding plot of The Mirror Africana, as well as the promising development of Charles' sister, leaves plenty for readers to be excited about. Sadly, some threads from the previous arc still go unanswered, but taken on its own, Dead Boy Detectives #5 is a compelling read and a great jumping point for new readers.

Aaron Lopresti does a solid job with the art in this issue. It's certainly enjoyable to look at but it never goes above or beyond what was called for. There were no glaring mistakes and the only complaint is that the inking in the daytime Gothtopia needed to be a bit heavier.

The world building in Nailbiter is one of the titles strongest pursuits. The world seems to have truly taken on a life of its own and is full of distinct and vibrant characters, not just in the main cast but in the supporting as well. Characters are especially emotive, lively, and distinct thanks to the stellar work from the art team of Mike Henderson and Adam Guzowski. Readers are also treated to more, albeit brief, glimpses into the larger mythology of the Buckaroo Butchers. As pieces are being removed from the board as fast as they appear so much remains shrouded in mystery, and Buckaroo's dark secrets seem intent on keeping it that way.

Joshua Williamson's Nailbiter continues to be one of the best constructed ongoing horror books available. Though not quite as riveting as the last issue it's still not one to be missed. Meticulously paced and plotted, Nailbiter #12 is consistently compelling and engaging as Williamson reveals new layers of the mythology.

With the Expanded Universe wiped away by Disney's acquisition of Star Wars, adding to the new canon could be difficult. Gillen pulls it off with ease, unifying bits of the existing canon while adding his own elements. Darth Vader fits marvelously within the gap between A New Hope and The Empire Strikes Back, adding new layers and motivations that re-contextualize the character's actions in the latter. Combined with Jason Aaron's work on Star Wars, as well asMark Waid's on Princess Leia, the Star Wars universe is in good hands as Marvel faithfully and lovingly adds their touch to a galaxy far far away"

Id originally avoided Suicide Squad due to bad word of mouth but picked it up out of curiosity when Ales Kot came on board for Suicide Squad #20. Since then its been one of my absolute must reads. Hes shown not only that he has an incredible grasp of these characters, but an equally impressive talent and variety. It really felt like he was building up to something big and delivered my favorite Suicide Squad story since Ostranders run. Its hard to see something you love with so much potential cut short, but Kot goes out with quite a bang and leaves something behind. Though he ties things up fairly well he leaves just enough untied or unanswered for the next writer, Matt Kindt, to continue on with.

Suicide Squad #26 delivers on all fronts with solid writing and art. Matt Kindt is taking this series in an exciting direction thats not to be missed. This issue was packed full of action, explosions, and a ton of plot developments. This isnt the best comic released this week but its consistently been an enjoyable title that you should definitely be reading.

Though the Talons and Court of Owls may have originated with Scott Snyder, James Tynion is really making it all his own, fleshing out and defining the Court while adding something new to the mythos almost every issue. Hes also built a fantastic stable of characters, both new and old, to populate the title. When Talon was first announced I felt it was a title that wouldnt last for more than a year, but nine issues in Tynion has already created a book that, despite its flaws, could be around for years to come.

After a couple of shaky issues, Talon rebounds strong. This was a transitional issue, tying off some loose threads from the previous month, setting the scene for the next few issues, and deepening the mythology of the Court of Owls.

Taken on its own, Talon #15 is a compelling chronicle of the life of a Talon, but those who were looking to continue the story of Calvin Rose may be a bit let down. While it doesnt rise above to do anything greater than it set out to do, it remains compelling from start to finish thanks to Marguerite Bennetts writing and Jorge Lucas art. While most of Bennetts work so far has been in one shot issues, shes shown tremendous promise and has a strong and distinct voice that, while still rough around the edges, is certainly appealing and shines strong throughout this issue. One cant help but wonder what she could achieve if she were given more room to stretch her legs in an ongoing as opposed to one and done aissues. Regardless, Bennett is proving to be a solid writer who, with more room to grow, has a lot to offer the DC Universe.

Ponticelli's art has a unique intensity to it that, along with Jordie Bellaire's stellar colors, creates an unsettling and uncompromising atmosphere.

It's hard not to become emotionally invested in these characters as Lemire roots the stories deeply within the Baker family and how driven they are by their love and emotions. He writes them with such strong care and passion that it's obvious why he wanted to end the series on his own terms. After everything they've gone through, the Bakers deserve some happiness and at least for now, no matter what comes next, they are together. These were the final pages to a chapter of their lives, it wasn't the first and it surely won't be the last, but for now it's time to close the book.

Writer Christos Gage (Angel & Faith, Justice League Beyond 2.0, and Superior Spider-Man) continues to display a masterful grasp of these characters while bringing the incredible blend of action, drama, humor, and emotion that Buffy is known for. It's impressive how much Gage manages to pack into an issue with each one feeling almost like a full episode of the series. In an incredible season that's been near flawless, Buffy the Vampire Slayer Season 10 #6 may be the weakest issue. However this is largely due to the inconsistent art as this is still a phenomenal issue overall that's recommended to both new readers and die-hard fans alike.

Rebekah Isaac's pencils do a masterful job of conveying the character's emotions with evocative and expressive faces. She continues to stride the line perfectly between likeness and artistic interpretation and Dan Jackson's colors are exceptional. Combined with Gage's writing the creative team delivers an incredibly authentic and touching extension of the show that both fans and new readers are sure to fall in love with. Buffy the Vampire Slayer Season 10 continues to be one of the best books readers can find on shelves and with a great starting point like this there's no reason to not be reading it now.

Buffy the Vampire Slayer Season 10 #9 is an exceptionally paced issue that hits every beats it's looking for without missing a step. Gage's script is taut and heartfelt as it perfectly balances action and drama. The dialogue is lively, fluid, and full of snarky humor and emotional exchanges that are a continuous joy to read. It's a beautiful issue to behold as Rebekah Isaacs delivers on both the big action and dramatic sequences. Rebekah Isaacs displays a pleasant sense of motion and fluidity in her art and her storytelling abilities are truly remarkable. The more dramatic sequences are absolutely stunning and the characters faces are brimming with both emotion and expression. The visuals are only enhanced by Dan Jackson's eye popping colors which bring the pages to life in one of the series best issues yet.

The Buffyverse continues to be in good hands as Christos Gage and Rebekah Isaacs deliver another incredible issue. Funny, emotional, and with an action packed conclusion capped off by a cliffhanger that'll leave readers yearning for more, Buffy the Vampire Slayer: Season 10 #14 is almost everything fans could want from the title.

Christos Gage perfectly captures the spirit of the show with a balance of high stakes action and emotional interpersonal drama. The dialogue is sharp, witty, and impactful while the action is stunningly drawn by Rebekah Isaacs. Though certainly not without its faults Buffy the Vampire Slayer Season 10 #15 is a satisfying conclusion to the "Relationship Status: Complicated" arc, introducing a new Big Bad that The Scoobies may not be able to handle on their own.

Christos Gage and Rebekah Isaacs's understanding of Buffy the Vampire Slayer encapsulates what fans love about the show. It's an unabashed love-letter and the passion and care they put into it is what lets fans who loved to watch Buffy also love to read it. With a wonderful blend of witty humor, tense drama, and kinetic action, Buffy the Vampire Slayer Season 10 #17 is another stellar entry into the Buffyverse.

Buffy the Vampire Slayer Season 10 #19 is a wonderful blend of sorrow and heartwarming adventure and another stellar issue from Christos Gage, Nicholas Brendan, and Rebekah Isaacs. Hank Summers comes to town and Giles spends a day as an adult, leading to drama, action, and strong emotional moments that make this a standout issue from Season 10.

The art team of Mark Buckingham (pencils), Gary Erskine (inks) and Lee Loughridge (colors) is an absolute dream. Together they create some startling and striking imagery that is hard to look away from. The ghost bullies have dark, heavy lines around their eyes which gives them an unsettling look in contrast to the clean and expressive faces of Charles, Edwin, and Crystal. The art, especially with Loughridge's muted colors, creates an atmospheric tone that ranges from tense, to chilling, to fun.

It's a promising start for a talented creative team that's taking the title in a fresh new direction. While Scott Snyder's Batman has been the go-to book for the titular character for two and a half years, Detective Comics looks to be an interesting alternative for those who want something different. It isn't quite perfect, but Detective Comics hasn't had an issue this good since "The Black Mirror" arc pre-New 52.

From the beautiful cover, which features a striking use of negative space, to the twisted and splatter-filled finale panel,Detective Comics #31 is a visual feast. Francis Manapul's art is nothing short of stellar. While the color palette is a tad darker and softer than the previous issue, there are some bright blues and plenty of vivid orange/reds in the second half that almost burst off the page. The pages are smooth, clean, and vibrant in a way the even the gritty and dirty pages manage to have a fresh, clean feel.

While many annuals are hit or miss as to whether they add anything to ongoing stories,Detective Comics Annual #3 is heavily related to the current storyline, acting like a missing puzzle piece it perfectly slips into place and lends clarity to the overall picture. Furthermore, it features several of the characters and expands upon their motivations and characterizations. Though it may not be necessary for readers ofDetective Comics to pick up this annual, it is strongly recommended.

For a character so predicated on progression — his evolution part of the reason why he's garnered such a die-hard following — it's surprising that the idea of Dick Grayson 'super spy' didn't sit well with many readers when first announced. Images of Dick brandishing a gun had others seething red, worrying that they'd 'gritty' him up. However Seeley and King quickly proved their fears were for nothing, winning over readers with an adept understanding of the character. The issue's climax displays Dick's optimism, hope, and genuine belief that there's good in everyone, is one of the most memorable and engaging sequence of the series so far. No matter what adventure Seeley and King take him on next readers can always count on Dick Grayson, unrepentantly and unapologetically, being Dick Grayson.

Taut, sexy, and stylish, Grayson is amongst the best DC has to offer. The second season may have only just begun but it's already off to a strong start with a fun adventure and intriguing new mystery. Someone is killing spies and all fingers point towards Dick Grayson.

Since the first issue, both the League and readers alike were led to believe that the current Justice League members were simply clones of the originals. It quickly became apparent to some readers that there was something more at play, but few, if any, would have guessed the truth about their shocking and horrific secret origin. Another interesting development is the introduction of the team's newest member. The new information about their origin this raises numerous questions and introduce some intriguing ideas to explore in the future. It will be exciting to see the ramifications this has and how it will impact the characters.

Series regular artist Howard Porter is welcome back to the title with open arms after last issue's absence. His layouts and panel designs gives the title a unique look that's full of character. Porter continues to prove that on this title — as last issue's guest artists proved — he just can't be replaced.Justice League 3000 is a team book through and through, not only from the characters but the creative team as well. The blend of the beloved writing duo of Giffen and DeMatteis with Porter's art and Hi-Fi's colors has crafted distinct and vibrant worlds and characters that are truly unlike anything else.

Justice League 3000 #8 is a thrilling and energetic adventure that offers more than just a good time. It's well written, charming, funny, and the characters are a joy to keep reading. As always, credit goes to the incredible art team of Howard Porter and Hi-Fi, who draw and color the 'pretty pictures,' continuing to show this book is just as much theirs as it is Giffen and DeMatteis'. Their work in bringing this world to life is unbelievable and would not be the same without them. If there's a fault to be found at all in this issue it's the cover, which shows Terri regenerated as The Flash. which spoils the big reveal in the issue's final pages. Her appearance is too brief to make any informed judgment, but if the rest of the series is any indication it's going to be great.

A lovingly crafted and quirky character-driven series, JL3001 shines with lovable characters and a brand of humor unique to Giffen and DeMatteis.

Joshua Williamson's Nailbiter continues to excel with its blend of horror, humor, and character. While the previous two one-shot issues were enthralling in their own right it's great to get back to the main story and cast. The characters are compelling and although although the titular character only appears briefly, he's as magnetic as ever. The world that's been crafted is consistently intriguing and that's in large part due to Mike Henderson and Adam Guzowski's art. Together they create some unique and striking imagery that's muted yet surprisingly vibrant and characteristic.

With the exception of Sheriff Crane's absence, Nailbiter #11 is everything fans have come to love about the title. Finch and Warren's confrontation is gripping and will have readers glued to the page. A horrifying side plot with Agent Barker teases the impact the secret could have upon the world, and will leave readers yearning for more. The secret of the Buckaroo Butchers hasn't been revealed just yet, but answers are closer than ever, and whatever they are just may be bigger and more horrifying than anyone could have thought.

There was a definitive end in sight when Azzarello and Chiang joinedWonder Woman in 2011.They came with a fleshed out and meticulously plotted story that would ultimately redefine the character's entire mythology for a new age. Just as with every issue before it,Wonder Woman #34 will continue to enrapture readers with a tightly woven narrative, masterful storytelling and world building that is some of the best in the business.

Readers are never quite sure what to expect when they crack open an issue of Ales Kot's Zero. The creator owned series is as diverse, creative, and complex as the the revolving door of the artists it employs. Though largely falling within the wheelhouse of ‘espionage' it explores and blends a broad variety of genres — from science-fiction to action to political thriller to interpersonal drama and more.

Edward Zero left the Agency because he'd seen the horrors it had committed to him and the world around him, and returned at the behest of Sarah Cooke to help undo their wrongs. No Land but the Land, No Sea but the Sea is another outstanding issue of Ales Kot's Zero and a crucial crossroad in the story of Zero's life. It tears out the ground from underneath the taciturn former spy as the Agency crumbles around him, and as one chapter and story of his life closes, the past once again begins to come full circle. There are old questions which seek new answers. Where did the horses go?

Zero Chapter 15may be the most divisive and defining issue of the series yet. Some readers may be reminded of Grant Morrison during the issue, and the contrasting opinions people have on his work as are just as likely to be present here. It's likely to be a confusing read for some on their first, second, or even third time through and many of the literary and cultural references could easily go over the heads of anyone not particularly well versed in literature. Still it's hard not to appreciate Kot's literary wit and his unique voice that has only grown more distinct as he blurs the line between reality and fiction.

Recurring plotlines are brought crashing together as Ales Kot's existential spy-thriller Zero draws to a close, cracking the series wide open and delving into a complex meta narrative. Thematically rich and full of literary wit,Zero Chapter 16 is a charming and intelligent, if not confusing issue.

The penultimate issue of Ales Kot's Zero continues the mushroom trip that transcends space, time, and the multiverse to connect the lives of former spy Edward Zero and Beat Generation icon William S. Burroughs. A strangely compelling journey, Zero #17is another fantastic issue accompanied by striking and impactful imagery by artist Robert Sammelin and colorist Jordie Bellaire.

The series has always managed to resonate with readers even in the craziest of situations. This is due to the Baker family and the strong emotional core they've provided for the series. No matter how crazy things have gotten, they've always been relatable and likeable, and the family interactions have been just a memorable as the story. The journey has been a very transformative one and as the series comes to a close, they begin a new chapter of their lives.

Batwoman has been one of the best books to have come from the New 52. The book has been constantly interesting, mysterious, and fun. This issue is no exception. I don't understand why there's so little buzz about the title as this is a series that should definitely have people talking. I understand this book may not be for everyone, namely people who don't enjoy good character work, gorgeous art, and a unique and intriguing story, but I strongly recommend picking up the first volume, Hydrology, in trade.

I was completely drawn into this issue from start to finish. Batwoman #21 had me completely captivated and made me feel for Waylon Jones. I dont know what more you can ask for in a comic issue. Though its not a perfect issue I certainly loved it, enough to overlook the flaws and give it a 5.

I had a lot of fun reading through this issue, especially the parts with Bette, Jake, and the Murder of Crows. In fact, aside from its few problems, Batwoman #22 is possibly my favorite issue so far this week. Williams III and Blackman have given us another great issue and, with the big showdown just on the horizon, I look forward to what they have in store for us next month.

Although Ive always been a fan of the stories that J.H Williams III and W. Haden Blackman tell, its truly the characters theyve written that have made me fall in love with Batwoman. Theyve made it so easy to become emotionally invested in these characters and I really care about them. Theres a conversation between Kate and Maggie when she finally awakes that simply warms your heart. The two of them have such fantastic chemistry and are in such love with each other that you can genuinely feel it coming off the pages. Williams, Blackman, and McCarthy deliver an absolutely incredible issue and there wasnt a single page, let alone panel, that I didnt enjoy reading or end up going back to look at the art once more.

Batwoman #24 was everything I was looking forward to and more. It was a non-stop action filled thrill building up to what will surely be one hell of a climax. W. Haden Blackman and J.H. Williams III have truly given us something great in their run on Batwoman.

Buffy the Vampire SlayerSeason 10 continues an incredible streak of issues with the most fun readers can find on the shelf. Gage and Isaacs have proven to be one of the best creative teams in comics as they masterfully craft tales in the Buffyverse, consistently delivering a unique blend of genres, plot, character and emotion that is truly unlike anything else out there. The team only gets better with the addition of Nicholas Brendan, who brings with him a deep understanding of the characters, a strong voice and unique sense of humor that creates the most authentic experience of the show in the comics so far.

Manapul's art is nothing short of stunning. There are a million things that could be said about it, but the art truly speaks for itself. Pairing the art with Brian Buccellato's rich color palette, which utilizes a variety of blues and purples, dares readers to allow a page go by without admiring its beauty. The art is vibrant, smooth, and worth the price of admission alone.

The mystery that Manapul and Buccellato have crafted grows deeper and more complex with each successive issue. There are many elements in play which keep readers guessing as to what happens next. Detective Comics #33 finally starts provide readers with some answers as The World's Greatest Detective and Harvey Bullock cross paths and butt heads. Detective Comics #33 isn't the most groundbreaking or innovative issue, but it's still an incredibly well told, finely paced, and highly entertaining story that draws in readers page after page.

Season 2 of Grayson is heating up as the dynamic duo of Tim Seeley and Tom King deliver one of the title's best issues yet. Tensions are high in this taut and thrilling issue as trust between the Spyral operatives erodes. The dialogue and exchanges between characters is compelling and Dick's wit provides a nice bit of humor. Another peek at Spyder adds an extra bit of intrigue to Spyral and the issue ends with a shocking twist the murder mystery.

Tom King and Tim Seeley continue to surpass expectations with what's easily the best issue of Grayson yet. The mystery of who framed Dick Grayson comes to a close and it's leading to big changes for the title and character. There are new questions to be asked as players new and old re-enter the picture. War is brewing as spy agencies are being set against each other and Dick Grayson is in the middle of it no longer, or so he'd like to believe, as the prodigal son prepares to return home.

In a way the Bat-family never truly healed after Death of the Family, and Grayson's 'death' in Forever Evil left a crucial piece of them missing ever since. Tom King , Tim Seeley, and Mikel Janin reunite the family with purpose and history as they lovingly reestablish his relationships and bring the character to his roots, reconnecting him with the world he'd left behind. Grayson may be returning to Spyral but now he isn't without his family.

While many modern comics have a tendency to feel too short or condensed, this issue manages to feel like a bigger issue than it actually is. Justice League 3000 #1 is an incredible debut issue packed full of plot, character, and dialogue. Keith Giffen and J.M. DeMatteis are an incredible team and the very best at what they do: delivering a thoroughly fun read that will hook from first page to last. Justice League 3000 #1 goes against the grain of dark and gritty, making this some of the most fun youll have reading a comic this month.

Justice League 3000 #2 fires on all cylinders. Keith Giffen, J.M. DeMatteis, and Howard Porter deliver in absolutely every aspect. The pacing and plotting in this issue are phenomenal, while the character work and dialogue are, as always with Giffen and DeMatteis, a treat. With many team books, some characters feel underused, but thats not the case here. Each character has their place and they all have their time to shine in this perfectly balanced issue. Justice League 3000 #2 starts to peek behind the curtain as we learn more about The Five and the Imperium. This is everything you expect from the veteran creative team and more. Simply put, if youre not reading Justice League 3000, you should be.

Influenced by the 1991 classic The Silence of the Lambs, Nailbiter draws clear inspiration from the films boilerplate aesthetic and blend of crime, thriller, and horror genres. It also pulls inspiration from a variety of other sources, blending the weird small town mystery of Twin Peaks with themes of Lovecraftian horror, the macabre, and the iconography of 80's slasher flicks. The result is one of the best comics published today with a style that's unlike anything else (except perhaps NBC's Hannibal) and constantly intrigues, disturbs, and amazes readers with each and every issue.

An astute satire and commentary on America's social, cultural, economic, and political landscapes, Prez #3 paints a grimly entertaining look at the future in one of the best books DC has to offer.

Kot hit the ball out of the park on this one. Suicide Squad is an unlikely team with a group of characters from which youll never know what to expect. Between the brief glimpse of Cheetah and David Graves locked away in Belle Reve, a place which holds no regular prisoners, and the newest characters addition I cant help but wonder whats coming next.

In a book that follows a team of murderers and psychopaths, you not only feel for them but also look at them as the good guys. Amanda Waller appears to the reader as the Villain. Its a book about bad people doing good things because they have no other choice. Its about a good woman doing bad things because she feels it will serve the greater good.

Id like to add here that next months issue of Suicide Squad will be Ales Kots last issue on the title. When Kot took over Suicide Squad it had gone from off my radar to a must read and one of my favorite New 52 titles in just two issues. He has been crafting such a fantastic story, digging deep into the characters and truly making this title one of the best the New 52 has to offer. Kot delivers an action and humor packed penultimate issue that just makes it all the worse that hes leaving so soon. I cant give enough praise to the work hes done on this book, and after that shocking ending I cant wait to see what he has in store for the end.

Tynion's writing continues to impress, surprise, and amaze me. His plot, pacing, and characters are the things you look for in a comic and what makes this series one of the best titles of the New 52. Between Talon and his two-part backup in Batman, he's one of my top writers to watch and I think he has a big future ahead of him. This was another incredible issue in a series that has consistently impressed me, with an ending that leaves me itching for the next issue.

Theres no doubt that Tynion is a good writer but here he shows the glimpses of a great one. He gets the mix of action, plot, and character just right to deliver an incredible and compelling issue that just may be his best work so far. Talon #13 pays off for long-time readers with a thoroughly captivating read that will leave you more excited for the next issue than anything else released this week.

Kot's storytelling abilities are remarkable in the way he expertly tells a narrative through both the exposition and art. He's struck a fantastic balance between the two that really allows Adam Gorham to convey just as much emotion and story through the characters as the writing. Gorham's art is stunning as he blends meticulously detailed environments, the fungal infestation in the house being gorgeously if not grotesquely detailed, with more smooth and minimalistic characters. Eisner Award Winning Colorist Jordie Bellaire continues her remarkable work as one of the best in the business. The messy opening pages are almost chaotic as they're drabbed in a sickly green which is contrasted starkly by the pristine white and neatly organized pages in the second act.

Zero is a rich, complex, and multi-layered story with a lot of emotion and meaning packed into it. It could have easily gone wrong in a million different ways but Ales Kot keeps it all together and the final arc stands out as the title's best. Some will surely question whether or not the ending is 'real', but in truth it doesn't matter. It's all theater, and dream or reality what matters is that it feels real. Ales Kot is a writer who always has something to say and this story is his most profound statement yet. The parasitic cycle of violence, war, and pain is not natural to us, it's a byproduct of the world we've created. But it doesn't have to be that way.