Jay Yaws Comic Reviews

The boys are back and their adventures are as fun as ever. This issue is effectively the season premiere of a beloved TV show, reintroducing us to the characters and their dynamics before throwing them into a new adventure. Tomasi's script is as snappy and heartfelt as always, and the visual storytelling is a breeze. Adventures of the Super Sons may be "more of the same," but when that applies to something good it's never a bad thing.

Competently told and illustrated exposition that, sadly, never rises to much more than that. There's nothing bad here, it's just rather dull. Some of Tomasi's ideas are interesting, and the cliffhanger promises some amazing Silver Agey goodness going forward, but this still feels like set up for greater adventures ahead. I'll always have a soft spot for these guys, and I'll always hope for the best, I just hope that the adventures promised in the title start soon.

What it lacks in an emotional core it more than makes up for with some great pacing and action. Tomasi is always a winner with me, and while he hasn't quite hit his stride with this series, I'm confident he'll find his footing soon. From a visual perspective this issue succeeds, particularly with some strong lettering and energetic action scenes. I don't love Adventures of the Super Sons, but I like it well enough, and that will do for now.

What it lacks in plot and stakes this book makes up for in an easy sense of entertainment. There's some nice character work from Tomasi, and the boys' chemistry is as strong as ever, along with some top notch work from the visual team. The book leaves me wanting more, as I really want it to have a tighter focus and a more involving story, but when so many books have lofty ambitions and fail to achieve them, I'm content to have a series that just wants to be fun. By and large, Adventures of the Super Sons is fun.

Interesting visuals and some fun references aside, this book has yet to gain any momentum. I appreciate the episodic approach, with Tomasi sending the boys on a wide variety of adventures instead of one singular quest. There are flashes of inspiration and enjoyment here and there, but the book suffers from a lack of focus. It's hard to get invested when you know Robin and Superboy are going to wind up somewhere else by the end of the issue, and the Gang storyline isn't as involving as it should be.

A missed opportunity that's still enjoyable in spite of its glaring flaws. The main story has some genuinely good moments and potential to be a bombastic, incredibly fun ride, and any opportunity to explore Bruce and Harvey's relationship is welcome. For all its promise, it's still plagued with some weak pencils and more-of-the-same writing, so hopefully it can recover. Conversely, the backup looks great but just doesn't carry any weight, falling back on tired ideas and over-explanation. I'm still intrigued, but apprehensively.

A genuinely fun, adrenaline-fueled rollercoaster. Even with its faults this title has improved since its first installment, with more focused storytelling, better character work, and fantastic action sequences coming to the fore. There are still a few rough edges, but I still had a great time and can't wait to see where Snyder, Romita, and crew take Bruce, Harvey, Duke, and us as readers.

A bit slower than previous issues, but with much more focused storytelling. I'm a fan of things going absolutely nuts, and at times All-Star Batman delivers. Scott Snyder is trying to tell a character-driven story too, though, and his pieces are finally falling into place. Add in the surprise return of an almost forgotten character and this is an enjoyable read.

Taken as an out-of-continuitystory, this is pure, crazy fun. There are bits of genuine greatness here and there and lots of laughs to be had, but the overall lacking visuals drag the story down. Even so, All-Star Batman is pure escapism, and sometimes that's exactly what we need.

If you read this once, it may be one of your favorite comics of the year. It's fast, exciting, and actually concludes the arc without leaving any loose threads. Think about it too much and read it again, though, and things may fall apart. I like this series as an out-of-continuity, "go big or go home" concept book, and Snyder has certainly delivered that in spades. It's when things slow down and we're supposed to be invested in more intimate moments that things don't work the way they should. Even still, there look to be some exciting stories coming from Scott's pen in the near future, and I'm looking forward to where his ideas take us.

Hands-down the best issue of this series so far. The oppressive mood, stylized visuals, and disconnected lettering create a truly haunting atmosphere. A goofy ending and "just" pretty good back-up keep the issue from perfection, but I loved this more than I thought I would. It makes me a little sad to know that Jock isn't doing this whole arc, though I'm sure interested in seeing how the disparate parts fit to make a whole. And really, "Batman versus ice zombies" practically writes itself. Pick this up.

"Ends of the Earth" continues with a slower installment that, in some ways, is just as terrifying as its predecessor. The main story is a bit expository, but it's a great example of Batman being human, and it may be the best Ivy has been characterized in years. While the backup leaves a lot to be desired, this is still a worthy installment of All-Star Batman, and a true showcase of Tula Lotay's great artistic talent. While it's not perfect, this is a desperate Batman, a human Batman, and an engaging Batman.

Visually inventive, narratively bizarre, and an overall weird ride, this was so strange I couldn't help but love it. Snyder is having a blast playing around with narrative structures and styles and he's bringing along some A-list talent to realize the visual side of his scripts. If nothing else, this got me wanting to read more Mad Hatter stories, just to see how a character I saw as one-note could be used in different ways. This issue of All-Star Batman may not be a typical clear-cut superhero comic, but it's certainly unique and weirdly beautiful in all its surreal madness.

A disappointing conclusion to an otherwise solid, sometimes even great arc. None of the big ideas really congeal, and even Jock's pencils are relatively subdued and under-utilized. Combine the dull main narrative with a confusing, incredibly frustrating backup story and this is an unfortunate dip in quality for a series that has been on a high roll lately.

A grand, swachbuckling adventure with a strong emotional core, you couldn't ask for a better beginning to a new arc. There are elements of spy fiction, summer blockbuster action movies, heists, and even a bit of horror present here, but everything works together to tell a massively entertaining yarn. The main story has strong dialogue from Snyder and gorgeous, haunting visuals from Albuquerque, and the backup is a tough and gritty while still maintaining a sense of levity. Like Bruce said, it's a pirate adventure; let's have some fun. The rum is optional.

One part daring adventure serial and one part fairly frustrating narrative, the former is thankfully favored so it's easy enough to recommend. Even when some of the ideas and concepts he resurrects don't really resonate with me, I still enjoy the fact that Snyder is willing to write a more care-free, dare I say fun Batman. The backup takes a bit to get going, but once it does it's reminiscent of the best types of crime drama: grimy and intense, full of twists and turns. All-Star Batman may make some questionable storytelling choices, but if it's nothing if not interesting and engrossing.

Thos is a solid if unremarkable entry in the overall excellent "The First Ally" arc. The main story is crazy swashbuckling entertainmentof the best sort, with conflicts and situations that are as insane as they are enjoyable. Some of the narrative choices need further context and explanation to truly gel with the story, but overall I'm loving this arc so far. Even the backup is engaging, gritty entertainment, warts and all. As far as we've come and with two issues to go, "The First Ally" is shaping up to be the best arc of All-Star Batman and a fitting sendoff to the series proper.

Less crazy and more straightforward than earlier installments, the penultimate issue of both "The First Ally" arc and All-Star Batman as an ongoing focuses largely on character work. By and large, it succeeds, with quite a large part of that focus placed on parenting and fathers in particular. That's to say nothing of Rafael Albuquerque's art, which is so distinct and so beautiful that it could tell the story on its own. The highly entertaining backup feature is a nice bonus, recalling cheesy action movies of yesteryear in the best possible way. Truth be told, it's going to be sad seeing this book go.

All-Star goes out strong. With "The First Ally," Snyder and Albuquerque ran us through a gamut of insane action, thrilling chases, and even a bit of high-seas intrigue. More than that, though, this was a look at the relationships betweenfathers and sons.

Starts off strong and goes wildly off the rails in the second half. Hopefully once these guys see some action the book will pick up, and while it has its moments and the art is nice, forced humor and a painfully out of character Batman don't make for a good read.

Overall: Other than a few bright spots, it's more of the same as last month, with the added baggage of unnecessary exposition adding to the rapidly more apparent overexposure.

What little is good is completely undone by literally everything around it.

An enjoyable start to the crossover. The wheel isn't reinvented, nor is any new ground is broken. It's simply a colorful, easy-reading comic starring beloved characters. The visual aesthetic is the issue's strong point, with great character designs and colors that pop right off the page. It looks like an Archie comic for sure, but thanks to some fun action the Batman characters feel right at home. Here's hoping the narrative becomes a little more involved down the road, but for now, it's enjoyable enough.

Nice in the best possible way, Archie Meets Batman '66 is plenty of fun. The plot may be taking a while to get anywhere, as the issue is more a collection of entertaining scenes than a solid narrative, but pretty much all of those scenes are fun to read. As a fan of Batman, I do wish he had a bit more to do, but as a relative newbie to the world of Riverdale, I'm appreciating the opportunity to get to know characters I only have a passing familiarity with. It's a bright, colorful, and funny meeting between two beloved properties, which is exactly what it needs to be.

I like this book just fine. I wish I loved it, but it never feels like it's a chore to read. The characters are fun, the art is great, and there's just something that's so likable about the worlds of both Riverdale and the Sixties Gotham that you can't help but have a good time. Here's hoping the story becomes a bit more focused and- dare I say- exciting over the next three issues. Even if it doesn't, though, at least we got to hang out with our pals Batman and Archie.

Archie Meets Batman '66 is a book you go into expecting a good time, and that's exactly what you get. The writing is light and funny, the visuals are bright and engaging, and the lettering ramps up the campiness to make it feel like an episode of Batman jumped off the screen and onto the page. It's not remarkably deep, but it's consistently entertaining, and the creators are clearly having a good time. It's not a book that aims to change the medium, nor does it need to strive for that goal; this is exactly what you would think a Batman and Archie crossover would be, and that's precisely why it works.

There's no question this series has been a good time from the beginning, but with the penultimate issue here, the story is really kicking into gear. While the tone is still pretty firmly rooted in "fun," the pacing has become much more focused thanks to the reveal of the United Underworld's ultimate plan. The visuals are bright and colorful, the dialogue is snappy, and there's even a label or two. What more could you ask for, chums?

This may be "more of the same," but that's okay when "the same" is a good time reading comics. There's nothing earth-shattering or mind-blowing about this issue or the crossover as a whole. Instead, it's simply a fun meeting between two properties that each exist entirely for the purposes of entertainment and enjoyment. It's good Batman '66, it's good Archie, and it's just a good time all around.

I don't know where this is going to go or if reading it will really make any difference, but the sheer ridiculousness of everything and surprising pathos of Jason and Hush made me enjoy this much more than I thought I would. I'm tentatively intrigued, and I hope the best for this story.

Shades of an interesting psychological profile and some genuinely affecting moments elevate the issue, but forays into formula and more of Jason's whining brings it down a bit. This may have worked better as part of the regular comic series, and time will tell if it is even necessary at all, but what it does wrong never drags it down low enough to completely negate what it does right. A soft recommendation with hope that the coming months bring something truly memorable.

This is a hard issue to read and write about: it's necessary to understand Jason's pain, but it isn't an entertainment for that reason. As a means to understand his rage, however, it works remarkably well, and I just cannot reiterate enough how great the Joker is here. He isn't some mysterious force that may or may not be immortal, he's just a psychopath who wants to mess with Batman by any means. It's not a fun read, but it's a necessary read.

There were things I liked, and nothing I really hated, but this issue didn't really connect with me. Beyond a few bright spots, it felt like a collection of outtakes from other books rather than a cohesive issue on its own. Genesis has been the stronger of the Arkham books, and a weak installment is a given every now and then no matter the series, so hopefully we'll come back strong in December.

An unnecessary chapter in an increasingly unnecessary series, taking it for what it is makes it enjoyable. Turn your brain off and let yourself laugh, because even if next month's finale is a satisfying conclusion, it has its work cut out for it. This may no longer be the Tragedy of Jason Todd, but frankly that might be in its favor in the end.

Recommended if:You like the Sixties Batman.You don't mind a rough start for a good payoff.You enjoy over-the-top Joker antics.

Recommended if:You love the Sixties Batman tv series.You enjoy stories featuring more obscure villains.You enjoy value: two good stories for the price of one.The idea of seeing prototype suits intrigues you.

A remarkably funny and incredibly smart single-issue story. It gets better the more you think about it, and represents all that's great about Batman.

It's a story about a robot. That looks like Batman. What more do you need? It's well-written, cleanly drawn, and a story well worth returning to for another read or twelve.

A definite low point in the series. If you're a new reader, don't pick this as the jumping on point. Read the previous two issues, as they're just about perfect. Hopefully this is a one-time hiccup, an off month dumped between greater stories.

A breezy, silly story that features one of the under-appreciated original villains from the classic television series.

Breezy, silly, and just plain fun, there are enough jokes and gags here that if half had landed it would have been a success, but the fact that it's consistently funny makes this issue a pure delight.

While each story has its own problems, the issue is actually better than the sum of its parts just on account of being entertaining. They tried to do something a little different in each, and while the loftier goals may not have been reached, it was a worthy attempt and a good time regardless.

Overall:By no means a disaster, this issue was ultimately forgettable mostly because it didn't take any risks and seemed like a retread of better stories. Regardless, this book is almost always fun and a welcome breath of campy, tongue firmly in cheek fresh air.

What started off strong didn't have the legs to fully follow through. Still, it's completely inoffensive, a great all-ages read, and isn't ever truly bad, just boring and rushed.

Great storytelling, plain and simple, there's nothing about this issue I didn't like. Pick it up, read it, enjoy it, repeat. Few comics tell their stories so succinctly, so perfectly, and with such high craftsmanship that the opportunity to experience it needs to be seized when it arises. I loved it on my first read, and I loved it even more on my second.

Some of the best dialogue in months from this book can be found here. The story is fun, with twists and turns that make this an actual mystery, and it's a great Penguin story, which has been lacking in these pages for a while.

Either one of these stories would be enough to at least recommend this issue on their own, but together they represent some of the best short-form installments of this series in quite some time. Alternately playing up the comedic and tragic aspects of Batman stories, they do both remarkably well while still staying consistent with the show's tone and themes. Factor in the use of characters who couldn't have easily been used on the budget of the Sixties TV series and the creative introduction of one of Batman's most recognizable villains and you have a story that perfectly demonstrates what this comic is good for: continuing with the spirit of the Adam West and Burt Ward headlined show while showcasing bigger and weirder concepts.

Overall: An issue that succeeds because it's just plain fun, this outing featuring Marsha, Queen of Diamonds makes me love reading this book more than I already did. Tight plotting, funny gags, and fantastic visuals make for any book to be a fun read, and none more so than the continuation of Adam West and Burt Ward's legacy as the Dynamic Duo. Pick it up if you're a fan of the Bat, a fan of West and Ward, or just a fan of comics in general.

Two great stories for the price of one, featuring great renditions of fan favorites like Harley Quinn and Batgirl. This book is always a nice breath of fresh air even when it's not top quality, but when it is it deserves to be mentioned along with the best of the best Batman books. Reinterpretations of beloved characters can be difficult, as can parody and satire, but the two creative teams working this month strike the perfect balance and deliver some great one-shot stories.

One of the weakest issues from this book this year, it still isn't bad, and considering how strong it's been in recent months a little lag is understandable. This isn't the Poison Ivy I'm acquainted with and it's not how I would have written the character, but that doesn't mean it's bad, just different. This remains one of my favorite books I've ever read, let alone get to read here, and the mere fact that Parker and crew are willing to have fun and take risks makes it worth coming back to each month.

Just a fun issue, from beginning to end. It has everything you'd want from this series: good humor, great throwbacks, and silly cliffhangers and resolutions, while also capitalizing on the different directions and opportunities the creators can take with the comics medium. Plus you get to see Chief O'Hara as a Mariachi musician, which is just incredible.

It starts strong and ends on a bit of a whimper, but even a lackluster issue of Batman '66 is still more fun and enjoyable than a lot of the other books out there. Enjoy it while it lasts, guys, because it's almost over.

A fun, fast-paced, good time all around. I'm not a fan of Ma Parker, but if her half of an issue is just as great as one with Catwoman, that's a pleasant surprise if I've ever heard one. Jeff Parker, Dean Haspiel, Allen Passalaqua, Jonathan Case, and the always great Wes Abbott have given us a fine penultimate installment of a truly remarkable Bat-book.

A careful balancing act of compelling story and a constant barrage of self-referential humor, this is one of the most fun, concisely told stories I've read this year, perhaps even since I began writing for the site. The action is exciting, every joke lands, and there's plenty here to warrant multiple readings. If you want a single example of what makes Batman '66 so great, one story to give someone who isn't sure what this series is all about, give them this. It is all 120 episodes and 36 issues of previous Batman '66 tales condensed into one exciting package.

A promising start to a ripping spy yarn. The dialogue is pitch perfect, cracking with wit and knowing humor, and the highly stylized artwork moves things along at a brisk pace. Maybe too brisk, but wanting more of something you enjoyed is never a bad thing. I for one can't wait to see the further adventures of Batman, Robin, Steed, and Mrs. Peel.

Short and sweet, it hits all the right notes and makes for a lean, engaging chapter. As early as it may be to call, the first two installments of this crossover show that the creative team have a great handle on both properties, with Edginton in particular demonstrating a terrific ear for dialogue and voices. It's campy without being corny, charming without being smug, and overall just a great read.

Fun, involving, and snappy, each installment builds on the strengths of the last and continues to move this story forward. While it's too early to tell how involving the plot will be, the spot-on dialogue for both Batman and Avengers properties makes the book an enjoyable read. The genuinely great lines and clever references and fights are just a welcome bonus.

A disappointment, but still enjoyable. I love the voice Edginton has when writing Batman, Robin, and especially Steed and Peel, and I'm looking forward to the illustrative team getting a chance to shine in the future. Taken as a whole with part 3 it works much better, but as an individual installment this was a bit of a drag.

Slight, but highly enjoyable, this installment is just plain fun and puts the story back on track. The dialogue is snappy as ever, almost lifted from an old script from the series, and the extended fight is rendered incredibly well. A perfect mix of the straight-faced Batman and the British charm of agents Steed and Peel.

With smart dialogue, engaging visuals, and genuine hilarity, this may be the most fun installment yet. Come for the good character work, stay for the Death Bee gun. Surely, this is the '66iest we've seen Batman '66 get in some time.

A fast read, and enjoyable through and through. This has been one of the most consistently enjoyable Batman '66 arcs in recent memory, with each installment moving the story forward while bringing something new to the table. I like to say that there are worse ways to spend a dollar, and that's certainly applicable here. Read and enjoy, chums.

Whip-smart and a massive entertainment, this is yet another winner from Edginton, Smith, and team. Batman fans will love it,Avengers fans will love it, and really, anyone who loves good, fun comics will love it. Balancing humor, intrigue, action, and intelligence, Batman '66 Meets Steed and Mrs. Peel is one of the most consistently excellent titles DC is publishing today.

Despite a few illustrative gaffes and a slight lack of substance, this is another entertaining chapter in this series. Sometimes you need some good action, of which there is plenty here, and some good jokes and surprisingly tender moments just add to the enjoyment.

Perfectly fine, though its enjoyability is due more to the series' reputation than its own content. I liked what was there, there just wasn't much there.

There are still a few signs of life, but by and large this book has outstayed its welcome. I won't fault the creative team for that, as they're still game and able to wring out a few bright spots here and there, though I can't help feeling this would have been better served as a four or even five installment series. Still, there's one chapter left and that may very well be enough to turn everything around. Taken on its own merits, though, this chapter feels like more of the same for Batman, Robin, Steed, and Peel.

A good ending to a series that started out great. The great chemistry between the Caped Crusaders and Steed and Peel is evident until the end, and some last minute twists spark new interest after a few lesser installments. From beginning to end, this has been cool, snappy Mod-style fun.

A strong start to one of the most anticipated team-ups this year, this book delivers on every front.

Recommended if:You like the '66 Batman.A mix of great dialogue and action is something you look for in your comics.You want to see some of the underrated Ty Templeton's best penciling work.You've ever wondered if Batman and Robin wear socks under their boots.

Recommended if:You love Batman '66, and why wouldn't you? Coincidentally, if you haven't heard about this yet, mark your calendars accordingly. Pretty exciting stuff from one of the all-time great artists to come from DC, and adaptations from unpublished scripts and the like are always interesting.You've been reading so far.You like sharp, smart dialogue and great character interaction.

Overall: The weakest issue so far, but still a fun romp even if the meandering is wearing thin.

Overall: Possibly the strongest issue yet, it starts high, and that energy never falters throughout the issue. There are laughs, there's peril, and the plot is coming together in a pretty logical manner. A genuinely great comic that demonstrates how Batman can be used believably in most any situation.

An incredibly satisfying conclusion to one of the most anticipated Batman series this year, it has everything you would want from aBatman '66comic: laughs, over the top action, clever wordplay, and above all, heart.

A worthy sendoff to the series, at least for the time being. The worst thing I can say about this one-shot is that I wish it could have gone on just a bit longer, though there's still plenty to love here. The story holds together pretty well, almost every single joke works, and the wonderful visuals from the Allred family are a welcome sight. If this is the last Batman '66 comic we ever get, then at least it ended on a high note.

A remarkably strong start to an unlikely miniseries, the marriage between these two worlds already looks to be a successful one. It will be interesting to see how the more grounded nature of Solo and Kuryakin handle the colorful rogues of Batman and Robin, but the clever use of Olga, Queen of the Cossacks as a bridge between the two series is hopefully indicative of how well these two properties mesh together. If we can't have Batman '66 Meets James Bond, this is looking like a worthy substitute.

As second chapters go, this is a winner. It takes the fun and energy of the first installment and moves things along at a brisk pace, keeping the action going without ever really dragging. Other than one misstep that I'm sure I'll get over soon,Batman '66 Meets the Man From U.N.C.L.E. is shaping up to be an unexpectedly smashing success.

It may prove to be unnecessary installment, but this mini is still a highly enjoyable story. The two worlds interact remarkably well, to the point that you almost have to ask why nobody thought of this earlier, and seeing this Batman get involved in international affairs is always great fun.

Starts off uneven, but gets remarkably more exciting by issue's end, this isn't the most solid installment of this series but it may be the most fun. I do wish that Kuryakin and Solo had a bit more to do, but it's still great seeing the Dynamic Duo interact with characters from other properties. Even if this series doesn't end up a classic, it's still been a good ride, and any amount of Batman '66 is always welcome.

A wordy installment with strong dialogue and some genuinely creative visuals, this book is fun. Flat-out entertaining, even comforting, every element works to make this both a tongue-in-cheek superhero tale and a pretty credible spy thriller as well.

A disappointing ending to a pretty good series, the parts that are great make it worth it even if the whole isn't quite satisfying. It's fun while it lasts, though, and we don't have long to wait until the next crossover. Plus, I don't ever have to type U.N.C.L.E. ever again, so, you know, bonus.

My optimism and love for this series is what's keeping me afloat right now. While by no means a disaster, this doesn't feel like the grand slam that a meeting between two cultural icons should have been. I love the way it looks, I love the villain they chose, and there are some really cool storytelling techniques at play, I just don't think it's Batman '66. A shaky start to what I sincerely hope ends up being a fun crossover.

Still a disappointment, though there's plenty of time to course correct. Perhaps things will start coming together once the narrative moves into the "present" (1966) and the "future" (1977). As a representation of the '66 Batman and '77 Wonder Woman it falls short, failing to strike the appropriate tone for either series. The sum, as such, may not be satisfying, but the parts work: the art is generally nice, there are individual moments that are really effective, and even the dialogue reads well if you take it out of context. It may not be great Sixties Batman, but it is pretty ok Batman in general.

Despite a rough start, Batman '66 Meets Wonder Woman '77 is starting to come together nicely. This installment looks great, with some truly brilliant architectural design work, and the narrative has started to gel. It does start off a little slow, but once it gets moving this issue never lets up. Even if having these characters meet was a no-brainer, their respective worlds are finally clicking and meshing well together. It took going back to the Sixties to do it, but this is starting to feel like good Batman '66, good Wonder Woman '77, and a good story in general.

While this book is not bad by any stretch, it just isn't nearly as good as it should be. If it had been billed as just a basic "Batman meets Wonder Woman" comic it may have read better, but it barely feels like Batman '66 if at all. That said, there's a lot of visual inventiveness and lovely art, and a few scenes that work well on their own. The very definition of a "fine" comic, when it should have been so much more.

More than anything, this issue angered me. It's bad enough that this book hasn't felt tonally consistent with other Batman '66 stories that have come before, but now they've crossed a line that is all but unforgivable. No amount of Killer Croc in bell bottoms and high collared Nightwing will make up for complete character assassination. I never thought I'd say this about a '66-related book, but I almost hated this.

A lackluster conclusion to an uneven miniseries. While this chapter was certainly better than the previous one, the damage has been done; there's not coming back from the questionable choices made. This story just further cements the idea that Batman '66 doesn't work outside of 1966, even with rad bell-bottoms and plunging v-necks. Bruce deserved better, Diana deserved better, and dare I say we deserved better than the end product.

Overall: A great piece of Batman '66 fun in its own right, this is also one of the better Two-Face stories to come out in years. The plotting is solid, the art is hall of fame worthy, and the characterization is surprisingly deep considering the source.

A strong start that absolutely trades on nostalgia, brand recognition, and goodwill. The writing is solid, if not incredible, but the art and lettering are fantastic. It's hard to say it's a perfect representation of Burton's Batman, given that his two films were so drastically different from one another, but there are plenty of interesting ideas to keep you engaged.

I wouldn't go so far as to say this is a step down from the first issue, because it's at least consistent with the groundwork laid out there. The main problem is this issue doesn't rise above the series' debut, and instead feels like it's treading water.

Still not what I was wanting from this series, but I'm at least coming around to accepting what Batman '89 is trying to be. That doesn't mean that it doesn't continue to fall short of its expected potential, with a narrative that feels disjointed and weird. It's that weirdness that's at least perked up my interest, though, so combined with some great visuals, I can at least sort of recommend this issue. Here's hoping the series kicks into gear in the back half.

There are decent ideas that could have been explored more, but instead the narrative goes in a different direction that leaves its most interesting aspects untapped. It's a pretty good Harvey Dent comic, but not a great Burton Batman comic, and I've just about come to terms with that.

What began as a book I wanted to love has turned into an obligation. Batman '89 is aimless and uninvolving. It looks nice even if it doesn't capture the actual mood and feel of its source material but worse then being bad, it's just dull. I wish I could love it, or even like it, but with its penultimate chapter, I can barely muster any enthusiasm for the few things that actually work. This should have been great, yet it will ultimately be forgettable.

It's over. There isn't much more for me to say. I wanted to love this book, and held out hope as long as I could, but even the few bright spots that I held onto didn't pay off in the end. The art is nice, and I'd love to see this team on a different book, but the writing never got any better than "interesting. And really, it rarely rose above that. A few weeks ago I watched Batman just because, and this makes me want to watch it again, for the wrong reasons.

This is the first new issue of Batman I've read in almost a year, and I am not kidding when I say it's the best time I've had with this title in a long, long time. Williamson doesn't try to reinvent the wheel, or even try to force changes that are meant to leave his creative mark on the character, but only end up diminishing Batman as a result. No, this is a grand adventure, meant to entertain and respect Batman's role as Gotham's protector, and have a good time doing it.

A strong lead story and a strong backup make for a strong issue of Batman. There's great character work all around, especially for a back-to-basics Lex Luthor, and the mystery at the heart of the main arc is genuinely interesting. The art in the backup is phenomenal, as you'd expect from Kerschl, and while Jann and Molina both turn in some great pencils, their styles don't gel as well this time around. Even so, I'm back to recommending the flagship title for the Caped Crusader, and it feels good to be saying that again.

Josh Williamson has achieved a hat trick, with his third outing on Batman maintaining the quality of the previous two issues.

It ultimately feels like a filler story before upcoming crossovers, which is a shame, because it could have stood on its own just fine. Now, I'd be surprised if I remember this arc a year from now.

What's good is really good, but what isn't really drags it down. As an exploration of Bruce and Clark's relationship it works very well, but the actual bulk of the story just feels silly and empty. The attempt to redeem Gordon and Clark's respect for each other was a valiant effort and could have yielded some good storytelling possibilities, but it's undone by the pointless inclusion of Batman's allies, a silly villainous plot, bad characterization, and just okay artwork.

A high concept that doesn't collapse under its own weight, the deft handling helps it overcome any narrative and visual shortcomings to deliver a solid, enjoyable book. Time will tell if the full six issues will be justified, but for right now it's compelling enough on its own and is treated with a light enough touch that it almost doesn't need the nostalgic feelings it will no doubt inspire to drive interest.

A solid second entry, it does what the sophomore installment should do: brings everything together and furthers the plot while introducing new aspects and elements that up the intrigue. The tone is solid, and the personalities of the characters are on point, but while the art is still a little rough it isn't a deal breaker. This, along with Batman's adventures with U.N.C.L.E., are some of the stronger offerings to come along in the miniseries format recently, and if they can keep this level of quality we've got some good Batman comics in the coming months.

Typically, a crossover like this would be spinning its wheels by this point, trudging along waiting for the conclusion. Instead, the meeting between Batman and the Turtles has been a pretty favorable look at both franchises, with new elements and characters introduced organically and genuine surprises coming into play. Part of it is pure nostalgia, I'll admit, but as long as it's aquality product that's all that matters.

Like this series has been so far, much better than it had to be. Other than a fun little sparring match there's very little action, but the strong dialogue helps move things along. Rather than using it to allow Bruce to brood and wallow in anger and darkness, Tynion usesthe death of Bruce's parents to show his empathy and understanding so as to better connect with the Turtles. It's scenes like that and those smart choices that have helped make this a solid, genuinely entertainment my series.

Pure, joyous fun, through and through. Seeing your favorite properties cross over is at least always interesting, and when they're handled with depth and heart like they are here it makes for rewarding reading. Batman fans, Robin fans, Ninja Turtle fans, and comic fans in general will all find something to like with this book. The plot is creative and exciting, and each element and character included feels important and added in organically, and the illustrations are getting stronger with each passing issue. Bring on the final showdown.

A solid ending to a solid series, there's hardly a page wasted here as the story comes to a close. The fights are great, the writing is moving, and the nostalgia is a boon instead of a crutch. If you love either property or, even better, both properties, this has been a surprisingly great journey. Let's just never say "CowaBatga" again.

Largely humorless and, quite frankly, boring, Batman/Teenage Mutant Ninja Turtles II is off to a rough start. Now that the re-introductions are out of the way, here's hoping the story moves along at a better, faster clip. It still looks great, though, so even if the story doesn't grab you the artwork surely will. The concept is interesting this time around, but with this first issue at least the magic hasn't been recaptured.

Tynion has found much more stable ground with his second issue. There's still some shaky dialogue here and there, but the spirit of the first crossover is much more evident here. Bane's influence in New York provides for some compelling drama, most of the jokes land the way they should, and bringing in different characters from both properties opens up new storytelling opportunities. I mean, if the idea of seeing Bebop and Rocksteady groveling at the feet of Bane as he's surrounded by Foot Clan members whose masks bear a resemblance to his own doesn't excite you, I don't know what else will.

Batman and the Turtles have yet to recapture their magic, and it's looking less and less likely that they will as this series goes on. Derivative of both the previous story and itself, Batman/Teenage Mutant Ninja Turtles II isn't doing or saying anything new to warrant its existence. What should have been a fun, joyous romp is amounting to nothing more than a retread, to the point that entire plot points and even visuals are being recycled. I really wanted to love this, but even with a few momentary flashes of greatness I just can't.

With a few narrative twists, Batman/TMNT II finally appears to have an interesting direction.

This may be a case of drastically lowered expectations, but I still got some enjoyment out of this issue. It's not really great, choosing to have endless scenes of dialogue explaining things that have happened instead of just showing us what happened, but there are some bright spots to be sure. I liked the interactions between Batman and Donatello, with Donnie's heel turn built up to in a believable way, and Williams still proves to be the right artist for this book. As far as the series as a whole goes, it won't win you back over if you've already jumped ship, but it's an acceptable enough penultimate chapter.

More a montage than a complete story, at least the finale of this series is consistent with everything that came before. There are some great ideas present, but the execution is lacking in any sort of buildup and excitement. Like the rest of the story as presented in the previous issues, the final installment of Batman/Teenage Mutant Ninja Turtles II is a pretty nice looking work that doesn't engage in any way on a story level.

After preceding series that varied in quality, this mini is off to a strong start. The story is interesting, the visuals are fantastic, and the twist at the end opens up all sorts of storytelling possibilities. There's not an awful lot to be said beyond that, so go check it out. You won't be disappointed.SCORE: 8/10

What it lacks in depth this issue more than makes up for in sheer entertainment. Tynion and Williams are just leaning right into the crazy idea behind this series, and seeing Eastman contribute his unique aesthetic is an utter delight. The visuals carry the issue more than the writing, but it's still a rollicking good time. Without spoiling anything, this is more of a treat for Turtles fans than Batman fans, but there are some great surprises featuring the Caped Crusader that will surely cause readers of all sort to crack a smile.

Less focused and more expository than the previous two issues, this is still a pretty solid installment of an overall really good series. While the retelling and combining of Batman and the Turtles' origins won't reinvent the wheel, they're still presented in a way that never feels entirely derivative. With some clever twists and welcome appearances from some beloved characters, this issue is setting up some pretty interesting storytelling opportunities for the second half of the series. While I may have just liked this issue, I'm still kind of loving the series as a whole.

Some really good ideas and character moments are bolstered by some strong art, but hindered by a lack of focus. This issue of Batman/Teenage Mutant Ninja Turtles III feels like a transitional chapter, putting pieces in play for an upcoming conflict without having its own narrative backbone. There are some really interesting ethical dilemmas that Batman is presented with too, but other than a few moments of uncertainty they aren't explored in great detail. Even so, this series has been really strong so far, and this issue is elevated by the strength of its predecessors. Here's hoping the final two chapters are bolstered by the series as a whole rather than collapsing under the weight of lofty ambitions and poor execution.

While it's kind of thin on story, this issue more than makes up for it with great character work and an undeniable sense of forward momentum. This is just insanely fun comic book storytelling that seeks first and foremost to entertain, which is precisely what a team-up between Batman, his family, and multiple versions of the Ninja Turtles should be. That there are some genuinely touching moments and astute observations about Batman's perceived status as a loner? Well that's just icing on the cake… or pepperoni on the pizza, dudes.

A solid ending to a great miniseries. It could have gone bigger and been so much more, yeah, but I still liked it and enjoyed what it had to say about Batman and his desire for family. There are some nice themes explored, and it's a visual feast from beginning to end. If this is the last time Batman and the Turtles will ever cross paths, then they certainly went out on a high note. Cowabunga, chums.SCORE: 7.5/10

I'll say it again: if you like the animated Batman and Ninja Turtles series, this is the book for you. It's great for all-ages, an easy introduction to both universes, and overall just a fun time. Even with a few minor setbacks, Batman/TMNT Adventures is a solid, entertaining debut chapter. Here's hoping subsequent issues follow suit to deliver another excellent crossover between Batman and the Turtles.

This is exactly what you think you'd get out of an animated-style Batman and Ninja Turtles crossover. I wish it was more than just "exactly what you think", but when it works it works well. While a few small but significant scripting issues keep it from being great, the overall visual aesthetic and tone make this an enjoyable read. Hopefully this book will find its own identity in the next issue so as to become truly memorable, and even if it doesn't I'd still like to see more Batman stories done in this style.

Rock-solid entertainment, and a fun nostalgic trip. The writing is getting more confident, the characters are pretty much spot-on, and the art style is simply fantastic. Batman/TMNT Adventures is a solid book that, if nothing else, offers one more adventure in the Batman universe so many of us grew up with. That the Ninja Turtles are also here is just an added bonus.

A thrill ride from start to finish, Batman/TMNT Adventures has truly found solid footing. Each month the creative team surprises me with the increasing quality of the character work and sheer entertainment of the story, and this is no exception. With some great laughs, compelling storytelling, and surprising cameos, this is the best installment yet. Let's everyone buy this so that maybe, someday, we can get more animated-style Batman comics. The world needs it now more than ever.

This is a good time. Sometimes, that's all you need. The plot may be fairly bare, but the jokes are fun, the visuals are spot-on, and the various nods to the histories of each franchise are fantastic. Batman/TMNT Adventures has left me wanting more stories in this style, as it's a perfect complement to theBatman Adventuresseries. I already have shelf space set aside for the inevitable trade paperback. Really, what's a better endorsement than that?

A solid, fun conclusion to a solid, fun series. It's funny, exciting, and gives you a nice Batman: The Animated Series fix. For Batman and the Turtles, lighntinghas struck twice, and Manning and Sommariva have proven to be a really solid team. I wish this could have gone on longer, both because this issue was just too short and I genuinely want more of these books.

An acceptable entry to the series, theres nothing here I hated yet not enough to love. Still, what's here worked well enough for me. I like Jurgens' writing and Chang and Maiolo's Art makes this look better than it should, especially given the lack of unique locations. It does what it does and does it well enough, and that's fine. Not every comic needs to strive to be the Best Comic Book Ever; some just need to tell their story. Batman Beyond #9 tells its story, and that's enough.

It's a solid entry in this story, but definitely suffers from middle chapter syndrome. For all the great dialogue, narrative revelations, and solid art, none of these chapters stand on their own. That comes with the territory with crossovers and event stories, though, and for a "middle chapter" it's compelling stuff.

Recommended if:Recent crossovers and events have left you cold.You like good villainous characterization.You love the DCAU.

A good. not great, ending to this epic crossover that becomes great after the dust finally settles.

Recommended if:You want to know what happened to Bruce, Dick, and Barbara.You like great storytelling.You want concrete connections to the DCAU cartoons.All this Mask of the Phantasm talk is making me want to watch it, so you know where I'll be.

A strong end to what could have been a disastrous story, this arc deals with heavy issues in a mature manner and makes the rift between Terry and Bruce believable.

For a penultimate issue in a run, it didn't really feel like it. Some things were tidied up, while other stories were opened up. A decent enough story on its own, even if every element has been done several times before, hopefully we don't have to wait too long after next month to get more stories with Terry.

An effective, emotional final chapter to one of the best Batbooks on the stands. There are great character moments, true acts of heroism, and enough promises of more story opportunities in the future to satisfy fans while also having enough closure to stand on its own.

That I enjoyed Batman Beyond: Neo-Year #1 as much as I did was a pleasant surprise, and it's a strong enough first issue to retroactively make some earlier choices go down a little easier. What's bad for Terry McGinnis proves to be good for us, as his new status quo is one of the most compelling and interesting things to happen in a Batman Beyond title in a long while now.

Precisely what you'd expect from this type of comic, and that's a shame. With a marketing campaign that had clever airline commercials, magazine interviews, and free Wi-Fi that kind of worked, this was a disappointing misstep. Had this been the only prequel to lead up to the main narrative it may have read better, but having to follow everything else this late in the game it just felt like a retread of other, better ideas and stories. Doritos are still tasty, though.

Much better than it really deserves to be, and that's hardly faint praise. We're given a surprisingly even-handed look at Superman in this universe, with criticisms addressed intelligently and hopes raised expectantly, and neither side being shown as the right one. If the film is written and characterized as well as this then we'll have a great time come March, and also Dr Pepper is awesome. It's a win-win!

Interesting characters and a murder mystery plot should have made this a home run, but I'd say it's more a base hit. The sequential art is great, especially in the scenes that don't feature costumed heroes, and I've warmed up to the issue after sitting with it and giving it another read. It isn't perfect, and I hope that the series improves as it goes along, but Batman vs. Bigby! A Wolf in Gotham is off to a fairly promising start. Consider this my muted recommendation, with a few caveats attached.

Unnecessary, sure, and at this point I'm kind of tired of reading about the Arkham Knight universe, but as a standalone issue it isn't terrible. Getting a better look at Batgirl's place in this world is nice, but everything still feels derivative of other, better stories rather than one that will stand on its own.

If the main Arkham Knight book were the plot of a video game (again, you know what I mean), Genesis would be the narrative cutscenes, Riddler's Gambit(I promise, review forthcoming) would be a Riddler challenge, and this annual would be a side mission: helpful to understand things better, but not outright necessary to complete on its own. With a solid script and fantastic illustrations all around, though, it's well worth taking on.

Overall: There are a few hiccups, but this is far better than a tie-in comic to a video game has an expectation of being. It's fun, funny, and fast-paced, building on what works from previous iterations and doing away with what doesn't to tell a streamlined, gripping story that feels like it's actually worth reading.

Overall: With limited space and time the creative team wrung pretty good stories out of two great concepts, but if they had been allowed to explore the themes of the first third more than they did and give the hunt for the Joker toxin antidote its own room to breathe we could have had two great stories. Instead, we got one pretty good one that feels rushed and just the tiniest bit undercooked.

Overall: A very solid issue, this series is proving to be better than a video game tie-in has any right to be. The spot-on interactions between all of the characters are reason enough to recommend it, but with great action and pacing, along with several compelling mysteries brewing beneath the surface, Arkham Knight is increasingly becoming one of the best Batman titles on the stands.

Overall:Another incredibly solid, exciting entry in one of this year's biggest surprises. While time will tell how necessary this book truly is, the fun art and spot-on characterization more than makes it worth a read.

Overall: Solid overall, with the first third being much stronger than the second two. That's mostly due to the last half of the book being part of an on-going story and not its own self-contained piece, but it loses a bit of steam along the way. Regardless, this remains one of the best and most surprising Batman books on the stands today, with great art, gripping action, and the best character interactions and dialogue in ages.

Overall: The weakest issue thus far, it's a serviceable read but nothing more. The usual snappy script from Tomasi and engaging artwork from whatever team is working is absent, making this feel like nothing more than filler. It might read better sandwiched between last month's excellent installment and whatever comes next, but as it stands it was a disappointment.

Another solid entry, if not outright phenomenal. The script is solid, the individual stories are engaging, and the character interactions are as great as ever. The book is beginning to be colored by the knowledge of what happens in the game, and some of the more controversial elements are almost being shoe-horned in, but it's still a highly enjoyable book that's worth the time of gaming fans, casual readers, or even die-hard Batman devotees.

A rare outright misfire for this book, which has always been good for at least a few good bits of dialogue and engaging action set-pieces. Instead we get a bunch of good ideas that are half-baked at best, executed poorly at worst. Hopefully this is just a temporary lull and Tomasi and team can bounce back next month, and also drive the central story of the Arkham Knight more.

While not perfect, this was still a fun enough diversion. The under-use of Metamorpho was a disappointment, but the sparring match between Waller and Gordon more than made up for it. Hopefully this book comes to a head soon and starts to have a more focused plot, but as it is it's still an enjoyable romp every month.

About three issues worth of plot crammed into one, this should have been better than it is. Instead, multiple threads that could carry their own stories are introduced and either discarded or resolved quickly so as to move on to the next conflict. There's still good dialogue here, particularly the aforementioned exchange with Gordon and Cash, and Vicki Vale's intrusive reporting brings out some pretty good lines about the necessity of Batman, but as a whole it falls flat. A shame, too, since Calendar Man was one of the creepier villains in the games; he deserves a better shot than what he was given.

Dialogue-heavy and lacking in action, but that's ok; when the dialogue is as good as it is here, that's more than forgivable. Hopefully the final chapter of this book andGenesiswill provide all the answers that we want and make the plot make sense, but it's impossible to tell if that will happen just yet. What we have this month, in this issue, is a true conclusion to a lackluster earlier arc, big ideas about the future of Batman in this universe, and great lines from beloved members of the Batfamily.

I really wish I could have rated this higher, as it's more fun than the past few issues. Realistically though, it's hard to be over the moon about a book that, as solid as it is, doesn't really have an ending. From the moment it was announcedI expected the series to end the way it did, but once I got into it and realized it was actually written well I was hoping for a little more closure. With that and the myriad continuity errors that have popped up all over the place, though, it's difficult to recommend the series as anything more than an interesting diversion. The highs are high, though, and even the lows aren't absolutely dreadful, so even ending with a whimper I still enjoyed the ride overall.

Passably entertaining, but lacking much substance, this story is plagued with weird timeline issues and a threadbare plot. Tim Drake has been having a rough time of it on the characterization front in pretty much any book he's in, and this one isn't any different. Rocha, Henriques, and Schwager turned in some nice work, but it almost feels like Tomasi is out of steam. A late-game misfire in a series that started remarkably strong.

With strengths and weaknesses that are about on par with the first two volumes, your appreciation of Batman: Earth One Volume Three will likely mirror your feelings of the earlier chapters. Personally, I thought it was fine, as I've made peace with aspects that I don't like, even if they still keep me at arms-length with this alternate take on Batman. It's visually stunning, with some great teasers toward the end, but lacks a strong story to keep all of its disparate ideas afloat. By spending too much time on a variety of subplots rather than sticking to one as the main narrative, the entire book feels like a collection of loosely connected scenes rather than a strong Batman story. It hints at greater things to come, but isn't great enough on its own.

Batman: Nightwalker is an enjoyable take on the Batman mythos, and one of the stronger DC Ink books to date. The story is fairly boilerplate, but there's quite a bit of good character work here, and it's visually stunning from beginning to end. It stands on its own well enough, and piques my curiosity to the point that I want to check out the novel it's based on as well.

A collection of good stories from some great creators, plain and simple. There was lots of potential for greatness here, and while it wasn't ever really achieved, everything contained within these pages is at the very least solid with pretty stellar artwork throughout. I was sufficiently entertained, and genuinely wanted to read more from some of these creators. I mean, Mairghread Scott exploring the Riddler's compulsions, and Hugo Strange acting like a slasher movie villain? Yes, please. Batman Secret Files #2 is never as great as it could be, but it's more than good as it is.

What a delightful surprise this was. Rather than settling on the "easy" story that pits man against machine, Tieri and Tynion instead craft a story about grief and what it means to be human. This is as much a Cyborg story as it is a Batman story, and by using those two men to parallel each other this Metal tie-in makes the Murder Machine a terrifying yet sympathetic villain. A lot has been made about how brutal and scary this issue is, and rightly so: there are scenes of almost shocking violence, as gorgeously illustrated by Riccardo Federici, and the cold menace of the Dark Knights is unmistakable. It goes deeper than sheer terror, though, with a story that, at its heart, is remarkably sad and undeniably human.

A grand entertainment of the best sort, Batman: Universe is off to an incredibly strong start. This book is so much fun that I re-read it several times, I got so caught up in the action, and I don't know that there's any better endorsement than that. Bendis' plotting is strong and paced marvelously, with some snappy dialogue and genuinely funny gags. Then there's Nick Derington and Dave Stewart's brilliant visuals that could practically sell the book itself. This reminds me of Indiana Jones in everything but the details: it has memorable characters, a sharp script, big, swashbuckling adventure, and a propulsive sense of forward momentum. It's as fun a comic as you're likely to find, and I can't wait for the next chapter.

From front to back, Batman: Universe is a winner. The writing is snappy, with some great dialogue and character interactions, and the plot is an insane ride that barrels through each stop with barely any time to catch your breath. It's the art of Nick Derington, Dave Stewart, and Josh Reed that really sets this book over the top, though. Much like Bendis' plotting, the visual aesthetic is fairly simple and stylized, but perfect for the rollicking adventure that's set forth in the narrative. Truly, I do not want to see the day where I don't find any joy in reading a Batman story where he sass-talks Green Arrow before jetting off to Gorilla City.

A grand adventure, pure and simple. The writing is sharp and the art is absolutely stunning, with a sprawling story that takes us from the depths of space to an island of dinosaurs to the Old West. From an entertainment standpoint, Batman: Universe is one of the best Batman books in years, and I can't wait to see where this crazy journey takes us next.

This is an entertaining romp that makes Batman and Green Lantern cowboys and also has a fight with a bunch of ninjas. While it may not be a story that's meant for everyone, it's definitely a book that is meant for someone, even if that someone is me. The dialogue is sharp and snappy, and the visual storytelling is absolutely amazing, from the pencils to the coloring to the lettering. Batman: Universe is one of the most entertaining books on the stands, and one that I look forward to reading each month for the sheer thrills it provides. As an entertainment, issue 4 here does not disappoint.

My least favorite issue to date, but it's still plenty good. Some of Bendis' dialogue is starting to sound the same across every book he writes, not just this one, and it's… kind of twee. Still, there are some great lines here, and I love how he characterizes Bruce as a swashbuckling adventurer as opposed to a grim and dour creature of the night. Throw in the resplendent visuals from Derington, Stewart, and Peteri and this is one of the best-looking Batman books out there right now. And that's really saying something.

There are lots of great ideas here, so while the book isn't ever bad in any way, Bendis' reach exceeded his grasp with the story he was wanting to tell.

"Fine with room to grow" about sums up my feelings, and I wish I could be more positive here. I mean, Batman by Zdarsky? More Rosenberg Grifter? Wackiness with the Outsiders from Brandon Thomas and Max Dunbar? This should have been a home run, but instead it was more of a base hit. Hopefully the upcoming chapters find the stories hitting a stride, along with leaving room for some solid standalone one-and-dones. As it is, Batman: Urban Legends is a great idea that falls short in the execution.

A stronger collection of stories than we got last month, Batman: Urban Legends #2 strikes some more emotional notes than the first issue. Time will tell if the longer arcs amount to great stories in the end, but for now, each creative team is approaching the characters through different lenses. You have a sympathetic look at Jason Todd, a quirky celebration of Barbara Gordon's genius, some romantic tension between two Outsiders, and about two degrees removed from a buddy comedy starring Grifter and Lucius Fox. It's an odd combination, but it works, so here's hoping the stories just get better going forward.

Batman: Urban Legends could yet be great, even though it's not risen above "pretty good" in its first three issues. I don't dislike this book, and it isn't exactly a chore to review, but it's difficult to write about because it could be so much more. With some truly amazing creative teams banding together to tell stories about Gotham's heroes and villains, this should be a grand slam. Instead, it's merely okay, just a fine book. Nothing less, and nothing more either, sadly.

With high highs and" well, middle lows, this is maybe the most inconsistent issue of Urban Legends to date. Given the quality of the best material here, though, there are also points where this is the absolute best issue of the series too. Even the lesser installments are readable and have enough pros to give at least a soft recommendation. I'll still hope for better going forward, but I'd hate to have to be content with occasional greatness among the exceedingly average.

Urban Legends continues its holding pattern as a pretty average Batman book. Despite some bright spots, it's getting harder and harder to analyze this series, because even the best stories feel like they're stretched too thin. I wish I could even say that it's worth it to pick this up as a fan of the individual characters, but with incredibly mixed results and quality that varies wildly, it's a steep investment at $8 an issue.

The first arc is over, and if you can't tell, I'm burnt out on this title. It started off with such promise, yet never realized its potential. Even the high points never rise above merely good, despite the great creative teams behind them. Hopefully future issues are retooled to make this a more palatable anthology series, with more one-and-done stories that aren't there solely to set up a future title.

It's strange, because it kind of gave me what I wanted (mostly standalone stories), but even then it wasn't in the manner that I was expecting. That's not always a bad thing, I just wish the overall package had been more consistent.

Overall: One of the more pleasant surprises to come out of this crop of new books,Bizarrois a delight to read. The simple plots may not be for everyone, but smart gags and fun one-liners should make even the most jaded of readers crack a smile. There's very little Batman in this issue, but what's there is gold, so everyone pick it up and enjoy.

Overall: Take away the team-up, tweak the story a bit, and this could have been a great one-and-done issue on a Bat-title. As it is, it's a solid tie-in that gets weighed down just a bit by some clunky dialogue and exposition, but is made up for with great art and an enjoyable story.

Crippled with sloppy, rushed art and a scattered narrative, there are a few decent moments sprinkled throughout that keep this issue from being a total loss. It's never aggressively bad, nor is it ever elevated above mediocrity. Average is the best way to describe it.

It's always good to see these two together, and with fantastic writing and great art, you can't go wrong. A few hiccups late in the game knock it down a few pegs, but if this is the last time we see this characters like this it's a fitting send-off.

Better than expected, but it still reads like an incomplete part of a greater story rather than a solid introduction. There's a lot going on, several elements introduced that are all intriguing, different scattered pieces rather than one unified whole. Regardless, Miller, Azzarello, Kubert, Janson, and Anderson have managed to surmount the almost unrealistic anticipation and expectations to give us a flawed but intriguing start to the series. It actually feels rather small compared to how big I thought they were going to go, and for that I'm thankful.

I'm not going to shower this with endless praise, but it's tighter and surprisingly more thought-provoking than it could have been. It looks good more often than not, and it reads more like old-school Frank than anything he's been involved with for at least fifteen years. If nothing else, I'm intrigued to see where the Dark Knight goes from here and what the Master Race has in store. It may not address the questions I'm asking, but at least right now it's making me ask them to begin with.

I've been genuinely surprised at how low-key this book has been, and while that means it isn't a disaster it also feels a lot smaller than it should. Kubert's pencils and Janson's inks continue to look great, and other than the political commentary misstep nothing in the script was particularly bad, but it committed an even more grievous sin: it was dull. And really, a Batman story where Superman breaks free from a glacier to take on kamikaze atomic Kandorians? That shouldn't be boring.

Not awful, just dull, which might even be worse. Azzarello, Miller, Kubert, and Janson offer up something that's fine on a technical level, but it never gets bad enough that it's worth caring about or good enough that it's worth raving over. Will it read better as a whole? Time will tell, but we have a long time to wait before finding that out.

Far and away the best installment so far, the fantastic artwork, gorgeous layouts, and embrace of the ridiculous have made this an enjoyable read once again. The shorts are still hit or miss, but the main story has become a gripping war story that finds Batman and Superman fighting side by side once more. As silly as the final page is, it's still a nice reminder that Bruce and Clark are two-thirds of the DC Universe's greatest heroes, and seeing them finally work together brings a smile to this fan's face. Now let's just see how Diana factors in in the months to come…

I went into this series with trepidation and was ultimately surprised by the storytelling. While it may have yet to achieve greatness, it's at least been fairly solid and engaging. With the interminable delays and seemingly aimless narrative, though, it's getting harder and harder to get into this book. The recently announced extended order of nine issues instead of the original eight isn't helping matters either. Things may turn around in the future, and I'm hoping that it will, but with a haphazard release schedule and an unfocused, derivative structure, I'm finding it hard to care.

The best this book has been in months. It may not be necessary, this series may be a cash grab, but this issue is at least worth reading. At this point I'm much more interested in the secondarycharacters than I am the Dark Knight himself, and the series' strength is in those subplots and the supporting cast. The Master Race looks to be going in some interesting directions and has my attention once more. And really, at this point that's saying something.

Try as I might, I just don't care about this book. It has long since lost any narrative momentum, made worse by endless delays and constant filler. The few bright spots are overshadowed by narrative cheats and endless, confusing fights, and the backups are a continuing case of diminishing returns. When this series was announced it seemed unnecessary, though it's debut was promising. Sadly, each passing month just proves how pointless an endeavor it is. It goes beyond bad; it's forgettable.

After a long year and a half journey it's finally over. There have been a few highs and several lows, and the average ending doesn't do much to redeem The Master Race. With so few stakes and the promise of another possible sequel this series isn't entirely rewarding, feeling like a continuation just for its own sake rather than a story that needed to be told. Still, there's some good here, like some surprisingly gripping action scenes and the genuinely moving conclusion. I didn't love it as a whole, but there were just enough parts to like that it didn't feel like a total waste.

Much better than expected, and absolutely worth the wait. Miller, Azzarello, Romita, andSteigerwald turned what could have been an unnecessary prequel into a genuinely gripping tale of guilt, self-doubt, and loss. Bruce feels truly human and vulnerable, and while that does defy the mentality of "Batman can beat anything," he's still just that: a human. He hurts, he doubts, and he grieves, especially at the loss of his family, and in the right hands that can make for good comics. And this is good comics.

Dark Nights: Death Metal " Infinite Hour Exxxtreme! is as ridiculous as its title would have you believe, as is befitting a comic starring Lobo. The writing is sharp, tight, and funny, the art is consistently excellent, and the story manages to stand on its own pretty well, while simultaneously supporting the greater Death Metal narrative. This is the comic book equivalent of a massive harmonic whammy dive: bombastic, loud, and 100% rock and roll. Pick it up, fellow dweebs.

Had this been the last we saw of the Super Sons, it would have been a more than acceptable treat. Since we'll be seeing the boys again so soon, this crossover comes across as a curiosity more than anything. It's still a grand entertainment, though, with an engaging plot, surprise plot developments, and great dialogue against some stunning visual storytelling. Each of the DC/Hanna-Barbera specials this week are pretty solid, and Super Sons/Dynomutt and Blue Falcon Special is no exception.

One part brilliant pastiche of noir tropes, one part pretty funny backup story. Never did I think that Batman and Elmer Fudd would (or even should) ever cross paths, but oh my was this a phenomenal entertainment. King and Weeks' work on the main story is so good that it would get high marks even if it weren't such a perfectly executed high-concept. The backup is a little more loose, but it's still a grand time with some big laughs. Just based on pure enjoyment this is one of my favorite comic issues in a long time. It's twuwy memowable.

DC Super Hero Girls continues to deliver excellent all-ages stories, and this is the best one yet. Coupled with its trademark bright, energetic visual style, the story is a little more mature and complex in its structure, making it a rewarding experience to read. Whether you're a part of its "target audience" or not there's still plenty to enjoy here: great characters, a fast-paced story, and some great set-pieces. Oh, and dad jokes. Dad jokes galore.

A niche product with a specific demographic, sure, this is still light, charming reading. I'm not going to go out and recommend this to everybody I see, but what it does it does well: it re-imagines familiar characters in a new setting and uses them to tell a story that can appeal to kids. It was smart of DC to release this as a free comic book because young girls can always use more representation on the comics rack, so bringing more attention to a nice property like this can do nothing but good.

While it may be for a specific demographic, this is inoffensive and surprisingly enjoyable for what it is. It's bright and colorful, charming and fun, and it will take maybe a half hour to read. Judged solely on what it is and who it's aimed at, I enjoyed reading this. While I may never return to it myself, there's a little girl out there who will get into comics because of this book, and that by itself makes Finals Crisis worth it.

A little repetitive, not exactly original, but not at all without its charms. Even if I'm not the target audience for the DC Super Hero Girls stuff, I'm glad that there is an audience and they get their own comics material. It's bright, colorful, and fun, and charming in its own right. These books may not win any storytelling awards, but there are worse things a kid could be reading. And who knows, you may end up loving it, too.

Both over-written and under-plotted, this is a huge missed opportunity. Almost every aspect of this issue fails, from the convoluted story to the awful dialogue to the disappointing artwork. Adams has a well-earned pedigree and legacy, but that just makes the outcome of a book like this that much more disappointing. Had there been a solid writer even just assisting with the script, this might have turned out pretty well. Instead, it has the trappings of a vanity project that evokes other, equally disappointing series. On #DayOfTheDeadman, he deserves so much better.

It doesn't quite have the same heartfelt sincerity of its predecessor, but it's still plenty touching, entertaining, and funny. Northrop, Duarte, Peter, and Abbott are an unparalleled team, and some of the strongest voices in the "all-ages" comics game. Even if they don't do another book in this format, I would love to see more stories from this exact creative team in the future. What better praise can be given than that?

Positively delightful from beginning to end, Dear Justice League is a great comic for readers of all ages. Young readers will get a kick out of the whole concept of writing to superheroes, and older fans are sure to enjoy the creative scenarios the League find themselves in. Michael Northrop has a good grasp of these characters and pokes some fun while still being reverent, and Gustavo Duarte, Marcelo Maiolo, and Wes Abbott give the book a strong visual identity. Buy a copy for yourself and a loved one, because really, this is a comic that has something for everyone.

A gripping piece of serialized fiction, Deathstroke works well on its own terms without needing to bring in big guns like Batman. True to form, though, his inclusion feels like an organic extension of the story Priest is wanting to tell, never overshadowing the bigger picture. With sharp dialogue, fantastic illustrations, and a gripping story, this is one of the biggest surprises I've read this year.

If this series has been a freeway, this is the first pothole. There's enough to like to make it worth a read, especially on the visual front, and several scenes are great when stripped of context, but the near-absence of the title character and odd characterization of Batman drag the whole thing down. Some genuinely funny moments and a hilariously insouciant Damian do a lot to make it enjoyable, but it's not enough.

Priest does what he can with a crossover that hasn't even gotten off the ground, fashioning a solid issue of Deathstroke around the trappings of "The Lazarus Contract." The crossover may not amount to much, but the individual issues can still provide a decent entertainment. Besides being entertaining, Deathstroke tackles issues like trust, redemption, and what it means to be a father. The parts are greater than the whole, and they're pretty good parts.

As opening chapters go, this is a really strong start: there's enough of a mystery here to keep you intrigued without being either maddeningly oblique or frustratingly expository. Instead, Priest walks a fine line between the two, proposing a genuinely interesting mystery that would believably cause Batman and Deathstroke to cross paths. Despite a few iffy moments, the strong dialogue and breathtaking visuals make this well worth a read.

After a surprisingly compelling opening chapter, "Deathstroke vs. Batman" returns with a decidedly more muted response. While by no means bad, the story is starting to take on some of the more difficult traits inherent in Priest's storytelling: namely, an attitude that is maybe too pithy and irreverent, and a non-linear structure that doesn't always benefit the plot. While there are several moments of inspiration, and I'm still glad the story isn't just a series of fights and flexing machismo, I'm less invested now than I was at the end of the premiere chapter.

With a story that fails to engage, Deathstroke #32 relies on some pretty stunning visuals to carry the load. There are momentary flashes of inspiration, particularly when the story is just allowed to get as crazy as possible, but it's when it tries to sell us a serious narrative that it falls apart. It's all left in a fairly intriguing place as the arc transitions into its second half, so here's hoping Priest and crew can turn it around and end strong.

Divorced from the rest of the story, I enjoyed this issue quite a bit. The visuals are great, and there's some pitch perfect banter between Robin and Deathstroke. Still, the story isn't exactly engrossing, and the fact that the characters themselves are so dismissive of the central mystery makes it really hard to get invested. Out of context, this issue is fun and enjoyable, but it still doesn't fix the storytelling problems evident in the rest of the "Deathstroke vs. Batman" arc.

A frustrating exercise, Deathstroke is a dense book that doesn't have much actual depth. There are a lot of ideas here- some of them genuinely interesting- but they have yet to coalesce into anything that's very engaging. I like the look of this book quite a bit, as its visuals are really slick and the ending fight is well-composed. It's the story that keeps losing me, and no amount of great pencils and colors can save that.

It looks good, I'll give it that, and there's a line that, taken out of context, is pretty moving. Everything else about this issue and, by extension, the arc is a convoluted mess. Plot threads are introduced and dropped without warning, motivations are frustratingly unclear, and the resolution is pretty mean-spirited toward Batman. I don't know what the point of this story was, and I'm too exhausted by it to care. When the central mystery of a story could easily be solved by way of a simple conversation, it might not be the best foundation for a plot, and that's the case here. Put another way: this issue has Alfred telling Bruce that he and Wintergreen literally want to put Batman in Deathstroke in a timeout and I still didn't love it. Or even like it.

Come for the Reaper, stay for Alfred talking some sass. This annual feels like a Batman comic from yesteryear in the best ways, with strong dialogue, great chemistry between Bruce and Alfred, and a globetrotting adventure. While the story itself feels like a setup for a bigger arc down the road, here's hoping that the return of the "Black Casebook" means we can get more Batman adventures where he encounters the weird and unexplained. And also the Eraser, because that guy is delightful.

Dense as all get out, this issue succeeds thanks to its intents more than its execution. I like what Tynion is trying to do, and considering Tim is my favorite Robin, of course I'm glad to see him back in action. Still, this issue verges on information overload at points, aided mostly by the fact that I'm not familiar with the story it's referencing. The story and art both suffer from the same problem: the broad strokes are interesting, it's just the details that aren't engaging. I appreciate what the story is accomplishing, I just wish it was handled with a tad more finesse.

While the Arkham Knight himself is still a cypher, he's but one of several intriguing mysteries going on here. I really appreciate the pacing of this story, with scenes progressing logically from one another. Walker, Hennesy, and Fairbairn's art is positively gorgeous, and Tomasi's script is devoid of unnecessary exposition, with just enough information coming to light as needed. For the first time in a long time, Detective Comics feels like it has an actual mystery worth solving, and we're on the case right alongside Batman.

A solid entertainment, at the very least. Brad Walker's standoff between Batman and the Arkham Knight is a definite highlight, full of tension and brilliant pacing that makes the relatively short scene pack a huge punch. The story being told here isn't filler in the slightest, as everything that occurs has a natural sense of progression and feels integral to the overall plot, but it certainly feels like a transitional issue more than anything. It never drags, though, which is always a plus. And while the Arkham Knight is clearly becoming a different character than I initially thought he was going to be, I'm having a blast reading his grandstanding and slightly overblown pomposity.

From the strong writing to the excellent visuals, this book is firing on all cylinders.

Gorgeously illustrated and compellingly written, the story of the Arkham Knight is as tragic as it is gripping.

This doesn't reinvent the wheel, nor did it set out to in the first place. What this issue of Detective Comics is is an entertaining diversion with some great action set pieces. Tomasi's writing is solid, as always, yet his real strength here is how he lets the artists carry the story as well. There's great teamwork across the board, with Tomasi, Walker, Hennessy, Fairbarin, and Leigh being a true "creative team." You can't really go wrong with a solid adventure with a breakneck pace and a little bit of weirdness thrown in, which is precisely what Detective Comics #1005 has to offer.

Reminiscent of classic Brave and the Bold stories with some clear artistic influences, this issue of Detective Comics manages to remind you of great comics of the past while still feeling fresh and new. This is weird, moody, atmospheric comic storytelling of the best sort, with a tight script and amazing visuals that truly set the mood. Even if it went a different direction than I originally wanted, I love the ride that Tomasi takes us on just the same.

A definite dip in quality from the previous issue, this is a better as a Spectre story than anything. Tomasi has some good dialogue, and Kyle Hotz's pencils, Dave Baron's colors, and Rob Leigh's lettering give the issue a creepy, unsettling feel. Still, it feels rushed, with an ending that feels like a "backdoor pilot" for a potential Spectre title, and Batman seems fairly superfluous. Regardless of its shortcomings, though, the overall atmosphere is haunting, making this a good study in mood and an effective throwback to the horror comics of years past.

This is a classic single issue, one-and-done story of the best sort. Tomasi's writing is as sharp as always, nailing the unpredictable menace and lunacy of the Joker and the taciturn, protective drive of Batman. Mahnke, Mendoza, and Baron make a welcome return as well, with dynamic storytelling that makes even the smaller moments exciting. Frankly, we need more issues like this: self-contained stories that aren't beholden current continuity, but enhance it by being easily accessible.

Take strong writing, a Bruce Wayne with a sense of humor, some stunning art, and energetic action sequences and you have… a pretty good issue of Detective Comics. There's something here that feels unbalanced, even though the parts of the whole are so good on their own. Still, even if I can't quite see the forest for the proverbial trees yet, I had a great time reading what Tomasi, Duce, Guerrero, and Leigh brought to the table. Detective Comics continues its streak of strong storytelling since Tomasi came back onto the title, though, so it's a good time to be a reader of 'Tec.

This is kind of weird for a Batman story, but I'm all about it. Tomasi's writing channels Bob Haney's old The Brave and the Bold scripts in the broad strokes, taking two familiar characters and chucking them into a truly crazy adventure. There's still plenty of heart to spare, though, as Tomasi proves he's able to bring out empathy and compassion like nobody else in the business. Add in some truly stellar artwork from Duce and Baron and the ever-reliable lettering of Rob Leigh and you have yourself a strange, crazy, endearing issue of Detective Comics.

You can do a lot worse than some solid comics storytelling, which Peter Tomasi always delivers. Even for an arc that could have been trimmed up a bit, this issue still delivered as an enjoyable slice of entertainment. Aside from a few odd coloring choices, it's a strikingly gorgeous book, and was a nice The Brave and the Bold-style throwback adventure.

Detective Comics may be the most consistently good book out there right now, at least as far as Batman titles go. There's hardly been a bad issue from Tomasi and crew yet, and this issue is no exception. There's a strong story at its center, which feels more like a slow-paced thriller than an entertaining-but-empty action adventure, with a villain whose motivations don't justify his monstrous actions. And then there's Batman, who hasn't felt this human in a long time, and makes a strong case for how well he can actually work with others. Be it with Alfred, his beloved confidant, or the begrudging respect shared with Bullock, this is a Batman who knows when to be vengeance and the night, and when to actually foster a good relationship. Plus he still looks really cool when doing it, so, bonus.

For an issue that's effectively a prolonged chase scene, there's a lot of great character work here. Freeze is tragically grotesque in his actions, carelessly experimenting on innocent women in the hope of restoring his wife. Batman, meanwhile, proves that he has the right tool for any job, and adds a sense of welcome goofiness to what could have been a dour narrative. Factor in some wonderful dialogue and a pitch-perfect team if artists and this is another winner from Detective Comics.

This issue has a lot going for it, with quite a few strengths, yet it has one big weakness that keeps it from greatness.

There's lots to like here, and not really anything to truly dislike, though this issue isn't as good as it could have been.

An entertaining story, confidently told by masters of their individual crafts. There's quite a bit in this issue that may not make me truly love a lot of the choices made in this arc, but they're contextualized in a believable manner. So while it may not be the story I would have told, I can still see why this is the story the creators chose to tell. It looks gorgeous and there's quite a bit of heart amidst tragedy, which is about what you'd expect from this Detective Comics creative team.

The creative team is great, the concepts are intriguing, and it's a "done in one" issue which is always welcome. Surprisingly, Taylor's script is maybe a little too ambitious, as his two main story threads never feel fully realized. Batman confronting the problem of displaced and marginalized youth is a great idea, as are the ongoing family dynamics between Bruce and Damian. There's good stuff for both here, but neither plot gets quite enough focus, so the stories don't have the impact that they could have had. Still, this is a more than good issue of Detective Comics, and an example of the types of comics I want to see more of in the future.

This is a bold series, there's no question about that, and I'm sure there are a number of readers who are going to pick it up out of sheer curiosity. I can't say that I blame them, though it's much better than a mere curiosity; Doomsday Clock is a good comic in its own right. It isn't perfect, but given the pedigree of the talent involved, this series could easily become a classic.

This story is taking its time, putting pieces in play before diving headlong into the actual plot. While it can be a little slow, it's still compelling enough to hold your attention before finally becoming engrossing. Doomsday Clock is an event in every sense of the word, and there are sky-high expectations that come with it. It has yet to reach those heights, but with confident writing, gorgeous art, and a surprising amount of humor it's on the right track.

Geoff Johns has overcome some very slight hiccups in the first two installments to deliver a gripping, highly entertaining read. With a compelling plot that has a surprising amount of humor and some outright gorgeous visuals, Doomsday Clock is beginning to make a case for itself. It may not be a completely necessary sequel to a seminal classic, but it is a great comic in its own right, and that's what matters.

The lofty ambitions of the story are undermined by an unsuccessful execution. From a technical standpoint everything here is fine, with a script that accomplishes what it sets out to do and visuals that, once again, engage and elevate the material. The problem is in the sense of repetition, with story beats and structure feeling almost lifted from Watchmen. Instead of feeling like a parallel, it comes close to being derivative, and given that Johns and company have successfully side-stepped that trap to this point it's a shame that it veers so close. Still, Doomsday Clock is a book that never fails to ignite great discussion, and this month is no different.

Doomsday Clockis an incredibly well-written and gorgeously illustrated piece of comics storytelling. It's dense and engaging, somehow managing to marry two universes that likely shouldn't have had any interaction. It is also slow and beset by publication delays that make it understandably difficult to keep up with. Focusing on craft and viewing it on a technical level, there's very little reason to not recommend this series. However, it's understandable that enthusiasm that was once sky-high has cooled to the point of indifference, and it's hard to argue that either. Doomsday Clock could potentially be a masterpiece, it just needs more consistency.

Far and away the most emotionally involving issue yet, this installment of Doomsday Clock is almost a great comic. The flashbacks to Marionette and Mime's youths makes their characters much more sympathetic, and I was engrossed in pretty much every scene involving the two of them. The middle portions of the book don't work as well as they could have, with a big meeting between a bunch of villains that looks better than it plays it. Bolstered by a final act turnaround that's as exciting as it is involving, and with fantastic art as always from Gary Frank and Brad Anderson, Doomsday Clock #6 is a really good comic that falls just short of being great.

Far and away the best issue of Doomsday Clock yet, this is a taut, tense installment that moves the story forward in some terrifying ways. Gorgeously illustrated and masterfully lettered as always, the case for bringing the Watchmen to the DC Universe is finally being adequately presented. Johns builds off the arcs in Alan Moore and Dave Gibbons' seminal work to take the characters in some interesting new directions, while seamlessly working in the new characters alongside them, and in doing so he manages to make them fit in with the rest of the DC Universe. If this series was a slow burn before, it's finally caught fire and has become a full-fledged inferno.

Coming off a series high point, this is a more muted affair that could have used a bit more substance. There are some great scenes at the Daily Planet, and Johns just gets Superman's stalwart optimism. Something just doesn't quite connect, though, making the product as a whole a bit of a let down. Don't take it to mean that this issue of Doomsday Clock is bad, though; there's good writing, beautiful artwork, and a sense of hope even in the mire.

 Less focused than other chapters, but still a gripping story.  Gary Frank is clearly relishing the opportunity to draw such a huge cast of DC characters, and that alone is worth it.  The story is approaching the final quarter of its rich, dense narrative, and if nothing else I never regret reading and reviewing it.  While this issue had a few narrative contrivances and wasn't quite as clear in its trajectory than others, it's still a perfectly readable issue.  Here's to hoping that the whole series comes together in the end.

A slowburn of a beginning turns into a rollicking celebration of Superman. Johns' pacing in the first half of the issue is possibly the weakest it's been this whole series, with a lot of attention paid to a person who works better as a plot device than as an actual character. Once things get going, though, it turns into a fascinating meditation on Superman's influence in the real world and on the printed page. A few gaffes and the slow start keep this from outright greatness, but the focus on hope and the gorgeous art throughout make it all worth it.

Doomsday Clock is consistently interesting, with new things to talk about and discover with each passing issue. Thankfully, this is a consistently good book as well. Johns veers a little close to derivation in the way he portrays Ozymandias, but the strength of his writing makes him side-step any sense of direct imitation. As always, the art is absolutely gorgeous, from Gary Frank's incredible pencils to Brad Anderson's stunning colors to Rob Leigh's strong and creative lettering. Here's hoping that, as we approach the end, this book manages to cement itself as a worthy follow-up to Watchmen and a bold new chapter in the DC Universe.

While it isn't quite perfect, Doomsday Clock #12 is as good an ending to this story as you could want. It is masterfully written and illustrated, with strong themes that resonate through each and every page. Rather than being a sequel to Watchmen, this is a story about how Superman can and should inspire goodness and hope, and in turn save even a world as "too far gone" as Ozymandias, Rorschach, and Doctor Manhattan's. This is a series that will inspire no end of debate and discussion, and even if it doesn't impact the wider DC Universe as much as it could or, frankly, should, it is still a great work of comics art and storytelling that I will gladly return to again and again. At its core, this is a story about hope in the darkness, and at the end of Doomsday Clock, hope shines bright.

For an issue that's simultaneously recap and setup, I still had some good fun here. There are some great little character moments that ring true, and the idea of a huge "steel cage match" is as crazy as it is entertaining. I do wish Williamson had let things get crazier and looser, just letting the fun concept roll and seeing where it goes. Still, it's a decent enough introduction to what could be the most bonkers part of Metal yet. And that Howard Porter, guys. I'm so glad he's back.

For a first annual, this should have been better, yet it could have been worse. Seeing these characters in action one more time before they come back for their second semester is nice, and there's plenty here to like, just not an awful lot to love. It looks great, that's for certain, it just could have afforded to be shorter. Still, any excuse to visit the grounds of Gotham Academy is welcome, and I still love this series, warts and all.

A nice break from the overarching plot, the creative team shine the spotlight on a character I never gave much of a second thought and spin a fine yarn out of it. That, while also delicately handling subjects like the loss of a parent, grief, and guilt, plants the seeds for some intriguing plots to come in one of the best surprises of the past year.

School is back in session, and for once I'm glad. This book has always been about its characters just as much as it is about mysteries, so having a whole issue to focus on Olive is nice. In fact, that's an apt description for this issue: nice. It's slow, but never boring, lays some nice groundwork for where the series is headed, and in the end feels like reconnecting with your best friends.

A slight step forward for a book that's been spinning its wheels for some time. Gotham Academy's worst sin is that it's really just been more of the same each month, without any huge stakes or big plot advancements. It's strange to say that an issue that actually takes place before the current story arcs is a move in the right direction, but it succeeds by virtue of just being different. I wish this story had more time to develop, especially with the narratively-rich "spooky carnival" plot device, but what's here is perfectly serviceable. I just really want it to be more than that.

As Gotham Academy: Second Semester winds down, the creators have the thankless task of trying to set pieces up for the finale. As such, issues like this one end up feeling like they're one part of a larger whole. There's nothing here that's inherently bad, either, it just feels incomplete. With Gotham Academy you know exactly what you're getting, and this issue is no different. That isn't a bad thing, I just wish it was better.

Had this been six or seven bucks I might almost give it a passing recommendation, but at ten dollars? I'm knocking a point off the overall score, because that's way too much for one genuinely good story and then a lot of filler, even if some of the filler is pretty decent on its own. As it is, though, this is an anthology that falls victim to the worst aspect of too many books these days: it's non-stop setup.

A tad over-long and a little aimless in points, this was still a good story on its own. Having it be an annual may have been a mistake, but it's still a nice read between two of the oldest characters in the superhero canon. Clark and Dick have a mutual respect, though for different reasons, and they play well off of each other even with their sunnier dispositions and attitudes.

An enjoyable romp, plain and simple. The stories were fun, if inconsequential, and it was nice seeing Agent 37 one last time. Frankly, the best I can say about this annual is that Grayson #20 was a good beginning for Nightwing, while this issue is a good ending for the book Grayson. We may not see the spy antics of Dick ever again, but there's certainly a sense of closure this time around.

Overall: Full of action and great character moments, this issue excites and satisfies on almost all levels and confirms that the team of Seeley, King, and Jann know what they're doing (if there were any doubters left). True to the spy genre, we're treated to just as many new questions as we are given answers, but the mysteries are compelling and build organically rather than feeling contrived, and the treatment of Dick Grayson is one of the best uses of the character in years.

Overall:The first outright misstep with this book, there were still a few great moments that made it worth reading. Hopefully things will return to the normal level of excellence next month, and if you're a new reader and this is your first issue, go back and start at the beginning. Trust me, it's worth it.

An incredibly strong, fast-paced issue of one of the better comics on the stands today. It has everything that makes this book great in spades, and some new doors are opened for future installments and mysteries.

More of the same greatness we've come to expect from this book,aside from some necessary exposition it's an engaging thrill ride with plenty of great character moments and a few laughs. The bar keeps getting raised with Grayson, and what's set up here should make even the most hesitant of readers jump on and enjoy the ride.

Overall: All the makings of a great comic: fantastic writing, phenomenal art, and characters and events that you actually care about. The road ahead of Grayson will not doubt be difficult, but with a supporting cast that is getting increasingly more three-dimensional and an ongoing mystery that is actually compelling, this book is well worth diving into. Whether you're a long-time reader or still debating on getting into it, this is a great comic for any type of fan.

Overall: A masterclass of everything that makes a comic great, King, Seeley, Jann, and Cox could probably phone it in and still have a semi-quality product. Thankfully, the story of Dick Grayson continues in a book that is fun, exciting, tense, and even heartbreaking. Things manage to stay fresh while still true to the character, and tie in to the larger universe without getting bogged down in continuity. Read this book.

A nearly perfect issue, Dick's first interactions with the family may not have played out as happily as we may have wanted, but they played out the way they needed to. Being reminiscent of one of the best issues of last year, it's fitting that this is one of the best issues of this year. Where Dick's future with Spyral goes remains to be seen, but it's good to know he isn't going it alone anymore.

More a bridge than anything else, there's still plenty to like here: what action there is is well-staged, the dialogue is fun, the interactions between the characters are great, and just enough is being revealed to sate your hunger without forcing everything out all at once. It's a long game they're playing, and I can't think of a better protagonist to accompany on the journey than Dick Gaston Grayson.

A rare misfire, there's still enough here to enjoy on a storytelling level. I genuinely loved every single scene Otto was in, as his crazy mad scientist schtick fits perfectly with the weird spy antics of this book, and Dick's story did get progressively better as the issue went on. Still, it's not great, and I really hate being harsh to this book as it's usually the best book DC puts out. That cover sure is super-weird, though, right?

A better tie-in than any crossover really deserves, though that isn't surprising given the caliber of the creative team. A suitable progression of the narrative, a meditation on what it means to be Robin and a hero in general, and a genuinely exciting surprise ending elevate this above any shortcomings it may have. It may not fullystand on its own, but it's good on its own.

Full of energy, this issue is everything that makes this book great: kinetic action, strikingvisuals, genuinely funny comedy, and a likable, charismatic lead. King, Seeley, Jann, and Cox are some of the best talents in the business, and this fusion of spy thriller and superheroics provides the enjoyment and excitement that only the comics medium can give. Standing on its own it works well, and the hints of what's to come in the future makes everything that much more exciting, so if you were still hesitant about "Dick Grayson: Super Spy," give this a look; if it doesn't change your mind, I don't know what will.

More of the same, but for a series that has scarcely had a bad issue I'll take it. What's here works as it should, be it the action providing entertainment or new developmentsdriving the story forward. It won't stand on its own well, though as part of the series as a whole it serves it's purpose, and even though it never really rises above simply "good" there are bits of greatness here and there. I'll miss this chapter in Dick's life story when it's over, but look forward to him being brought home.

This isn't the best installment of Grayson,but it's still a solid entry in the overall narrative. Even with the long-standing founding creative team out, Lanzing and Kelly "take the wheel" as they say and travel the road already laid out before them. Hopefully the final two issues will have more consistent artwork, but with everything coming together and the zaniness being ramped up to 11, I'm confident that this book will have something too few stories receive: a satisfying conclusion.

If mad scientists, world domination, and dramatic double-crosses are your thing, you could do worse than go down the path Grayson is grossing now. It may not be as phenomenal as it has been in the past, but it's still enjoyable, so appreciate the title and its stalwart hero for what it is instead of wallowing in what it was. Even with its flaws, there's still plenty to like here.

Ultimately, it's fine. Given the uphill battle this and other books have been fighting tinware storylines up, it could have been worse and my expectations weren't so high as to be disappointed. Still, seeing a book that was so consistently great no matter what was going on around it end on a lackluster note is a letdown. The creative team did an admirable job of keeping everything fun and even somewhat coherent until the end, and ultimately Grayson was a great book through and through, I just wish it could have ended on its own terms.

While it may not be a great Batman story, it is a pretty good Simon Baz story. I love what Humphries has been doing on this title, and Brian said it best when he described this arc as a "snack" between the main course of the series' larger arcs. Even if it isn't a grand slam in terms of storytelling, there's enough good here to recommend it. The title characters are growing and gaining depth by the week, and Batman serves a purpose beyond just "hey look, it's Batman!" Pick it up if you're curious, and start from the beginning if you like what's here. Green Lanterns is a winner for sure.

This is a series of good scenes that don't quite come together to make something great, but it's still captivating reading. The intentions and themes are better than the story itself, which isn't bad just loosely constructed. Taylor gets some strong character work out of the Kents and Lois, and anything that attempts to reinforce the strong friendship between Superman and Batman is okay by me. At the very least, if you felt like the Injustice 2 comic lacked a proper ending, this will surely suffice.

Full of strong character work and some laugh out loud moments, this is another solid entry in the Injustice saga. While it feels more like a transitional issue that sets up storylines going ahead than a complete story unto itself, it's still an enjoyable read with some great artwork to boot. Truly, if Lobo laughing at Jaime Reyes' plight doesn't fill you with joy then I don't even know what to tell you anymore.

Injustice is an exciting read, bar none. As in previous chapters, the real strength of the book is Tom Taylor's deft characterizations and dialogue. There's a great forward momentum in the storytelling and a growing sense of tension, and it all works because we care about the characters involved.

Pure entertainment from beginning to end, Injustice 2 continues to be an absolute blast to read. Besides a bit of strong emotional depth, the story is just so insane that it can't help but be entertaining. This is a book where Starro has become a Red Lantern, something that would have been the craziest thing to happen in any other story, but no. This book has one-upped itself by making Lobo a Green Lantern, proving that no idea is bad if the storytelling potential is there.

If I were to call this "another chapter of Injustice," don't think that's a slight in any way. With storytelling that is both grand and intimate, along with some of the best character work in comics right now, this series continues to be massively entertaining. It's funny, it's sharp, and it's moving, with smart writing and breathtaking visuals. You might not expect it from a video tie-in comic, but I dare you to not be moved by this book.

A bit slower than we're used to by this point, this is still a rock solid entry in this series. Given that the story has to wind down at some point, the shifting of pieces on the figurative game board was to be expected. Tom Taylor does a fantastic job of making it as organic as possible, though, and he still manages to make this book entertaining and genuinely moving when it needs to be. The shift in visual styles is a boon, as Xermanico's ink-heavy, sketchier line work provides moments of genuine terror and stunning beauty in equal measure. Even if it's not "the best" issue of Injustice 2, it's still pretty good.

Slow and steady. There's some good dialogue throughout and a few flashes of visual inspiration, and the overall quality of the series can elevate even a lesser installment when taken in context. That said, there's not an awful lot that happens in this issue, and much of what's here doesn't make much of an impact. Still, it's nice to see a lot of these characters again, especially as we head toward the finale.

Solid storytelling with an engaging, emotional core, the penultimate issue of Injustice 2 is a pure pleasure. There are a few clunky bits here and there, but by and large the story is funny and, amazingly enough, heartwarming. Who knew we would root for Killer Croc and Orca to find happiness together? Tom Taylor knew, and he was right for it. It may be seen as "filler" to some, but it has a crocodile man wearing a tuxedo on the cover. How can you not want to buy this?

The finale for the Injustice 2 comic has a lot going for it, but it doesn't come together as a satisfying whole. The characters are strong, as you've likely come to expect, and there's some terrific visual storytelling throughout, it just didn't feel like an ending. Rather than ending with a period, or even an ellipsis, the story ends on a comma. It feels incomplete, a loose collection of solid scenes that are greater than the whole.

It's not really an ending, and the book is well aware of that. If you're already on board, this will give you at least something to enjoy; if not, you aren't going to be won over. There are a few twists that, if given a chance to be explored in the future, could provide some great storytelling opportunities. As it is, the final issue of Justice League 3000 is an incomplete chapter that knows it's incomplete and uses that to its storytelling advantage. It's pretty much the comic book equivalent of the "S.O.B.s" episode of Arrested Development, which is maybe the greatest compliment you can give anything.

An imperfect experience with nonetheless good intentions, this focus on the Ray has some great ideas and solid thematic material. The reintroduction of Aztek will hopefully bring some new perspective to the title, and though she's a new person under the helmet I'm starting to like her already. A lot of my appreciation for this title stems from understanding where the creative team is coming from and what they're going for, and now that Orlando is bracing for his big arc I'm hoping the intents come together with the writing to create a truly memorable team book.

A year on and it finally feels like Orlando is getting to tell the story he wants to tell. The parts are greater than the sum, and this definitely feels like a bunch of scenes strung together rather than a cohesive whole, but what's here is compelling and enjoyable just the same. I'm interested in how the wishes granted by the Queen will impact the universe, I'm intrigued by the idea that the League is meant to inspire anyone and everyone to action, and I'm invested in Caitlin Snow's arc. A solid start to what will hopefully turn out to be a great arc.

Entertaining without being remarkably deep, there's enough here I enjoyed to keep me invested. Orlando's character work is pretty strong, though the story is getting a little lost along the way. It's the details that make it succeed though, like Caitlin being torn between her nature and doing what she felt was right, and seeing cool uses of powers and appearances by goofy characters are a plus. This book is slowly starting to come around, so here's hoping Orlando can continue on an upward trend.

Disappointingly average for a story that should have been epic. Orlando writes a few small character moments that land, but otherwise this was an anticlimactic, almost frustrating finale. The story was just getting started and now it's suddenly over, resulting in a story that feels largely incomplete. Some nice visuals and character moments sprinkled throughout elevate it ever so slightly, so it isn't a total loss, though it's far from satisfying.

This series has long had an identity crisis, and that problem doesn't look to be resolved any time soon. There's no immediacy to the threat, no emotional stakes presented, so what we're left with is a book without any real substance. The team talks at each other without truly interacting, and events come and go without reason or explanation. It looks good, to be sure, and there isn't anything offensively bad, but I was honestly bored through most of the story.

By leaning into some strong character work and solid emotional beats, the finale to "New Life and Death" ends up being one of the better issues of Justice League of America in recent memory. As the series approaches its finale, it's become clear that the point and purpose of this team together will likely never be realized, but if you've stuck around long enough to see it through there are some strong beats here and there that make it worth it.

Sometimes a book just needs to be entertaining, and that's exactly what this issue of Justice League of America is. There's not a whole lot of depth to it, just a few exciting scenes strung together to tell a story. Orlando hits on some good character beats, particularly with both men who bear the mantle of the Atom, and despite a few iffy panels there are lots of interesting visuals. A good time, and that's good enough.

Steve Orlando is having a blast writing this book, and it's hard not to go along for the ride. While the plot is a little light and the driving conflict isn't as pressing as it needs to be, this issue succeeds as pure entertainment. With generally impressive visuals and an undeniable sense of adventure, I had more fun reading this issue of Justice League of America than I have any other comics in the past few weeks. It's like playing with your favorite action figures alongside your best friends, which I'd like to think is high praise.

Less a conclusion to this series and more the pathway to others, Justice League of America ends on a curious note. Between fleeting moments of greatness and strong character work, the setup for stories and teams to come makes this issue feel oddly incomplete. Because of that, the series feels unfinished as well, since it effectively serves as a pitch for two other books. Regardless, the stuff I like is really strong and I genuinely like it, and even with its shortcomings the book is neither offensive nor a disaster. I wish, in the end, that it could have maybe aimed higher or had a clearer path cut out from the beginning, but we got to spend some time with some likable characters. And Lobo. Who is awesome.

Intriguing but disjointed, this issue is a decent enough beginning that could have been paced a little better. With so many other books and shorts this world is taking shape fairly well, but there's so much more that could be dug into.

Light on plot but heavy on action, this is a quick read that is still satisfying. After the decent start, DeMatteis, Timm, Silas, and Avia have settled into this world nicely and twisted the familiar concepts to make an intriguing alternate reality. It has a ways to go before I'd say it's a masterpiece, but based on my initial reservations I'm pleasantly surprised.

The negativity towards the heroes, while realistic, weighs everything down a bit too much and makes it less fun than it should be, but it's a solid enough ending for this story. Hopefully, as Josh has said, this lays the groundwork for future stories and more characters in this universe, as it's a good start, imperfect as it is.

Overall: Flawed, but respectably so. It's an interesting take on Batman, and the different dynamics at play make it a nice character study rather than a straight-up superhero tale. Read it in context with the other books and it paints a broader, more complete picture. That said, I'm intrigued and wouldn't mind a longer mini focusing on this Batman.

After a fun opening chapter, I was hoping for that same spirit this time around. Instead, we get an installment that focuses mostly on a large group whose members don't do much to distinguish themselves from one another, making what should have been fun and even silly come off as twee and even a little annoying. The lack of exposition in the first issue was a nice breath of fresh air; now, the lack of any sort of explanation as to who these kids are makes it incredibly difficult to get attached to any of them or care about their plight.

It's not for me. I like Orlando and Way quite a bit, but this story just didn't deliver. The early promise of wackiness loses steam long before the conclusion, which comes from out of nowhere thanks to a character's ill-defined power set. It generally looks fantastic throughout, barring some pseudo-religious imagery that is too abstract to tantalize and too bizarre to offend, but that's not enough to make it worth recommending.

Super weird, and not immediately to its benefit. This issue takes its time getting anywhere, but when it finally does it approaches greatness. Part of that comes from Way and Orlando's writing styles taking a while to gel together, as the incredibly disparate worlds their respective teams inhabit aren't immediately compatible. Once it clicks, though, this becomes one of the strangest mainstream stories I've read in some time, and that's in the best possible way. If further installments can keep the same visual excellence and eventual narrative intrigue that this issue achieved, "Milk Wars" may be a (non)event for the ages.

A great idea that delivers generally good results, so by and large this experiment was a success. Not all of the stories worked, be it from shaky dialogue to lazy plotting, but on average the writing was good with a few entries that were outright great. This is certainly a project that should continue in the future, and some of the talent here need to have their own books sometime soon. The DC New Talent Showcase delivers precisely what it promises, and while the $7.99 price tag is definitely a bit too high, this is still a great chance to see where some future stars began.

Much more complete than last year's edition, the New Talent Showcase brings together some promising individuals to tell some intriguing short stories. Not every installment works, to be fair, but there are some real gems here. At $7.99 it is pricey, but with contributions and assists from industry veterans like Klaus Janson and Scott Snyder, it's good to see the confidence DC is putting in this group.

A grand reintroduction, this book already promises to take the best aspects of Dick's previous guises and adventures and make something great out of it. There's the importance of family, Dick's desire to be his own man while still doing Bruce proud, and the skills and tricks he's learned all along the way that come together and make Nightwing a truly engaging leading man. With the talents of writer Tim Seeley and illustrators Javier Fernndez and Chris Sotomayor delivering such a quality product, it goes to show that if Nightwing isn't better than Batman, he is just as great.

Two issues in and things are already in high gear. Seeley is crafting a grand, high-adventure story and is wisely plotting it like an old film, and the artwork from Fernndez and Sotomayor is already finding a groove and making for some truly striking visuals. I'm glad Dick is back in blue for sure, and the fact that he has such a quality book makes it that much sweeter.

*And if you haven't seen The Princess Bride, stop what you're doing and go watch it right now. Even if you have to skip work. Your boss will understand; they've already seen it.

Good, not great. Everything works in context, even if it plays out more like a montage than anything, with plot points and beats coming and going rather than being fleshed out with a lot of substance. Problems with structure aside, it's still full of what makes Nightwing great, and barring a misstep or two I still had a good time.

Don't get the wrong idea: this story never really gets bad, it just isn't great. Alternatingly silly fun and compelling tragedy, Orlando never commits to one tone over the other and both stories suffer for it. The idea of the titular threat could be a great, goofy romp, and an exploration into Bruce's fresh grief should be more moving than it is. The former doesn't work with the gravity of the latter, though, and the latter doesn't get nearly enough focus to actually feel genuine, so the whole issue just feels off. And for a story called "Night of the Monster Men," this should be an absolute blast when it absolutely, though unfortunately, isn't.

Getting better. There's enough to like here to recommend it, from the snappy dialogue to the great visuals, and the fact that it gets genuinely good in the second half makes it all the better. There are still plenty of problems with the story as a whole, and I doubt we'll be thinking about it much in six months or so, but a solid use of one of the oldest rogues in the books may go a long way toward redeeming the crossover. "Night of the Monster Men" is silly, but thanks to Nightwing it's starting to get fun.

Solid fun from beginning to end. With snappy dialogue, great visuals, and phenomenal character work, Nightwing continues to be a grand swashbuckler of a superhero book. The main criticism I have is that this feels less like the start of a new arc and more like the interrupted epilogue of the previous story. Regardless, it's a great read, further proof that Nightwing is one of the most solid books DC is publishing today.

Nightwing has been remarkably strong since its relaunch, and this is a fitting end to the first arc. If Seeley is setting out to give Dick a great rogues gallery, then Raptor is a good start. The sympathetic backstory make him a far more compelling character than he could have been, and I appreciate that Seeley didn't cop out and make him misunderstood or apologetic. Nightwing is truly back in fine form. Now bring on Superman, Bldhaven, and whatever the future holds.

An interesting meeting between two legendary characters, it doesn't go where you'd think it would but it's ultimately satisfying regardless. Superman and Nightwing are two of the most optimistic characters in comics, and a duo that have a long, interesting history between them. Any meeting between the two is at least worth paying attention to, and while this issue never quite achieves greatness, it's comforting in how optimistic it is. Sometimes, that's all you need: genuinely heroic characters and a reminder that things and people can be better. It's a little cheesy, a little corny, and wholly necessary.

I like where this is going. Tim Seeley has had a pretty deft hand with Nightwing already, and this just further proves he knows how to write the character. There are enough new elements that it feels fresh, yet the story never comes off like an info dump. This is a logical progression from what came before, building on the previous arcs and series to help shape Dick into a hero all his own. I loved the pacing, the writing, the art, the colors, pretty much everything about this issue. Forget visiting; while it may have a scary name, Bldhaven is shaping up to be a pretty nice place to stay.

Nightwing continues to be the most consistently excellent Bat-book on the stands, I'd gather. There's yet to be a true stinker yet, even going back to the crossover a few months ago, and Seeley and crew keep hurdling the already high bar they've set for themselves. With a brilliant concept in reforming forgotten villains and the built-in appeal of Nightwing himself, the return to Bldhaven is already paying great dividends. Even if I wish there was maybe a tad more attention paid to Dick in his own book, the strength of the product as a whole more than makes up for what few shortcomings there are.

Nightwing continues to impress, though with the talent involved that's hardly a surprise. With great plotting and gorgeous art, this may be the most consistently excellent Bat-family title on the racks. The themes of rebirth and redemption ring true, and the feat of making even a villain like Orca sympathetic is no small task. I love Nightwing, I really do.

More of the same greatness that's come to be expected of Nightwing. The deliberately paced storytelling allows for investment in the characters, and that investment pays off when the script asks you to be moved. It's a tricky balance, and one that's not used often enough these days, but the creative team strikes it almost perfectly. Nightwing is my favorite character, and I'm glad that he's the star of such a well-written, gorgeously illustrated book of his own. Moving, involving, and exciting, this is everything good comics should be.

Nightwing's return to Bldhaven has been a confident slow-burn, an example of solid storytelling told at a deliberate pace. It isn't flashy or fast, it's just good old fashioned character-focused storytelling, taking the time to explore ideas and themes that other books or creators may gloss over. The cast is great, the art is beautiful, and the title character is regaining the confidence that he's had all along.

A nice little character piece that just makes me wish we could get more one-and-done stories in comics. The characters and dialogue are solid, the art is great, and there's enough here to set up future stories without feeling like a part of an incomplete whole. Were there stylistic choices made that I wouldn't have done? Sure. Is it still evident that Seeley knows how to write Nightwing and his world? Absolutely.

The first real disappointment of Seeley's Nightwing run, though it's not without its charms. I appreciate what Seeley has been doing with Dick's personal life, though I wish certain aspects of his relationship with Shawn hadn't been rushed. As such, since that's the driving force behind this new arc, it doesn't quite come together. Thankfully, Seeley still knows how to write Nightwing, and he certainly knows how to write Damian as well. Those brilliant interactions, along with some reliably great work from Fernndez and Sotomayor, elevate the book above its disappointments.

After a slightly shaky start this issue comes together as one of my favorite in the new Nightwing run. It's exciting and action-packed, well-illustrated with enough good character work to give it an emotional core. Seeley twisting Dick's "identity crisis" on its head and bringing in ideas from the Multiverse was a great surprise, and I love the almost non-issue of who the Deathwing character is. The relationship with Shawn still isn't all there, but seeing it simply as "Dick needs to save somebody in danger" gives him more than enough of a clear motive. Nightwing has been consistently entertaining since day one, and when it's good it's really good. This issue? It's really good.

There's nothing inherently wrong with this issue, and there's nothing particularly great about it either. Some individual moments are particularly strong and it's never outright boring, but it does feel like the arc has hit a lull. There are some good action bits, some enjoyable weirdness, and a genuinely moving subplot, so while this may not be Nightwing at its best it's entirely serviceable. Frankly, I just wish it had gone full-Morrison and been weirder.

Equal parts creepy, funny, and exciting, this is exactly what I want Nightwing to be. While there's not been an issue that I've outright hated so far, this arc has seen the title go through a bit of a slump. Things are clicking now, though, and Nightwing is finally firing on all cylinders.

Nightwing has been a remarkably consistent title since the beginning. It has skirted greatness and has never been anything less than entertaining. Reaching the end of "Nightwing Must Die!", the title once more approaches greatness. The characters are great, the dialogue is winning, and the artistic talent is top-notch. I'm loving Nightwing, plain and simple.

As a one-off story with a bit of setup for future arcs, this is fine. I promise you I'll forget most of it within the month, but it's fine. The writing is a bit rough, consisting of both great ideas and grating dialogue. It's a breeze to read, though, and even with a questionable script Dick and Wally have an easy chemistry. Bldhaven itself is probably the most fascinating character here, with different locales bringing out different aspects of the city. While this was not my favorite issue of Nightwing, it was a serviceable break between arcs and a nice little breather.

Another solid entry in the saga that is Nightwing. This is just as much Blockbuster's story as it is Nightwing's, so it's nice to see the deliberate pace and almost cinematic nature of the script. Coupled with some excellent art, energetic action scenes, and engaging character interactions, "Blockbuster" looks to be the start of another excellent chapter in the life of Nightwing.

Proof-positive that good character work and strong dialogue can be just as gripping as wall-to-wall action. From the get-go Seeley has taken a slow-burn approach to Dick's life, and when it works it works in spades. "Blockbuster" is shaping up to be a gripping drama, letting each piece fall into place in its own time. Even though it's deliberately paced, it's never boring, and further proof that Nightwing is one of the most consistently solid titles on DC's slate.

Grand and gripping entertainment, from beginning to end. This is action storytelling at its finest, with an extended fight scene that is one of the best in ages. Not content with "just" being an adrenaline-pumping good time, though, there's also plenty of heart to be had here. Seeley's walking the fine line perfectly, building his world and making you feel for the characters while also making you want to do a bunch of push-ups because it's so exciting. Nightwing is great, is what I'm getting at.

A good "anniversary issue" in its own right and a nice "season finale," Nightwing finishes its first year strong. The storytelling and dialogue are great as always, with relationships developing at a believable, deliberate pave. That's to say nothing of the art, which is some truly inspiring from Jung and Sotomayor. From the opening scene to the final cliffhanger, this issue of Nightwing delivers on just about every level. Bring on act two.

The opening installment of "Spyral" may not always hit the mark, but when it does it sticks the landing pretty well. Despite an early lack of proper pacing and some shaky visuals, the issue really comes into its own late in the game. There's some great character work throughout and some stunning pencils at times, and the sting at the end completely changes the narrative in the entire Nightwing series up to this point. This is a good comic; here's hoping this talented team can make it great.

Another solid entry for sure, there's a lot of great story going on in Nightwing. Each individual thread stands on its own as some compelling drama, but it never quite comes together to be truly satisfying. Still, the writing is superb, the visuals are stellar, and the synergy between the two makes for one of the best teams in comics right now.

Even when Nightwing isn't inherently great, it's still entertaining. This issue is a victim of a rushed schedule more than anything, and while it does have its problems, there's enough good here to keep your attention. While I wish this arc had been allowed to breathe a little more and develop its ideas further, the creative team deserve credit for doing something a little different. There are some interesting themes presented and some genuinely creepy visuals, making this one of the most unique issues of Nightwing to hit the stands in years.

More a collection of scenes than a complete story, even for a second chapter of an ongoing tie-in this is sadly disappointing. There are individual elements that I liked, and the issue looks great from beginning to end, but overall I had a hard time getting through this story. As a whole Metal has been pretty great so far, and this in no way derails it, I just wish the spotlight on my favorite character could have lived up to everything Seeley's done before.

Tim Seeley's final arc on the title kicks off with an issue that has some good ideas and some sloppy execution.

Better indeed than its predecessor, this issue of Nightwing brought me back on board with Seeley's final arc. With some intriguing plot developments, bits of humor, and some truly outstanding art, this book is back on the road to greatness. Fitting for such a strong talent's swan song on the title.

There's plenty good here, it just never coalesces into a solid story. Rather, this plays off like scenes meant to drive the narrative forward rather than a cohesive issue in its own right. Seeley's script is mostly solid, if it touches on themes and relationships were used to seeing by now, but his Blackjack parallels don't quite land. The subplot with the Run-offs is remarkably strong, though, and the great visuals go a long way to elevate the quality of the issue. Overall I liked it well enough, I just wish I had loved it.

Seeley almost goes out with a bang. This is a more than solid ending to a pretty great run, full of great character beats and some pretty exhilarating action scenes. There are a few revelations that didn't quite work for me, but overall I had a great time, and sometimes that's all you need. Seeley set out to tell the story he wanted to tell, and in that regard he succeeds. Even with a misgiving or two, I think it's safe to say he went out on top.

Nightwing is back, and fans should certainly be happy. Like other Rebirth issues, this is a bit of a slow burner, but Seeley wisely uses it to reestablish already strong relationships and to set the stage for other characters' futures in the DC Universe. It's good, not great, and that's okay: it doesn't need to change the world, it just needs to set up Nightwing's place in it.

Nightwing: The New Order is full of some great ideas and interesting thematic material, yet it doesn't quite get off the ground. With stretches of exposition and a rather bland futuristic environment, this is a case of the series potential elevating the existing material. Once we get a better feel of the world Higgins has created I'm confident this series will be more exciting, but for right now it's an okay debut that has plenty of room to grow.

The ideas are there, it's just that the execution isn't quite delivering yet. Higgins starts off strong with a gorgeously illustrated and engaging flashback sequence that's much more interesting than the actual narrative, which is rather slow, cold, and dare I say boring. There's still plenty of time for the story to come together, and Higgins has been hinting at some pretty interesting developments in upcoming issues, but as a wholeNightwing: The New Order has yet to take off.

Three issues in and Higgins has finally hit his stride. By having Dick go on the run and bringing in more DC characters, Nightwing: The New Order has improved dramatically. While there are still a few aspects of the story I haven't fully bought into, I'm much more intrigued now than I have been up to this point. The change in direction has done nothing but good things for the narrative, and a future world that felt cold and distant feels at least somewhat familiar and more alive. As a reader I'm excited to see where this goes.

After taking some pretty substantial steps forward, The New Order has fallen back again. Never bad, just dull and slow, it's unclear what Higgins is trying to say with this story. Even Dick Grayson, one of the most fully realized characters in comics, comes across as two-dimensional at best, and what should have been a sure thing in having him interact with his former Titans teammates instead falls flat. The visuals have even begun to suffer again, eschewing some of McCarthy's inventiveness and flair he showcased last month in favor of sterile, lifeless environments. I hope the final two issues turn it around, but as of now this series has its work cut out for it.

While the problems are still there, this is a definite improvement over the previous installment. In some ways, it's the most mature and emotional issue of The New Order so far. Higgins hits the right notes with the tension between Dick, Kory, and their son, along with resisting the temptation to have Dick backpedal on his beliefs. Even after all he's seen, Dick still feels that he made the right choice, making for a far more layered and complex characterization. We'll see how it wraps up in a month's time, but after this issue I'm much more interested in the outcome than I had been for some time.

Nightwing: The New Order has never been my favorite book that I cover. The story has never really grabbed me, and while there have been some nice character beats to be sure, the overall narrative failed to deliver. The finale here does its best to wrap everything up, but still can't make this a story worth recommending. To his credit, Higgins did write a self-contained story that doesn't go out of its way to leave the door open for a sequel, though if he had I don't know who would really want it. This is a story that didn't know what it wanted to say or who it wanted to say it to, and while it's far from terrible, it suffers from a worse fate than simply being bad: it's boring.

From the creative team that's been assembled to the concept behind the series, Robin & Batman should be right up my alley. It almost reaches perfection, but a few personal quibbles hold it back. Even still, there is no reason that I wouldn't recommend this at the very least on a technical level, because the craftsmanship is second to none. Here's to hoping that the brief glimpses of heart and warmth come to the forefront in the next two chapters, because there's potential for greatness here.

Sad and disappointing, Robin & Batman should be an easy recommendation, and instead it's just one more exhausting traipse through joyless Batman comics. That it's made with such craft and skill makes it all the more disappointing, as it looks stunning, and the writing isn't even bad on a technical level. As a fan of the characters, I just find the choices to be baffling and frustrating, since this could have been one of the best comics of the year.

The ending this series deserves, I suppose, even if it's never clear what the story is trying to say. If it's that Robin will become just like Batman, the ending contradicts that. If it's that Robin's presence gives Batman a new outlook on life, that's not evident at all, save for a single line. As I said regarding the second issue, this is not in any way a bad series, but a disappointing one. I wanted to love it. I should have loved it. When all is said and done with Robin & Batman, I didn't enjoy it, and only just appreciate it for its visual excellence.

A better issue than some of those that have come before, it is still hampered by weak pop culture gags and bad dialogue.

Recommended if:You want a simple, quick read.You've played and love the Scribblenauts games.Weird narrative and illustrative devices intrigue you.

A definitive ending to what amounts to nothing more than a cash-in retread of Crisis on Infinite Earths. At least it was shorter? I guess?

The Saturday morning cartoons of comics, and that's a great thing. Super Powers is simple, pure fun from beginning to end, complete with great laughs and surprising depth. With charming artwork and whimsical storytelling, this book is perfect for kids, families, and longtime comic fans alike. I'm already a fan, so it's already won me over, but if you're on the fence, give it a chance. It just might make you a fan, too.

Fun, light and breezy, Super Powers is just a great time all around. Baltazar and Franco know how to write stories that are engaging for all ages, and this is no exception. I love the weird corners of DC history the duo mine to get characters for their stories, for who would have thought we'd be seeing Composite Superman again? In a kid's book? Super Powers is pure, unadulterated entertainment, optimistic without being corny and wry without being cynical.

Not every book needs to be like this one, but I'm glad we have Super Powers. It's a break from darkness and cynicism, a book that exists solely to be fun. As an all-ages book it works marvelously,and there's plenty here to reward longtime DC fans. Pick it up, leave any reservations at the door, and relive the pure joy of being a kid again.

Super Powers is non-stop fun and occasionally even mature, thoughtful storytelling. It's good for some laughs, the endless stream of cameos and references will keep you on your toes, and there are a few twists that are actually pretty engrossing. I love it for what it is, and what it is is a blast.

Light fun with a surprising amount of pathos, Super Powers' penultimate chapter continues doing what these books do best. It's harmless storytelling for all ages that is bolsterrd by a sharp wit and deep knowledge of DC characters. While this chapter may not stand on its own, it tells its story well and I'll gladly revisit in when I re-read the series as a whole.

Pure joy from beginning to end, Super Powersperfectly captures the joy of reading comic books and is just plain fun. The look is bright and colorful, the action is breezy and entertaining, and the writing is both funny and reverent. What the story lacks in depth it more than makes up for in knowledge of the DC Universe, and it's a "good vs. evil" morality tale that is sweet without being saccharine. Give these guys more to do, DC, because at this point I'll read anything Baltazar and Franco put out.

Undeniable fun from beginning to end, the first Super Sons annual is a winner through and through. It's lighthearted without being goofy, filled with just enough pathos and emotion to carry weight without ever getting dreary or self-serious. The terrific storytelling from Tomasi, Pelletier, Smith, and Lanham sells the idea of an all-animal super team, resulting in one of the most flat out entertaining comic issues of the year.

A near-perfect debut for our Super Sons, this is everything Comics should be. Tomasi nails the characters, unsurprisingly, and Jimenez infuses the visuals with energy and details that elevate it to true greatness. I loved almost everything about this issue, from Jon's mawkish innocence to Damian's entitled snobbery, and even more when the two play off each other with some truly hilarious banter. I was expecting to like this book quite a bit, or even love it as just a fun piece of entertainment, but Super Sons has exceeded my expectations: it's exciting, engaging, and fun, a charming book that's unafraid of being earnest in a far too cynical world.

Just as charming and fun as the premiere issue, with one or two minor quibbles. I was on board with Super Sons when it was announced, I was on board before it even debuted, and I'm still on board one month in. Almost everything about Damian Wayne and Jonathan Kent's adventure clicks: the writing is snappy and spot-on, the visuals are pitch perfect, and the tone straddles the line between fun and serious perfectly. This may be one of the best books DC has debuted in years, and I see no signs of it slowing down any time soon.

Another strong entry in the best new series of the year. Super Sons is everything comics should be: fun, exciting, involving, and above all entertaining. Tomasi's writing is top-notch and the gorgeous visuals from Jimenez and Sanchez bring the action to vibrant life. This is a rare all-ages book that is nestled firmly in main continuity while truly appealing to readers young and old. Whether I ever run out of great things to say about this book remains to be seen, but as it stands right now, I can't praise it enough. Super Sons is great, plain and simple.

Super Sons is special. It's as much a comedic adventure as it is a straight-up superhero book, blending witty dialogue and exciting action to create a truly great comic. Even if I enjoyed this issue just a tad less than the earlier installments, it's sill one of my favorite books on the stands. It's well-written, wonderfully illustrated, and just plain fun, a pure example of entertaining comic book storytelling.

From the beginning, Super Sons has been all about the dynamic between Damian and Jon. That's on full display here, as Tomasi has the boys come to a head and begrudgingly work out their differences. The intent is better than the execution, but it's still a relatively enjoyable issue. The drama works, the action beats are great, and the chemistry between the leads is a blast. Super Sons is fun, there's no two ways about it, and that makes even lesser chapters worth reading.

This is a promising start to a new arc, and one of the things that makes it succeed is balance. Tomasi doesn't just throw the boys into the thick of the action; instead, he lets them be boys (Jon especially) and is willing to slow down long enough to let them grow. Throw in some nice action beats and some truly obscure villains and the book is as exciting as it is moving. Because of that, Super Sons continues to be one of the most satisfying books on the stands right now.

Super Sons has settled into a groove over the past few months. It's a strong title, though it has yet to attain the excellence that it had in its opening issues. Still, it's a charming, highly entertaining book in its own right. The characters are strong, the artwork is fantastic, and the overall energy is tangible. At its core this is about Superboy's growth, and I'm glad to be along for the ride.

Even a pretty ok issue of Super Sons is still really good. The stunning visuals complement an intriguing if incomplete story, with lots of great ideas laid out without being fully explored. This book is primarily about the relationship between Robin and Superboy, though, and while there's maybe a tad less of it than in previous issues, Tomasi still delivers in spades.

Coming off an unclear plot direction, the rather abrupt ending and dissonant art make this the weakest issue of Super Sons yet. There are individual moments and character beats that are incredibly strong, along with some amazing visuals from Jorge Jimenez, but it never gets to be enough to make the issue great. This is a book that I hate to disparage, as it's still entertaining and has great potential. Hopefully the creative team realizes that potential and is able to bring the boys back on track from here on out, because I still want to love Super Sons.

More an issue of Teen Titans than Super Sons. That's not inherently a bad thing, as the proceedings were enjoyable en0ugh and the final page reveal was a genuine surprise. Still, I'm not entirely feeling this crossover so far, and in a single day of releases it's already halfway over. A moderately snappy script from the always reliable team of Tomasi and Gleason helps, as do some fairly attractive visuals. The ideas are there for a compelling narrative, but "Super Sons of Tomorrow" has yet to realize its potential.

I hesitate to call this the best installment of the arc, as most of its strengths come from interactions and developments that could have come about another way. As in, the whole "Super Sons of Tomorrow" story wasn't necessary to bring everyone to where they are at the end of this issue. Still, the final few scenes are strong enough to almost recommend it on its own, and the Hypertime visualization makes for a fun game of "spot the story." The arc itself may not be redeemed, but Tomasi and Gleason wisely focus on character over continued spectacle, strengthening the bond between Jon and Damian to hopefully make Super Sons an even stronger title going forward.

Now that the series is ending, this is pretty bittersweet. Once again the boys' interactions and friendship are more than enough to sell the book, and some great art doesn't hurt things either. It's a relatively low-key issue, but strong in the way Super Sons is at its best. Here's to a memorable meeting between their mothers, an ever-strengthening friendship between the boys, and for the series as a whole to end on a high note.

With an attractive visual aesthetic and whip-smart writing, this issue of Super Sons is a flat-out good time. It may not be overly ambitious or have world-shaking consequences, but it's another example of Robin and Superboy growing as individual characters and as friends and partners. This may not be the biggest book in DC's stable, but it may very well have the most heart. Simply put, Super Sons is a joy to read.

For the penultimate issue of Super Sons, Tomasi and team deliver what you'd expect: strong dialogue, great visuals, and a good time with the title characters. What the story lacks in depth is more than made up for with the sheer entertainment value of seeing Jon and Damian interact with each other. They've grown to be friends with each other, and in some ways, it feels like we've become friends with them too. Hopefully next month's final issue can deliver and send the boys out on a high note.

Super Sons is a thrilling, enjoyable read that's just as much about character as it is about heroics. That's what makes it stand apart, and that's what makes it a success.

Fun, funny, exciting, and just flat-out great, this is what comics are all about. The chemistry between Jon and Damian is hysterical, and Tomasi and Gleason continue to prove that they know how to write comic books. Superman is one of my favorite books being published right now, and if this is an indicator for how great Super Sons will be, we're in for a treat.

Far and away the best DC comic on the stands, the fact that it features Batman is a bonus, not the selling point. This is everything Superman should be: hopeful, optimistic, joyful, and bright. Under the pens of Peter J. Tomasi and Patrick Gleason, this isn't just a snazzy cosmetic change; this is a Superman who loves his humble life, does the right thing because it's right, and who wants to be a bright light in a dark world. He isn't burdened by his role; he embraces it, and that's the Superman we need.

Rock solid entertainment, this feels like an issue of Superman smooshed together with an issue of Super Sons. It never reaches the highs that either book is capable of, but it's still a ton of fun. There's some great action, fun dialogue, and an overall lightness you wouldn't expect from a story called "Black Dawn." It only occasionally feels like "super-inspiring Superman," but it constantly feels like "crazy Silver Age Superman," and I'd say that's a pretty fair trade.

I don't know what this crossover is trying to be, and I don't think it has any idea either. While the overall story is treading water, this issue does have a few momentary flashes of greatness. Tomasi and Gleason know how to write character interactions, and some of the zaniness with Hypertime is a blast in how insane it is. Despite some clever visuals and a few bits of inspiration, though, "Super Sons of Tomorrow" continues to be a frustratingly average story.

Like I said, even just writing about it improved my mood. Most of it is the fact that this is part of a still incomplete whole, but while I may not totally agree or even like everything that's being done with Clark's character at least it's something a bit different. If nothing else, it's a great spin on the typical Superman/Batman story, and any time we can get one of those where they don't punch each other I'm ok with that.

Still imperfect, but an entertainment in its own right. Clark is starting to become a character we actually recognize, and Landis' writing is getting tighter as well. There are still a few hamfisted lines here and there, but seeing Clark actually being a reporter and interacting realistically with different people shows a good grasp of the character. Batman's portrayal may be too irreverent for some, but hey, sometimes you need to be able to laugh at what you love.

This is more for the series as a whole rather than this one issue, but it's one of my favorite books right now. Lois and Clark belong together, and seeing them face the challenges of parenting while keeping secrets of their own makes for great storytelling. Batman only appears briefly, though the sequence is exciting, and Jurgens' script really drives home how well Bruce and Clark work together. Pick it up from the beginning and enjoy.

The final issue of Superman: Year One is an odd mishmash of decent ideas, never becoming greater than the sum of its parts.

No joke, this is one of my favorite comics being published right now, and one of the best series on the stands. Superman's Pal Jimmy Olsen is simultaneously hilarious and sincere, inviting you to laugh at the outrageous story while still being invested in the characters. It's an amazing balancing act that Fraction, Lieber, Fairbairn, and Cowles have pulled off perfectly each and every month, with hardly a bad issue yet. This is a funny comic made by people who are having fun with comics, and that joy is infectious and evident in the reading. Now pick it up, friends, and prepare to be Calendarmangled.

A "lesser" issue of Superman's Pal Jimmy Olsen is still pretty much superior to everything else out there, and such is the case here. There's just the slightest feeling that Fraction and Lieber tried to rein in the organized insanity so they could progress the plot, even just a little, which takes away just a teensy little bit of the book's goofy charm. Not nearly enough to leave a lasting impression, mind you, but just enough to be noticeable. Still, this book has been nothing but great from the beginning, and when a hilarious cameo from Batman is only the third greatest thing in your issue, you know you've got solid gold there, chums.

Two very different stories that are both pretty good. Any amount of Swamp Thing is great, so getting two new stories in one volume is a treat. The King/Fabok half has lofty ambitions that aren't quite realized, but it's gorgeous and fascinating just the same. Wein reuniting with Kelley Jones is a different affair, with a fairly standard story idea that resonates more due to the unfulfilled promise of a bright future with the character. Swamp Thing Winter Special is a little messy and unkempt, but ultimately lovable, just like Swamp Thing himself.

Recommended if:You enjoy the Teen Titans Go! television series.You want a few quick laughs.You want to know what Starfire would look like with a mustache. Just trust me on this.

Goofy, irreverent, and fun, it isn't deep and doesn't rise to levels of high art, but you know what? It doesn't need to. Sometimes you just need a good laugh, and they're in abundance here.

Overall:Handling some pretty decent, if not exactly cutting and completely good-natured satire, this issue provides what every other issue does: laughs, gags, and (mostly) clean humor. It isn't for everyone, and it doesn't break any sort of new ground, but it's a fun time with fun characters, and sometimes that's all you need in your comics.

Delivering on its promises, no more and no less, this tie-in that could easily be a throwaway cash-grab proves to be just as funny and entertaining as the show it accompanies. It's not for everyone, but anyone looking for a good laugh or age-appropriate book need look no further.

Overall: Funny and breezy, as usual, the conceit of a staring contest between the Titans doesn't work quite as well on paper as it probably would in motion. Regardless, it's an inoffensive read and good for the few minutes it would take to get through.

Overall: A scattershot mess of storytelling, each subplot could have easily carried the book on its own, but instead everything feels tired, well-worn, and half-baked. A few of the jokes land, and it might pair better with last week's much better story, but on its own it honestly feels like a huge missed opportunity.

At this point, if you're not on board with this series then nothing anyone says will change that. Still, there are worse books you could spend a dollar on, and continuity-free silliness is a breath of fresh air every now and then.

More silliness, more of what you'd expect. It's innocent, harmless, and kind of dumb, but there are much worse things in the world you could read.

A one-note joke that goes on for far, far too long. There's nothing else to say, because there's nothing else there.

Overall: The best installment in months, I laughed harder than I have in at least a month. It may not be as smart and witty as Tiny Titans was, but it's still a good comedy book with some fantastic, colorful art. Check it out if you have children you want to read something with, or just want an enjoyable read by itself.

Breezy and fun, I had more fun reading this installment than I thought I would. Some of the aspects were a little weird if you think about them too hard, but it's harmless and in good fun. Nothing earth shattering here, just a fun, easy read that will make you laugh.

Far and away the strongest chapter of this book in recent months, it's well worth picking up the print issue with the also pretty great previous digital installment. It's goofy, it's kind of dumb, and there are absolutely no consequences for anything that happens, but it's fun and that's all part of the charm.

You get what you get with this series. It's never groundbreaking or elevated above a formula, but it's inoffensive, dumb fun. Don't think too hard and just enjoy it.

One of Hagan's funnier scripts, the sheer weirdness of the whole story made it more enjoyable than I was expecting it to be. Seeing Robin go a bit power hungry is always funny, and as much as I like Beast Boy, I'd be lying if I said that uppercut wasn't at least a little bit cathartic.

Like I always say, it may be kind of dumb, but sometimes that's all you need. Comics should be fun, and even though it's pretty lightweight and not to everyone's taste, these Teen Titans are great for a laugh or three.

It's actually been a pretty good streak of solid stories on this title, so a disappointment is to be expected. There are some laughs and a few nice surprises, but ultimately this story felt like a storyboard for a cartoon rather than a comic in itself.

It's kind of a "same song, second verse" scenario with this book: you always know what you're going to get. It's goofy, usually harmless, and oftentimes great fun. If you're not on board already then nothing will change with this installment, but if you can enjoy laughing at the sillier escapades of favorites like Robin, Starfire, and Cyborg then Teen Titans Go! may just be the book for you.

About as bad as I've seen this series get, and I'm usually pretty forgiving toward it. It looks bad, it isn't funny, it's poorly written, and I can't think of anything beyond a line or two that would appeal to any demographic. Frankly, beyond that, I don't have anything else to say about this outright misfire.

I won't use that word again, I promise. This isn't as bad as the title has been the past few months, but it isn't great either. There are a few laughs and some good ideas, and while I wouldn't say it's exactly worth a dollar, there are a lot worse things you could spend money on.