Busiek strips the most traditional comic hero origin story to its very essence, leaving us with a Bruce that is a lonely, traumatized little boy, and a Batman that is a frightening shadow of the night and a product of Bruces psyche. Such bareness of soul serves to remind us that, despite the current tendency of making him an all-knowing, larger-than-life character, Batman in deep down a product of a broken spirit trying desperately to heal. And that is what makes him so fascinating.

After being introduced to the reader with the Golden Age, Bruce Wainwright is taken through the Silver Age as he enters adulthood. As far as meta literature goes, Kurt Busiek and John Paul Leon excel at depicting the colorful, bright era of the Batman. Nevertheless, much like in real life, this take on the character becomes tiresome after a while. Busiek seems to be aware of that, adding well-needed conflict by the end of the issue that will hopefully guide Bruce to his Bronze Age.

The climax of the storyline is now reached as the bat and the man become ever so close. With three masters of their art (Kurt Busiek, John Paul Leon, and Todd Klein) working together in perfect syntony, this book dives deep into the inner workings of Bruce Wayne's mind as he goes through his Bronze Age, the detective era of Batman.

A multidimensional book set in the Multiverse, as Batman investigates Batman himself. Incredibly well woven, with enough power to send the reader searching for answers in the history of the Caped Crusader, diving into the psyche of the man behind the mask and the mask itself. If that sounds like Morrison, it was probably their intention all along.

The story is based on interesting key points, but fails to fully convey the Dawnbreaker's motivations, making him a one-dimensional character.

With a well-developed concept, believable backstory and faultless execution, Batman: Murder Machine is a striking comic. Frank Tieri and James Tynion IV gave a little twist to the Batman mythos and yet kept true to their core, making it even more unnerving than simply distorting Batman into an evil version. Stunning, gut-wrenching art gives us the visual to yet another Batman mourning story, one which will surely leave its mark in the history of the Caped Crusader.

Batwoman #1 is an improvement from the overbearingly dense Rebirth issue. The art is unique, but the color is conflicting with the lines. The plot shows promise and the new characters are being well introduced, and the cliffhanger at the end might lead to some intricate plot points.

This is a flawed issue, but the negative sides are outweighed by the positive. With compelling new characters and some revelations made about the main threat, Batwoman #2 is an essential plot point for this story arc.

This issue is one step away from being filler, but it gets some threads on the right path for the conclusion coming in the next issue.

The arc wraps up nicely, solving the most immediate danger at hand and leaving open interesting plot lines to be explored in the future.

Aside from the sublime artwork on this issue, the tale also helps us understand where Kate, Safiyah and Tahani stand on each other.

The Fall of the Batmen will be continuing on November in the pages of Detective Comics.

Overall, this issue is good for those looking for a fast way to get acquainted with Batwoman's background, but I do feel that it is not really essential for the plot to come.

In a issue that is more connective tissue than limb, Jolle Jones manages to keep the story interesting by giving Mrs. Creel her own zombie sidekick, if he could be called that. With some minor bumps in the art department, the issue will likely be better read when in trade.

An issue that reads like a Previously on Catwoman and looks like a roller coaster. Its biggest merit is summing up the entire arc until this point, something that needed to be done for how convoluted it has been until now.

After some knots and mishandlings, the second story arc of Catwoman is wrapped in a bow. A bow that is a bit askew, but a nice looking bow nonetheless.

Perfectly balanced between a stand-alone storyline with an in-continuity background, this issue is less of a Year of the Villain story and more of a Catwoman story, requiring no further reading of the current event to understand the plot. Incredibly in-character, Ram-V and Mirka Andolfo explore the stepping stones laid by Jolle Jones in the past year magnificently while still making this their own Selina in their own Villa Hermosa.

With some new and some obscure characters sprinkled here and there, Catwoman #15 is the perfect final act for this thrilling and fun tie-in.

Were back with Jolle Jones and Laura Allred on art and were back with a feast for the eyes. The entire issue feels like a particularly tasty candy given to you after a particularly painful dentist consultation: a lot of off-panel action leading to a lot of masterfully conducted action scenes. Jones is a wise dentist, though, and goes for all of her trustful equipment, using parallel action scenes, horror themes and the absurdity of the banal as tools that make this a great issue.

Jolle Jones and Laura Allred once again deliver a feast for the eyes. Despite the slightly confusing timeline, this is a must-read for those who appreciate intricate graphic storytelling. Plus, there is a little treat for those craving for BatCat.

A setting of the stage and an admirable first act, this issue manages to establish not only the conflict but also the characters involved. Little to no explanation is left for the next chapters in this six-part story, which will probably lead to fast-paced action.

With masterful storytelling and a perfect tone, Doomsday Clock has all of the potential to become the rightful heir to Watchmen.

As the symphony of doom continues, Gary Frank and Geoff Johns conduct the instruments provided by the DC mythology and the Watchmen with mastery. A fine example of world-building coupled with stunning storytelling makes the second issue of Doomsday Clock continue on the level that the first issue set as the plot moves forward in a natural pace.

With some new layers and new characters presented, Geoff Johns and Gary Frank are finding their balance on the edge of the plot becoming overcrowded. Yet, with a genuinely well conducted plot and continuously brilliant storytelling, they manage to guide the reader through the twists and turns of the story.

A beautiful tale about trauma, companionship, and forgiveness. It takes the Rorschach mask from its original nihilist role and puts him in a lighter tone. Drawing parallels between Walter Kovacs and the current Rorschach, between Watchmen and the DC Universe, what we get is the tale of a well-constructed legacy character whose mentor can be found flying in the sky.

After an introspective issue, Doomsday Clock comes back full force putting all of the engines to work. Filled with political undertones and parallels with the real world, this issue moves the narrative forward, sending the characters on a collision course with each other.

Filled with bizarre imagery and ultra-violence. Making a parallel between past and future, this issue moves the plot forward only a slim slice. Focused on the characters, it makes for a delightful read of the Joker, and gives a deep insight into the Mime and Marionette.

While the quality of Doomsday Clock never fails to reach high levels, the premise and the conduction are beginning to stretch themselves a little thin.

This clock is running late and its battery is overheating. While running to reach the conclusion of way too many storylines that have been left hanging for way too long, the storytellers seem to have lost their footing. If it wasnt for the safety net (also known as Watchmen and its structured graphic storytelling) this issue would be lost to the deathtrap of a way-too-high, way-too-risky balancing act.

With some minor execution slips, this is a well-built issue that adds to the history of Jason Todd as a character. It is a must-read for fans of the character, as it provides a look into one of the aspects of his life that makes him be who he is.

The latest chapter in the history of Jason Todd as the Red Hood is coming to an end, and the creative team that has been guiding the Outlaws since the beginning of Rebirth is certainly closing it with a bang.

While keeping connected to the story being told in the regular issues, this Annual also works as a one and done that can be read independently. A fun read for those missing the old Red Hood/Arsenal times.

As for Jimenez's art and Alejandro Sanchez's colors I can only describe it as beautiful, expressive and fun. The arms and legs of the bullies sticking out of the monstrous snowball had me chuckling as a kid. I can't deny that I was expecting Patrick Gleason to be the artist, considering his history with Damian in Robin: Son of Batman, but Jimenez and Sanchez had me with their Superman Annual, and from that moment on I was even more hooked for this book. If the following issues are of the same quality as this one, this is sure to bethe all-ages comic book that so much people had been waiting for, and I can't wait to try and bring the kids in my family over to the geeky side of the force with the help of Robin and Superboy.

It is only issue #2 of this series, but I feel like we are in for an amazing ride. Kid Amazo has been built based on show-don't-tell, a rare thing in comics, and the subplots are keeping a good stride to the pacing of the storytelling. With a strong plot, fun dialogue and amazing art, there is almost no negative sides to point out in Super Sons, except that it only comes out once every month.

A fast-paced issue that manages to continue with the storyline while still delivering a large amount of action. Tomasi further develops Kid Amazos back story and Jimenez manages to put a great variety of action images together.

This is a comic book directed at a young audience, with children as the main characters, a kid villain and ending with a parental scolding, yet it constitutes one of the most mature titles in the DC line. A fun, well rounded final issue for what was the first story arc of Super Sons, leaving us wanting more of what is to come.

Overall: A humorous, well-developed filler issue, with some unforgettable panels and dialogue. Alisson Borges holds Jorge Jimenezs torch with honors and Tomasi continues being one of the best writers when it comes to characterization.

Overall: Tomasi builds an issue heavily influenced by old school super hero stories, which works perfectly for two heroes-on-build such as Robin and Superboy. Jimenez returns with full force to the title, giving us the best Teen Titans depiction at this moment in DC Comics.

Focused on Superboy and his interactions with the Teen Titans, this issue will make you wish the Super Sons team took over the Teen Titans. Also, their invitation for Jon to join them whenever he feels like it gives me hope for a team with Superboy in it.

Despite being predominantly an exposition issue, Tomasi manages to fit into it equal parts action and character building moments, making it a fun and worthwhile reading. An essential chapter in this arc and for better understanding the evolution of the friendship between Robin and Superboy.

An uncharacteristically clumsy issue for Super Sons, with some editorial problems that show through the final product. The abrupt change in artists is upsetting and takes the reader out of the story. Tomasis pacing here faltered, with too much exposition for a final issue. The final page is rewarding enough for this issue not to be such a big disappointment. Otherwise, easily the weakest issue of the series yet.

Despite the usual great characterization by Tomasi, the pacing of this issue is off. The inconsistency of the art increases the unsteady feeling of the storytelling, while a misplaced interlude breaks an otherwise natural transition from the first to the second moment of the story. Nonetheless, it builds the expectation for the upcoming crossover event, Super Sons of Tomorrow.

After a too long build up, what Super Sons of Tomorrow delivers is not what is in its name, bringing instead another team to the forefront. While Jonathan Kent – here the protagonist – is, as usual, well portrayed, the antagonist's tale is not built well enough for him to escape the stereotype of a monologue-loving villain.

While the event itself did not deliver what it advertised, this one final issue raises the stakes for the future of the young members of the DC Universe.

Lighthearted and joyful, the Super-Pets might well become more popular than the Justice League in years to come.

With a narrative structure that allows for anyone to jump on and off the title at any moment and a new team that works to Robin's strengths as a character, Teen Titans seems to be going in a very good direction after the ups and downs of the previous run.

A well constructed, slow-paced issue that reads both as a setup for what is to come for the team and a character study of Roy Harper. Dominated by talking scenes, Pelletier is essential in creating mood and visual dynamics even when the characters are not involved in action scenes.

After carefully placing his pieces in a perfect composition for collision, Dan Abnett strikes and leaves a beautiful chaos behind. In a storyline driven by internal and interpersonal conflict, Paul Pelletiers expressive style could not be a better fit.

Despite having a number of storytelling problems, this issue of Titans manages to move Roy and Donnas story forward.

Overall, this issue presents a bland development of plot and character, made dynamic mostly thanks to Gleason, Lupacchino and Sanchez. While the dialogue was very on point and faithful to what little we know from the new characters, there is very little to help flesh out the dynamic of this new team. Yet, this title still holds high promise.

The plot of the series feels as if it is on standstill while flashbacks take the forefront. This may yet prove to make sense once the full story unfolds but, meanwhile, the single issues are starting to feel more like “team member of the week” and less like a team book.

After a couple of issues that felt a lot like stalling, Young Justice seems to be steering back to track.

This issue is torn between a very good flashback with bad timing and an engaging fight scene that gets split in half. Despite that, it still feels like it could have been the most relevant of the series since the first issue if it was placed better.

A well-conducted, well executed and, most importantly, extremely fun issue wraps up the first story arc. Young Justice is back!

The definition of an issue that can lead to fun conversation amongst friends. The all-ages storyline and art hits the nail right on its head for the target audience of Wonder Comics, with a curated choice of artists whose works are a delight to the eyes and whose styles work together amazingly well.

While the previous issue felt more like a fun stand-alone portraying the misadventures of the team, this issue gains flesh and brings the story back to its main line. With some stunning art delivered by John Timms and Gabe Eltaeb in every single action scene, this would be a must-read even if it weren't for the suggestion of Tim Drake's new identity – which is coming from the most obvious place ever. That's a stroke of genius.