Despite feeling repetitive at times, this was a good read that was big on the action.

In any case, Action Comics #976 is an overall solid conclusion to "Superman Reborn" and closes just as many doors as it opens for the future of the Man of Steel.

As the story comes to a close, we see that the World’s Greatest Detective was once again prepared for the worst, bringing in a heat-based virus to subdue Freeze. The dichotomy of heat versus ice is a beautiful reflection the poetic nature of the narrative, and further solidifies just how profound a story this is. The narration is an essential part of the issue, perhaps even more so than the dialogue, as it flows step for step alongside the art and lettering to form a complete and dynamic piece of literature that you can be proud to place in there longbox. The prose style of writing may not work for everyone, especially if you’re a new reader, but this is without a doubt one of the deepest Batman stories Snyder has delivered yet.

Dan Abnett has been slowly building towards an all-out war between Atlantis and the surface world since the beginning of this run, so it's great to finally see the payoff, even though, as Arthur says, "both sides are being played by a third party," in the form of N.E.M.O.

Whether or not Avengers #1 is a suitable jumping-on point for new readers remains up for debate. It's the beginning of a new arc that also sees the formation of a new iteration of the team, which Waid contextualizes early enough in the issue. Still, a first-time reader may easily find themselves lost within the continuation of plot threads from the All-New All Different Avengers. For existing or returning readers, this won't detract from the effectiveness of the story, but with a big, bold #1 on the front cover, it would be a disservice to not set the proper expectations. However, regardless of which side of that particular fence you fall on, Avengers #1 is a fun, action-packed story, with dynamic sequential art that fully embodies the extravagance that is Earth's Mightiest Heroes.

Avengers #1 was a major step forward from the previous All-New All-Different Avengers title. Unfortunately, Avengers #2 feels more like two steps back compared to its predecessor.

Batman stories are a lot like pizza. When they're good, they're good and when they're bad" at least they still have Batman. That being said, this was a good issue and while it's by no means Tom King's best work, it's an enjoyable read with beautiful art that I definitely recommend picking up.

This is an excellent finale to what has been the beginning of the era of Tom King on Batman. King is an incredibly talented writer but at the start of this arc, I knew his biggest hurdle was going to be not falling victim to the shadow cast by Scott Snyder and Greg Capullo. Now, at the end of his first arc, I feel comfortable saying that King has laid the framework for an iconic run of his own on the Batman title. David Finch's art has been consistently praiseworthy and I definitely hope to see him return for a future run but I understand the need for a change due to twice-monthly shipping. Bottom line is that this is an exceptional issue of Batman that I highly recommend getting your hands on.

While the outstanding visuals speak volumes about the talent of the art team, Batman #10 is a rare misstep from the generally consistent Tom King. The development of Catwoman’s arc was a valuable inclusion, but the main plot threads ultimately miss their marks. The repetitive nature of the dialogue results in a Batman that feels entirely robotic. Likewise, the ham-fisted references about broken backs and the overall treatment of Bane undermine everything the villain has done outside of Knightfall. The art conveys a visually compelling story, and the letter from Catwoman is crucial part of the “I Am Suicide” arc, so it’s certainly worthwhile to pick up Batman #10. However, it might best to check your expectations at the door before diving into this one.

If nothing else, the “I am Suicide” arc thus far has made it abundantly clear that Tom King is a very distinctive Batman writer. With Batman #12, you aren’t getting your run of the mill superhero comic book - you’re getting something far deeper and incisive. The core concepts and values that make up what you know and love about Batman are still there, but King is definitely presenting us with an evolution of the character. The curb appeal, thanks Janin, Petrus and Chung’s breathtaking art, is reason enough to pick up this issue. Make no mistake, though - Batman #12 is a compelling statement about the character, making this book an essential part of every Bat-reader’s collection.

Part five of "I am Suicide" wraps up what has been a roller coaster of a story arc thus far. Tom King has taken Batman to Hell and back, and in Batman #13, the splatters of paint from each of the previous issues finally come together to form the beautiful painting King imagined.

The conclusion seems to put a pin in the Batman/Catwoman love story for now, and if that is the case, it's a satisfying send-off for the wayward lovers for the time being. The same can be said for Mitch Gerads, too, whose visuals will be sorely missed. Still, together, King and Gerads round out what ends up being a beautiful story of betrayal, revelation, and love.

Overall, King does a great job furthering the plot as the I Am Bane arc continues to unfold, and it ends with our first look at the menacing, masked man from Santa Prisca, himself, setting the stage for what promises to be an explosive next issue.

As the "I Am Bane" story arc continues to play out in the pages of Batman #18, writer Tom King not only ups the ante on the action, but he also gives us a more intimate look at the parallels between Bruce Wayne and the boy that would one day call himself Bane.

With one issue remaining, it will be interesting to see how "The Button" concludes, but from a storytelling and visual perspective, Batman #22 has set the bar to incredible heights, placing it at the peak of this four-part crossover thus far.

And speaking of shining brightest, it's worth mentioning that as great as King's Batman run has been so far, these one-shots are where he truly excels, so definitely don't pass on Batman #24.

When all is said and done, Batman #28 probably won't be the biggest game-changer in "The War of Jokes and Riddles," but much like war itself, every battle is an essential part of the outcome, and this issue is no different.

King provides us with a take on the Dark Knight and his two most iconic rogues that transcends the self-imposed boundaries many writers daren't cross, and while you'll have to read Batman #32 for yourself to find the answers to the aforementioned questions, you'll come out with a whole new appreciation for not just Batman, but the man behind the mask.

A Metal-induced acid trip through the Dark Multiverse, Batman Lost is a journey those invested in DC's overarching event can't afford to miss.

Not only is Batman: The Devastator one of the best Metal one-shots to date, but it's an essential part of the overarching story, making it a highly worthwhile addition to your collection.

Frank Tieri and James Tynion IV deliver a deviously dark tale that packs a surprising amount of heart thanks to the parallel father-son relationships " one between Victor and Silas, the other between Bruce and Alfred " that form the foundation of the narrative.

By far the most compelling, if not chilling of the evil Batmen one-shots, The Batman Who Laughs firmly establishes this terrifying new visitor from the Dark Multiverse as a character truly worthy of DC's post-Metal roster. Still, it's his significance in the main story thus far that make choosing to pass on The Batman Who Laughs nothing short of a detriment to the overall experience of DC's biggest "Rebirth" era event to date.

I never doubted Nick Spencer's ability to tell a good story but I severely underestimated his ability to create a one with this much complexity, in a way that doesn't feel convoluted but rather, makes you want to go back and re-read his previous work to look for clues along the way.

After an iconic run on Daredevil by Mark Waid and Chris Samnee, Charles Soule had some big shoes to fill. Issue #7 is Soule's seventh example of proof that he is more than capable of living up to the challenge. He has taken everything that works from not just Waid's run, but also Miller's and Bendis', and combined it into a style gives us the most visceral and ideal version of the Man Without Fear.

Dark Days: The Forge ultimately does what it set out to do, raising the stakes while also raising enough questions to hook readers in for the next chapter, with the creative team doing more than enough legwork to justify the existence of this prelude issue by delivering powerful, filler-free substance.

This was a solid read that as a Batman fan, scratched a very particular itch I've had for quite some time.

The bar for future creative teams working on Detective Comics has been set high above the tallest towers of Gotham City.

The previous issue of Detective Comics was one of the best things to come out of DC Rebirth and this book hammers home the fact that it wasn't just a flash in the pan.

James Tynion IV has taken Detective Comics and transformed it from a secondary Bat-book to an absolute can't-miss title. This has been a consistently great read and with all the momentum it's gathered so far, I don't see things slowing down anytime soon.

Throughout this issue, particularly in the closing pages, Orlando seamlessly wraps up the crossover, clearly delineating its ties to previous events within the Bat-family books, while simultaneously planting the seeds for the upcoming arcs of both Batman and Detective Comics. The end result is a book that skillfully balances hard-hitting action sequences, dynamic character beats, and of course, your quintessential Batman moments. Rounded out by the perfect correlation between the script and MacDonald and Rauch's imagery, this was a solid outing by the entire creative team, and a milestone that marks the successful completion of DC's first post-"Rebirth" event.

Detective Comics #945 is yet another example of Tynion’s outstanding ability to juggle multiple profound plot points, while simultaneously fleshing out a diverse and dynamic ensemble cast. Like the previous issue, the cliffhanger conclusion of this chapter highlights Tynion’s level of expertise when it comes to the serialized format. Despite the unfamiliar additions to the art team, the sequentials round out what ends up being one of the most captivating issues of Detective Comics under Tynion’s reign. Whether the reveal on the final page is an ephemeral plot device or merely a red herring shouldn’t take long to be answered. In any case, the suspense will likely have you be chomping at the bit for #946 when it finally hits stands.

As Detective Comics #946 comes to a close, one can’t help but marvel at Tynion’s ability to play across the emotional spectrum. As always, this issue is a roller coaster ride through feelings happiness and anger; through hope and despair. That being said, the art team still manages to do an outstanding job following the intricate ebbs and flows of this engaging and fast-paced story. The classic Caped Crusader action is rounded out by strong character beats, as well as captivating sub-plots, and truly sets the bar for what an ideal team book should be.

The issue concludes with Wally finding himself in the clutches of the Shade, which, despite being calculated from the start of the issue, still hits its mark, and leaves you in suspense as you eagerly await the next chapter in this tale.

It's tough to say where this series will go, but if you're looking for your badass Ghost Rider fix, you may be better off tuning into ABC on Tuesday nights for the time being.

In any case, the story still manages to satisfy, particularly with the return of an unexpected character in the closing pages of the book, which will presumably follow suit with issue #17 in bringing Hal Jordan and the Green Lantern Corps out from its largely self-contained bubble and into the greater depths of the post-Rebirth DCU.

We don't know the full details of Tony Stark's post-Civil War II fate, so there is a bit of missing context, but Stark's new status quo comes off as both ominous and yet affords him a new and interesting dynamic with Victor. Oddly enough, this issue contained far less dialogue than your typical Brian Michael Bendis book. Still, less truly was more in this case, with plenty of character development and plot building.

As if I haven't sang their praises enough, I strongly believe that Brian Michael Bendis and Alex Maleev as a creative team can do no wrong. If they can, this book is no indication of that. It comes as no surprise that their paths keep crossing. International Iron Man is the younger sibling of Bendis' two titles featuring the Armored Avenger but if the quality remains as consistent as it's been so far, it could easily become the more popular of the two.

The introduction of Riri's new A.I. on the final page promises to appeal to long-time Tony Stark fans, but Invincible Iron Man #1 also serves as a perfect jumping-on point for anyone looking to dive into the world of comics.

If you give a chef Kobe beef, caviar, German chocolate and high-end tequila, chances are they can make a dish that has some satisfying aspects, but ultimately, there's going to be some things that taste weird together. That's essentially what you get with Justice League #9, a book that is made up of some truly excellent ingredients that don't combine to make a consistent dish. Hitch's story is captivating, and the art team is capable of some amazing work, which there is traces of throughout the issue. Unfortunately, the aesthetics fall short in comparison to the narrative, leaving you with a book that is by all means good, but certainly not great.

All in all, it's the creative team as a whole, firing on all cylinders, that make Justice League of America #1 a truly successful introduction to a team book; one that's definitely worth hopping on while it's still on the ground floor.

Overall, Justice League vs. Suicide Squad #6 is a fun, action-packed read, with plenty of implications for the upcoming JLA title. As a whole, though, the event ended with a bit more of a whimper than a bang.

All in all, this was not a great book. It wasn't necessarily bad, but it is by no means an essential read.

This book is a simple one-shot, bridging the gap between the first arc and next month's Civil War II tie-in issue.

In any case, unless you're a completist, I think it's safe to pass on this particular issue. The lack of character development, clashes between art and script, and overall business of the story result in a book that doesn't do much to progress the series as a whole.

This is a book I took a chance on. I'm not too familiar with Alterna Comics and had no prior experience with Gregory Schoen or Alonso Molina. Admittedly, I'm a bit of a Superhero junkie but this was a refreshing read, far different than anything normally on my pull list. The black and white may not be for everyone but if a sci-fi/historical coming-of-age tale is your sort of thing, I definitely recommend giving this book a shot.

If you want an action-packed story with a strong developing team dynamic, then I highly recommend picking up Red Hood and the Outlaws #2. It meets just about all of your standard superhero team-up book expectations, but still manages to stand out from the crowd with great scripting and stellar art.

This is an OK issue of Spider-Man/Deadpool that you could pick up if you're in the mood for a few laughs

While Kieron Gillen's epic 25-issue run gave us the methodical Sith Lord we loved from The Empire Strikes Back, Soule's Darth Vader #1 sets the stage for a series that will likely embody the savagery of Rogue One's closing moments, making this introductory issue perfect for those left salivating after Vader's last on-screen appearance.

The pacing of the book is done a disservice by the abrupt tonal shift between the two narratives, but it's still an enjoyable read, with a great cliffhanger for the main story.

Despite the moments of character development for Harley Quinn, they're sure to be short-lived as things return to the status quo for Task Force X. Still, Suicide Squad #7 is ultimately a fun ride. It doesn't require you to check any baggage at the door because Williams delivers exactly what you would expect from the ragtag band of rogues - hard-hitting action, humor, and the most bizarre team dynamic in the DC Universe.

While it's certainly not a game-changer, Suicide Squad Rebirth #1 is a good read with plenty of fun moments and lots of action. Rob Williams fully captures the team dynamic and has a solid understanding of what the Suicide Squad is all about. The art isn't quite what I was hoping for but an excellent array of colors by Alex Sinclair helps to alleviate some of the pain points I came across.

Peter J. Tomasi and Patrick Gleason do a superb job paying homage to Darwyn Cooke and DC: The New Frontier in Superman #8. It's done in a manner that is easily accessible to those not steeped in DC lore, with plenty of added bonuses for longtime readers. The art team of Doug Mahnke, Jaime Mendoza and Wil Quintana are perfectly in sync, providing stunning visuals that fit the narrative without feeling derivative. This is a book that I highly recommend getting your hands on.

The character interactions are definitely the highlight of this book, and from the look of things, the next issue promises to build on the solid foundation Superman #10 has set.

The crisp-clean line work is brought to life with a hefty dose of vibrant, glowing color from Wil Quintana, rounding out what ends up being a beautiful looking, well-written, and all-around fun Superman story.

On the whole, the story certainly pays off, but a slightly deceptive cover and overall lack of Superman keep this issue from standing as tall as some of its predecessors.

Superman #18 is an incredible introductory chapter to the "Reborn" story arc, setting an emotional and ominous tone for what's to come, and definitely leaving you wanting more.

Champagne's characterization of Superman hits all the right notes based on what Tomasi and Gleason have given us over the past year, but from an artistic standpoint, Superman #29 doesn't soar quite as high as past issues that have featured Doug Mahnke on pencils.

This issue did exactly what it needed to do and I finished reading this story with the same hope and optimism for Superman as I had for the DC Universe as a whole after reading the Rebirth Special last week.

It's a perfect set-up issue, and sets a nice pace for the remainder of the story's progression.

Teen Titans Rebirth #1 is an overall solid book. It does exactly what a set-up issue should by establishing the status quo of the team as they join the rest of the post-Rebirth DC Universe. Percy and Meyers also provide killer visuals, complemented by Charalampidis' colors. I don't know where things will go once the series officially kicks off, but I highly recommend picking up Teen Titans Rebirth #1.

Artist Oliver Coipel's action sequences and his depictions of the various creatures Odinson encounters are intense, and fully capture the brutality of a man with nothing to lose, but everything to reclaim. Colorist Matthew Wilson also makes great use of a darker palette selection, further enhancing the atmosphere of the story.

While the character of Kobik is becoming a grating presence to the rest of the team, Thunderbolts #7 is nonetheless enjoyable for what it is, and if your pull list isn't too crowded, it's certainly worth a read.

Out of all the titles DC has released since May, no single issue has better epitomized the message of Rebirth than Trinity #1. Francis Manapul expertly ties up remaining loose ends and ties in elements from DC's past and present. Despite ending with a cliffhanger, this 20-page story still manages to feel complete and is by far the best individual comic I have read in all of 2016.

Duggan's parallel storytelling, with contrasting themes of harmony and hostility, is simply superb. This is not what I expected from Uncanny Avengers, and it's definitely one of the deeper issues from the series. Stegman's art is solid, despite not being his best work, and Isanove's colors work wonders to capture the tone of the story.

As a standalone issue, this third installment from "The Lies" arc isn't quite as strong as its predecessors but it's still a great book when you look at it as a chapter of a larger story. I still highly recommend Wonder Woman #5, especially due to Liam Sharp and Laura Martin's phenomenal art, but I would also recommend re-reading the story arc as a whole once it's collected in trade.

What this issue lacks in action, it certainly makes up for in solid character development, story progression, and outstanding imagery.