For the sheer exhilaration of seeing the character's proper history fully restored, more or less, I'd say this is worth a buy. Just don't expect a ton of answers beyond hand-wavery on the specifics of how we got here or how the pieces all fit together.

There's nothing earth-shaking here, but Jurgens leaves Action just where he found it. A well-spring of wonder and his tenure was something to be rather proud of, all things considered.

This is my favorite issue of All-Star Batman so far.

Just a really fun issue all around from a consistently enjoyable run.

This is a fun kick-off, and a great all-ages tale that should appeal to both the parents that grew up loving these shows and their kids who they've probably at least tried to share it with at some point.

The bottom line here is, if you're enjoying this arc, this is a good closer and marks a step-up from the already good, if somewhat scattered, "I Am Gotham" storyline. I'm keeping my fingers crossed that this Catwoman two-parter with Mitch Gerads and "I Am Bane" pull everything together in the coming months. I'll call this one a buy, as hope springs eternal as clearly the final moments here will prove important for what's to come.

It's a very quick read, as these things go, and that's sort of helped along by some lovely, but heavy action paneling by Fabok. Honestly, one might feel a little short-changed by the overall lack of familial bonding, but Williamson gets in just enough emotional payoff to make this jaunt worthwhile.

This is a great comic book, the best issue of King's run, and the best Bat-comic I've had the pleasure of reading in quite some time.

I went in not knowing a thing, and I'm coming out now far more excited than I imagined. Can't do much better than that!

The book isn't without a few minor kvetches, namely I really could have done without that Silencer namedrop from Talia, which screamed DARK MATTER SPIN-OFF!, but these two issues taken together as an even stronger whole have got to be the most promising lift-off for a mainstream comics event I've seen in quite a while.

DC Nation #0 doesn't quite take the same narrative tact in attempting to tie its own respective disparate stories together, but it still provides a similar showcase for its biggest writers who are attached to its marquee titles.

I'm selling this way hard, I know, but wow I loved this.

Drop something else if you have to, but this is the comic we should all be talking about. Smart mainstream comics like this are far too short a supply.

Just what are these "dark days" that are ahead for us in 2017? After almost a year of really fun Batman books, with Detective at the head of the class, I can't wait to find out.

Look, it's the Allreds on Doom Patrol, which basically says it all. Way crafts his most approachable tale for a book that some have complained is a bit too insular and in love with its own continuity, and we get to see some building blocks for the next phase of the series. I can't imagine you'll find a more purely fun mainstream comic this week, so do yourself a favor and add this one to the top of your pile. Or don't I guess, we all make mistakes now and again, it's your life.

As The Flash is on the precipice of entering a two-part crossover that's going to put everything on hold, Williamson has to make the the most of the narrative real estate here, and he does so pretty expertly, giving a relatively fresh angle on the current goings-on in Central City by way of Iris' journalistic perspective, as well as her budding relationship with Barry. It's not exactly going to give you any new insights into her character, but for a book that's been so burned into Barry's anguish related to the loss of his parents, the betrayal of one of his best friends, and his only just recent building of trust with Wally, any kind of perspective shift is a good one " especially for a generally well adjusted character like Iris.

A good superhero comic making great use of a team of artists in ways that make sense. Something that's actually more rare than I'd like to admit.

Perhaps it's not a book for everybody, but man is it ever a book for me when its respective strengths are at the forefront. I'm glad to have this team back!

This has been a really enjoyable run thus far, and this opening issue to the new arc is no exception. It continues to restore the Green Arrow long-time fans know and love, it has just enough of a hint of the television support team and corporate villain that new fans can hop in and get a bit of something they recognize, and it looks terrific while doing all of that. Give it a shot, it's not a bad starting place either.

I'm not sure if Green Lanterns is the most improved book over the course of Rebirth's first year, but it's definitely in the conversation. I'm glad I stuck with it.

The torchbearer is back, and it's pretty darn exciting.

It's a great start to the new wave of three debuting DC books this month. I highly recommend getting on board this series from the outset, it looks to be going really wild places within the margins of the DCU.

I've talked about much I adore Orlando's work by and large at DC, and I will say it again, I truly think he's the most talented dialogue writer in superhero comics.

The first half is driven by Dan DiDio and Keith Giffen, and before you scurry off, allow me to remind you that their OMAC was one of the best New 52 comics, and also a pretty great Kirby tribute on its own.

The past couple of issues, as I think I noted in my last round-up, have seen an uptick in the overall quality of the series and with this issue we get not only the best issue of the entire run, but also a stand-alone experience that transcends the stated aims of the series.

Damn, there's quite a bit of meat on this bone. It's this week's must-read.

It's a blast. It doesn't quite go all in on the thematics the way its predecessor did, but I think doing so would have felt false given the action-based nature of Rivera's take on Cave. Milk Wars continues to be the one of the most impressive crossovers of recent memory.

Honestly, you can set up murderer's row of talent that have taken a swing at the Fourth World and failed. I know quite a few fellow readers who think outside of its creator, it's never worked in another's hands (I wouldn't totally agree " *he looks over at The Great Darkness Saga, Final Crisis and Orion on his bookshelf*) " but I think this is a promising start and looks to maybe send Scott and Barda on their most exciting spotlight adventure in a very long time.

Not many Rebirth books attempt to break too much away from the typical superhero mold, which is understandable, but New Super-Man is playing just a bit more to a younger crowd and I think that sort of effort should always be welcomed, especially when done in an entertaining fashion.

This is such a good book, why aren't you reading it? You should be reading it. I'm willing to bet it's better than whatever you have next in your stack. Open up your mind and let this one just wash over you. It's worth it, I promise.

It's a beautiful, exuberant blast of positivity in a comic, and it sure made me feel a tiny bit better.

Gosh, I love this book, I really do. Don't be missing out on the most affecting Superman stories in years, seriously. Plus, did I mention the Multiversity sequel part? It bears repeating.

While the Superman line is easily the "most improved" of the entire DC Rebirth relaunch, I feel like Phil Jimenez's work on Superwoman has flown under the radar. This little tale of Lana Lang and her dangerous powerset and the emotional toil it takes on her already existing personal demons has proven to be one of the most compelling DC titles offered.

This comic is a real treat, I'm so glad Sharp and Wonder Woman are reunited. Two great tastes...you know how it goes.

These little choices can be easily scanned over quickly without much thought, but if you take the time to really zero in on just how much energy Rucka, Sharp and Martin place into the themes and visual timbre of this title, it's all the more impressive.

Rucka and team have left Wonder Woman in a much better place than they received her, and I can't wait to see what comes next.

I think this issue on its own makes for a satisfying enough read, it's just that you had to fight through some of the more sloggy middle offerings to get here and fully appreciate where this series is going. BUT, on the bright side, Parker and Shaner stand reunited for these final two issues, barring any unannounced changes that I can tell, so perhaps these readjustments will all prove worthwhile with the whiz bang finale that I, and lots of other kids at heart, have been waiting for. I just kinda wish this title had lived up to its massive potential more often, rather than just in fits and spurts.

As a Wednesday read, it's fine. Big, dumb, Michael Bay-esque superheroics that's real easy on the eyes. You could do worse, and honestly, I probably enjoyed this more than the current Suicide Squad book. I wouldn't put at the top of my pile personally, but if you just gotta be in the know about what's to come, or you just really miss Maxwell Lord (he is pretty great after all, just not on Supergirl), it's probably worth picking up. Give it a browse anyway.

It's not a must-buy, especially given the 5 dollar price tag, but on artistic merit alone between Buckingham, Rude, and Kirby, if you're looking for some top-notch pencil work, this is a fun diversion " especially as an academic exercise.

I have to admit, my nit-picks aside, I do enjoy reading this book more than I should. Jason Todd, as the sort of "extreme" Batman character is a decent fit for Lobdell's scripting, and now that he's relegated to just that character rather than working with the original Outlaws line-up that populated the initial New 52 series, he's seemed to have found a solid niche. It's not high art, but I'll take it.

Come for the great Clark-Kara stuff and what should be a pretty fun team-up next issue, just don't expect much of what the cover tries to sell you. Regardless, the good here is definitely good enough to keep me going, but your mileage may vary.

Gleason and Tomasi (along with a troop of impressive creatives that I'll get to in a separate review) have been crafting a long-form narrative that is slowly reframing Superman's world and his place in the DCU. One can only assume that James Bonny and Tyler Kirkman this month were given a mission akin to "keep the lights on while we're away."

. I'm still not convinced that this is a story that needs to be told, but I'm at least more willing to hear the argument, which I think maybe says a good deal about either the quality of the issue or my general desperation for readable Wonder Woman comics.

Anyway, another tie-in that really just doesn't add much. At this point, just stick with the main Metal book, and I'll let you know if these ever become a necessity"right now "signs point to no".

If nothing else, this book makes me long for another Bronze Age go-to: the old "Plot by/Dialogue by" writing split. It'd make a world of difference.

Perhaps this series will surprise me next month. Maybe the movie will too. My phone is on silent and my mind is open.

It's certainly not what I'd call a terrible run, or issue, or anything close to the torture that we've had to experience with the truly wretched books of Rebirth like Cyborg or Batgirl and the Birds of Prey, but it's just a routinely forgettable book and certainly not what should be representative of the flagship of the entire line.

The first half of the story just drags along interminably, with a threat that's not particularly interesting and very little quarter given to new readers, or readers trying to re-familiarize themselves with characters that haven't popped up in a DC Comic in umpteen years. While one doesn't need Chaykin to reinvent the wheel, having it spin in full rotation would be helpful.

Odyssey of the Amazons, in an attempt to strike that sort of cinematic "epic" tone, utilizes narration to tell you exactly what's happening as its happening. In cinema, this works because exposition is required to catch you up and its usually done in a sparing fashion. But in this initial issue, more than half of the panels contain this omniscient narration filled to the brim with purple prose. It's as if the script doesn't trust Ryan Benjamin to be able to translate the story visually without these text boxes telling you exactly what's happening as it happens.

"The Lazarus Contract" has bits and pieces that work, but I get the feeling the stand-out chapter will be its conclusion, as I'd be lying if I didn't say I had some significant interest in a Priest-written super-speed enhanced Slade Wilson (and what sort of internalized journey he'll go through). But the getting there has felt like more work than needed, especially in how it stopped each of its respective series dead cold.

I still like Walker's artwork though! Not worth the price of admission here, but it's something to grasp onto.

Still, there might be something fun here regarding the future of Leviathan and Honor's role within it, but Abnett and Romita need a gel a little more as a team, otherwise, this is going to be one of the first entries in the New Age to come to an early conclusion.

There's promise of course, that's inherent in the concept itself and that alone is an improvement on the previous Batman/Superman and Superman/Wonder Woman comics, but I wouldn't recommend this beyond the lovely art.

First issues are probably the toughest thing in comics, and maybe even doubly so when that first issue falls in the middle of a run of superhero comics that come loaded with their expectations and hopes from a pre-existing fanbase. Sad to say, this just isn't one of those books that inspires much passion out of me at all, nor do I really feel much urge to make a return visit. I'm certain I will, as I read just about everything Wonder Woman related, but this initial chapter doesn't fill me with much hope that this'll be more than a brief pit-stop before the next big event in the character's evolution.