Batman/Catwoman Special #1 is a beautifully produced book on every level. Each artist involved, John Paul Leon the star among them, does an excellent job of paying tribute to one of our great comics artists. Tom King's script maintains a steady balance of realism and hope as it tracks Selina's entire life using her experiences on Christmas Days as the frame. While there is an argument that the second half of the issue is mostly filler due to reprints and pin ups, fans of the series, Bat/Cat, or John Paul Leon himself will not be disappointed if they pick it up.

DC Pride 2023 #1 is a strong anthology with many highs that more than make up for the small stumbles within. I don't think there's a story worth skipping inside and I found myself introduced to a few characters that would have likely slipped past my radar otherwise. There's heart, excitement, and joy contained within the stories inside, but, as Phil Jimenez's foreword reminds us, there's a genuine threat emerging in the form of hundreds of legislative bills aimed directly at removing rights from the LGBTQIA+ community in the United States. As the list of banned books in some school libraries grows, it's become more apparent than ever that stories contain power and that everyone's story deserves to not just be told, but heard.

Batman: Reptilian #1 is my favorite Batman comic I've read in a while. Garth Ennis is a master of balancing dark subject matter with a sense of humor and his take on Batman is highly entertaining. Liam Sharp's intricate art style pairs well with the stripped down narrative that follows Batman as he interrogates a couple of goons in a refreshingly to the point manner. While it likely won't hold mass appeal, those who are on the same wavelength as Ennis and Sharp will find themselves wanting the next issue as soon as possible.

Batman: White Knight Presents Von Freeze is a heavy hitting book that doesn't shy away from the gritty reality of Nazi Germany.

Knight Terrors: Catwoman #1 is an event tie-in book done right. It's enjoyable on its own terms and for those into the event, this should be an enticing spin off to check out. Tini Howard keeps the story relevant to her main run on the character, making it easier to recommend to long time readers while giving the storyline more substance. Additionally, Leila Leiz's pencils and Marissa Louise's colors are some of the best I've seen in a while, making this a complete package.

Knight Terrors: Catwoman #2 is a pleasant surprise as it nearly equals the highs of last month's great issue. I've had my problems with Tini Howard's run overall, but this spin-off story did a great job of summarizing Selina's fears in the current narrative while still delivering an entertaining tie-in to the Knight Terrors event. Leila Leiz is an artist to keep an eye on and while this storyline may not convert people wary of Howard's run, it is a solid way to catch up with Selina's current mental state heading into her next story arc.

Batman vs. Robin #1 is a quick, energetic read that earns the resurrection of a fan favorite character. While seeing heroes fight each other isn't always the most engaging storyline, the fast pace and high stakes set in this first issue overcome the inherent pitfalls of a "versus book. Mahmud Asrar's pencils maintain a sense of clarity despite the over abundance of magical attacks on display and Mark Waid's script delivers a healthy dose of humor to keep the entire endeavor from being a one note experience.

Batman vs. Robin #2 is a risky, yet still satisfying expository issue that clarifies most of the nagging questions from last month. You can argue that not much truly happens in the issue, but the backward looking nature of the storyline works when the craft is at such a high level. Despite the story's grisly high stakes, Mark Waid's script and Mahmud Asrar's pencils are so energetic and joyous that the entire endeavor is more fun than dour. There are a couple of worrying developments in the final pages, but Waid has proven that trusting him usually works out.

Batman vs. Robin #3 threatens to stagnate the series with a routine structure that offers very little surprises until the last few pages. Mahmud Asrar and Scott Godlewski turn in solid work that captures the blend of magic and pure fisticuffs on display in the action. However, Waid's gambit to dredge up old festering wounds sets up a truly affecting final few pages. Bruce's despair and past regrets are tastefully managed, while also paving the way for a redemption deeper than just defeating a monstrous villain.

Batman vs. Robin #4 is a thrilling and emotionally resonant comic that is sure to excite fans on multiple levels. The art is epic in scope without losing sight of the more tender moments ripe for exploration in a classic father-son showdown. Waid's script is well paced while the art team fires on all cylinders, resulting in the best issue of the series and one of my favorites of the year.

Batman vs. Robin #5 does a good job maintaining its high quality despite being momentarily interrupted by the Lazarus Planet event. Readers of the series may find themselves lost if they didn't read the previous tie-in issues, but Mark Waid's script manages to summarize past events efficiently, if not artfully. Mahmud Asrar's art is wonderful to behold and never gets lost in the potentially unwieldy scope of the story and Jordie Bellaire's colors are a treat to the eye. While the intimacy of the series is lost as it approaches its endgame, any fan of Bruce and Damian will be moved by its final pages.

Catwoman 80th Anniversary 100-Page Super Spectacular #1 is a must-read for fans of the character. There isn't an outright bad story in the bunch and the art teams alone make up for any of the lesser scripted stories. Even then, the main flaw of the weaker stories is that they sometimes bite off more than they can chew which at least gives readers something to ponder over.

Catwoman 2021 Annual #1 is a solid tale of conflicted allegiances within a fanatic religious organization. Father Valley and Ludovic dominate the narrative, but longtime readers will likely enjoy understanding Valley's background. The three artists work well together, with Juan Ferreyra's pages a particular standout, but there's no aesthetic missteps as a whole. While the political tension in Alleytown does feel a little abrupt to what came before, V's Catwoman run so far has been stellar and future issues have a great foundation to leap forward from.

Future State: Nightwing #1 tells a familiar tale of a cyberpunk future taken over by a shadowy organization. However, there's not much mystery or intrigue to be found.

Future State: Catwoman is my favorite of all the Future State titles so far. Not only does it deliver one of the better depictions of life in Gotham under the Magistrate's rule, but it feels wholly connected to Ram V's regular Catwoman run. Otto Schmidt's fantastic art is worth the price of admission alone, but a few surprise character appearances and a well-paced script from Ram V make this a must read. It's impressive work from a team that has carved out an engaging storyline within the somewhat murky and uneven Future State era.

Future State: Nightwing #2 plays with interesting ideas in all the wrong ways. The drama is inert due to some key plot points being kept a secret until the end. Additionally, Nicola Scott struggles to both create interesting compositions and display Nightwing's unique skill set. Constant's script is overwritten, filled to the brim with ideas and statements that don't congeal into a precise point. Despite this issue not fully working for me, I'm eager to see Constant's work yet to come.

Future State: Catwoman #2 signals Ram V as one of the best writers at DC right now. V's scripts are purposeful, exciting, and even a little romantic when they need to be. It doesn't hurt to have Otto Schmidt on art duties either as he turns in expressive and dynamic work on a consistent basis. Even with only two issues, V and Schmidt turn in a fully fledged story, with twists and turns, that doesn't let itself get bogged down in pages of exposition due to the changes that came with "Future State".

Batman/Catwoman #1 is a great opening issue that plays with memory and non-linear storytelling, but also manages to establish an intriguing mystery with a dash of romance.

Batman/Catwoman #2 utilizes many of the same tricks as last month's issue, but with lesser results. The premise of the book is clear, but King's narrative structure has drawn battle lines within his own story. It's near impossible to not prefer one of the three competing plotlines at play here, especially since it's not clear how they'll all click together. I have faith in King and Mann to deliver the goods on an aesthetic level, but King's scripting should be wary of focusing more on form than function as the series progresses.

Batman/Catwoman #3 is another solid, though somewhat languid entry into the series. I want some more blood in its teeth and even what should be a prominent action sequence ends before it really gets going. The texture, detail, and atmosphere remains impeccable, but King's decision to split the narrative across three time periods is starting to show some weaknesses in the approach. When you're trying to tell three stories at once, the entire picture better be worth the price of uneven pacing.

The book is gorgeous as ever, but the series' ingrained structure leaves readers hanging onto the past when the future is far more interesting. The thematic connections between the three time periods could stand to be more overt and less implied, that is if the narrative continues to be drip fed.

The three headed monster of a narrative actively hurts the book at this point, keeping themes simplistic and the narrative stale. However, on an aesthetic level, the series is strong as ever, even if it does lack the usual amount of truly impressive compositions.

Batman/Catwoman #6 is one of the stronger issues so far given its better balance between thematic musings and overt action. The plotting is still a little haphazard, though re-reading previous issues does help connect some narrative dots, but each scene in a vacuum is compelling and well rendered by the art team.

Batman/Catwoman #7 is the strongest issue of the series to date. The three-headed monster of a storyline still has its shortcomings, but this time around none of the storylines drag the others down. There's a better balance between action and emotional coherence in King's script this time around and Liam Sharp's thoughtful art elevates the series even higher than before.

Batman/Catwoman #8 finds its hold on the reader through Sharp's wonderful art that keeps you on your toes just as much as Tom King's plot twists. As we enter the third act of the series, the narrative could stand to be more cohesive as many plot points take place off panel, but for those still around I can't imagine this issue would turn you away.

Batman/Catwoman #9 makes another case that the series is gaining focus and as a result, makes for an intense and gripping read. Liam Sharp's art is a big reason for this so I'm eager to see how Clay Mann's return affects how the series reads. However, despite some problems I had with the series in its early days, I'm now actively excited to see what comes next. Fans who have stuck around til now should get a lot out of this issue, and those who haven't jumped aboard may want to consider catching up as the series enters its last three issues.

Batman/Catwoman #10 is a gripping, and intense brawl of emotion and physicality as Selina takes on her enemies in a more straightforward manner. Those who are still reading the series should stick around as we enter its final act, but anyone interested in jumping in now is best suited to either hunt down back issues or wait for the trade. If anything, having the entire series to read in one sitting might better serve its slippery narrative.

Batman/Catwoman #11 will satisfy readers who simply want to know what the hell has been going on with the series' narrative. While the answers here make sense, it's hard to shake the feeling that King's scripts kept the wrong things secret and instead of creating a satisfying mystery, they merely kept readers in the dark to cover up the fact that the core narrative is surprisingly simple. Despite its simplicity, there are a lot of important dramatic beats that don't get the time they deserve to develop on page, and instead are summarized after the fact. This is not a bad issue, but I do question how the finale can make the entire series feel worth the journey.

Batman/Catwoman #12 suffers a little bit from Tom King's "play the hits script, but the few surprises within the issue are among some of his best. The art team turns in a handsome issue, but the real meat of the story lies with the long gestating marriage between Bruce and Selina. While a victory lap at its core, fans of King's Batman will get what I consider to be a better ending than his final Batman issue, which makes this series vital for those readers. For everyone else, this final chapter will likely not win over any converts to the Bat/Cat love story.

Gotham City Monsters is a book about outsiders regaining their sense of worth in a world uprooted by chaos. I only hope Orlando digs deep into those themes and doesn't lose himself in upping the stakes of Melmoth's plot too much.

Gotham City Monsters #2 takes a slight step back from its surprisingly effective debut issue as it finds itself shackled to a rushed "gather the team" structure.

Gotham City Monsters #3 is a step in the right direction primarily since Orlando nails down his villain's personality and motivation.

Gotham City Monsters #4 proves that a book can provide entertainment within the comforts of its own simplistic plotline. While I wish Orlando's narrative will fully commit to either being a small scale Gothic adventure or a large scale multiverse extravaganza, watching this fun cast of characters interact with each other is worth the read. Nahuelpan's art is strong as ever with multiple exciting action sequences that don't rely on overdone panel layouts and instead put the focus on his strong pencils. Melmoth threatens to take the spotlight from the true leads of the book, but with the series edging closer to its finale, Gotham City Monsters finds itself in a great position to end strong.

For those who like a little bit of horror mixed into their super hero books, Gotham City Monsters #5 is a great chapter in an overall very solid series. Now is the time to catch up before next month's finale.

Gotham City Monsters #6 is a rock solid conclusion to a great miniseries. It doesn't take any major chances in terms of the plot, but Orlando and Nahuelpan have done more than enough to earn themselves a traditional, but satisfying final issue.

Harley Quinn #71 is a very good comic even for those not entirely privy to the character or the series. As a newcomer, I found Humphries' script incredibly tight and easy to follow along with. Sami Basri's art perfectly fits Harley's larger than life (and oftentimes self-aware) nature, but also does well to imbue her with a strong degree of agency. While the plot concerning a rigged wrestling match and faked suicide is nothing new, Humphries' character work with Harley and the supporting cast is strong enough to overlook the familiarity in the narrative.

Leviathan Dawn does its job of setting up the next miniseries to come with great art and a solid, well paced script. While I think Bendis has a tendency to get lost whenever he has a group of characters talking over each other, there's enough truly spot on character moments within the issue to show he has a grasp on them. Leviathan has the makings of being a memorable villain, but it's time for his speeches to stop and for his organization to truly put his make the world a better place plan into motion. Bendis has used more than enough arcs over several different series to set the stage for Leviathan's big play. Only time will tell if issues like Leviathan Dawn will be paid off in full, but for now, I'm game to stay aboard.

Secrets of Sinister House #1 is one of the better horror anthologies DC has put out. Many of the stories feature more optimistic endings than the norm, but there are enough outright terrifying pages to satisfy those looking for some frights. There's only one outright dud in the anthology so when it comes to value, it's hard to beat what you get here. If anything else, almost every story features great art making this a feast for the eyes at the bare minimum.

Nightwing #66 establishes the stakes for the Ric saga's endgame without much nuance. Bluntly redefining Dick Grayson via a memory implanting set of goggles is about as trite a plot device as you can get. With Dick even further removed from who he once was, Nightwing must rely on its supporting cast to carry reader interest. Unfortunately, none of the new Nightwings has done enough to carry the torch. Jurgens has dug himself into a pit I fear he cannot escape from by removing Dick's agency and calling into question some of his core characteristics.

Nightwing #67 fails to live up to the promise of last month's cliffhanger. For anyone who has been waiting to see the Nightwing team get taken down a notch, this book may not fully satisfy. For everyone else who has dismissed the "Ric" saga until now, this chapter does little to entice those readers back.

Nightwing #68 is the series' first spark of life in a while. Even though it doesn't mark the complete end of the "Ric" saga, this chapter makes a significant step forward in returning Dick back to his proper place as Nightwing.

Dan Jurgens' Nightwing needs a bit more flash in both its art and writing to truly break free of its recent history of mediocrity, but Nightwing #69 is a step in the right direction.

Nightwing #70 doesn't completely derail the momentum Jurgens' series has carved out for itself lately, but Dick's lack of pro-activeness in the plot is worrisome. Previous issues have done a better job of balancing the recap of Dick's current mental state and giving him something to do in the plot. With a change in artist and a relatively shifted status quo, Nightwing #70 feels like a soft reset rather than the next issue in a previously fast moving plot. With the Joker now in the mix, Jurgens needs to retain focus on Dick and his own choices in the plot and not spread the series out too thin.

Nightwing #71 does very little to justify Dick's continued inability to remember his true self. Joker's appearance does offer a slight burst of excitement, but quickly loses steam once his plan is revealed.

Nightwing #72 may barely be an actual Nightwing issue, but as a story on its own terms it succeeds. Joker War has fully taken over this book and while it's unfortunate Nightwing's ultimate return will likely take place in a story not his own, I find his plight as a Joker henchman just a little more interesting than him as a Talon. Barbara's arrival is a welcome injection of freshness into the series, but hopefully Bea and the other Nightwings aren't entirely phased out of relevance in the coming months.

Nightwing #73 stands for everything that bothers me in the modern superhero comic industry. It's a tie-in issue to a larger event that hijacked not only the series' plot, but also keeps the titular character from his rightful place as Nightwing. Despite this, I found myself impressed with Jurgens' fun script and Benjamin's solid pencils and storytelling. Most readers by this point know that we're basically in stalling mode, but for those still around Nightwing #73 overcomes the stacked deck against it.

Nightwing #74 will be embraced by most readers due to its ending. I'm fully on board with the plot developments, but I do think they've come far too late to be truly exciting. Ultimately the issue amounts to a largely toothless fight scene between Bat Family members, which is something I don't ever need to see more of. While Jurgens' script definitely has some highlights in the form of his Joker and genuine empathy for Bea, there's not much to chew on here. Nonetheless, Nightwing #74 is a must read for anyone that's followed the series to this point and gets by on competence alone.

Nightwing #75 is beset by a surprising amount of hesitancy to fully dive back into Dick being Nightwing. While his relationship with Bea is a believable reason for Dick to be scared to fully return to his old life, Jurgens' script definitely looks backward more than forward. Travis Moore's interior art is a sight to behold, though I wish he got more action scenes to draw, and Ronan Cliquet turns in quality pencils as per usual. It's only Jurgens' script that gives me pause due to its repetitive and wishy washy depiction of Dick Grayson. The sooner the series moves past the remnants of the "Ric saga' the better, but Bea's continued inclusion is more than welcomed.

Nightwing #76 is a technically competent comic that goes in a few disappointing directions. While many fans will be glad to see Nightwing back, Jurgens finds himself in a tough position of deciding what to keep from the "Ric Saga" and what to break free from. In my opinion, some wrong choices were made but your mileage may vary in that regard. If anything, the series is set to grow stronger from here on out, now that the push and pull of Dick's identity crisis is in the rear view mirror.

Nightwing #77 is a safe, but still endearing holiday themed issue with solid art and some progression for its title character. I'm sure most readers are ready now for Dick to fully delve back into his usual crime fighting ways, but with "Future State" looming, that might have to wait just a little longer. For now, Nightwing #77 does enough to satisfy those in the mood for some cozy winter comfort. Those less susceptible to these charms will find less to grab onto here.

Nightwing #78 is a return to form for the series. While the actual narrative is vague, Tom Taylor gracefully sets up his intention for a more optimistic take on the titular character. With gorgeous art from Bruno Redondo and a much needed splash of vibrancy courtesy of Adriano Lucas' colors, it's hard to imagine most fans of Nightwing being disappointed with this fresh start. I only hope the overarching narrative takes shape sooner rather than later.

Nightwing #79 is a gorgeous and warm hearted book that will please even the most discerning Nightwing fans.

Nightwing #80 does a great job at balancing the narrative alongside the fun banter between Dick, Barbara and others. While the previous two issues spent more time musing on Dick's responsibilities to his community, here we get a more overt threat in the form of Blockbuster goons, pushy police detectives, and Heartless. Fans so far will enjoy what's here, but those wanting a little more focus and momentum in the series will find much to like.

Nightwing #81 is a must read for any fan of the character given its final page reveal. While the cliffhanger is definitely intriguing, the rest of the issue is solid in its own right. The fight between Dick and Heartless is well executed and concludes on an optimistic note for the citizens of Bldhaven. Sentimentality is more carefully managed and Taylor's script does a better job of balancing high octane action with his quieter, character driven scenes. With a major shakeup in store for next month's issue, the potential for the series is higher than before.

Nightwing #82 spends its time dealing with last month's shocking revelation that Melinda Zucco may be Dick's sister. The change-up in artists breathes a little fresh air into the series that's been more than capably handled by Bruno Redondo. I don't blame anyone who's put off by the change in Dick's backstory, but the execution is solid, even if Taylor's script seems painfully aware of potential backlash. As it stands, future issues will determine if these changes are worth it, but right now I'm not fully convinced.

Nightwing #83 is the strongest issue of the series so far. While the book lays on the schmaltz more than my taste can handle at times, there's no denying the high level of craft on display. I personally find myself unconvinced by the larger social themes Taylor plays with, but the book's heart is in the right place and that's enough for now. Fans of the series to this point will not be disappointed.

Nightwing #84 is a competent tie-in issue that is likely skippable to those not invested in the larger DC universe. There's not much continuity here with the story Taylor has been telling over his first arc, though Barbara's inclusion could lead to some important moments between her and Dick. For readers invested in Taylor's run, this first issue might be worth a pickup just to get more Nightwing in your life. However, for those who have zero interest in Fear State, I'd wager that not much will be missed here in regards to the series' main narrative.

Nightwing #85 is not a bad comic book, but it's largely inconsequential for most readers of the main Nightwing series. Dick and Barbara's relationship is the main selling point here, but for anyone who doesn't care to read every single romantic interaction between them, this is a skippable issue unless Fear State is important to you.

Nightwing #86 wraps up Tom Taylor and Robbi Rodriguez's trip into Fear State with a solid issue with easy to follow stakes and fun banter between the Bat family members. While not required reading for Taylor's main narrative in Bldhaven, fans of Dick and Barbara's romantic chemistry will find more than enough fan service here for them. Rodriguez's art has its limitations, but the entire production is handsome enough to get by on aesthetic purposes, along with Taylor's solid character work.

Nightwing #87 makes a name for itself due to the sheer amount of technical prowess in the art courtesy of Bruno Redondo. Tom Taylor's script sets up a simple premise that allows Redondo to showcase his abilities and largely stays out of his way beyond that. The small narrative scale proves a little irksome, but fans of the series will love getting an even better sense of Bldhaven and its civilians, as well as seeing Dick save his puppy from mobsters with guns and top hats.

Nightwing #88 is an entertaining issue with an adrenaline shot of action the series has desperately needed. While I appreciate Taylor's scripts ramping up the tension, the constant fan service often defangs situations that should be harder to overcome. A defenseless Dick Grayson with a target on his back is a great premise for an arc. It's a little less compelling when his group of superhero friends keeps showing up.

Nightwing #89 is a perfectly fine team-up issue that doesn't do much to entice readers who aren't already endeared to Jon Kent. Both characters get about the same amount of pages dedicated to them, but Jon does have more going on in his life despite the issue not doing much to get readers up to speed. Additionally, the murder mystery at the issue's core is languid with a yawn of a cliffhanger page doing little to spruce things up. For fans of Nightwing, this issue can be skipped, but fans of Tom Taylor's recent output will likely get more out of it.

Nightwing #90 is a solid, if uninspiring, team-up book with Dick Grayson and Wally West as they find a way to go on the offensive after another attempt on Dick's life. Geraldo Borges' art makes a good impression, doing more than just filling in for series regular Bruno Redondo. Additionally, Tom Taylor's script finds a good angle for upping the stakes on Blockbuster's assassination attempts on Dick, putting more innocent civilians than ever in the crossfire. In a vacuum, this issue delivers a fun balance between action and character building, but the series as a whole feels rudderless, struggling to maintain momentum under the shadow of Dick's lofty ambitions to rebuild Bldhaven.

Nightwing #91 is a team-up issue done right. The issue gives fans of both Wally West and Dick Grayson more than enough characterization and wit between the two of them to make everyone happy. Meanwhile, Geraldo Borges' pencils and Adriano Lucas' colors maintain their high level of consistency. While I've been wanting the series to speed up its pacing for a while, Taylor's deep understanding of his characters is reassuring enough as he sets up his pieces for the upcoming war for Bldhaven.

Nightwing #92 manages to balance Tom Taylor's focus on characterization with the series' overarching narrative better than most recent issues. While the opening flashback delivers a great theme with fantastic art, it does result in Taylor's script not having much time to spend in the present day storyline. Bruno Redondo's pencils are as fantastic as ever, and Adriano Lucas makes yet another case for being the true superstar of the series. This issue also marks a good entry point for any new reader to the series.

Nightwing #93 delivers everything one could want from the series. The stage has been set and now Tom Taylor and Bruno Redondo get to deliver thrilling action and promising twists in the battle for Bldhaven's soul. The craft on display in both the art and writing have never been higher and anyone who has been following the series til now owes it to themself to stay aboard for this arc.

Nightwing #94 is another satisfying issue courtesy of Tom Taylor and Geraldo Borges. While Borges' pencils are rougher than Redondo's, his storytelling is just as strong and maintains the series' high standards for art. For those wary of a lack of plot progression, rest assured that Taylor's script maintains the arc's quick pace and delivers a final page that is certain to shake things up more than ever before.

Nightwing #95 is a thrilling and expertly drawn issue from Tom Taylor and Bruno Redondo. There is a definite emphasis on action and spectacle in these past few issues, but Taylor's slower pace beforehand makes this change of pace work. While some of the fan service moments can be overdone, it's hard to deny how entertaining it is to finally see Dick turn the tables on Blockbuster and his cronies. The series is as focused as ever at this point and Taylor has set himself up well for the inevitable climax coming in the next months.

Nightwing #96 is an exciting, if unsurprising, finale for Tom Taylor and Bruno Redondo's "Battle for Bldhaven's Heart. The action is gripping, the art effective, and the romantic angle with Dick and Barbara is heartfelt. While the simplistic plotting begs the question if the overall storyline was too slowly paced, it's hard to imagine fans of the series being disappointed with how everything plays out. Taylor and Redondo are in a good spot to continue forward with the series, I only hope that the plotting can maintain this quicker pace while delivering truly surprising twists.

Nightwing #97 is an effective, if somewhat unassuming transition issue as The Battle for Bldhaven's Heart leaves a new status quo. The art is tight, the action well rendered, but there is a nagging feeling that Tom Taylor's scripts are growing repetitive. There is an ease of craft on display and it's nice to have a book as consistent in quality as Nightwing, but the issue's cliffhanger is equal parts exciting and worrying as Taylor searches for his next big hook.

Nightwing #98 is a pleasant enough read that isn't quite as funny as one would hope. The storyline at hand is exceedingly simple and any true drama is quickly stepped over in favor for the next gag. However, as a one-shot setting up the next stage of Dick's life, Tom Taylor's script does a good job of summing up his thoughts on the titular character in a way that's easy to digest and occasionally amusing. The real star is Daniele Di Nicuolo's art, which perfectly captures the whimsy of fifth dimensional shenanigans without becoming overbearing.

Nightwing #99 doesn't necessarily feel like the lead up to a big anniversary issue, but what's here is a precise comic that satisfyingly resolves a nagging plot thread. Tony Zucco's return doesn't set the series ablaze, but Dick does express a rare, genuine anger and a desire to inflict harm upon his parents' murderer. As it stands, the introduction of a new, nautical themed criminal enterprise with The Hold is a highlight, right alongside Taylor and Redondo's steady hands as they capture both Dick's optimism and darker side.

Nightwing #100 is an appropriately reverent issue that capably displays Dick Grayson's inherent goodness, while also delivering a heavy dose of action. The main narrative implications are thin, though Heartless and Tony Zucco's team up is ripe for drama. However, the arrival of the Titans will be the main barometer of whether or not the issue and the series' new direction is appealing. The spectacle and heart warming moments work their magic, but there's a lack of nuance to how Nightwing's next stage for Bldhaven plays out.

Nightwing #101 plays it safe by delivering a decent set up to what could be a nice arc that examines Nightwing and his relationship to the Titans. Nonetheless, while the narrative is solid, there's little surprise in store and the competent art does little to spice things up. Tom Taylor's Nightwing is always a pleasant read, but longtime readers may be growing weary of the slightness of it all.

Nightwing #102 is a slight, yet consistently amusing chapter when the series would be better off turning up the heat. Tom Taylor's characterization of the Titans is spot on, but the lack of ramping tension in the overarching narrative is catching up to him. Taylor is a great writer and the series' artists are all top caliber, but there's a point where merely showing up with the right ingredients and character list isn't enough.

Nightwing #103 is an improvement over recent issues as the series' sense of humor finds a better balance with the actual stakes of the narrative. While Tom Taylor's scripts are usually amusing, the comedy often inhibits the drama. However, this time around the drama is never rendered inert for the benefit of a gag. Both Travis Moore's and Vasco Georgiev's pencils are polished and effective and Adriano Lucas' colors continue to be sublime. While I wish Tom Taylor's Nightwing would find a better balance between its slice of life pacing and the overarching storyline with Heartless, there's still ample charm to be had in these somewhat ancillary storylines.

Nightwing #104 is a watershed moment for the series as all of its weakness converge on this very issue. I've enjoyed much of Tom Taylor's run on Nightwing, but there comes a moment where the weaknesses you've accepted as a reader are no longer tolerable. It's a book without drama, spectacle, or an ounce of genuine challenge for both readers and the characters within. While the vibrant visuals and cheery attitude make for an easy to read book, I know Taylor's scripts are capable of so much more.

Nightwing #105 is a fun, yet ultimately disappointing issue that doesn't take full advantage of its visual choices. The idea of an entire issue drawn from Nightwing's point of view is ripe for potential. However, the story at hand here is not always well suited to this perspective, leaving behind a relatively routine chapter that is equal parts enhanced and hurt by the art. I'm glad to see Tom Taylor utilize Heartless again, but the upcoming Knight Terrors event will only drag out this storyline well past its expiration date.

Generations Shattered #1 is a well-executed, but extremely familiar tale of multiverse hijinks. I can't count how many times the entire fabric of the multiverse has been at stake so the narrative here doesn't do much to distinguish itself. What's left over are a series of well drawn vignettes that range from average to spectacular depending on your fandom of appearing characters. Whether or not the pure spectacle of it all makes it worth the ten dollar price tag is debatable, but I imagine most fans of Death Metal and similar stories will find it a value.

While some sequences are truly special, overall the book trades in simplistic characterizations that heavily rely on the reader already being a fan.

Catwoman #14 is a mostly successful attempt to inject energy into a somewhat aimless series. Ram V's script manages to pack a fair amount of characterization into a small amount of pages with the aid of Andolfo's expressive facial work. While the action sequences themselves are a tad stiff, the book keeps a fast pace and changes its stakes often enough to remain engaging. The Catwoman title has been plagued by a lack of consistency and relevance in the greater scheme of the DC Universe (the title itself spun out of Batman #50), but Catwoman #14 shows a potential path forward.

Catwoman #15 is Ram V's weakest issue in his tenure on the series. His previous issues have been inventive crime capers that lean more into Catwoman's unique strengths as a character. However, this issue relegates itself to a series of fight sequences that lead up to a dull climax. Nothing seems to have really been accomplished in this two-part story. The plotting has twisted in upon itself in too many directions and styles that the ultimate result feels like a zero sum. There are worse comics on the stands, but Catwoman #15 struggles to both engage the reader with its story or sow the seeds for better things to come.

Catwoman #16 is an artistic tour de force that is hamstringed by a slow moving narrative that doesn't have a clear sense of purpose.

Once again, Jones has created a visually stunning single issue that lacks narrative progression. While previous issues had great sequences that were entertaining despite the slow pace, Catwoman #17 indulges in Jones' greatest flaws as a writer. Her reliance on non-linear structure drains any tension from each sequence and Jones' attempts to bring her themes full circle don't fully work due to Selina's lack of emotional progress. Jones' Catwoman #17 is a beautiful distraction as it finds itself wrapped up in on itself, with only glimpses of forward thinking in sight.

Jones' Catwoman is a gorgeous book each and every time Jones herself is on art duties. Fortunately, Blanco's art compliments Jones' well enough to not totally derail the issue on an art level and his two-page spreads are a joy to pour over. Unfortunately, Jones' plotting leaves much to be desired. The dialogue and characterization remain solid, but Jones's overarching narrative has lost focus between the recent non-linear storytelling and inconsistent tone that has emerged.

Catwoman #19 shows why having a consistent art team is paramount to a successful book. With three different styles fighting against, rather than enriching, each other, Jones' script needed to provide a solid base to weather the storm. Unfortunately, Jones' script loses its grip between balancing the nuanced character work she brings to Selina and the sudden shift in stakes and tone that accompanies a zombie invasion subplot.

Catwoman #20 does its best to entertain as a horror tinged pulp adventure, but struggles to reconcile itself with the strong characterization from the series' earlier arcs.

Catwoman #21 is a strong artistic showcase for Fernando Blanco and FCO Plascencia that serves as an adequate conclusion for Jones' Creel storyline.

Catwoman #22 is a fun, if almost immediately forgettable jaunt that relies on titillating art and a simplistic narrative to carry your attention. It's always fun to get a one-shot tale of Selina performing a heist or stopping some sort of wrong, but the moral vagueness here never adds up to anything compelling. This has all been done before, but watching Catwoman battle skimpily dressed maids will find a willing audience due to the sheer kitsch of it all.

Catwoman #23 features exceptional art from Ciran Tormey and FCO Plascencia which greatly elevates an uneven plot and script by Sean Gordon Murphy and Blake Northcott. Tormey's work features such thoughtful detail and finesse throughout that it only exposes the uneven nature of Northcott's script. Murphy helped plot the story but he perhaps gave Northcott too much to deal with here. With only another issue left in this mini-arc, I fear there are too many moving parts and themes to cover with only twenty more pages.

Catwoman #24 is by no means a bad comic book, but there's untapped potential within Northcott's scripting. Northcott has a good eye for theatrics, but she can afford to take more time in the quieter scenes to make her over the top plot lines feel more grounded and fledged out. Tormey's art isn't quite up to par from the standard set last month, but there's just enough energy in his pencils to carry the book through its stilted finale.

Catwoman #25 marks the first time I've truly been excited for a run in a while. Writer Ram V has already established himself as a solid Catwoman writer with a few fill in issues, but I can't wait to see how he handles a longer run with Selina. Main artist Fernando Blanco ups his game considerably, even beyond his normally great art, and V's script keeps the pace light and fun without losing sight of Selina's more complex inner self. With two equally entertaining short stories as a bonus, Catwoman #25 is a must read for any fan of the character.

Catwoman #26 is one of the best single issues of the series in a very long time. The self loathing Selina characterization ran out of steam months, if not years ago, so it's a joy to see a more proactive Selina try to take down local mobsters and retain her dominance in the underworld. V's script is a great example of how to balance great action, necessary exposition, and gentler character moments without overwhelming the reader. Simply put, there's a lot to like here and very little I can see being held against it, especially when Blanco makes everything so nice to look at.

Catwoman #27 delivers everything you want out of a comic. The action is stunning, the dialogue is crisp, and the plot is growing more intense. Ram V turns in yet another solid script, but Fernando Blanco is an absolute star here with another set of beautiful two page spreads aided greatly by FCO Plascencia's colors. Simply put, Catwoman #27 is a must read and I highly recommend reading the previous two issues to hop aboard this promising run.

Catwoman #28 is another home run for this creative team. V's script manages to make high stakes drug dealing feel like a fun romp, without losing any bit of its edge. Fernando Blanco's art doesn't miss a beat either, making each action sequence truly stunning while also giving the quieter scenes a great level of detail and texture. I'm eager to see how V moves the series forward and he's given himself multiple avenues to go down, all of which feel equally exciting.

Catwoman #29 adds a lot more moving pieces to the carefully constructed world Ram V and Fernando Blanco have created over the past four issues. Blanco's pencils and Jordie Bellaire's colors effortlessly transition between sunny poolside conversations to grimy criminal hideouts and V's script keeps a tight pace between set pieces. However, there's a lingering feeling that the book is taking a bit of a hard turn away from its simpler crime story beginnings, but only time will tell what form the book takes over the next few months.

Catwoman #30 shows that even set up issues can be fantastic reads when in the hands of a great creative team.

Catwoman #31 does a great job of balancing a heist plotline and the subsequent fallout, with only a few hiccups along the way. Fernando Blanco doesn't get to flex with a double page spread this month, but his work remains excellent as ever and is only further enhanced by Jordie Bellaire's tremendous colors. Along with V's consistent scripts, this is a creative team that has clearly hit its stride and I see no warning signs of that changing any time soon.

Catwoman #32 is a bold chapter in the series as it slows down the narrative pacing in favor of developing Selina and its supporting cast. Evan Cagle's art is more than welcome in the series, (which is no slight against the also extraordinarily talented Fernando Blanco) and pairs extremely well with Jordie Bellaire's diverse color choices. There's nothing I didn't like in Catwoman #32 and any complaint about the structure or lack of forward progress lies more so with reader taste than with execution from the creative team.

Catwoman #33 is a fast paced issue that will satisfy those who thought the last couple issues spent too much time looking backward. The quick pace is fine, but there is a sense that V's script is making up for lost time as some twists and reveals come rapid fire. The expanding roster of Selina's allies is exciting, but hopefully V spends some downtime with her growing army before diving head first into outright war with Future State's Magistrate and Father Valley himself. However, most small nitpicks are largely forgotten by the time readers see the final page.

Catwoman #34 is an absolute blast with equal parts heart and bombast. Seeing Father Valley finally turn the screws in on Selina is gripping to behold, and the reunion scene between Bruce and Selina doesn't disappoint. The showdown with Father Valley is beautiful on an aesthetic level due to Fernando Blanco and Jordie Bellaire's excellent work, but Ram V's script serves up multiple twists and turns within the fight itself. Catwoman under the hands of the current creative team has never missed a step and Catwoman #34 is one of its best issues yet.

Catwoman #35 is a perfectly adequate tie-in issue that mostly manages to balance its obligations to Fear State, while still wrapping up some character arcs of the main series. The pieces are all here, the art is solid, the script keeps a fast pace, but by the end the hindrances of Fear State creep into view. I have no doubt the series will fall right back into place once this event comes to a close, but the conundrum some face is that there's just enough here to keep the issue relevant to longtime readers.

Catwoman #36 is a well done tie-in issue that doesn't lose sight of its characters and the core themes of the series itself. While the actual narrative doesn't ramp up the tension as much as I would have wanted, the character interactions are delightful as always and the book leaves the reader feeling optimistic for Selina and Alleytown's future. This issue feels lighter than the grimness that came before, but fans of the series or those interested in Fear State will find much to enjoy here.

Catwoman #37 is a must-read for any reader of the regular series as it wraps up its Fear State arc, but also sets the stage for a final goodbye to Selina's time in Alleytown. There's a sense of finality in this issue, but V and Blanco have one more issue together before its time to fully say farewell. Fans of Fear State and the Catwoman series will both be equally satisfied by what's on display here.

Catwoman #38 is a disappointing end for Ram V's run on the character. Fernando Blanco is missed and while Caspar Wijngaard is a talented artist, their work does not fit the series and is barely suitable for this final issue. V's script does a good job tying up loose ends and setting the stage for the next creative team to take over, but I wish this issue had more to offer. For those who have read every issue of V's run so far, this is still recommended as it does offer some closure, but everyone else is better off waiting till next month for a new story to begin.

Catwoman #39 has much on its mind as Tini Howard's script attempts to establish Selina back in Gotham as well as starting a war between her and the city's underground. Nico Leon's art is competent, but most pages are cluttered and rely heavily on the dialogue to make sense of them. After Ram V and Fernando Blanco's methodical, noir inspired run, this issue's reliance on provocative scenarios feels like a step backward and its execution leaves much to be desired. As a fan of Howard's previous work, I'm hopeful the series can refocus itself after this hefty introduction.

Catwoman #40 is a massive improvement from last month's issue that shows that Tini Howard has a clear point of view that (mostly) fits with Selina's characterization. There are moments when thematic musings make the script feel like it's putting the cart before the horse, but the narrative becomes more concise and palatable this time around. Nico Leon's art also improves, featuring better compositions that let pages breathe more than before. For the time being, readers should give this opening arc a chance with only two more issues to go.

Catwoman #41 solidifies my hope for Tini Howard's and Nico Leon's run on the character. While their first issue together had some growing pains, Howard has a unique voice for Selina that feels true to the character, while managing a growing cast of supporting characters to great effect. The storyline doesn't do much to differentiate itself from other runs, but Selina's unrelenting nature to protect those in need gives the book an emotional core to drive the story through. For those still around, next month's issue is poised to bring this opening arc to a strong conclusion.

Catwoman #42 is a good ending to a promising opening arc for Tini Howard and Nico Leon's run. Veronica Gandini's colors are also exquisite, leaving behind a great looking book. The overall narrative has its problems with questionable character motivations, but the stakes thankfully remain high the whole way through. With a solid foundation set, I have high hopes that Howard and Leon's next arc will be even better.

Catwoman #43 is a strange issue that longtime readers may want to skip if they lack an interest in either Harley Quinn or roller derby. Similar to a recent Nightwing arc, the issue's only relevance to the series overarching narrative is that Black Mask is now sending assassins after Selina. I'm not opposed to exploring Harley and Selina's relationship to each other, but the sudden shift in tone and focus may turn away readers who are more interested in Selina's ongoing war with Gotham City's underground.

Catwoman #44 features lovely art and a fantastic car chase courtesy of Bengal and Jordie Bellaire. However, the true heart of the issue lies with the sketchily drawn relationship between Selina and Harley Quinn. Unfortunately, nothing about their conflict with each other tracks in a satisfying way. Equally fatal is the ultimate resolution to Red Claw's assassination attempt, which suffers in its attempt to make a point about the mostly absent Black Mask, rather than Red Claw herself. I still have hope for Howard's Catwoman, but this two-part story is easily skippable.

Catwoman #45 doesn't break new ground with its core narrative, but it does offer interaction between Selina and the Bat family. While these scenes are frustrating due to Selina's general anger at any misstep, whether it be by Tim or Dick, there is some genuine drama to be mined from the current status quo. As it stands, Catwoman #45 lacks a compelling vision for Selina's war against the criminal underworld and the romantic drama is tepid at best.

Catwoman #46 is a thoughtful, yet somewhat dry reading experience as its emphasis on characterization comes at the cost of a thrilling plot. The action sequences within get the job done, but Howard wisely seems to be shifting focus away from Black Mask and his male gangster counterparts. Sami Basri's pencils are effective, but outside of Selina's big scene with Eiko, there's very little here that's truly gripping due to its simplistic villains and lack of narrative momentum.

Catwoman #47 has a lot of good pieces that don't quite add up for a compelling read. Tini Howard's characterization of Selina is increasingly frustrating due her tendencies of self righteousness that don't always fit the scenes they're in. I've been supportive of Howard's overarching theme of Selina's quest to redeem the mistreated women of Gotham's underworld, but the bluntness of the plotting has become a problem. Caitlin Yarsky is now on a list of artists to look out for with fantastic character designs and thoughtful world building, but a nice looking book cannot fully save a series with an identity crisis.

Catwoman #48 features yet another change of scenery that injects some life into Tini Howard's increasingly muddled narrative. Right now, reader enjoyment hinges largely on whether or not Valmont is a compelling love interest for Selina. As it stands, there's a lack of true understanding of who Valmont is as a person, existing mostly as a cliche of a "dangerous lover type. Until the series gives me a reason to truly care about Valmont and his relationship to Selina it's hard to recommend readers stick around.

Catwoman #49 manages to rectify some lingering problems in the series by digging into the character's roots rather than trying to upend them. Nico Leon's pencils are back to their high quality, with a truly great opening car chase. Meanwhile, Howard delivers some of the best dialogue of the run as she tracks Selina's thoughts about Bruce and love in general across several scenes. The overarching narrative is still the weak link, but Howard demonstrates a good understanding of what makes Selina an appealing character and gives Bat/Cat fans some hope for their future.

Catwoman #50 aims high, but its ambition stands in the way of nailing the most important beats. The assault on Ace Chemicals has far too many moving parts when more pages dedicated to Batman and Valmont's showdown could have made the emotional climax more convincing. As it stands, Howard's script gave itself too many plates to spin, losing sight at the strengths of her run, leaving an extended epilogue to pick up the pieces. While some developments in the story are welcome, Catwoman #50 often frustrates in its attempt to wring drama from a love triangle that never felt genuine.

Catwoman #51 delivers a routine prison oriented story with no surprises and more than a few questionable choices. If you're in the mood to watch Selina sleepwalk her way to stealing commissary snacks, then this issue delivers the goods. For almost everyone else, the series makes no forward strides in bringing in new readers and offers little for longtime fans to look forward to.

Catwoman #52 is an improvement over last month's issue as it manages to make Selina more proactive in her current predicament and give her a way to help those in need even behind bars. Eiko and Dario's journey together isn't quite as gripping, but the unlikely duo manages to get by due to the inherent charm in their teaming up. However, the biggest strength is Howard's decision to reach beyond just Valmont to take a look into Selina's current mental state. A change up in scenery would be better suited for now than later, but there's still some time for Selina to grow in prison before her eventual escape.

While it suffers from a languid narrative, Catwoman #53 offers high quality art and an endearing set of side characters. Selina is finally proactive in her own escape plans and her growing army of former villains are given a way forward without resorting to their evil ways. Thematically, Tini Howard's scripts are strong, but locking up your main character for a full arc is a risky endeavor. It remains to be seen if Selina will be imprisoned for an entire arc, but Howard has created a solid foundation for a prison escape that should come sooner rather than later.

Catwoman #54 has a strong concept to wrap up Selina's stay in prison while also addressing the growing tension between her and Punchline. Unfortunately, Howard's narrative relies on too many contrivances, which denies the big moments of the issue of their emotional resonance. Nico Leon and Veronica Gandini make the book visually appealing, but the visual gloss can't fully make up for the book's inherent faults.

Catwoman #55 offers some hope that Tini Howard's run can regain focus and embrace its strengths instead of trying to shake up the formula too much. While I appreciate the series' attempts to diversify its setting and take a more insular approach, Howard and Nico Leon succeed more when keeping the storyline focused in Gotham City and examining its seedy underbelly.

Catwoman #56 is an exciting ending to an arc with some troubling implications. Selina's goal to shift the power balance in Gotham is intriguing, but playing nice with the likes of Black Mask is a big pill to swallow. The switch to two new artists is a shame for consistency's sake, but both Marcus To and Marco Santucci turn in solid art, aided greatly by Veronica Gandini's colors. Tini Howard's script leaves a good amount of dangling plot threads, but Selina's mission is clear and the sense of self-loathing over Valmont appears to finally be dissipating.

Batman Beyond #35 is another solid chapter in Jurgens' run that is unfortunately marred by inconsistent art. Despite the feeling that this arc should have been shortened to a two-parter, Jurgens has the advantage of having built a solid cast of likable characters who I don't mind simply spending more time with. Additionally, The Splitt has turned from a rather uninteresting villain of the week, to a sympathetic child victim who has found himself in the middle of a dire situation. With a special guest appearance in the final pages, Jurgens has set himself up well for what I hope is a satisfying finale next issue.

Batman Beyond #36 is an adequate comic that does very little to satisfy any reader that isn't already invested in its characters and universe.

Batman Beyond #37 has a lot on its plate but doesn't do much with the bevy of plotlines it has to follow. Jurgens' plot structure feels like the equivalent of spinning plates as he bounces around from subplot to subplot without advancing any of them very far.

If the book treads any more water, Batman Beyond #38 will find itself existing as just another cog in the slow set up of the new Batwoman.

Batman Beyond #39 is by far the best issue of the arc so far. With a heavy dose of action and character development, Jurgens proves that he is more than capable of scripting a well-balanced issue.

Batman Beyond #40 falls into the same bag of tricks that Jurgens used in previous issues. Despite its repetitive structure, there is a lot of forward progression in the plot that gives the series a sense of momentum and its reveal of Batwoman's identity is satisfying, if somewhat unremarkable. Jurgens spins a lot of plates here, but it seems like our ensemble cast will reunite sooner rather than later.

Batman Beyond #41 is a great penultimate issue and sets the stage well for what aims to be an explosive climax. Batwoman has become a good character over the past few issues, but I can't deny that I'm more excited to see our longstanding ensemble cast finally reunite after a couple arcs of them being splintered. Terry is now ready to take a more hands on approach to the plot, but Jurgens and Chen have made a strong case for Batwoman to take the lead one more time. With some of Chen's strongest art on the book to date, Batman Beyond #41 course corrects the series with promises of even better things to come.

Batman Beyond #42 is an adequate ending for what should've been a much better issue. Seeing Terry back in the cowl is great, but Jurgens doesn't deliver an interesting enough action sequence for the big return. Last issue seemed to imply a much more targeted and personal showdown between Blight and Bruce, but Jurgens deflects that goldmine of drama for generic comic book action theatrics courtesy of Terry and Elainna's team-up. Luckily, a return to status quo is welcome and Jurgens has all his pieces back in place for the book to return to its strengths.

Batman Beyond #43 does just enough to return things mostly back to status quo and set the stage for the next storyline. Chen's pencils remain as strong as ever, but his page layouts take a step down and undercut some of the more intense argument scenes. It's a bit of a reset issue, but there's enough quality action and an interesting character turn in the form of a more violent Terry to make this chapter worth seeking out, especially for newcomers to the series.

Batman Beyond #44 is a step up from an already solid previous issue and cements this arc as the most promising in recent memory. The stakes are clear, the characters are not keeping secrets from each other, and the action never lets up. There's a lack of true character development here, but the great art and fast pace makes up for the issue's simplicity. Damian's presence introduces a welcome wild card element to the ensemble and hopefully the next issue takes advantage of his and Terry's complicated relationship.

Batman Beyond #45 features a gripping first half that suffers only because readers already know the end result and a second half that loses itself a little in the resulting chaos. However, the stakes are at an all time high and I legitimately don't know exactly how our heroes will save the world from Zeh-ro's man-made ice age. With mindful art from Pelletier and sharp dialogue from Jurgens, Batman Beyond #45 overcomes its structural issues and delivers a piece of high stakes action with a surplus of character development for the series' side characters.

Batman Beyond #46 is a prime example of how to balance a high stakes plot with a focus on character interactions within an ensemble. Any hints of the series' shortcomings in recent arcs have fully evaporated and I feel confident saying this is one of DC's better books currently on the stands. Sean Chen's art is a true standout and some of his strongest work on the series yet. Dan Jurgens' script is quick paced, funny, and ends on an ominous cliffhanger that demands readers to return next month.

Batman Beyond #47 is a solid ending to one of the better arcs of the series. Even outside of its usual Neo-Gotham setting, Jurgens' ensemble cast keeps the book grounded in its strength of strong characterization and fun banter. While the action does dominate this issue, Sean Chen's fantastic art makes up for this larger emphasis on spectacle. With only four more issues to go, Jurgens' Batman Beyond is primed to end strong and I have high hopes this series will be looked on as one of the better DC series in recent memory.

Batman Beyond #48 is a fast paced, throwback feeling comic book that embraces the medium's ability to go over the top. While it's questionable for Jurgens to jettison most of the supporting cast in favor of a time travel story with Booster Gold, this set up is ripe for deep characterization for both Bruce and Terry. If this is to be the last arc of Jurgens' run, it's not a bad idea to go for a more sentimental storyline. On its own, Batman Beyond #48 is solid across the board though its true value is in potentially setting up more profound moments in the coming months.

Batman Beyond #49 delivers a fun plotline greatly enhanced by Paul Pelletier's meaty pencils and Chris Sotomayor's bold colors. While I felt this arc put too much emphasis on Bruce and the importance of Batman's legacy, there's enough fun to be had with a surprisingly engrossing team up between Booster and Bruce Wayne's Batman. If this were earlier in the run, I'd be more positive, but with its placement right at the end of the series, I question the decision to remove the majority of the supporting cast and make Terry a pawn to a larger plot. Hopefully next month's series finale delivers a more well rounded goodbye to Terry along with the wonderful ensemble Jurgens crafted over the past four years.

Batman Beyond #50 should satisfy most readers who have made it to this point. I would've liked to see the series' ensemble cast get more attention, but this month's guest star doesn't take the focus too much away from the true heart of the book. While the villain of the week approach doesn't fully justify its presence, putting Bruce in the hospital garners enough drama to keep loyal readers on their toes. If you've stuck with the series until now, this is an easy purchase, but newcomers are better served by either waiting for the inevitable "reboot" or by starting at the beginning of Jurgens' solid run.

Nightwing 2021 Annual #1 is a solid, if a little unsurprising, tale of brotherly love against the high stakes of crime and murder in Gotham City. The two different art styles perfectly fit the two time periods on display here and Taylor's script effectively tugs at the heartstrings for anyone invested in these characters. Nonetheless, the core mystery is a little limp, and the ending moments don't quite nail some of the nuances at play between being a crime fighter and a violent vigilante.

Nightwing Annual: 2022 #1 delivers a mostly compelling origin for Heartless, while asking for an extra two dollars for two forgettable shorts right after. I think the issue is worth picking up for anyone currently following Tom Taylor's run, but anyone looking for a series of solid one-shot stories will be disappointed. Eduardo Pansica's pencils are a suitable fill in and maintain the series' high bar for art, but there is slight hesitation in a full recommendation. Completionists can stomach the extra two dollars, but casual fans aren't missing too much if they forgo knowing every aspect of Heartless.

Despite the troubling core premise of this chapter, Nightwing Annual #2 is technically well put together. 'Travis Moore's art is stellar and he's the rare artist who has great control over facial "acting" as well as dynamic page layouts. Moore was saddled with a series of conversations and he still made it exciting to look at. Jurgens does his best to layer a sense of dread through the issue with the Court of Owl threat looming, but it feels like too little too late. I want the series to move on sooner rather than later, and having this annual wring its hands in an attempt to further enrich a status quo doomed to change in the coming months makes it all come off"misguided.

Nightwing Annual #3 is worth purchasing only for die hard fans of the series. Getting to see Nightwing back in action is great, but the story itself doesn't match that excitement. The Condors have the opportunity to grow into a interesting ally/potential threat, but their current status as outside observers kneecaps any potential to grow as of now. For completionists, the book is worth the extra dollar, but overall this chapter feels like a deleted scene that no one needed to see and whose relevance is up to speculation.

Despite a couple truly great short stories, Crimes of Passion #1 lacks consistency to fully recommend. Most of the stories lack any true suspense or high quality art to overcome being generic. Additionally, there is a distinct lack of happy, romantic endings here with even the better stories being somber, which damages its appeal as a holiday treat. With a ten dollar price tag, I only think two of the stories are really worth the money, but for fans of the characters who make appearances, there might be just enough for a purchase.

Knight Terrors: Nightwing #1 is a competent, yet uninteresting dive into the darkest corners of Nightwing's mind. The reveals are obvious and there's a lack of truly gripping characterization in a story that is ripe for exploring Nightwing's morality. Daniele Di Nicuolo's art is great, but Becky Cloonan and Michael W. Conrad's script does little to entice readers that are not already on board with the Knight Terrors event.

Knight Terrors: Nightwing #2 delivers a satisfying ending to what ultimately feels like an inconsequential storyline for the title character. Daniele Di Nicuolo's art is great throughout and the book is mostly recommended for those interested in a more horror-comedy approach to Nightwing's stay in Arkham Asylum. Becky Cloonan's and Michael W. Conrad's script has some fun ideas in store, but the limited page count never really allowed this two part story from figuring out its tone and importance in the grand scheme of things.

I am Batman #4's flaw lies with the inherent "angle" John Ridley has taken with Jace and his taking on the Batman mantle. It's hard for me to find a compelling hook beyond the somewhat unique backstory of the Fox family and their diverging opinions on masked vigilantes. Jace's relationship with Lucius is by far the most compelling dynamic in my opinion, but the series needs to find Jace a truly unique adversary and mission to take on if this book is to ever gain momentum. As it stands, Jace's mission feels like playing clean up for the fallout from the main Batman series.

Black Mask: Year of the Villain is not a bad comic book, but it is one that I feel I'll forget soon after reading it. It manages to tick all of the boxes required of a one shot like this, but does little to add to the bigger story at play. There is good character work with Kate and Renee and the promise of more Black Mask villainy to come, but the issue has not done a good job of making me want more. If Year of the Villain is going to work, it needs to up the stakes monumentally. In my opinion, this event is failing to deliver the game-changing narratives it promised.

Hell Arisen #4 features some great art from Steve Epting with fantastic colors by Nick Filardi. Unfortunately, James Tynion IV's script doesn't do enough outside of its action sequences to justify the lack of consequence the storyline ultimately entails. It's a common problem for most of DCs "event" style books and Hell Arisen #4 is no different. Taken on their own, there's a few good scenes in Tynion's script, but he is betrayed by the books' placement within the DC Universe as a whole. Tynion and Epting do what they can I suppose, but it's hard to get invested in a "world changing" book that can't afford to shake things up too much.