Nick Friar Comic Reviews

There's still a lot to learn about A Town Called Terror's main characters and the setting, but the vagueness paired with Kudranski's art style provide a strong start to the series. Definitely circling back for the second issue.

Aquaman Green Arrow: Deep Target #1 is absolutely a title you could walk by at your LCS. But you'll find yourself pleasantly surprised if you give it a chance.

If you like over the top satire with a touch of violence, this series might be for you.

And if you give this issue a read, you'll definitely be back for Assassin's Creed: Conspiracies #2. Because Dorison can take this in two directions and it's 50/50 where he goes with it.

Jason Aaron and Christopher Ruocchio's The Avengers #50 only leads me to one conclusion: Marvel's next major event is coming. Whether or not that will be contained to the pages of The Avengers is unclear, but this has potential to be far-reaching " with no shortage of action. And while you can still enjoy The Avengers #50 without having read each of the previous title's 49 issues, other Marvel stories are intertwined into this issue.

The second arc's opening issue maintains the title's level of comedy while getting a bit more viscous with the violence.

In a week that features quite a few appealing first issues, Basilisk #1 has earned a spot among the new comics readers need to give a shot.

Bunn seems to be one of the busiest names in comics right now, and he's putting out a lot of good stuff. That said, if I was only allowed to commit to only one of his ongoing titles, it would without a shred of doubt in my mind be Basilisk.

Without getting into the specifics of the ending, it's unclear who's going to be viewed as the antagonist moving forward. It seemed so obvious in the first two arcs, but just a few changes has created enough room for doubt at the start of Basilisk's third arc.

Artwork that fits each story within each story, an excellent approach to the memorialization of a legend " Batman: Pennyworth R.I.P. #1 is a must-read for all fans of Batman and/or members of the Bat-family.

It's still just the first issue, but Batman/TMNT III is already showing the potential to be the best chapter in this recurring mini-series.

Batman/TMNT III #2 clears up a lot of the questions from the first issue. Though, Tynion just gave us a new set of things to think about for another month.

It's a twist I particularly enjoyed and am excited to see unfold further. Because now that Oroku Saki is in the mix, more characters should come to the forefront.

Lastly, Shredder is already getting short with Batman and the Turtles. Something says he's going to get into a scrap with them once Joker and Krang have been put in their place.

Lastly " and I have to hit on this because I review Red Hood, too " I'm not certain if Freddie E. Williams strictly kept to red Hood's new look or did a combo of his classic look and the new one. Because when the Bat Family shows up, it looks like Jason Todd is wearing the old Red Hood mask. But then on the final page, the shadows make it hard to tell which mask he's wearing. Either way, I like how Williams draws Red Hood. Though I will say, personally, I hope he's rocking the old helmet with the new outfit. Seems like an awesome combo.

Batman TMNT III #6 was a great ending to an all-around fun series. Yes, there is an overarching theme to the miniseries, like anything else. But it's still a light message and doesn't consume the entire story.

Though, there are some who could still pose a threat and push this group to the limit, and Ra's' is certainly one of them.

In addressing the lingering issues, Hill has created more questions, which is a god thing " so long as everything gets answered.

Batman Beyond has been going strong for a while, but it really has a chance to turn a corner with the Joker coming into play. Very excited to see what Jurgens has in store next.

And maybe this all has an effect on Bruce's stance on anyone being Batman. By helping Terry do what he does he's putting another young man's life in danger. As much as Terry can handle it and is capable of making his own choices, the guilt may become too much for Bruce.

Now, on to the Nightwing note. When Matt McGinnis left to find his brother before confronting the Joker, Dick addressed Bruce's comment that Robin would be fine in this fight by saying, "Until he takes a crowbar to the face. Or a bullet to the head. The sad truth is that things don't end well for Robins."Unless he's done it in another series, this is the first time Dick Grayson"not Ric"has acknowledged being shot in the head. So for those who can't stand Ric Grayson and are worried their beloved Dick Grayson is lost forever, this is proof he'll be back. Maybe not as Nightwing, but certainly as Dick Grayson, at the minimum.

Plus we get some pissed off Dick (not Ric) Grayson. He's not exactly a fan of the Robin program and putting kids in danger like Bruce does. And how about Bruce's line when Grayson questions him about Matt McGinnis, the new Robin? "He'll be fine. Hehasto." He "has" to? Tell that to Jason Todd or pretty much every other Robin through the years, Bruce. It's comments like those that make you wonder how he's survived this long.

Both Pasqual Fery and Dave McCaig's main cover and Shawn Martinbrough and Andre Szymanowicz's variant cover are great this issue. The main cover is heavy. Really leads you to believe things are going in a certain direction. The variant has a futuristic feel that comes with Batman Beyond.

Batman Beyond #30 ends with a familiar face stick her nose where she shouldn't, teasing the idea that another character could return, again. Hopefully, Jurgens doesn't walk down that path too soon.

Terry finds himself up against a unique villain in Splitt. He's actually two people in one. When morphed together, Splitt's helmet looks just like Deathstroke. (I thought it was Slade Wilson or something like a "Deathstroke Beyond.") But these two are definitely not Deathstroke, but still dangerous. Their weakness seems tough to exploit, though doable based on their difference in personality. But Terry has one other major issue to deal with before figuring out how to stop this twosome.

Which brings things to the last point: we're dealing with False Face while Bruce is stuck at Arkham Asylum. We haven't seen Bruce's face in the prison yet, but Dan Jurgens made it fairly clear as to what's going on. While the stuff with Splitt has been good, A Bruce Wayne-False Face switcheroo has the making of an intense chapter.

And now False Face has taken on a new form. I wonder if the effects of his powers will wear off of the real Bruce now that he's not the one being impersonated anymore. Seems like the only way for Melanie and Matt can get out of this mess unscathed " though the former has done a good job taking charge throughout this mess.

Next issue should be a good one with Splitt and fake-Batman teaming up.

Last thing: Chris Stevens and Sunny Gho's variant cover was great. Best Batman Beyond cover in a while.

Regarding Splitt, it looks he's got some other powers now? Or at least one of the brothers does. Poor guys can't catch a damn break.

Though, Terry running into Blight " especially without the Batsuit or any knowledge of his true identity " isn't exactly "lucky."

All in all, Jurgens has taken the title in the right direction with the Batwoman-Terry stories. Hopefully, he and Sean Chen can maintain the momentum from Batman Beyond #40.

Much like Batman: White Knight was, this is a must-read for all comic book fans, not just those who love Batman.

Because it's impossible to know what's coming next with Sean Murphy running the show.

Lastly, The main cover is great, but the "Gordon smoking" variant is pinnacle Sean Murphy artwork. True grit.

Not only that, Batman left Barbara hanging out to dry once he disarmed her. Azrael could've done much worse damage than he did. Now, it looks like he broke or dislocated Batgirl's arm. If he broke her back, I don't know how Barbara ever forgives Batman. Because that's entirely on him.

Lastly, Batman's decision to skip the funeral was so weak. I get he has some serious emotional issues, but come on. It's Jim Gordon. That's like the closest thing he ever had to a brother.

Of course, this is assuming what the Joker says is true. And it might be hard for Batman to disprove what his old rival said, given the way Batman: Curse of the White Knight #6 ended " unless Jason Blood lends a helping hand.

By taking that route, Murphy has so many ways he can go with the story. Batman could do something else always thought unfathomable " kill someone. He could retire from crime-fighting when he completes the mission. Or, who's to say Batman will definitely survive this whole ordeal? Why should we trust Batman is safe so long as Murphy is in charge? Everything up to this point has indicated Bruce Wayne isn't safe in the pages of Batman: Curse of the White Knight.

In the end, Murphy wrapped everything up nicely. But he just had to make sure he left us wanting more. Honestly, even if he didn't include the tease, I want more of the Murphy-verse. But now I'm on the very edge of my seat.

Basically, the good doctor needs to get over herself and focus on her job. I understand it's not exactly easy dealing with the Joker, but I'm pretty sure he's going to be his crazy self no matter what.

And that's where I was most confused. Based on what happened, I thought Batman might have been dreaming after being knocked out by Scarecrow and was his captive at Arkham the entire time. Because how the hell DID Batman get on the roof? Then I realized: the roof is in the city. The background clearly shows they're not at Arkham.

This is a great issue to show off Scarecrow for the outstanding villain he is. Batman is putty in his hands the entire time. That probably won't change next issue since he's one of the few villains " may be the only one " who can take away Batman's greatest weapon: his mind.

Scott Peterson has done an exceptional job with this story and it's pacing.

Batman Kings of Fear #5 ends with Batman injecting himself with something. It might be more scarecrow juice, maybe something else? It's hard to tell what, making it impossible to figure out exactly how this mini-series will wrap up.

Peterson did very well with Scarecrow in this series. He forced Batman into this insane soul-searching experience that any reasonable person in his position could believe. (Maybe not the part about all the villains being great people, but certainly the part about Gotham thriving.) He's such a dangerous character and can easily be underwritten, but Peterson certainly didn't do that, which made this series a good a good read.

This series has the makings of a must-read for any DC Comics fan, not just Batman fans.

All that's left is the answer to "who is Omega?" Has to be a member of the Bat-Family. Jason Todd and Damian Wayne would probably be the favorites if Vegas put out odds. But wouldn't it be something if Scott Snyder went with someone out of left field?

Snyder always makes the mistakes believable. Honestly, Snyder's execution of those mistakes in Batman: Last Knight on Earth and Dark Knights Metal is the linchpin in each of those stories.

Garth Ennis has been great through the first two issues of Batman: Reptilian #2, but Sharp's work has been something else.

Regardless of whether this is Croc or a new player altogether, Ennis has built this character up to be the biggest bad Gotham has seen, and I can't wait to see Sharp's vision for this creature.

As for the art, Liam Sharp's work has been reflective of the story's tone from start to finish. The water colors made things a bit confusing in certain spots, but that was largely an effective choice. Would love to see this pair get another shot at flipping another beloved DC character on their head

Looking at the entire issue as a whole: I really like the idea, and everything was well executed. Some stories were superior to others, but it was an all-around fun read.

Not a must-read, but a fun one if you're looking for something different and can't get caught up in the other, heavier Batman miniseries.

Last, but certainly not least, Matthew Rosenberg is back at it with Grifter. The start of his five-chapter story, "The Long Con," was a bit frustrating " but in the right way. Cole Cash is something else; this story was a great way to end the first issue of this anthology.

Batman: Urban Legends is the best Jason Todd stuff Red Hood fans have gotten in a long time. Joshua Williamson's work with the character in Future State was very good, but Chip Zdarsky and this team of artists " Eddy Barrows, Eber Ferreira and Julio Ferreira, with Marcus To on the flashbacks " have the character completely back on track.

Matthew Rosenberg has stolen the show with his Grifter story.

The setup for two finales we're set to get in Batman: Urban Legends #6 have been great. Specifically, the Red Hood story has me on the edge of my seat with the problem Batman is facing. I'm also very excited to learn more about the mysterious woman from Bennett's Batgirls story elsewhere in the future.

As for the two one-off stories we get in Batman: Urban Legends #6, the Black Canary one is huge. It helps set the table for an upcoming DC Comics title, which I can't wait for. The Zealot story seems to be further setting up for a WildC.A.T.s series, and one would think Matthew Rosenberg will be the one to run that series at this point.

"Hunter…or Hunted" and "Batman with no name" weren't exactly the best anthologies we've gotten so far in this series. As much as I enjoyed the Batman Beyond story, Batman: Urban Legends #7 isn't on the same level as the previous six issues because it lacked that strong second story each of the prior ones had.

Batman: White Knight presents Harley Quinn #1 is a promising start to a series that has a lot to live up too.

To put it simply: If you like the cover of Black Mass Rising, you'll want to read this. It encapsulates the entire essence of the story in one image while revealing next to nothing about the plot.

But, for all the promise the story has, the action sequences in Black Panther #1 leave a bit to be desired. With there being one right out the gate, that can easily disengage readers from the jump. The artwork is fine outside of the fights, but that's almost always significant in a superhero comics. The story seems promising enough that it can work around it, but that was a bit of a letdown.

I'm not quite sure how Deadpool walks away from this fight successfully. I honestly expect this ends with him being a head in a jar, left alone in a closet for all eternity. Meanwhile Black Panther, yet again, saves the day and finds the cure for cancer.

Before any of that happens, though, he and Black Panther have to team-up against Jack O'Lantern. Though I don't know why they need to team-up to take him down, he's not exactly Thanos.

So he's got the weight of the world on his shoulders, while Deadpoolis getting his arm back and, per usual, not thinking straight. There's no wayhe thought Black Panther would be OK with him killing Jack O'Lantern. He musthave known that'd send him over the edge. His actions point to the contrary,but not even Wade Wilson could be that dumb, right?

In Bloodshot Spirit Rising #1 this was the third time Project Rising Spirit tried to implant a fake memory. Not sure how they fix things from here, but I cannot wait to see where Bloodshot Rising Spirit goes next.

No matter your expectations going into Blue and Gold #1, you are guaranteed a fun time.

One can only hope Jurgens dumps both bits of information in Booster's lap all at once. Turning this team-up into a feud would be a welcome twist " but I fear I may be asking for a bit too much with that idea.

Action needed to be it's base, and that's been the case, but none of the action has gotten readers from point A to B " in all honesty, we should be even further along than point B through BRZRKR #4, yet it feels like the plot has hardly developed since the first issue of the series.

Furthermore, as she works to avoid fighting during this weird "peace time," she can't seem to find her purpose in this world. And by the end of Buffy: The Last Vampire Slayer #1, Buffy is presented with an opportunity similar to one from her past " one that left her scarred.ONly this time, she'll be dealing with someone she's never met but has a close tie to.

Last thing: when you go to the very last page of the story, take a second to soak in the very last panel. I believe Paco Diaz drew that one. It is SCARY how much Cable looks like Josh Brolin in that picture.

I didn't have immensely high expectations for this series coming in. But I'm interested in learning more about Veronica Eden, who Marvel seems to have some sort of plans for.

Things will certainly get out of control as the series goes along, but Ram V establishes his control of the character. That's a great sign to see early in a legacy-character series " especially one where said character is hard to contain (in more ways than one).

Crush & Lobo #1 has a high tempo, and that's the result of Amancay Nahuelpan's artwork. While Crush is talking to the readers about her life, she's fighting off villains and dealing with other messes throughout the story. That's how it should be with a Lobo book " get things rolling right out the gates and don't slow down.

While there's some confusion with the story " not always a bad thing " Amancay Nahuelpan's artwork is anything but. Nahuelpan is very consistent, and Tamra Bonvillain is, of course, one of the best there is.

In every sense, Damn Them All is a very promising start for BOOM's new horror comic.

Once again, Snyder is leaving readers with a lot to think about before next issue.

Snyder has done a great job catering to the fans who want as much information as possible while giving the ones who want the DC Universe-altering event just that and nothing else. All the while Greg Capullo is effortless reminding all why he's one of the best in the business.

Can't say it enough: very excited to see how this wraps up.

If Dark Nights: Death Metal #6 doesn't give you goosebumps, something may be wrong with you.

Looking specifically at Dark Nights: Death Metal #7: the action in this issue is outstanding. Snyder tied everything together nicely, but this issue was all about Capullo. The zombified Bat Family was a sight to behold. Golden Wonder Woman is an absolute rock star. The list goes on. There's a reason he's one of the best to ever do it, and whoever's decision it was to unleash Capullo this issue needs to call the shots more often.

As for furthering Snyder and Capullo's story, Tynion helped those who don't read Justice League get up to speed on Perpetua. Dark Nights Death Metal Multiverse's End #1 is a must-read if you're following the event, but it's especially important for those who fall under the aforementioned umbrella.

Kirkham is the headline artist of this story, but Rags Morales (Part 2) and the team of Denys Cowan (pencils, Part 3) Bill Sienkiewicz (inks, Part 3) follow suit, giving Dark Nights Death Metal: Infinite Hour Exxxtreme #1 a revamped 90s feel " which is perfect for a Lobo story.

"I shall become"" is probably the only story I didn't like, but I think there are definitely those who would. Use not for me.

Yes, even if you're not reading the Dark Nights Death Metal main line but you care about DC comics, this is something you should read. It's a bit dense, but it's absolutely warranted.

Dark Nights Death Metal: Robin King #1 is Horror meets high-octane action. As much as Scott Snyder has done a great job of updating Dark Nights Death Metal readers who aren't reading the one-offs, this is the one you won't want to miss. That's in part because Robin King has been at the forefront throughout much of the event. More importantly, though, this is simply an issue you'll want to experience.

Still an important read with a good Wally-Barry dynamic. But, the aforementioned issue didn't sit well with me.

There's a short story in here for everyone. You won't regret picking this up if you've enjoyed most of what Dark Nights: Death Metal has had to offer so far.

If you want to know how DC's greatest heroes spend their final moments before the biggest battles of their lives, Dark Nights: Death Metal The Last Stories of the DC Universe #1 is mandatory reading.

There were a few hits in this one-off, like Scott Snyder, James Tynion IV and Joshua Williamson's "Scary Stories to Tell in the Dark Multiverse." Snyder always does well with teasing twisted ideas. Some are better than others, but there's definitely enough for everyone.

What's so interesting about Superboy Prime's story in Dark Nights Death Metal: The Secret Origin #1 is the rejection he receives at every single turn. He may be Clark Kent, but most of his experiences have gone very differently than Superman's. It's a surprise he still has any semblance of sympathy for anyone else " especially when some of the people he's helping are giving him a hard time.

What's so interesting about Superboy Prime's story in Dark Nights Death Metal: The Secret Origin #1 is the rejection he receives at every single turn. He may be Clark Kent, but most of his experiences have gone very differently than Superman's. It's a surprise he still has any semblance of sympathy for anyone else " especially when some of the people he's helping are giving him a hard time.

DiDio had one of the better pairings in the Hanna-Barbera " DC crossovers. Top Cat is conning everyone he can, per usual, and is paired with pretty much his opposite. I wouldn't mind seeing them work together again. They keep it fairly light, as it should be with Hanna-Barbera cartoons.

When it comes to the art in DC vs Vampires Hunters #1, there's quite a bit of action mixed in throughout the issue. Neil Googe's best moments come during when Damian is handling multiple targets. In those moments, Googe elected to go without panels. That played well with Damian and his opponents while also heightening the tempo in DC vs Vampires Hunters #1 at the right time.

However, I'd rather not see that become a major part of the series. But I do trust Taylor will make the right decision. He usually does.

I do wonder what kind of end he and Taylor have planned for all those Amazos. There's no way Penguin and his people win this fight, regardless of what he's got waiting for the zombies and the heroes, but I do wonder if everyone loses at the end of all this.

After reading each of the first three issues of DCeased: Dead Planet, I've legitimately wondered if things can things get much worse for DC's heroes in this story. And every time, Taylor and company screams "YES!"

irst, need more Etrigan. We only get a few pages of him. Maybe DC should give Etrigan and Constantine a Black Label team-up miniseries?

Trevor Hairsine's art continues to capture the desperation of DCeased: Dead Planet. And while I tend to enjoy anything John Constantine-related above all else, Hairsine and Rain Beredo's best work was with Wally West, particularly at the library.

Not that I want to see Constantine bite the dust. Constantine dying in a story likes this enhances his successes in other books, serving as proof he can't walk away from everything.

Also, we got a cool, but sad, cameo in the latter half of DCeased: Unkillables #2. Can't wait to see who else pops up in the upcoming issues.

It's one of Taylor's greatest qualities. We expect somewhat of a happy ending, but there's an unease the entire time. He never lets readers get settled " which is why his work is always must-read stuff.

Though, if my king murdered one of my fellow soldiers for seemingly no apparent reason, I guess I'd be upset, too. Pretty sure that's how Game of Thrones started.

Seriously though, an OK issue, by no means a must-read though.

Lastly, I like Scott Hepburn's style. It works well for Deadpool and his wackiness. But does Deadpool need to squint ever second he has his mask on? It's a small change, but one I would appreciate.

So I'm glad Deadpool didn't pull the trigger and actually solved the problem. This goes to show "shoot first, ask questions later" isn't always the answer. Hopefully, everyone caught that very important message.

Hopefully, Young doesn't cut things short on this Zaggy v. Deadpool battle, because as mockable as it is, I would love to see how Wade roasts this hog.

Chris Bachalo has the pencils with a slew of inkers. His interpretation of Deadpool isn't my favorite. It's not so much his style, in general. Because he does draw some other notable characters, and they look great. But Bachalo's Deadpool is flimsy. There's little muscle definition and he seems more like a teenager. That being said, I think Bachalo drew him well for the way Thompson handles the character. He's full-clown mode. The humor doesn't have the same impact if Deadpool is this jacked out of his mind.

But, Wade has a separate &^%*storm on his hands, thanks to Elsa Bloodstone and Dollar Store Kraven. Which might mean Deadpool #3 will have a lot of action.

Mark Bagley did a great job with the art. Big fan of the detail in Deadpool's fight scenes. I also think he and the color artists, Edgar Delgado and Dono Sanchez-Almara, did an exceptional job with Threnody's major moments in the fight with the Assassins Guild's henchmen.

Odd way to end the story. Not sure if that's "prime" Deadpool, or not, but either way it didn't sit all that well with me.

Never thought I'd say this, even with a Priest story, but I think I'm taking the verbal punches between Deathstroke and Batman in this one. They just get downright frigin dirty with each other and hold nothing back.

I'd also like to point out Talia is a very bad parent. As is Deathstroke. Don't be like them.

Priest also made a random addition to the story, an Arkham patient name Devon. I'm not certain how important he'll become. Though, he and Slade were abducted together when they escaped Arkham. Regardless, he was pretty awesomein Deathstroke #36. He dropped a "Wakanda Forever," mid-group therapy session and had the last word on the issue, telling Deathstroke as they were abducted, "This is why you'll never get a movie." He really didn't add much outside of that, but what else did you really need from an extremely minor supporting character?

There's no reason to believe the next issue of Deathstroke will be any less confusing, but whenever the payoff comes it'll be worth the wait.

One thing that was odd about the final image, aside from the doctor wrapping her arms around Strange, Two-Face was somehow in the image. I'm not sure if that was an accident or deliberate. If it's an accident, how does that happen? If it's deliberate, I'm very much confused.

The Deathstroke artwork continues to be among the best in DC. Hats off to Carlo Pagulauan & Fernando Pasarin. Also, another stunning cover from Tyler Kirkham.

The last thing of note was Death Masque trying to be a knock-off Deadpool, who's a knock-off Deathstroke. It was a fun, little idea by Priest. Death Masque's best line was, "it would be freaking ironic if they sued us." (He was referring to Marvel, of course.) It was a nice way to end the character from a wild arch in the story of Deathstroke.

Deathstroke #41 is the perfect blend of Christopher Priest's writing and intense action"which are the two things readers expect every time they pick this title up.

Last thing that shouldn't be lost in this: Black Mask is still an idiot. Did anyone else think for one second Deathstroke would help the other prisoners escape? Suicidal or not, that was never happening.

On the other hand: he got shot in the eye with an arrow by a world-class marksman. Even for Deathstroke, that has to be hard to bounce back from. Plus, Priest teased Deathstroke #44 as "Funeral for a Friend." That can't be good.

Also, Jericho's interactions with the Legion of Doom and his emotional state lead me to believe he'll join them and somewhere along the way, Rose (and hopefully Slade) will have to intervene.

But now, thanks to Shado, it looks like Rose is going to go bananas on the Teen Titans, Red Arrow in particular. I wonder how Jericho will factor into it all, given the proposition a certain evil mastermind threw his way. Based on Jericho's current mental state, it seems likely he takes advantage of the offer. For what purpose though " good or evil " is hard to tell at this juncture.

And it looks like Rose got some new Deathstroke gear. That's, of course, assuming that's her on the last page of Deathstroke #46. The dual swords look sick. The whole outfit does. Hopefully we get more from her in next issue. Though it seems likely Deathstroke #47 will still be Jericho-heavy, given what we saw him do to Rose and his lover, Terrence. (No to mention what we saw on Ed Benes, Richard Friend and Dinei Ribeiro's cover.)

Lastly, I like the new outfit. I don't love it like I did the Ikon suit, but it's cool.

Deathstroke is on track and back to being the best ongoing series DC has to offer.

Can't wait to see how he concludes Slade Wilson's story.

Until someone else takes the reins, Deathstroke will have to do.

Deathstroke has some serious issues to sort out, but Williamson, Porter and company are going to have a fun time on this journey with Slade and Black Canary.

For those who were apprehensive about Deathstroke Inc. since the title is Slade Wilson's first since Christopher Priest's amazon run, this is very different. Williamson and Porter are dealing with some of the same struggles Priest did, but it is not at the forefront of everything. The tone is much different. Based on how the first three issues of Deathstroke Inc. have gone, there's absolutely room for both in the hearts of Deathstroke fans.

From start to finish, this has been an outstanding series. For those who are just about to sink their teeth into DIE #20, you will not be disappointed. And to the comic book readers who've yet to give this title a chance, get on it.

I'd like to see them do more with this issue and Domino down the road. Again, it's being subtle about a larger topic that can afford to be mixed in when the majority of comic book characters are jacked.

Excited to see what Domino does next, now that she has her mojo back.

Domino #7 is a great start to the new Domino story. Seems like there's a lot of potential.

Gail Simone's story continues to go in different directions, but I love how this band of three still finds a way to keep it light at all times. Domino keeps getting better and better.

They've got their hands full with Longshot now, who's apparently lost a lot of weight, or bone density?

The only real issue with Domino #10 is there are too many artists involved in this. Artist changes happen all the time, that's understandable; obviously, business decisions have to be made"even when though some of them aren't good. But was it absolutely necessary to bring in three artists in addition to David Baldeon?

Howard and To are off to a strong start. Based on the start to the series, Excalibur will appeal to Psylocke, Rogue and Gambit fans, particularly.

Still, he did what he needed to do and saved everyone. But after the last few panels, the question with Wally has to be: will he continue to put the interests of the greater good first, or do he and the Morbius Chair have different plans now. Because Scott Lobdell and Brett Booth did not guarantee anything about Wally's future on the final page of Flash Forward #6.

A good start to both stories. DC put together good teams for these projects.

Like Future State: Justice League #1, the Justice League Dark portion of this issue provides the superior story. I'd love to read more about this team under the watch of Ram V (writing), Marcio Takara (art), Marcelo Maiolo (colors) and Rob Leigh (letters). Etrigan takes center stage in Proheties Part 2, and it'd be great to dig into his vulnerabilities. (Justice League Dark brought up the grade of this issue at least a full point.)

Also, tough choice between Yasmine Putri's main cover and the variant by Nicola Scott and Annette Kwok. I generally not a big fan of banners and whatnot, but Putri is one of my favorite cover artists. At the same time, Scott and Kwok put such great detail into Nightwing's Future State armor. Have to go with the variant here.

Not sure which cameo surprised everyone most, but I was blown away by Talia al Ghul showing up. It'd make sense to see some members of The Resistance pop up in Red Hood's upcoming Future State series, but this team deserves it's own book " even if it's a miniseries.

Both stories are important to the world-building " not sure when, or even if, we'll see the new Batman meet either Future State groups. The two issues were good, but Arkham Knights really gets your attention with its wild combination of knowns and unknowns.

Gothan City Sirens was fine, but Batgirls may have been the best story of the three " that includes Future State: The Next Batman #2. Great action, surprises and there may be a point where your jaw drops.

That said, there's one image that will be stuck in your head after reading all three stories in this giant issue, leaving readings waiting anxiously for Future State: The Next Batman #4.

I stand by what I said in my Future State: The Next Batman #2 review: Batgirls is outstanding. Definitely one of the best sub stories Future State has produced.

If DC intends to extend this story beyond the six issues they announced, we need colors on these pages " especially for the sake of action sequences.

Even though I'm disappointed with the decision to omit colors beyond black and white in this book, the team involved has done well to ensure this is still a good read for Red Hood fans. I could go either way on Chip Zdarsky or Williamson and Culver taking control of Red Hood beyond their respective books. I seem to flip-flop issue to issue, but it's a good problem for DC to have right now.

If Percy and Smith can maintain the tone they set with Ghost Rider #1, this is going to be a must-read run from start to finish.

One side note: no-show out of Jason Todd. Wouldn't have minded if he made an appearance and clocked Green Arrow one time.

Lastly, German Peralta did a great job with the artwork this issue. Probably my favorite art from an issue of Green Arrow in at least 15 issues.

Green Arrow #47 saw an end to quite a few things, with the trial ending recently and the ninth circle stuff seemingly in the rearview. Oliver has a lot to deal with in the aftermath, but things could go anywhere from here.

In fact, you could argue she's passed up Oliver as the best character in the series. The way she saved Oliver from Citizen was quite impressive"and very cool"and seeing her catch Green Arrow is always a sight.

It's a shame two awesome characters, Arrow and Black Canary, won't have more time together. They really do work well off one another. But at least we'll get what looks to be an unforgettable matchup coming up.

Black Canary is great when partnered alongside Green Arrow, but Green Arrow #50 helps beg the question: does she deserve another shot at her own story arc? No Birds of Prey, no Green Arrow. Just Dinah Lance. Now may not be the time for DC to retry the idea, but it's something worth considering in the future.

Definitely a story any Hal Jordan fan should get in on if they haven't already.

By the end of the issue's main story, readers learn quickly the stakes are going to be high in this series. And that's probably McFarlane's greatest strength as a writer " the plotting. The dialogue is good enough here, but narration leaves a bit to be desired. (That's what makes King Spawn stand out so much.) Still, the constant mix of kick-ass art in every Spawn book makes up for it's flaws, especially when the plot has direction.

McFarlane can go in pretty much whatever direction he wants following the events of Gunslinger Spawn. The characters who survived Gunslinger Spawn will certainly cross his path again, but it's unclear if that'll be soon or not, which isn't a bad thing. McFarlane could just leave the first two issues as a series warm-up as he shifts into another gear, or he could continue with this promising storyline.

Still, a rock-solid issue, and I can't wait to see more from the new character McFarlane and company introduced in Gunslinger Spawn #3.

Now, to be clear, there's not a whole lot of movement in terms of setting this issue. Everything takes place in pretty much one space, as has been the case throughout Gunslinger Spawn. That's been a non-issue for me because there's always a lot going on with Booth's art. There's never a dull moment, and his action sequences are insane.

And it really is a mano-a-mano showdown, since Pierce killed everyone in the Hardcore Program and Markus killed her because of one mistake"at least, that's what we're led to believe.

Furthermore, the biggest obstacle for Drake won't be Lupe or Vasquez's men hunting him. Markus and his cronies are priority number one. But they can see every move he makes in Esteban's body because of the Hardcore tech. It seems like an impossible feat.

One thing Diggle has also done well, each issue has had the perfect cliffhanger. Hardcore #3 is no exception.

The story comes to an end with Hardcore #5 due to come out at the end of April. Diggle can go whichever direction he wants with this. Although Drake has potential, there's no reason to keep him alive " which should make for a wild ride in the finale.

Again, Diggle provides an open ending to the story. Not only can there be more Hardcore Program stories, both Drake and Markus survived the final altercation. There's a chance now for two Hardcore Program to be developed " if the government still has Markus' blueprints and the series' villain creates a new one for himself.

Excellent start to the series. Has the making of a must-read for Constantine fans.

Bring in Roberston, who will draw absolutely grotesque act and make it look slightly rougher than it needs to be, with a pinch of humor, and you've got a story any John Constantine fan can enjoy.

There's also a clear message delivered in this issue, and it's one that definitely fits Constantine. However, the role Constantine plays in the delivery of this message puts him in the position of hero. Unless it's an absolutely dire situation, Constantine is never the hero; he's in the business of covering his own backside.

As rattling as the ending was for the first story, the details about the villain of the issue that were added in made the conclusion great. It also served as a solid Segway into the second story " though that wasn't all that gripping. An interesting story, for sure, but I want more Hellboy (or members of the BPRD) when I'm reading about Hellboy.

Hotell remains one of the best titles AWA Studios has produced, and both the first and second volumes are must-reads for horror comic book readers..

It's a must-read for fans invested in the next stage of DC books and for those looking to put a pin in all things Dark Nights: Death Metal-related.

All-around a solid issue. If you haven't read much Jane Foster, you should still be able to pick this up and follow along as long as you're aware of her general background.

Amidst all this, Dwonch, McKinney and King are building within the world of Jenny Zero, providing more details the group introduced at the end of the first arc. And while the action in Jenny Zero II #1 isn't at the same level as the last issues from the first arc, it looks like Jenny Zero II #2 will be plenty action-packed.

John Constantine: Hellblazer #1 is exactly what fans needed after the layoff from DC's previous run with the character during Rebirth

Not to mention he complimented Constantine after their encounter. Was that supposed to make him feel better?

Lastly, looks like Constantine has a new sidekick in Noah. Seems like a good add. Hopefully, Spurrier doesn't abandon Nat. Feels like she has a lot to offer.

Bergara's art fits well with the introduction of Tommy Willowtree, but Campbell's capture Constantine's presence a bit more; that dingy feel. Still, I like that DC has alternated artists in the first few issues " typically that bugs me. But the tone changed from issues #1-3 to #4 and 5, and now we see it again in #6. All that being said, Constantine belongs in the dark, so hopefully he stays there for a little while longer.

That's not because I like seeing Constantine play the nice guy. Because I don't think that's what's going on in John Constantine: Hellblazer #8. He just knows how to give others what they think they really want " and helped an unfairly treated creature do so in this issue.

DC has also done a great job with the mix of artists on this run. Matias Bergara's work flows great with the tone of the story and Jordie Bellaire's colors " who's also been an outstanding constant throughout the John Constantine: Hellblazer run. Bellaire's work is crucial when it comes to setting the tone for each issue.

That's the one good thing about Spurrier and Bellaire's ending coming so early. They should have some room to put Constantine in a rough spot for a long time since it seems like the character could be on the bench for a while " aside from potential DC Black Label stories outside of continuity.

Spurrier didn't fully deviate from the events that took place, but he definitely took a hard turn.

If you're looking to learn more about Constantine as rumors surround the character's big-screen presence, this is a series you should read. If you like the character, but haven't been pleased with how he's been written in recent years, this is a series you should read.

And as usual, Alexander's art always gives you reason to pause after you read the text from each panel. This title continues to be one of the best horror comics out there not exclusively at Image.

Given Millar's working relationship with Netflix, this story has the potential to be a big hit for the streaming service down the line. And the role of Roland King is one that could draw the attention of some of the better talent in the industry.

Working side-by-side with Lewis, Javi Fernandez and FCO Plascencia balance the pages of King Spawn #1 between action and horror. There's an image of Sam and Twitch which perfectly highlights what this pair can do " and just how dark the imagery can get with King Spawn.

There may not always be a ton of action, but things are going to move at a brisk pace. So far, that approach has made the book feel much smoother than the average Spawn book.

On top of everything Lewis has done with the plotting and dialogue, Javier Fernandez's artwork gives this series the perfect mix of action and horror. It's apparent he and Lewis are getting more comfortable with the character and each other from issue to issue.

On top of all the juicy details Lewis provides, Javier Fernandez's artwork continues to shine. Metaphorically, not literally " some rather gruesome stuff takes place on these pages. He and FCO Plascencia have amazing chemistry, which is on display in King Spawn #5 as much as any issue.

Fernandez's art continues to impress. In a way, he accents Lewis' writing, but the inverse can also be said. And there are the times Fernandez brings things to a halt because there's so much to take in.

If you're only going to pick up one Spawn book of the four produced monthly, this is the one you have to pick up. It's the most complete title and one of the best books out there.

Also, it's easy to get lost in Johnson's art. While being the first artist to pencil new characters has its advantages, allowing room for error, being an independent book puts everyone involved in a spot where they're forced to impress right awaya. Johnson, as well as Pruitt, did just that.

As a whole, the story itself has potential. The big question the reception of Checkmate. There are some names readers care about, and there are some readers know well but may have a hard time investing in " then there are some that are complete wild cards. Obviously, the story is centered around Checkmate v. Shaw, so it's pretty important that some of these characters resonate if this story has any chance of succeeding.

Another sound decision made by Niles and Simeone was keeping Manning's origin story brief. They provided readers with the necessary details and nothing more. Because, more than anything, Lonesome Days, Savage Nights is about the wild ride of sharing a body and brain with a monster that's looking to take control.

Marjorie Finnegan Temporal Criminal has a similar vibe to "The Boys," but the two are incomparable beyond their shared sarcastic tone. That's in part because of the artwork, along with Ennis' writing. Goran Sudzuka isn't out here giving readers these jacked-up heroes " most of these characters look like your average person.

You know you're generally in for some weirdness when reading Garth Ennis. Of course that can be said with most comics, but Ennis takes things to another level.

As for the art, Marco Renna has had to do a lot with each issue of this event. He is yet to disappoint on this title, never mind the Eltarian War. Unfortunately, it looks like someone else will take over for Renna after Mighty Morphin #16. The pairing of Parrott and Renna has provided a well-paced book with meaningful developments in this universe, along with fun stories. This event will be the calling card of their run, but they were excelling with this title well before the Eltarian War.

Casey coming into the fray is cool, but the final pages of Mighty Morphin Power Rangers/Teenage Mutant Ninja Turtles #3 made the issue. We've seen the Turtles as Nightwing, Batgirl, Robin and Red Hood, and what's on tap for Mighty Morphin Power Rangers/Teenage Mutant Ninja Turtles #4 should be even crazier.

Lastly, we need Shredder in on the action ASAP in Mighty Morphin Power Rangers/Teenage Mutant Ninja Turtles #5. He looks too cool to remain on the sideline for the entirety of another issue.

Also helps to have the ever-impressive Dan Mora in charge of art. Other artists have done some impressive work with the Power Rangers, but Mora's interpretations are the first I think of when the BOOM! Studios title comes to mind " and I don't expect that to change.

What made me give the story a shot in the first place was Fico Ossio's art. He's done some great work and did not disappoint in Mr. Miracle: The Source of Freedom #1. But now, I want to see Easton's story through. He's got a lot to address in six issues, but it's a subject very much worth investing in.

Another outstanding job by Thompson in this issue. She has a firm grasp on this relationship and seems to really understand them as individuals, too. She also elected to not have Deadpool talk to the audience at all. I like that call. This isn't about him. Deadpool is there to add to the story, not take over (though I guess he did kind of take over this whole review).

Thompson has done well with Deadpool as a secondary character, but that's nothing when compared to what she continues to do with Rogue and Gambit. She just gets them.

Their art just isn't my cup of tea, that's all. Certainly not enough to turn me away from the stories in characters, but definitely not enhancing my experience. If Thompson continues with Mr. & Mrs. X, or whatever the title turns into next, I wouldn't mind if someone else handled the artwork going forward.

Mr. & Mrs. X #6 might be Kelly Thompson's most impressive issue of the series.

But between the timing, Mojo's reaction and the instability with Rogue, this move yet another brilliant one by Thompson.

The concept of Newburn alone is brilliant.

It feels like Phillips' art is how Newburn himself sees the world. Given there's no monologue/narration and Newburn plays everything so close to the vest, it feels like Phillips's work is the only way the character allows any connection with readers.

Although there are a few factors that can seem to slow this book down, the end of the issue made it all worth it. Newburn is going to have his hands full very soon.

Image has no shortage of quality ongoing titles right now. Newburn is unquestionably one of the best. If you like crime, you'll have a tough time finding a better title in the genre than Newburn.

Also, I don't care about the talk they had in Batgirl #25. These two make as much sense together as anyone else.

DC took a huge risk by changing Ric so much, and it's not been well received. Now that we all know he's been corrupted and twisted as part of a bigger plan, this story is far less frustrating.

As for the Condor initiative, I would love to see them get involved in the upcoming story. the main reason, honestly: their armor looks sick.

Nightwing #49 has a great tempo. The whole racing theme may have played a part in it, but I really think it has to with Percy writing Nightwing the perfect amount of internal monologue. Sometimes Nightwing can talk to himself just a tad too much. The next issue will probably go in the opposite direction with the situation only becoming more complex.

I'm not saying this is 100 percent the Dick Grayson/Nightwing I want now and forever, but this might be a nice change of pace. Even if it only lasts four or five issues.

Lastly, looks like a Bldhaven cop, Detective Sapienza, is taking over the mantle of Nightwing Looks very similar to Nightwing, especially with the mask on. Not sure how everyone's going to receive the gun though. I give him three issues, max.

Also, really loved Chris Mooneyham and Nick Filardi's cover and artwork this issue. My favorite image, even more than the cover, was the very first page where Grayson is watching the ambulance scene at Melville Section in Bldhaven. Very gritty and un-Dick Grayson-like.

He's in big trouble, too. Bea might be for that matter, too. Because it looks like Scarecrow is back, and the foreshadowing in Nightwing #50 insinuates he's hunting Nightwing. Though Ric might be able to avoid the fight if he chooses to, something says he won't in the end.

Ric will become something more, soon. What exactly that is, is too hard to tell right now. But he won't stand on the sidelines while people are in danger because of him (or that loser, Dick).

When Ric does step in, if he's not wearing any Nightwing garb"and he probably won't be"Crane will finally put two and two together.

All in all, it's good to see some level of promise from Ric as a crime fighter.

Lastly, looks like the Joker's Daughter is back in the fold. She has to be one of the more disturbing characters in DC's roster. How in any way could it make sense to anyone to wear a dead person's face as a mask? Who cares if it's your "dad?" You have to be a different kind of crazy to think that's OK in any capacity.

Nightwing #58 ends with Ric picking up Barbara Gordon on her way to the airport. The conversation they have and Ric's facial expressions giving the feeling there's something more to what's said. That at the teaser for the next issue being "Old Flames" could have multiple meanings.

Lastly, Yasmine Putri's variant cover is another gem. Everything about it. (Oddly minor side note: her interpretation of Ric Grayson looks a lot like Scott Eastwood.)

Now, when it comes to his potential battle with Sapienza, this has a ton of promise. It could divide the group and lead to some serious down and dirty hand-to-hand fights. Ric will win, but it should still make for a wild ride.

Now, most of Nightwing #61 was a fight. Normally, I'm all about that. Generally, as long as the artist hits the right spots " which Cliquet does " I'm going to really like the issue. But the way things ended so abruptly, having an issue-long fight was not the right move. Ultimately, that's the primary problem with Nightwing #61, preventing it from being a solid issue.

Lastly, it looks like the Nightwings have put the "Is the Cabbie good or bad" conversation to bed, which is a little disappointing. Like Ric pointed out, it takes four people to do the job of the real Nightwing. Wouldn't it be fun to see those four people take on the real Nightwing?

Looking ahead to Nightwing #64, if Talon seriously harms Be a, I wonder what direction Dan Jurgens will take with Ric.

She expressed how she's supposed to take care of Zak because he's her younger brother. Maybe the combination of that belief and the fact she essentially ignored his warnings are what led to this outburst.

Looking at the larger picture, if at the end of this whole experience Ric becomes Dick again, I think it will all have been worth it. It's been a frustrating experience, no question. But it'll be something that helps shape Nightwing going forward. Also, it'll serve as another example of Dick Grayson's ability to persevere in the toughest of times.

The only reason any of this is possible is the groundwork put in to establish Ric by Dan Jurgens and those before him. Again, if this was regular old Dick Grayson, I would think he's playing the Court instead of being putty in their hands like he is now.

And one last little item, I appreciate the way Jurgens summed up what happened in the previous issue. He didn't was two pages, or even one. It took one speech bubble from Talon to remind us of what happened. Plus, it flowed naturally with what was going on in the issue. A nice touch and an excellent decision by Jurgens.

All that being said, there's still some legitimate uncertainty when it comes to Ric's future. Dan Jurgens can go in whatever direction he wants. That detail and the artwork from Travis Moore and Ronan Cliquet are the best parts of the issue.

The other reason this theory seems plausible, look at what happened to Grayson's narrative boxes after he was brainwashed again in Nightwing #69. The boxes went back to the style from when Dick first became Ric. It's a slightly more obvious decision, but along the same lines as what Cliquet did with Grayson's hair " which is a small detail that says a lot.

Because, we can take a good guess at what will happen with the Joker. As for the four Nightwings, we have no idea how Ric's interactions with them will go. That's not to say the Joker is predictable " obviously, he's not. But Jurgens could go in any direction with the Nightwings. We don't know much about their history outside of their professions, so anything can happen. Hopefully, Jurgens lets one or two of them go rogue " the Edwards siblings being the best candidates.

I also appreciate that Jurgens didn't let the situation with Tusk take over Nightwing #71. He gave us some action and allowed Ronan Cliquet to have a little fun, but a serious shift in Ric's story occurred. And now it feels like so much more is about to happen.

Going back to the art quickly, glad to see Benjamin and Friend are sticking around for next issue. It'd be great to stay on the title for a while. 

The Nightwing title experienced a significant shift in moment recently, but there's a little extra to Nightwing #74. The diehard Nightwing fans will very much appreciate what Dan Jurgens did in this issue.

Travis Moore and Ronan Cliquet, along with Nick Filardi, gave this book a much different vibe from the Ric and Dicky Boy days. They did a good job of helping turn the page on that chapter of Nightwing's life.

So frustrating, but in a good way for readers. I just want to read more about Dick's declension into Bruce-dom.

Also, seeing Alfred's name pop up isn't getting any easier the further away we get from his death. It hits a little differently when Dick brings Alfred up, too. He didn't get the chance to mourn properly when Alfred first passed, and Dick's mind was all messed up the last time the two crossed paths. So while it's still tough for everyone to cope with, Dick's situation is unique.

If you stepped away from this title because of the Ric Grayson era, this feels like a safe time to hop back in. Taylor makes a nod to that era, but he has no reason to rely too heavily on that faze in Dick's life " between the memory loss and Death Metal. Even if you've been away from the character for longer, Taylor's first issue of Nightwing is a soft landing and comfortable shift in direction for everyone.

For those still rattled by the Ric Grayson run or those curious about what's going on with Nightwing, Taylor's run has only just begun. So far, he's met expectations, along with Bruno Redondo, Adriano Lucas and Wes Abbott.

Faithful Taylor readers know you can't get comfortable reading his work. You're always one panel away from a major development, good or bad. But his first few issues on Nightwing had been different. That probably had to do with the need to establish the character's direction after Joker War and the other matters with the title I've spent too much time on already. That mission has been accomplished, and it seems Taylor knows that.

Taylor's handling of Meili Lin's backstory was seamless, and was definitely something that had to be done carefully. In addition to handling the situation with care, Taylor made sure readers got everything they needed on the matter and nothing more.

I still wouldn't mind if Jason went ballistic and set off the entire Bat Family, but I can at least appreciate what's happening with him thanks to Nightwing 2021 Annual #1. Nightwing fans will enjoy Nightwing 2021 Annual #1, but it's a must-read for Red Hood fans.

Nita Hawes' Nightmare Blog #1 sets the table well for a series that has an endless amount of potential, created by a team that knows a thing or two about indie horror books.

If you like Killadelphia, this is a must-read. And if you're a horror fan but haven't given Killadelphia a shot yet, you can still get in on Nita Hawes' Nightmare Blog. There are some moments that might not carry the same weight as it does for Killadelphia readers, but that'll be the only issue you run into.

On top of all that, Barnes and Kudranski really turn up the heat at the end of this issue. No reason to expect next issue won't be just as crazy, if not more so, than this week's.

There are other things at play in No One Left to Fight #1 " including some sweet action " the will bring you back for more in the next issue of this promising series.

Lastly, I feel for Winda. I respect how she's put herself out there, but it's never going to be what she wants it to be. Vle isn't a bad dude, but he just can't seem to move on from Krysta. If he hasn't gotten over her by now, it probably won't ever to happen.

And while this is all going on, The Hierophant has started something big.

Not to be lost in all the conflict is Ossio's amazing artwork. Although, that's probably the first thing anyone notices when anyone reads a book featuring his work. His work, combined with Sitterson addressing real issues in a bizarre world make this a series anyone can enjoy.

Nocterra #1 is a great start. Can't wait to see how the story's first arc continues to take shape next issue.

Tony S. Daniel and Tomeu Morey's dark, twisted world grew a bit more with the brief introduction of Blacktop Bill's gang. There's a lot to unpack there for Snyder, too, but that group's odd look shows there's still so much else about this world we don't know about.

It's impossible to get comfortable while reading Nocterra " the story is nonstop.

If you, for some strange reason, were late to the Nocterra game and haven't had the chance to catch up on the series, you should get the chance to do so soon. Don't miss out on that chance when it comes because Snyder and Daniel's story is only getting better with each issue.

All in all, this remains one of the best ongoing titles across all brands.

Scott Snyder and Tony S. Daniel left Val and readers hanging big time at the end of Nocterra #5. Thankfully, Nocterra #6 picks up right where last issue left off, leading to some major moments. Not only did those moments bring the first arc to an end, Snyder set the table for the second arc perfectly.

As for the art, Denys Cowan and Kent Williams provide a much different vibe from Daniel's work on the main line. Now, I didn't expect a carbon copy of Daniel's work, but the texture of Nocterra: Blacktop Bill Special caught me off guard at first. It was gritty and rough, but that's what Blacktop Bill is all about, making this tandem a great fit.

And even though it feels like this series will be extended, rather than end with the next issue, Not All Robots has regained some momentum.

Overall, it was a nice change in tempo. More importantly, we don't know exactly what's in store for Duncan and Gran yet. Gillen and Mora can go in a couple different directions " leaving us waiting on the edge of our seat for Once & Future #13.

It also feels like Rose is going to get a part in "the story" soon. Whether that becomes part of Gran's plan or not is another matter.

Once & Future remains one of the best ongoing series out there. If you haven't given it a shot yet, there's no time like the present.

Since the craziness of this story is about to get kicked up a notch thanks to the events of Once & Future #18, Tamra Bonvillain's work is about to reach another level, too. Dan Mora and Kieron Gillen get most of the attention for Once & Future " understandably so " but Bonvillain's colors have been great, especially when jumping between Earth and Otherworld. With what happened in this issue, Bonvillain is in position to run wild.

Once & Future #25 is a great return to the action. Readers get to check in with all the major players and get an idea of some of the problems on the horizon. But it's not too much at once after the long pause.

Based on the events that transpired in Ordinary Gods #1, it seems like Watanabe and William are the perfect art team for Higgins' new story.

This series does not seem to have limits. Things have already gotten pretty extreme through only two issues, though in different ways. It feels like the main character might be safe, but everything else appears to be fair game. And even then, Higgins has shown with other work no one is really safe under his watch.

Image is producing a lot of quality stories these days, and it's hard to keep up with them all. But, few have the potential to hit any type of reader " which makes sense. Ordinary Gods is one of those rare exceptions.

After starting the series of slowly " despite the intense ending " Out #2 is a big step in the right direction.

As for the art, Brown is a great fit. This character isn't a hero, and this is very much a dark story. You need an artist whose style reflects both of those qualities " enter Brown. And Lee Loughridge's colors help readers comfortably make the jump between Peacemaker's ridiculous past and the cold conversation taking place in the present.

If you've been in on these series for a while, you know this is more of the same. Parrott hasn't disappointed with either. Neither has Francesco Mortarino, or Marco Renna on Mighty Morphin For those who've always reserved a special place in their heart for the original Power Rangers, you'll want to get in on this event. Both series have the same vibe of the show, but with much, much better writing.

As for the art, Simone Ragazzoni and Mattia Iacono's work is top-notch. The art has a similar vibe to Mighty Morphin and Power Rangers, but Ragazzoni's linework is still unique in its own right. Excited to see what he does moving forward.

We also got a peek at where Artemis and Bizarro's status. (Lobdell wrote that section, with art by Neil Googe, colors by Marcelo Maiolo and letters by Taylor Esposito.) I'd rather see these two get a mini-series than devote 50 percent of the ensuing Red Hood issue to them. That probably won't happen. Maybe just devote one issue to Artemis and Bizarro when they finally find their way back to Jason? I could get on board with that.

But, things are going to get weird if Jason is still with Isabel when Artemis gets back. (Drama!)

Regarding the art, sad to see Dexter Soy depart, though I am excited about Red Hood's new design. But Soy went out with a bang, just as you'd expect.

Now we know: he's not exactly handling his new situation in the best manner. But I don't mind that for a second. In fact, I'd say this is the closest thing to Jason's original Red Hood since he formed his first band of Outlaws. We're talking Batman: Under the Red Hood and Batman: Red Hood - The Lost Days level. Only I'd argue more graphic.

AWESOME cover. One of my favorite Red Hood covers. Good stuff from Pete Woods.

Last thing, both Woods's cover and Yasmine Putri's variant cover were SO SICK. Putri's has me wondering something, too. Any shot we could get some more crowbar? Haven't seen it since Red Hood: Outlaw 26.

I really, really like this team-up. The tension between Red Hood and Batwoman feels very natural, probably because they have no reason to like each other. Something about fighting alongside someone out of necessity, and not by choice, suits Red Hood very well.

Lastly, it looks like Red Hood found Solitary. Now, Jason had been looking for someone else in addition to this mad scientist, and it appears these two might be one and the same. Hopefully, we get that answer to start Red Hood: Outlaw #31.

Lastly, Stephen Segovia took over the penciling this issue. He got rid of Jason's buzz cut, or whatever Pete Woods had given him before " a smart move. Definitely not the looks of a "businessman." Jason also looks less bulky. We'll see if that remains the case if suits up as Red Hood under Segovia's watch.

Lastly, you'll notice the score for this issue is an 80 out of 100. If Jason didn't say, "Hold my beer," to Isabel, the score would've bumped up to an 85. It was forced humor. Failed humor. Red Hood is better than that. Scott Lobdell is, too.

One tiny complaint with the art " and this might be a bit knit-picky, even for a review. Pete Woods has drawn Jason Todd, the crime boss, as a very slender character. Obviously he's still muscular, but by no means is he bulky. Then he puts on the Red Hood outfit and becomes bulkier. He's not Ben Affleck's Batman-big, but he has a little extra size. It's a small consistency issue, but one that should probably be addressed. This might not be the only time that's happened

The fight with essence was great, too. Lokus did an excellent job with creating a fluid transition. Now, the "one little thing" I appreciated from Woods in the course of this fight was the very beginning of it. When Jason drops his katana and crowbar, I thought he wasn't fighting Essence. For some reason, I thought he might try to talk it out, given their history. (Stupid me.) And this could have been a decision by Lobdell, but Woods did an excellent job emphasizing Red Hood had thrown down his weapons " only to exchange them for the All-Blades soon after!

Regarding the art, I like Jason Todd's look right now. I'm not talking about Red Hood. Jason has the businessman look down. Regarding his outfit, Peter Woods' rendition of the original Red Hood outfit is good, but not for me. I stand by his and Lobdell's decision to change the character's look with the shift in artists as much as I did when the change was first announced.

Last thing regarding Red Hood: Outlaw #37: the variant cover is sick. There have been some outstanding Red Hood variant covers " maybe the most consistent good-or-better variants out there " and I definitely don't mention them enough. Excellent job by Philip Tan, Marc Deering and Jay David Ramos with this one.

I will admit, if Lobdell slow-playing Bizarro and Artemis' return leads to a full issue or two with Pup-Pup actually talking and not being a figment of Bizarro's imagination, I'm all in.

Speaking of the Dark Trinity Outlaws, looks like we may have a reunion on our hands soon. Just in time for a gigantic catastrophe.

Now, Red Hood fans already know Jason is a softy deep down. But moments of affirmation like this are still very much necessary for the character's development " especially since he's been without his last real group of Outlaws, not the ones he worked with at Penguin's old casino.

The best thing about this issue is we should be done with the kinds and onto Red Hood and the Outlaws again. They have a lot to discuss and I, for one, can't wait for Jason and Artemis to talk about their kiss from Red Hood and the Outlaws #25.

Lobdell has planted the seed for at least four stories going forward: the love story of Artemis and Red Hood, retrieving Mistress, helping Suzie Su with whatever she's about to deal with and then there's that panhandler talking about salvation. Looks like some of the kids might be hanging around with Bizarro a bit, too.

There's promise, but between the recent issues and the way Red Hood: Outlaw #43 went, it's hard to get your hopes up " even though Lobdell gives you reasons to be excited.

Lastly, could've done without the Ma Gunn stuff. Hopefully the pay off is worth it.

One thing that makes the character so compelling is the constant internal conflict he battles, and how he sometimes lets his darker side take the wheel. We haven't really had much of that in a while, and that limits the ceiling for Red Hood: Outlaw.

All in all, a decent issue " which about as good as we can hope for from Lobdell right now.

Still, the allusion to Jason Todd's death was powerful. Shows how much he's grown since he came back to life.

One thing that was unexpected was Isabel taking over her own body. That's a dynamic that should be explored later. One body occupied by a woman Jason loves and another he could very much do without.

Red Hood Outlaw #50 is all about transition and, as pointed out on Dexter Soy's amazing cover, the end of the "Outlaw Era."

Perhaps my favorite thing about Red Hood #51 was Paul Mounts' colors. He gave this issue a very different vibe from any other Red Hood story I've ever read. Felt very grounded.

Scott Lobdell left the title after Red Hood #50. The title hadn't been trending in the right direction. Then there's the timing of the transition from Lobdell to Martinbrough as the writer just before DC Future State. But the reason Martinbrough deserves a greater chance with Red Hood isn't the specifics of this story. It's about the general direction he decided to go in.

Most, if not all, comic book fans will enjoy Redfork " especially those who are curious about what goes on in the average middle American town.

It's a solid table-setting first issue. Definitely something anyone who's even only a little familiar with each Robin can read. Between the art style and the pacing, it feels like this issue was geared more toward that sort of reader.

On top of cool art and an interesting main character, Rogue Sun has potential to provide a lot of tension with the bizarre relationships Dylan has with those "closest" to him. With Parrott coming off his impressive Mighty Morphin-Power Rangers Eltarian War event,

For more on Rogue Sun, check out TLDR's interview with Rogue Sun writer Ryan Parrott! Be sure to subscribe to TLDR wherever you listen to podcasts to get every episode and future interviews delivered right to your device.

Rogue Sun is one of the best ongoing titles in comics. Ryan Parrott and Abel's third issue is further confirmation of that, adding a major wrinkle to the story. More importantly, Parrott and Abel further establish the title's unpredictability.

Promising start to a series that has a chance to have each issue outdo the previous.

Seven Secrets has been a very consistent series, getting better with each issue. But these last two have been next-level. If you're not already in on Taylor and Daniele Di Niculo's series or fell behind, get moving.

Through two arcs, this remains one of the better indie books out there. Taylor continues to unravel this tangled web with a seemingly endless amount of twists, and Daniele Di Nicuolo's art only elevates this story.

Very strong start to a series that I wasn't sure about going in. Well-written from start to finish, and the ending gives you a little extra push going into the second issue.

If you're a Batman fan or someone who's been itching for more from the League of Assassins, this is an issue you'll want to pick up. And with Williamson writing all three titles involved in this event, this is in position to be a very fluid story.

Shadow War had its moments, but ultimately didn't turn into the must-read event it had the chance to be. While there will be some ramifications from this event, they feel like summary points that'll pop up in upcoming issues.

Johns has also placed significant emphasis on two of Billy's siblings: Freddy and Mary. Something tells me Mary is right to be questioning every idea Freddy proposes. Not just because they've been questionable at best, but more to do with Freddy's actions on the train. In particular, the panel where he says, "Let's do this, magic subway car!" Everyone else is freaking out while Freddy's face is covered by shadows in such a way that he appears menacing.

Spawn's Universe #1 is a successful showcase of the world McFarlane has created. For new readers trying to find a way into Spawn's world, this is a good place to great place to get to know the newer characters.

Put simply, Spawn Kills Everyone 2 #1 was disappointing. Main reason being no one was killed. Heck, there wasn't anything close to resembling a fight. When a character is set to "kill everyone" usually that entails some level of fighting.

Hopefully, Spawn gets his act together so he can get in on the fun. He just needs to embrace the violence. Look at his "kids". They could not have been more vicious. Maybe McFarlane's saving him for some of the other characters. Between Spawn's hit list and the babies going after Alien, McFarlane has made it clear, DC and Marvel characters are not the only ones in play.Everyoneis fair game.

Lastly, the art from Will Robson and Greg Menzie has been great throughout the series. They've been a perfect reflection of the story McFarlane's been telling throughout the miniseries. And their renditions of the characters Spawn has killed are great. (In a good way, I still can't get over Captain Canada from Spawn Kills Everyone Too #3.)

The world Bergara and Matheus Lopes illustrate feels quite vast. Because there's no dialogue, it allows the reader to take more in. While that can be a lot at times, there are slight lulls in the action to give readers a chance to gather themselves or even circle back when needed.

And it wasn't just about the deaths actually happening, Bruno Redondo and Adriano Lucas went all out the artwork. Each one is a bit different, too. They're not all disgusting " though some absolutely are. But each made an impact.

Taylor has already created that doubt in two issues. I can only imagine what the ensuing chapters in his Suicide Squad story will be like.

As did the Revolutionaries' decision to let Deadshot in so quickly. But that was another good call from Taylor. No need to have them battling with one another right now. It's not a fight we care about. That being said, they don't need to bring Harley Quinn in just yet. Her being confused would play well.

That's not to say I expect Boomerang to walk away from this " though that would be an interesting twist. What I really wonder is, will Floyd be the one to pull the trigger? Or will he hesitate, thus leading to another controversy among the group?

Andy Kubert drew some awesome action throughout Superman Up In The Sky #1. Outside of the fights, there are quite a few other shots that'll catch your attention.

It doesn't appear Tales from the Dark Multiverse: Batman: Hush #1 will have any sort of impact on Dark Nights Death Metal. Just a story for DC fans to take in that was spawned from a wild event.

Currie and Hanna put together an action-packed adventure that keeps pace with the fast-moving adventure Hitch put together.

After reading Task Force Z #1, it doesn't feel like the character is going to be the problem child of this story. Instead, he's babysitting a handful of Batman's zombified villains. Again, I'm all for zombies and Red Hood, but this idea sounds far too familiar.

If you're looking for a mini-series for a change of pace, this is a great place to start. It's a character-driven story with a dark tone, a good pace, and great artwork, what more do you need?

As for the art, Steve Epting is always a great fit for stories that start in a very grounded place. Also, Brian Reber's colors fit perfectly with his work. We're dealing with real people who experience a bizarre event, so it's no surprise the artist who drew TKO Studios' Sara and Captain America: The Winter Soldier felt like a great fit for the start of Straczynski's story.

Lastly, Jock's artwork, combined with David Baron's coloring, is perfect for this story. Their dark, raw edge is perfect for this story. As much as The Grim Knight's spree was awesome, the best page was the return of The Batman Who Laughs. So dark, so vicious. His presence alone is enough to send a shiver down your spine. And it sendsone message: things are about to get real.

Batman always finds his way out, but much like in Dark Nights: Metal, beating The Batman Who Laughs feels impossible. He's Batman's brain and relentlessness mixed with The Joker's chaos and evil. How do you stop that twice in a lifetime?

Last thing, the Joker looksterrible, even by his standards. Jock's art and David Baron's colors only make things look a million times, worse"in a good way.

In general, the outlook is pretty bleak for Batman. The Grim Knight is shooting his shot to take vengeance for what befell him in his universe. James Gordon Jr. is giving Batman advice that's not necessarily helpful, given his condition. And, once again, the real Batman Who Laughs is at least two steps ahead of everyone else.

We may be near the end, but it can't be stressed enough that this is a series for any fan. Batman or Superman, Marvel or DC, it's a non-stop thrill ride. Hop on before it's all over. (Or wait for the trade and definitely pre-order it if that's an option.)

Jock and David Baron lit the world on fire with the artwork this issue.

The Batman Who Laughs is the perfect modern-day comic book addition. Although he's not exactly a "brand new" character, he's a new take on a beloved character and he pushes Batman to greater lengths to win than readers have ever seen.

The way Scott Snyder and James Tynion lay out the origin, it doesn't appear The Grim Knight could have his own series. It'd be worth a shot. The character almost makes The Punisher seem soft. But because he's made it so hard for villains to exist in Gotham, a full-fledged story, or even a mini-series, would likely just entail The Grim Knight mowing his adversaries.

The way Scott Snyder and James Tynion lay out the origin, it doesn't appear The Grim Knight could have his own series. It'd be worth a shot. The character almost makes The Punisher seem soft. But because he's made it so hard for villains to exist in Gotham, a full-fledged story, or even a mini-series, would likely just entail The Grim Knight mowing his adversaries.

Of the issues Chun and Fejzula address in this story, the largest focus is placed on religion vs. spirituality. If you're at all a fan of that subject/conversation, The Forgotten Blade is for you. It's got twists, turns and a pair of characters anyone can appreciate.

As for Steve Orlando: he knocked this out of the park. He plants seeds of doubt along the way, keeping readers guessing from start to finish.

The Scorched #1 is a great start to the final title added to Spawn's Universe, which has been a successful expansion. Between Spawn, King Spawn, Gunslinger Spawn and now The Scorched, Spawn readers are getting a healthy mix of everything Al Simmons and his associates can offer.

Hopefully, they put Quietus and Honor back in their own bodies ASAP.

Really, really liked the cover of Talia al Ghul, so I was a bit disappointed when she wasn't in the issue. But The Silencer #10 was still pretty darn good. Hats off to Viktor Bogdanovic, Jonathan Glapion and FCO Plascencia for sculpting a cover that should draw the attention of any fan walking by a comic book rack.

And now everyone is back in line with Talia. That is, everyone other than The Silencer, of course. As much as she has Raze, who met this issue and specializes in invisibility, she's shown time and again that she wants Honor Guest back in the fray. Given she's in a room filled with assassins and criminals, something tells me Honor will have to play along for at least a little while longer. Hopefully, she doesn't keep her husband waiting too long since he and their son think she's dead and all.

By and large, DC's New Age of Heroes hasn't been a can't miss initiative. Only a few series have yet to meet the chopping block, The Silencer being one. If DC only keeps one series, it has to be The Silencer"especially after what happened in The Silencer #12.

But now I want more of The Silencer's early days with Talia. Not right away, but somewhere along the line, this character may warrant a more in-depth origin story. For now, we'll have to settle for the mess she's into thanks to her old friend.

Lastly, Underlife has been inserted into the Silencer's story. Arsenal put Red Hood on their trail. Maybe they will cross paths at some point?

Sandu Florea remains the best choice to draw Honor Guest and her supporting going list of cool supporting characters. He doesn't mess around with the violence but doesn't go too, too far with it.

Hopefully, we get a team-up once this whole issue with Honor's family gets sorted out. That way, the lovely "sisters" can torch Talia and her beloved band of degenerates.

From the beginning of the issue, Marion and Abnett led us to believe Honor would rejoin her family in some capacity. It seemed like she might reveal her other identity, but now it looks as unlikely as ever. As much as she'll likely have to suit up in The Silencer #18, The Silencer #17 felt like the ideal time for her to tell Blake the truth. Hopefully, he presses her on the matter. It feels like that's the only way he's going to get any answers.

Even if she doesn't pop up there, DC needs to find a way to keep her in the mix. Honor Guest is too cool of a character to be benched.

Sztybor, Amad Mir and Hamidreza Sheykh displayed a great understanding for Geralt and the weird nature of this world. This team should get a crack at another Geralt miniseries if Dark Horse decides to go back to the well in the future.

Much like with The Witcher: Fading Memories, there's quite a bit of bouncing around with The Witcher: Witch's Lament #1. Sytybor raises a couple of significant questions that hook you in, and I have no doubt he'll provide answers to those by the end of his new miniseries with the character. Hopefully, by then, I'll be completely comfortable with the interior art " Del Ray's cover is awesome.

To say The Witcher: Witch's Lament #2 took an unexpected turn would be putting it lightly. The tone of the story has changed immensely following this week's issue. Bartosz Sztybor took a dark fantasy and turned this into a heavy story that's dealing with a real-life issue.

If you have a choice between the four covers IDW offers, I'd personally go with the one done by Cory Smith (art) and Peer (colors). Smith make's Bebop and Rocksteady look about as badass as possible.

If you have a choice between the three covers for this issue I would go with Dustin Weaver's (Cover B), particularly because I'm a fan of how he drew Bebop in human form.

There are three cover options with this issue. Cover B by Ryan Browne is my pick. More than anything I like the way his colors contrast with the lettering on the cover and Weaver's art in the book. It's a nice change of pace.