What the issue lacks in plot it makes up for in heart, and that works just fine.

Adventures of the Super Sons #6 is an absolute treat. Peter Tomasi takes all the elements of what makes for a classic, entertaining comic book adventure, injects some spot-on humor, and even throws in a dash of intrigue and an engaging cliffhanger to boot.

Adventures of the Super Sons is quite possibly one of the most enjoyable books DC Comics has put out in a long time, and that holds true even with an issue that sees the Super Sons separated and in peril.

While the story is pretty predictable -- Luthor is up to something far worse than initially hinted -- there's something pure and refreshing about the straightforward story that reminds readers of just how fun comics can be.

America is such a unique and interesting character, readers will no doubt wish she had a more unique and interesting conclusion to this grand adventure.

It's a fun issue with a lot of lead up that will hopefully pay off soon.

Overall, it's a solid issue. It doesn't particularly stand out, but it also isn't a bad read.

Archie #30 puts the whole story in position for what feels like the ultimate action point of the whole arc but with so much steady storytelling it's hard to get excited for what's to come.

One of the major strengths of Mark Waid's work with Archie is the pacing and that holds true with Archie #31. The issue kicks off with just the right amount of urgency and maintains the energy through to the last panel. Unfortunately, this issue falls into the same trap that most of the previous issues have before it, and that is that it sets up little cliffhangers that simply aren't necessary.

Archie #32 marks the final issue of Mark Waid's run and the end of the modern relaunch of the series before it shifts into legacy numbering with a new creative team and as closing issues go, this one is practically perfect.

You can truly feel the heaviness of the looming war and even though we already know where the world ends up in the end, how the beloved Archie characters fare is as much a mystery for us as it is for them and this first issue is an excellent first chapter.

All in all, a perfect chapter in the Batman story.

Batman #45 is an issue that you will either love or hate. Tom King's story here is solid. Well-written and well-paced, it is slow to dawn on the reader the major twist the story takes at the end.

The weird alternative universe/timeline story started in Batman #45 continues this issue and doesn't get any less weird, but it simply works better.

Overall, a very well-done issue that readers won't forget any time soon.

The issue is not an easy read. It's subtly graphic with some intense moments, but it is an incredible issue that will leave readers wanting more even as they flinch and try to look away.

It isn't often that readers get to see the, dare I say, human side of the villains in Batman's world, but Batman #49 does just that and it makes for one of the more thought-provoking and powerful issues of this run.

Overall, Batman #50 may not live up to the overwhelming hype that led up to it, but it doesn't need to. It's an issue that redefines and fundamentally changes Batman -- and Catwoman -- forever in a way that has been far too long in coming.

Given all the hype around the wedding between Batman and Catwoman -- and the way that affair turned out -- one might expect that Batman #51 would take the easy way out by delivering a broken, violent, emotionally shut-down Batman. And it does, but to Tom King's credit the story takes a very different turn.

Tom King's writing is giving Bruce an introspection one wouldn't have expected after Selina left him at the altar and it might be one of the finest chapters in the Caped Crusader's story yet.

Batman #53 is a great reminder that there's a bigger story to be told in King's run than just the love story between Batman and Catwoman.

A little light on action, but strong in emotional weight, readers might not claim Batman #54 as a favorite, but it's definitely a turning point and it will be interesting to see where things go for both Dick and Bruce going forward.

If you've been reading Tom King's Batman, then you've likely figured out that it's the issues that are the quietest in terms of action and major events that end up packing the biggest punch, and that holds true for Batman #55.

Admittedly, it's a slightly cliche story, but King tells it well, moving back and forth from the story of a son dealing with a father who was less than stellar and a pseudo-father dealing with grief and rage over what's happened to his pseudo-son. He even manages to slip in another somewhat unusual villain.

The issue is visually beautiful -- a largely wordless fight between Batman and the man who shot Nightwing -- but it lacks substance.

One thing Tom King has excelled at during his Batman run is humanizing the villains in a way that doesn't make them sympathetic but instead gives better insight into who they are. Unfortunately, despite a genuinely intriguing setup with The Penguin, the issue continues with a further dehumanizing of Batman.

Batman is at his darkest, most unrestrained worst this time around, to the point it's getting nearly impossible to want to root for him in any capacity. To an extent that's the point, but the deeper we get into King's run the more and more this bleak fall from grace into utter darkness becomes a chore to read, and that's especially evident here.

We're no closer to answers to this mystery, but there's a twist at the end that makes this darkness worth sitting in a little bit longer.

King's told this story nearly thirty issues before and, by bringing it back here only serves to stall any forward motion the book should have had -- something that feels awfully dangerous in the first chapter of a new arc.

Batman #62 is, in a word, weird. But that isn't necessarily a bad thing.

To say that Tom King has been taking Batman to unusual places is a little bit of an understatement, and those unusual places haven't always worked. This week, however, Batman #63 takes us deeper into the "Knightmares" arc and in doing so follows along with Batman into what feels less like a Knightmare and more like a dream come true.

The balance between the anger stage of grief in Flash and Batman's guilt and desperation makes for a deeply meaningful story, and it's one you won't want to miss.

Despite the solid action and beginnings of a resolution, there is just this vague sense of being left wanting. However, if for nothing else than it's sharp honesty and vulnerability in showing Batman for who he is, the book is a fine and worthy read.

It seems like a waste of narrative space, and it's likely to leave fans wondering when -- or if -- the story is ever going to start moving forward again.

Generally speaking, these Knightmares stories have largely worn out their welcome. While Tom King is trying to tell a larger story arc (he has to get to issue 100, after all), these stories feel more like filler, a way to technically complete an issue without having to expend too much story.

It's something that Tom Taylor's story tells well alone, but Otto Schmidt's art shows it as well, the end result being a beautiful, satisfying, and perfectly Batman tale.

Batman Prelude to the Wedding: Red Hood Vs. Anarky #1 may be the weakest of the Prelude one-shots, but that doesn't mean it's not still a worthy issue.

In keeping with the rest of the prelude books, Tim Seely does an impressive job at revealing intimate sides of those in Batman's world and the way he deftly handles Harley and Joker will make you wish he wrote them all of the time.

If you aren't reading Batman Prelude to the Wedding, you need to. The third in the series, Batgirl vs. Riddler is, like Robin vs. Ra's Al Ghul and Nightwing vs. Hush, excellent.

A solid, incredible issue you'll want to read over and over again.

The march towards the wedding of Batman and Catwoman continues, and Batman Prelude to the Wedding #1 Robin vs. Ra's al Ghul is perhaps one of the best moments of that march.

Well-paced and carefully crafted, Betty & Veronica is an excellent start. The glimpse it offers into the friendship and inner lives of two of comics' most iconic female characters is a welcome and intriguing one that feels long overdue in a world that all too frequently revolves Archie.

Every page of Betty and Veronica #2 rings true, and you'll get to the end wanting more.

Betty & Veronica #3 is a thoughtful, carefully crafted read that continues to delight.

There's just enough mystery about both the demon and Roux that you'll want to keep reading to find out more.

Another solid mx of humor, action, and exposition, Giles #2 is a fun read, and you can't help but find yourself hooked.

It's something that honestly elevates the entire issue from simply good to great as it invites you further in and breaks your heart with each and every page.

Here's the thing about Giles #4: the conclusion of "Girl Blue" is supposed to have emotional weight, especially after the revelations about Roux's past last issue. Unfortunately most of the book is tied up with tedious exposition that is honestly better suited to another medium.

It may be repetitive in terms of challenges, but each time the heroes learn something new and that more than makes this issue worth the read.

If you're invested in the series, it's a solid read, but this issue really is nothing to write home about.

Overall, kind of a mundane and average read. Here's to hoping they pull out all the stops next issue to make up for it.

The end is finally here for Buffy the Vampire Slayer and Season 12, and Joss Whedon's finale manages to pull together all of the threads of the series -- both television and the many comic book continuations -- into an oddly satisfying conclusion.

In many ways it feels an awful lot like a Cartoon Network show circa 2000 and if that's not enough reason to read it then I don't know what is.

There's aren't a lot of words in Cemetery Beach #3. The issue tends to let the art do the storytelling and while it does it well, the words that we do get as the story progresses isn't particularly deep.

Cemetery Beach is a unique book that suffers from a too-common problem: the concept is strong, but the execution sloppy at best, and the end result for issue #4 is a book that feels like everything is being run into the ground.

Cemetery Beach continues to be weighed down by the very thing that makes it interesting: strong concept, weak execution.

The story here is a common one: someone in power wants to remain in power and will do anything to stop those who threaten that. Finally that's becoming more clear, and with Cemetery Beach so close for our two protagonists, this issue feels like it all might come together at long last.

While the story is wrapped up in what generally works as a natural stopping place, if you've managed to make it this far with the series, you may well find yourself feeling like you've wasted your time.

This title is simply a breath of fresh air and while it may not pack any major punch, it's just a delight to read and you won't be able stop yourself from wondering what the evil queen of Venus is up to next.

The story alone is brilliantly written, but it's well-supported with art and color that look every bit like Instagram snapshots, making the world of Crowded almost hauntingly like our own. It's a combination that sets Crowded off on an excellent start.

It's a stunning warning and an uncomfortably honest take, one that makes one wonder just how far Crowded will take us into the depths of our own hearts.

It's unsettling and that is a huge part of why Crowded #3 is such a fantastic read.

The issue balances that depth out by also fleshing out Vita and Charlie just a bit more as well and, just because it can, ends off on a cliffhanger that will leave you wondering just how the story can move forward from there.

Fast-paced from almost the word go with an incredible amount of depth and heart, Crowded #5 is absolutely perfect, especially when it comes to the ferocity of the library.

Packed with action and intrigue, Crowded #6 is a stunning issue that promises even more to come.

DC Comics continues their tradition of annual holiday specials, and, as these things go, DC's Nuclear Winter Special is unique.

Overall, Harley Quinn Gossamer Special #1 is a fun break from the usual insanity of the Harley Quinn world.

Dejah Thoris isn't a title you can just jump into. In order to have an idea as to what's going on in Dejah Thoris #4, you really need to read the previous three, but if there is one thing that this issue makes clear is that it's worth it.

Haunting, masterful, and beautiful, this issue would be gorgeous if done all in black and white, but Sharlene Kindt's colors elevate the entire experience. It's a beautiful end to a beautiful series.

Exorsisters #1 is one of those comics that seems like a light, slightly campy and fun read, and for the most part that's exactly what it is.

What really makes it an interesting read instead of being cumbersome the way some backstories can be is that it's hard to tell who you feel most for, Kate and Cate or their mother as all three (well, two) are victims of deals with the devil gone awry. What makes the story even better, though, is how no one seems to learn from these deals.

Cate's story about her ex-boyfriend Buzz is genuinely interesting even if it only barely moves the story forward.

While the book often reads like it's trying too hard, especially with Kate, the only real let down this issue is that there wasn't more of it.

It's a very middling issue in a promising series that is starting to buckle under its own bloat.

Max Sarin's art, coupled with Whitney Cogar's coloring, is charming as well, bringing the whole ordinary story together and making it a little fun at the same time.

Overall a refreshing, darling issue.

Giant Days #38 is a rare issue where everything just works in the best way possible making it a great read across the board.

Giant Days continues to be one of those rare books where there's no need for something to fix or a mystery to solve. Instead, it finds its story in real-world situations that readers can easily identify with.

Giant Days may not be a book with a lot of action, but it's that relatability that makes it outstanding yet again this week.

It's another delightful issue. This title is really just a joy.

Every issue of Giant Days is a treat. It's rare that a comic book will tell a complete story in a single issue while still feeding the bigger picture that will, eventually, become a future issue's central problem.

Moving, funny, and brilliantly real, Giant Days #42 is another excellent issue you won't want to miss.

"Angry Bird Part One" is compelling follow-up to the "Batter Up" story arc and while it's a lot of set up with the promise of action to come, it's fully of humorous pop-culture references that helps Harley pop right off the page and draw fans in as for what the eventual showdown between Harley and Penguin might hold.

This title is consistently a fun read, but this issue is honestly one of the best this week.

While the book doesn't need it to keep you coming back, the perfect pacing of this story will definitely have you eager to find out what happens next.

Harley Quinn consistently proves to be one of the most fun and well-crafted books DC has going right now and this issue is no exception.

Harley Quinn #41 is a mess, but it's a fun, fantastic, and utterly bonkers mess.

There's nothing to like here, which is really unfortunate considering how much fun the rest of this book has been lately.

There's no way to put this other than bluntly: Harley Quinn #43 is a mess.

The real threat that seemed so promising before feels too much like it was forgotten and by the time the arc ends, it's all so unsatisfying and lackluster that you can't help but wonder what the point was at all.

Harley Quinn works best as a character when she's allowed to simply be herself, and Harley Quinn #45 massively delivers on that front.

There is a fine line between letting Harley Quinn be herself and turning her into a discount Deadpool, and, unfortunately, Harley Quinn #46 leans a little too hard into the latter.

Harley's adventures on Apokolips come to an end in this issue, and while the conclusion is just as bonkers as anything you'd expect from Harley Quinn, there's a serious quality to the way things wrap up with Granny Goodness.

After a not-so-relaxing vacation to Apokolips, Harley is back and in top form in Harley Quinn #48 and that means a campy, somewhat bonkers adventure for the beloved character, but where previous recent storylines have lacked in presenting a fitting challenge for Harley, "Clown For Hire Part One" might just be the most Harley Quinn story in several issues.

One of the best things about the Harley Quinn book is that it's fairly predictable and, no, predictable isn't bad.

Harley Quinn isn't Deadpool and DC isn't Marvel, but someone might want to tell Harley Quinn #50 that. Not only is the issue one giant breaking of the fourth wall, it's an Avengers: Infinity War-esque story as well, just insane in a bright and sort of wacky way.

While the "oh no, Harley broke continuity" schtick is more than a little yawn-worthy, there's something charming about #51 with Captain Triumph being stuck out of his own time, trying to be a hero the only way he knows how and colliding directly with a society and time that he simply doesn't understand.

Captain Triumph's story continues in Harley Quinn #52, and this issue holds on to everything that made the previous issue a standout. The pacing is perfect, with the story sacrificing nothing in slowing down from the title's usually bonkers hijinks.

It's truly an outstanding read, and the art is pretty great too.

It's a lovely read, and it's even nicer to see Harley continue to evolve in a real and meaningful way.

The book is a true treat and a must-read.

If you follow comics at all, you're probably aware of something called Comicsgate and if you follow Harley Quinn you that the character -- and the book -- aren't one to turn away from a ridiculous fight. That's right, Harley and Comicsgate -- I mean, "Pettergate" -- collide in #56 and it's some of the most brilliant satire you'll read.

Harley Quinn #57 is honestly this title at its finest.

It's a fun read with real heart for a message, something that doesn't always come across in comics featuring Batman.

I won't spoil the exact challenge Harley faces this issue, but the book stands as a beautiful reminder for readers to embrace who they really are as opposed to what others think they are. It's a powerful message, and it's beautifully done.

Harley deserves better, especially from her creator.

I said this last issue, and I will say it again: Harley Quinn deserves far better than this.

This issue is almost like a mini-movie and it's a hoot from start to finish.

With this being the series finale, the issue does a solid job of wrapping up the story while giving lots of tantalizing opportunities that we can only hope writers will take when Kate Bishop's Hawkeye returns.

Heroes in Crisis is now three issues in, and a few things have become clear: Tom King fundamentally does not understand Booster Gold as a character, and the story is going nowhere so efficiently that it's not clear what the story actually is.

Hex Wives #2 is infuriatingly uncomfortable from cover to cover, and that's quite possibly what makes it one of the best reads this week.

Even though the reader knows very clearly what they are reading and seeing, there's this incredible dissonance in how it's all presented that makes you think you're losing it (in the best way possible) too.

Full of genuine tension and expert characterization, Hex Wives #4 is stand-out issue with the story only getting better, richer, and more interesting as it plays out.

Hex Wives #5 is a top-notch issue, and it may just be the best of the series yet.

. This issue is largely a set up for the next issue, but even if the story is lacking, the colorful art is absolutely a delight with its perfect balance between the goofy and the grotesque.

Skottie Young's I Hate Fairyland is bonkers even as it marches towards the end and that might be what works best about the book.

I Hate Fairyland #20 is a great big acid colored middle finger to convention and it's brilliant.

Overall, the issue is a pretty average read and enjoyable if you're a James Bond fan, though the mystery the issue sets up isn't likely going to hold the attention of those without some sort of genuine interest in the character from movies.

While the issue does have some low points, particularly in places where Bond doesn't exactly appear to be the best at his job in surpring un-Bond-like fashion, the issue is very much exactly what you'd expect from an issue bearing the famous secret agent's name.

Overall, a fun read, especially with the two, unconnected stories format. Definitely worth checking out.

Beneath Dark Crystal is a compelling start to a fascinating story. A worthy read.

The entire issue is a done like a series of watercolor paintings, fitting given that Mokey is a painter, and is stunningly beautiful to look at. Very well done.

The tragic story Jareth tells Toby is moving and haunting, but has just a slight sinister edge to it -- more than enough to keep readers eager for more.

This book is truly a master work and if you aren't reading it you should be.

The art has a warm feel that is fitting with this fireside tale, making the whole issue a moving delight to read.

Jook Joint, the latest from Tee Franklin and Alitha E. Martinez, is uncomfortable even before the story starts with the big red "trigger warning" alerting people that there are some heavy, difficult subjects ahead, but don't let that stop you.

Tee Franklin's writing in this issue will make you uncomfortable and keep you there even into the final panel, and it's a good thing.

While having a current working knowledge of the goings-on of the DC universe would be a plus, the story does an excellent job of setting things up in a way that its accessible for all readers and doesn't loose any of the interest in the process. There's a lot to be interested in here, too, especially with Darkseid's perhaps unexpected role in the issue.

Come for the art, stay for the well-cracted and interesting story that will keep you wondering what's next with the same level of depth most books take many, many more issues to reach.

Justice League Odyssey #3 is the issue of the story that starts to plunge what could otherwise be a very thin premise into real story depth. It's a solid read.

Justice League Odyssey #4 makes a couple of things pretty apparent. The first is that Darkseid is up to something, which really isn't a surprise considering its Darkseid. The second is that each of our heroes, save for maybe Jessica, is going to find themselves worshipped. But once you get past those fairly thin elements of the issue there's a lot to enjoy.

While it's anyone's guess how things will fully play out, Justice League Odyssey #5 is an outstanding entry, and it's one you don't want to miss.

Overall, the issue is a turning point for the series, deepening the cosmic mystery in a solid, visually spectacular way.

Deftly written and beautifully drawn, Killmonger #1 may be one of the best comics this year as it takes a familiar story and gives it completely new dimension. It will be interesting to see exactly where the series takes us, but one thing is for certain: you'll never see Killmonger the same way ever again.

It's a complex, powerful, and beautiful issue.

This issue is absolutely haunting, one that will linger in the reader's mind for quite some time.

Through hauntingly beautiful storytelling and truly excellent art, all the hope and promise of who N'Jadaka could have been washes away with swaths of bright red blood.

Killmonger's story is one that is a cautionary tale of the toxic nature of anger and vengeance, and despite the ominous final panel, it's difficult to not feel devastated about the road the once-promising young man went down.

You don't want to miss out on this one.

Overall, this issue -- and the whole run -- is one of the best things in comics right now. It's a delight you don't want to miss.

The best thing about Looney Tunes is that reading each issue is truly the comic-book form of sitting down and watching classic Looney Tunes cartoons, and this issue keeps that tradition going strong.

Monstress is, usually, an epic and intricate book that is both a pleasure to read and advances the story just enough each issue that the plot doesn't drag. This week's issue, however, is the exception to that rule.

Sana Takeda's art continues to be the absolute highlight of this book, though, and when combined with this issue's more deftly crafted story, you have a story whose sum total truly is greater than all of the individual parts.

Combine Liu's impressive writing this issue with Sana Takeda's sublime art and you have the best issue of the series to date.

There really is only one thing I can say about Monstress (other than how Sana Takeda's art continues to take my breath away each issue) and that is that I truly wish this were a graphic novel and not individual issues.

Monstress #18 brings to a close the third arc of the series and while the issue is, as many are, very dense, it is worth carefully reading each and every page.

There isn't a single thing about Monstress #19 that is anything short of excellent ,and if you aren't reading the title yet, this issue is a great place to jump in -- and you should.

Stunning to look at, deftly crafted, and a joy to read, Monstress is a book you won't want to put down.

Monstress' latest issue is a jolt to the story, presenting new mysteries and new momentum that will leave you wanting much, much more to dive into by the time the issue ends.

Moon Girl and Devil Dinosaur #28 is worth reading if you're already invested in the series, but otherwise, this one is definitely a pass.

The art this time around is bright and fun as well, and overall it feels like the story is taking a turn for the better.

It'll be interesting to see what comes next for Lunella, but if this was what they've been setting up for, this whole arc ends up being a massive disappointment that ultimately didn't even tell much of a story at all.

Marvel has a long history of PSA comics, and this Moon Girl and Devil Dinosaur issue joins it. Unfortunately, there is zero subtlety to it with the issue practically screaming that smoking is bad.

Overall, the issue has a lot of promise, especially when you find out that the "Smartest Person in the World" might not be able to use her smarts to deal with Kingpin's plan... whatever it is.

There is a lot of promise with the idea of the "Smartest Person in the World" trapped in a giant dinosaur body, but it feels a little bit wasted with the issue largely being a set up to make Moon Girl look "crazy" to those who witness her during the mind swap -- something that could be used by Princess' advantage later on -- and for Lunella to try to solve things in one of the most reckless ways possible.

The plot of the overall story arc just feels like it's dragging issue to issue and in many ways #34 feels like it doesn't really have much movement. That said, the art in the issue is a treat " especially as we're seeing a whole new look for Devil Dino.

Moon Girl and Devil Dinosaur finally finds some balance this week, which is a little late considering we're nearing the end of the arc, but better late than never.

A little fun, nothing to write home about, and per the usual Lunella's personal Doombot kind of steals the show.

Coming off a long run of too-smug adventures for Lunella, this latest chapter is refreshing and fun and definitely worth a read.

This third part of the "Teenage Wasteland" story arc will keep you glued to the story, even right up to the surprise turn on the final panels.

G. Willow Wilson is a master at layering mutliple stories in one arc, and the conclusion of "Teenage Wasteland" is no exception.

Even though the issue is setting up a bigger story, there's no lacking in depth and meaning. Kamala's growth as a person is every bit as important as her heroics. No issue makes that more clear than this one.

Ms. Marvel #30 continues to do what this book does best: tell stories that are both about being a superhero and about being an ordinary person with real-life challenges and drama. However, that strength is also a weakness this issue.

Kamala has done a lot of growing up this year and this issue celebrates that in a truly unique, beautiful and engaging way.

It is a mystery of the universe as to how G. Willow Wilson manages to write Ms. Marvel so consistently and so brilliantly each issue, but she does it.

Sure, there's a villain, a bigger story, and real problems to be dealt with, but it's these deeper layers that make the issue truly great.

One of the best things about G. Willow Wilson's work on Ms. Marvel is that for every mystery that is solved the groundwork for a new mystery or chapter is laid. It's that storytelling momentum that is on full display in Ms. Marvel #34.

Ms. Marvel is consistently good. Each issue, G. Willow Wilson somehow manages to craft a balanced, well-thought out story that not only advances a greater plot but also delivers a character with a ton of heart and personal growth.

Bruno's ancestor is along for the ride as well, and the whole thing is beautifully written, beautifully drawn, and comes together as one of the most lovely issues of comics this year.

Ms. Marvel is at its best when the story is simple, direct, but deeply real, and this issue fits the bill. Kamala learns a lesson about life itself, and it's one that we can all benefit from being reminded of.

It's a charming, delightful, truly exciting read and you certainly don't want to miss it.

Frank Tieri has somehow taken the hot mess that was the one-shot story in Harley Quinn #42 and turned it into a witty, fast-paced, brilliantly self-aware and bitingly satirical thrill ride so full of Easter eggs and truly interesting story that you won't want to put it down.

Here's the bottom line: Old Lady Harley #1 was not a fluke. Frank Tieri continues to craft a story that is equal parts bonkers and compelling.

Overall, it just feels like a lot more than is necessary even for this completely out-there title.

Come for Mayor Lobo, ignore the bad neon tackiness, and stay for a truly interesting step forward towards finding out what the heck is really going on with the Joker.

Old Lady Harley has been a wild, bonkers ride for its whole run, and that remains true for this, the miniseries' final issue.

Overall, while Olivia Twist may not be the best comic out this week, it's certainly off to a promising start and one you certainly don't want to miss.

We don't break any new ground in explaining how this dystopian world comes to be, which is a big bummer as it's one of the more interesting elements of the adaptation.

There are a few little hiccups along the way, especially when it comes to the last few panels that leave readers with some questions about Livia's beloved Pip, but it's clearly a setup for the finale, making this a fitting cliffhanger, even for those who have read the source material.

The book would have been done much more justice had it been a five-issue run instead of a four-issue run, and because everything had to be crammed into one final issue, the final race to the end simply stumbles.

Overall, it's a solid issue capping off a solid series, and one can only hope we'll see more of Eel O'Brien soon.

There's not a lot of new ground covered, and it definitely feels like it's setting up for something more harrowing, especially considering the final panel of the issue finds Raven in serious danger.

If things don't pick up soon, it's going to be a long journey to get to the end of this 12-issue series.

The longer this limited series goes on the more it feels like the real mystery here isn't what is going to happen to Raven, but when is Wolfman going to start writing a story worth reading? At least the art is nice, as always.

Not quite to the midpoint of the limited series, Raven Daughter of Darkness #5 suffers from the same bloated exposition that much of the rest of the series is weighed down with.

We hit the midpoint of the 12-issue Raven: Daughter of Darkness series this week and, in many ways, it feels like we're starting a whole new book.

After nearly every preceeding issue of Raven: Daughter of Darkness somehow being more about Trigon than Raven, #7 finally seems to give Raven a story independent of her father.

There are too many moving parts, too many questions, and things simply move too fast to have a solid understanding for what's going on.

The same issues that have plagued Raven Daughter of Darkness for its entire run continue in #9. It is bogged down with exposition and the continued "mystery" of whether Baron Winters is on the up and up while Raven is tangled up in uneven portrayal -- the issue is overwhelmingly lackluster and unnecessarily tedious.

There's only two issues left in this miserable run, but at this point we're no longer limping to the finish. We're all but dragging the corpse of what could have been a good series.

The penultimate issue of Raven Daughter of Darkness finally manages to get it right.

In the end, Raven Daughter of Darkness is a clumsy, often dull, and mostly poorly executed story that was never quite sure what it really wanted to say.

First dates? Awkward. A first date to talk about the weird behavior of your friend and teammate? Beyond awkward, but in Red Hood and the Outlaws #19 writer Scott Lobdell manages to make those awkward exchanges engaging and engrossing.

Scott Lobdell's dialogue is sharp and precise while Dexter Soy's art (with color by Veronica Gandini) is pitch perfect, particularly in the issue's final panel.

Bizarro's sad secret is finally revealed and the slow burn build up has an emotional pay off. But what makes Scott Lobdell's Red Hood and The Outlaws such a good read are the layers built into each chapter of the story and this latest one is no exception.

Red Hood and the Outlaws #22 is a bit of a filler issue, but even for being a filler issue Scott Lobdell's ability to tell a layered story shines.

Overall the issue, is well-paced, well-told, and brilliantly layered -- assuming you can read it through the tears.

If you thought the last issue of Red Hood and the Outlaws was emotionally devastating, then this week's issue will leave you wondering if you're even reading the same series.

There is so much packed into this issue that you won't want to miss a single panel of this incredible, expertly crafted story.

Yes, Jason Todd is beating the crap out of and killing pretty much every bad guy in his path, but there's a focus to his actions that reminds the reader that there is a bigger story here, one very worth sticking around for.

Red Hood: Outlaw #27 is a masterpiece of a comic. Visually beautiful and narratively engaging, it goes far beyond simply telling a story of loss, grief, and moving forward. It makes you feel it in your very bones taking on the subjects of trauma and loss in a way that his respectful, honest, and utterly unpretentious.

With the previous issue being nearly flawless, it was unlikely this week would reach that same height, but Red Hood Outlaw #28 might as well be taking place in an alternative universe.

Jason is growing a lot overall in this book, but this issue might be some of the most marked character development yet, and it's a joy to read.

Overall, issue #30 continues a string a of solid reads for the title, cementing its place as one of the better books currently out there.

The issue is ultimately a case of a lot of build up that doesn't fully deliver, which is truly unfortunate, because it was a great ride until now.

It's definitely a solid read and maybe one of the best issues to date.

Overall, Red Sonja's a solid win for the series and one you should absolutely read.

Overall it's a light, fun read that doesn't require too much fluency in the television series to get immersed in the story while also offering fans stories that are just different enough from the show to make them worthwhile, but the appearance of Fred Andrews -- played by the late Luke Perry on the series -- is a bittersweet one.

The book is so well-drawn and generally well done that it doesn't matter. It's a fun romp that leaves you wanting more.

A pretty solid adventure all around. However, the issue lacks some of the humor from previous issues and the characterization of some of the other characters in the issue just feels off. The overall effect is a book that feels merely "OK" rather than "good."

Bryan Lee O'Malley's story has had a slower-paced start, but "Weekend Part One" rewards fans with a sharp left turn well worth reading.

While the last issue of Snotgirl ended with a cliffhanger, Snotgirl #10 doesn't quite give a satisfying resolution. What the issue does do and does well is continue add to the layers of story that keeps pointing to something being very off about Cool Girl.

Lottie Person is back after a five-month hiatus, unfortunately, you might need to go back and read the previous issues to find your footing with Snotgirl #11. While the issue does offer a brief recap, it picks up right where we left Lottie and her world of shallow, image-obsessed frenemies. Once you've acclimated, however, the issue seems to mark a shift in the story.

It's been three months since we last got a glimpse of Lottie Person's world, and that might be too long to be away from Snotgirl, though maybe that's a clever commentary on just how shallow her life really is.

There is a ton of potential here, but it just all gets swamped by too many Spider-folk talking and not enough doing.

Fast-paced, surpisingly nuanced for a book so full of insane action, Spider-Geddon #5 may not be perfect and may wrap things up in too-tidy of a bow, but it's a ton of fun that you won't want to miss.

It's charming, but it's also just kind of average. Bendis throws a lot of little things into the story trying to tie things up, but it still feels unfinished and a little disappointing.

The nail-biting conclusion to the limited series, Spirits of Vengeance #5 does a brilliant job of wrapping up the story while leaving just enough loose ends and questions that you know this won't be the last time Daimon Hellstrom, Santana, Blade, and Ghost Rider will have to try to save the universe from the forces of Heaven and Hell.

Overall, though, solid start. New readers have enough of an entry point to invest themselves in while fans of "Mirror Broken" will no doubt be hooked for the next chapter.

Even if you haven't been reading Suicide Squad, this issue is enough to pull you in and get you hooked, leaving you wondering just how bad things are going to get for the Suicide Squad and Waller and judging on the laste few panels for the issue?

Suicide Squad #36 is another engrossing, fast-paced issue that really has it all. The only downside? We have to wait for the next issue to get more.

Picking up right where issue #36 left off, Suicide Squad #37 is a decent read but doesn't really deliver the same way the previous issue is.

Suicide Squad #38 is a little predictable, but delivers more of a punch than its previous issue.

Suicide Squad #38 is finally starting to connect the dots it's been plotting out over the last handful of issues and while the story still has some pacing issues, this issue packs some serious punches to the gut while somehow managing to insert a little bit of sharp humor.

Overall, Suicide Squad as a title has ups and downs, and is sometimes dramatically uneven, but Suicide Squad #40 is by far the series' strongest issue to date and gives readers a real reason to invest their time.

Well paced, well written, and geuninely interesting, this issue may be the set up for a new adventure, but it's an adventure you definitely want to go on.

Suicide Squad delivers another strong issue with just the right balance between Batman and Deadshot's quest, Zoe Lawson's predicament with Kobra, and Amanda Waller's counter plan.

Batman may be one of my all-time favorite characters, but there are times when even I think that his holier-than-thou need to play everything on hard setting wears think. Suicide Squad #43 is one of those times and, unfortunately, that leads this whole issue to feel over played and unnecessary.

Harley and Boomerang feel like afterthoughts, their presence in the story along with Captain Cold only there to provide an excuse for Amanda Waller to make an appearance in the issue. Unfortunately, it's a misstep that makes for a mediocre issue, despite the significant character growth on the part of Deadshot.

Even for the engaging concept and interesting characters, there's just something lacking this issue and that thing is the well-developed Amanda Waller we got a few issues ago.

Suicide Squad #46 isn't really an issue of Suicide Squad. It's really an Aquaman story and honestly? That's a very good thing as the whole Suicide Squad title, while not necessarily bad, has become something of a chore to read.

The story is packed with both humor and heart, giving a deeper look at Captain Boomerang's life. It's frankly refreshing for a series that too frequently has far too much Harley Quinn being, well, Harley Quinn.

Suicide Squad is at its best when Amanda is treated as the villain and while that's not exactly the case here -- someone is clearly behind her sudden misfortune -- it's just enough to remind readers that there is still humanity in the members of Task Force X, probably more than Amanda Waller ever had.

With Suicide Squad #49 being the penultimate issue of this incarnation of team, writer Rob Williams starts setting up for a big finale, but 49 issues into a 50-issue run, the reveal of the villains and the setup for the end evokes largely the same feeling the majority of the run has: disappointment.

Suicide Squad #50 is a pretty entertaining issue. There's a lot of action, a lot of emotional moments for various characters -- especially Flagg. There's even some great team work between all of the Squad members that is truly a delight to see. Unfortunately, as is a common theme with Suicide Squad titles, everything feels superficial.

Overall, Suicide Squad Annual #1 delivers a solid story with well-done, fitting art and is absolutely worth the read -- as well as the questions it will leave you with as to just who the bad guys are and what real monsters look like.

It's not the most earth-shattering conclusion to "Plain Sight", but one just intriguing enough to make readers wonder what's next for the Girl of Steel.

With Supergirl coming to an end next month, this issue very much felt like a personal, carefully crafted story that Steve Orlando and Vita Ayala wanted to write while they still had the chance and readers willing to take the time with a slower paced issue will be so very glad they did.

Supergirl #20 is the end of the run for the title, and given that it is a finale issue, one would expect the story to be about the Girl of Steel herself. However, that is far from the case.

Supergirl is back, but maybe she shouldn't be. Last we saw her, she had worked to redeem herself in the eyes of the public and made the choice "to inspire and be inspired" and to build a brighter future. Unfortunately, Supergirl #21 seems to have forgotten all of that.

There are a lot of people who will enjoy this issue as there are a lot of people who are enjoying the Rogol Zaar story, but overall it still feels like yet another angry reimagining of angry Supergirl who has learned nothing from her various adventures to now.

Overall Supergirl #23 finally sets things on the right path with both a story and a character worth investing in.

Kara's quest to find out what really happened to Krypton and Rogol Zaar's involvement continues in Supergirl #24 and while earlier issues have struggled with how Supergirl is portrayed, this week's issue hits it just right.

Overall, it's that Jurgens story that elevates the whole book as the primary story is really a lot of nothing.

Supergirl #26 takes a sharp left turn from where the story's appeared to be going the past several issues, and while it's not without interest, it suffers under the combined weight of feeling a lot like Brainiac and his bottle cities and the overdone trope of evil clone plans.

The fight with Splyce is pretty cool too, but Supergirl #27 just feels a little lackluster, even as Supergirl sets up to face off with Hokum's latest creations.

It feels an awful lot like what we've seen from most of the previous issues: Kara gets information, Kara has to fight some impossible fight, Kara comes out on top, but is a little sadder for it because of what she learns. It makes for a fairly average, almost-boring issue.

Scott Snyder and James Tynion IV do an excellent job telling an engaging origin story, but the Grim Knight doesn't feel like a far departure from the Batman we've seen in Tom King's run.

The Crow: Memento Mori is a rare thing. Not only is it absolutely stunning visually -- Werther Dell'Edera's art and Giovanna Niro's colors are gorgeous and perfect for the feel of the issue -- but the story is striking while also bringing something new to the table.

Absolutely stunningly done. There's no other words for it.

If you're not accustomed to the Jetson family's comic book adventures -- which are quite a departure from the classic cartoon -- the whole run of The Jetsons may be a little jarring. However, if you can get past that and the somewhat distracting and haphazard art, The Jetsons #5 is very much worth reading.

A solid end to the story, Jetsons #6 wraps up all of the narrative threads over the course of the limited series, but even though the book ends on an optimistic note, the final chapter of the possible end of the world seems a little bloated and overly complicated without any real need or solid explanation of what's happening.

Every word of the story and ever image of art deliver with deftness and grace the maximum amount of emotion and power, making for a truly powerful tale with a powerful message: the sum of the parts is always greater than the individual when we come together.

It feels like the real payoff is coming in the next issue, though Trinity #18 is worth your time if for nothing else than Batman riding a unicorn.

For all of the battle and intrigue leading up to the conclusion of the "No Home For You Here" arc, Trinity #19 is a boring, long-winded, disappointment leading up to the least surprising reveal you could imagine.

There is no kind way to say this: Trinity #20 is another disappointing, boring, poorly written issue of a once-promising title.

Forced setup, superfluous fighting, the heroes seeming to be a little slow to figure things out -- it's starting to feel like the end of Trinity might already be here.

A boring villain with a boring and ridiculous motivation combined with a too-easy conclusion is uninspired and a sad ending to what should have been a stellar book.

Vindication #1 is a deeply uncomfortable comic, and it should be.

It's a fascinating read that feels less like fiction and more like reality in a truly terrifying way, and even as things get worse for Turn, the story just gets better and better.

With an intriguing story, haunting realism, and a dose of optimism Wayward #26 might be the most perfect comic book you read this week.

The issue is a genuinely uncomfortable read -- which is exactly how it should be.

Even though the issue doesn't quite explain what's going on with Shirai just yet " he was murdered but is somehow still alive, after all " it's still a spectacular read.

With a perfect balance of action and actual suspense, Wayward #29 is an immersive thrill ride that almost makes you forget the stop is right around the corner.

The issue isn't perfect " there are pieces of story and character that some readers may wish had gotten a bit more time " but overall it is an elegant, beautiful finale that will give fans a lot to love, both in the first reading and in what is sure to be many re-readings to come.

Weapon X #14 is a perfect close to the "Nuke-Clear War" arc, one that you don't' want to miss.

All in all, it's a pretty boring issue, but what takes the issue from being passable to being borderline intolerable is the messy look of Roland Boschi's art. Boschi is a talented artist, but it just doesn't work this issue, which is particularly a letdown considering last issue was truly fantastic.

Largely a repeat of the previous issue, Weapon X #16 continues the fight between Old Man Logan and Sabretooth.

For the first time in awhile there's a reason to wonder what happens next, and that's enough to consider this issue a success.

Weapon X is fairly middle of the road this week.

While Weapon X #19 doesn't quite deliver on the set up from last issue, it does lead to a satisfying status quo change of sorts for the team and that alone is worth reading for.

For as much fun as the issue is story-wise Ricardo Lopez Ortiz's art is so chaotic and messy in places that it's distracting.

It's a great surprise twist at the end of the issue that finally gives the whole arc a solid payoff. Unfortunately, the art in this issue is messy, distracting, and odd -- seriously though, ask yourself what is wrong with everyone's faces this issue.

The evolution of Victor Creed continues in Weapon X #22 and even with the team turning from heroics to, essentially, mutants for hire, he just can't seem to escape doing good. That character development is what makes this issue worth reading even if it's starting to become repetitive that each issue we're reminded that Sabretooth has turned a new leaf.

Weapon X #23 is a mess and that's honestly what makes it awesome.

It's one of those issues that gives the reader hope that maybe, just maybe, this title is finally starting to find real footing, and it's definitely worth a read.

If you can get past the uneven art and the overcrowded cast, though, there's some not-so-subtle commentary about political campaigns that's a nice touch in an overall barely average issue.

Weapon X goes to hell this week, and while the issue isn't hellish to read, the entire theme of Sabretooth's redemption and the question of whether he can truly overcome his past and his nature is starting to get a little thin.

There is a lot to like about Weapon X #27. While the book has been uneven more times than not, #27 begins to bring Sabretooth's story of redemption full circle, and there is something beautiful in how that plays out.

A deeply satisfying end to a shockingly satisfying run.

This book is about as perfect as it gets so do yourself a favor and read it.

X-23 #2 is another strong issue, and Mariko Tamaki is knocking Laura out of the park with spot-on characterization perfectly balanced with Gabby's softer, pitch perfect annoying little sister vibe.

Make no mistake: this is a top-notch book and I can't wait for more.

First things first: the story being told in X-23 overall is a fascinating one. Not only is Laura trying to protect her sister Gabby, but she's on a journey of self-discovery as well and for the first three issues of the title it's a journey that's been a thought-provoking, enjoyable read.

Laura's conflict with the Stepford Cuckoos comes to an end in X-23 #5, and for all of the energy and excitement the story started with, the ultimate resolution is remarkably quick, tidy, and average.

After a somewhat serious and heavy previous arc, X-23 #6 gives readers something they don't often get in titles involving Laura: fun.

The art in X-23 #7 could be better. The story? It takes a little bit of time to pick up speed. But what this issue does well is illustrate the difference between Laura's struggle to embrace humanity while contrasting that with Gabby who is struck a perfect balance with her clone identity and her human heart.

X-23 #8 picks up right where it left off last issue and it's a solid leap into the larger mystery of the arc.

From hilariously perfect Golden Girls references to the genuine, pure eagerness Gabby has to accept this newcomer as family, the issue is a shining example of the differences and similarities between the sisters, making for a fun and exciting romp with real stakes and excitement to boot.

With every issue of X-23, more of Laura's humanity is revealed by those around her, and that's true for X-23 #10.

The real issue with X-Men Gold #27 is the lackluster art. Geraldo Borges' work this issue is inconsistent and messy, making the whole issue a little bit of a chore to read.

You may not be clear on what's going on, but the references and madness from cover to cover is worth it. Also? There's a bonus appearance by Method Man.