Nicole Drum's Comic Reviews

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Lauren Keely and Jonathan Luna's true strength with this book is how it's put together in a way that is both futuristic and clean as well as heavy and emotionally devastating at the same time. It's a well done issue.

Overall, this is a very solid tribute to and celebration of Wonder Woman.

With a threat like Leviathian supposedly being a huge issue, it all just sort of falls flat. For an issue with such incredible visual appeal, there's just nothing else there.

For readers who have been keeping up with Bendis' run on Action Comics, they're probably used to that by now, but it can be a little jarring at times for those hopping in, curious as to what all this Leviathan business is about.

Szymon Kudranski's attention to detail and brilliant use of space on the page gives the story a tangible, real-life feel. The words on the page have meaning, certainly, but the expressions Kudranski creates on the faces of the characters go so much further, to the point that in some panels you don't even need the words to understand what is going on. It's breathtaking.

It's a perfect pairing and it makes for another, standout issue.

Action Comics #1014 continues to offer a bit more insight on the ground-level threat with a sense of urgency that makes the whole mystery all the more exciting. It's a must-read this week.

If the previous issues of Action have had an urgency, #1015 feels like a slow stroll"at least until the confusing and chaotic last panels that bring the story sharply back into focus.

Overall, it's a pretty average issue with cool art, a fun fight scene, and serves as a bit of a breather from some of the other madness in the DC Universe right now.

Ultimately, Action Comics #1017 falls into a space in which the story is is good but it just doesn't execute the way perhaps one might want a comic book to, creating a bit of a disconnect between the story and the images that support it. It's a "good" book. It's just nothing special.

There's a nice little bit of humanity to the bulk of the issue, but the end result is an issue that is just functionally okay"not even really good, just kind of there.

At this point, the fight feels like it's been drawn out too long and it's that concern that drags the issue out. There's just too much going on and in too many points in time. Too much tell and not enough show.

This arc is one that is well past its prime. It's time to end it already. We already know Superman isn't winning the day. Let's move on.

It's a lackluster issue on almost every page.

The current run of Action Comics is honestly a mess and understandably so. There are a lot of moving parts, a lot of things unexplained and it's not always the easiest to read and this is especially true in Action Comics #1022.

You know that a story has gotten overly convoluted when you have to rely on a fairly extensive, full-page (and then some) recap in order to make sense of the issue in hand and that's where we are in Action Comics #1023.

With the gravity of the story being weirdly undercut by needless awkwardness, the book ends up being promising but a little to try hard. Story wise, it's good. Execution wise, it leaves a lot to be desired.

It's another miss.

Everything here feels both overwrought and under developed to the point that readers might actually find themselves hoping Superman loses just to put him"and this run"out of its misery.

Action Comics #1027 is a weird mess of an issue.

Bendis' run held promise; this finale shows just how much that promise was wasted.

The whole issue feels genuinely like Superman and the Action Comics title is back after a rather lackluster run from Brian Michael Bendis.

Story-wise, Phillip Kennedy Johnson has a good grasp of Superman and also does a solid job of making Mongul a distinct character in a way that doesn't always happen with some of the major alien big bads. In fact all of the characters are well-written, with distinctive voices. That said, there are moments where it feels like the issue doesn't quite have the space it needs to flesh out what's going on.

Action Comics, and really all Superman stories, work best when they're not trying to reinvent the Superman mythos but instead use it ways that drive story, feel authentic, but are also fresh and in this week's Action Comics #1031, Phillip Kennedy Johnson knocks that out of the park.

With all these moving parts, Action Comics #1032 could be a real mess, but Phillip Kennedy Johnson makes it work and work beautifully by keeping they story centered around good characterization, particularly when it comes to Superman and to a slightly lesser extent, Lois Lane.

Overall, it's a solid issue that pushes the story forward while revealing just a bit more in terms of detail.

When it comes to Action Comics #1034, I'm torn. While Phillip Kennedy Johnson generally demonstrates a sound understanding of Superman and the characters in the hero's general orbit, this issue feels a bit off.

Whatever is next for Superman after this, the issue feels reassuring and hopeful. The art throughout is also solid and even better, the supporting story is fresh and intriguing. Overall, it's a really solid issue.

The result is a functionally good issue that is just tainted by what came before, which is deeply unfortunate.

Overall, this is an exciting and through-provoking issue on all fronts and while the "Warworld Saga" may not be every Superman fan's cup of tea, the quality here hits the mark.

It's a good book, just gloomy and grim and it kind of pulls everything down a bit for a character so rooted in hope.

I am admittedly not a huge fan of "The Warworld Saga" arc, but even though it's not my cup of tea I can recognize just how solid Philip Kennedy Johnson's writing is this issue and just how well he understands Clark Kent.

We get a frustrated Superman who reacts, not out of character, but accordingly and there's an honesty in it that Action Comics has been lacking for some time. As for the Martian Manhunter backup story, while Superman's story is heavy, this issue gives us a delightful moment of J'onn and his tabby cat that frankly I didn't know I needed, but it's both a truly wonderful "aww!" moment and also absolutely perfect to the character and the story. Both stories" this is a solid, solid issue in all aspects.

Perhaps this is all just the calm before one bonkers storm of an ending, but as a single issue goes, it's just okay.

I'm still not the biggest fan of the storyline overallthat's a personal preferencebut this issue is really solid.

I've mentioned a few times how the Warworld-related stories haven't been my favorite Superman tales, but Action Comics #1043 might be the issue that sways me.

If there is one thing that is consistent across the entirety of this Action Comics story, it's the art and it's excellent here.

Superman is very much peak Superman here in terms of his character and humanity (even if his powers are failing) and it makes for an incredible read to see this kind of humanity in a dark time, especially considering it's simultaneously still very much unclear how it will all end.

Overall, the whole issue is strong from cover to cover and an excellent chapter of this saga.

Superman is officially back on Earth in Action Comics #1047 and it's a welcome return after the long, sometimes uneven "Warworld Saga" especially with this issue seeing a strong return to form for the hero.

The art in this issue is unfortunately a bit lacking which also doesn't really help things, the end result being a very "okay" overall issue.

While Action Comics #1049 may not be the best Superman story, it is a good one that ticks a lot of the boxes.

Ultimately, Action Comics #1050 was billed as a major shift for Superman and it more than delivers.

Action Comics #1051 lives up to the hype with a trio of stories that are just honestly really good.

The result is an issue that works not just for Superman, but for the full roster of characters in Superman family, all while giving readers a lot to enjoy.

Action Comics #1053 is just really damn good.

Overall, solid issue from cover to cover.

It is beautifully done on every level, from story to art. This is a fantastic issue all around.

As a whole, Action Comics 2022 Annual employs the idea of how one moment in life can shape everything else in a way that, while not exactly groundbreaking, is so well-written and well-illustrated that it elevates an otherwise ordinary story to the level of a classic, offering new insight on a beloved character, fleshing out a newer foe, and reminding readers of the superpower we all have in the compassion and care we share with others.

Overall, this is a fantastic book and a really lovely "Superman" story.

The net result is a book that doesn't feel like it has the significance that it should while also feeling a bit rushed. Still, if you're a Superman fan, it leaves the reader with a lot of possibilities and that's a big win.

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.

The issue is a superb, fun romp approached with the heart and determination that has been a defining feature of this whole run. A fantastic read with bright, truly enjoyable art; you won't want to put this issue down.

Full of action, this issue surprises with a few moments that make it look like the Sons might be betrayed by their robot friend Hex and it even looks like they may not make it out alive. That actually makes the story more interesting, which is why the reveal at the end that help has arrived in the form of the grown ups a little disappointing.

The best part is that the issue is very much in line with the overall sense of adventure the entire series has had, which makes it a solid, truly enjoyable issue from one of the best series DC has going right now.

A story within a story within a story, a clever Eminem reference, and a whole lot of action. That's what Adventures of the Super Sons brings in its final issue and while it doesn't all come together seamlessly, the overall effect is a bright, fun, thrill ride of an issue very much in keeping with whole maxi-series.

It's funny, relatable, and honestly just darling. It's not exactly intellectual, but this book is just fun.

Aggretsuko: Out of Office #2 is the palate cleanser everyone needs during the hustle and bustle this time of year.

Honestly, it's a ton of fun and really well put together and this issue really turns up the heat on everything. It's not your regular comic, but it's pretty great.

It's a great book. Truly.

The issue is not one you want to jump into if you haven't been reading along for at least a few issue prior, but it's certainly an excellent kick off to what terrifying plans Kindred has with the Sin-Eater.

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 well-told story that manages to hit all the right notes and establish an adventure without sacrificing the current story for the larger arc.

Coming off of a truly charming and engaging first issue Amethyst #2 continues that momentum with an issue that captures, both in words and art, the frantic feeling of helplessness Amy experiences upon discovering her entire world gone and no allies to help her.

There's a lot of development in this issue and a lot of stunning art and while the story elements are a bit messy, a bit ragged, and quite frankly A LOT to process, the book is a fun one to read, leaving you with a lot of questions as the fight makes its way to the big bad's territory at last.

Amy Reeder's Amethyst has been a delightful series thus far and Amethyst #4 continues that streak.

Amy Reeder's done some outstanding work, both story and art, on Amethyst as a whole and this issue certainly drives that home as well with a book that may not be the most polished in terms of the way it wraps up its story, but is visually gorgeous in every possible way.

The only real hiccup here is that there are times when orienting yourself as the reader takes a moment, but it's a solid start to what feels like a truly intense (in the best way) series.

This is truly a great issue and while there are some small details that feel just a touch cliche at times, the sum of the parts here is just a really strong story.

While I ultimately wish there had been just a little bit more of Aquaman & The Flash: Voidsong, the third issue is honestly pretty great.

For Aquaman fans, this might be an interesting premise, but it doesn't really seem to serve Green Arrow/Oliver Queen at all and it feels at times like Brandon Thomas doesn't really know where he's going with things. Ronan Cliquet's art is very nice, however, so even if the story feels messy, at least it's nice to look at.

While the first issue of Aquaman/Green Arrow: Deep Target was clunky and confusing and left off with a sense that Brandon Thomas had no idea where he was going with things, issue #2 seems to have a much better grasp of things.

This issue, like the series thus far, has been little more than an unnecessary mess that does a disservice to the characters and the talent involved.

Maybe if you're reading it just for fun, there's redeeming value, but when these two characters deserve more substantial adventures, this is just not it.

This issue by no means saves the series to date"a poorly executed comic is still a poorly executed comic even with one fun issue"but at least this issue is both entertaining and even a little interesting, finally paying off on the Silver Age riffs of it all.

Other than art, this issue is just poorly executed over all. The characters deserve better and so does the reader.

In the end, it's a disappointing issue, a disappointing finale, and a disappointing series all around.

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.

It's a bit long and a bit dense, but even at that it's still a good tale. Overall, this anthology has something for everyone and is very well-done. It's easily one of DC's better spooky anthologies.

It's nearly impossible to miss the heavy Star Wars feeling Ascender #1 has and while hero journeys are universal, Ascender is too reliant on stereotypes and tropes, resulting in a too cliche debut.

A marked improvement over the debut issue, Ascender #2 moves away from the table setting of the first issue to some real conflict and action.

With just the right amount of action and plenty of heart, Ascender #3 finally finds its footing, striking an emotional chord that will keep the reader connected, despite the relatively slow burn of the actual plot.

Ascender #4 really advances the story this week and as the different elements of the plot start to come back into play, it makes for a genuinely engaging and intriguing read.

Ascender #5 does that in a heartbreaking way this week, one that will leave you gasping aloud in the final pages. It simpy doesn't get better than this.

Ascender is one of those stories that may have taken a bit to get going but it's one of the best books out today now that it has.

While narratively there are threads that still need to come together, Ascender #7 feels almost like a one shot, but it's an elegant and beautiful one that sets a new tone for the story ahead. It's exquisite.

Ascender continues to be one of the best comics out there and this week it accomplishes that with a frenetic, powerful combination of deeply emotional storytelling that bring's Mila's parents back together in the worst possible way along with incredible art that draws the sinister tones out of the story written on the page.

I don't know how each issue keeps getting better, but this one is one of the best.

As this chapter of Ascender's story ends, it offers no answers and just the barest shard of hope, but the story is filled with both light and feeling in a way unlike anything else. It's good.

From cover to cover, Ascender #11 simply outstanding. A great read.

As always, I could praise Dustin Nguyen's art all day and it still wouldn't be enough"and it's excellent here once again. Truly a solid issue and a joy to read.

There is a lot here, but what makes the book perhaps a big stronger than some of the other transitional issues of the run, is we get to really dig into Mila, her personality, her thoughts, her situation.

One of the best things about Ascender is that while this deep into the story odd twists and turns are to be expected, they frequently delivery in a way that is very unexpected.

Overall, Ascender #15 is another fantastic chapter in this saga and a good place for the story to continue from.

Yes, this is an issue largely of setup, but Lemire and Nguyen have managed to pull of one that is very, very, very well-done.

Overall, it's a solid penultimate issue. Bring on the end.

Pacing wise, things move very fast and that certainly does make it perhaps a little less strong story-wise than some of the earlier installments. That said, the art this issue is the best its been and Lemire crafts this absolutely gorgeous emotional gravity that holds all the stakes you'd expect it to, but still ends in a way that is satisfying and doesn't break your heart. It's wonderful.

Overall, it's a good read, but not great, though there's lots of potential in the mystery presented.

The Autumnal started off with an elegant and fairly strong first issue, but issue #2 has already started to slip into obtuse mystery and difficult cliche.

Barnstormers #1 has quite a few things going for it. Perhaps the biggest and best of those things is Tula Lotay's art.

It makes for a very slick, stylistic issue and while it still seems like Barnstormers overall is going to be a book more of style than substance, it's still a good bit of fun as things begin to pick up.

Barnstormers #3 is very much working its way to have a bit more substance to go with its style, though the style is definitely still its defining attribute.

What it lacks in depth, it makes up for in its stylistic sense.

The book itself is beautiful and subtle in its storytelling, finally pulling back just a bit to reveal that the real story here is not Tillie and Bix, but the story of lawman Zeke West who has been pursuing them.

By taking what feels like an unconventional and unsettling pairing and attaching it to a harder, more authoritarian take on Batman and Gotham that Black Label allows, this dense issue both captures a great deal of Batman's noir aspects and pushes the boundaries of what readers expect from both hero and villain.

Things feel cluttered, story wise and while dark and gritty with a sharper edge is something that should work for Batman, this issue veers a little too far into the grim and the weird, ultimately creating a lack of balance that throws the whole issue off.

Overall, this issue is a big improvement over the second issue and definitely feels much more interesting.

Batman & the Joker: Deadly Duo #4 is an interesting book, but I don't mean that in the sense that it is intriguing or fascinating. Instead, I mean that it is interesting in that it should be intriguing and fascinating with Batman and Joker weirdly working together to deal with a dialed-up-to-eleven take on the Trolley Problem and it has good visualsthe Gotham bullet train is absolutely gorgeous and a sight to beholdbut the whole issue feels overly burdened with trying to out-grimdark itself on nearly every page.

The twists this issue lack punch even as the art pushes things over the top in the gritty department which, in turn sort of has an unintentional "pick me" vibe mixed with the 80s. Add to that, this is a very, very dialogue heavy issue so it is, at time a slog.

Batman & The Joker: The Deadly Duo #6, as is most of the series to date, fairly ridiculous though not unenjoyable.

It's dated in a sense and because of that, never really rises to reach its full potential. It's not bad, it's just. not great.

Batman #112 like so much of everything in recent arcs just feels like a reheated version of things we've seen before. At least this time Tynion is recycling his own homework.

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.

Tom King's extended run on Batman has its highs and lows, and while more recent installments of the "Knightmares" arc have been more on the low side of things, this week's Batman #68 is decidedly a high point -- and possibly one of the most enjoyable issues King's done yet.

We are finally at the end of the "Knightmares" arc, but while Batman #69 does serve to shift the narrative towards the next chapter in an engaging way, it really only illustrates what readers know and editors should have: the entire "Knightmares" arc was a long stall, filling issues and pages for no redeemable purpose bt to extend the run.

It's a worthwhile read, and at least there's the promise of a showdown soon.

Switching storylines, inconsistent continuity, and a disconcerting sense of not ever really be certain what parts of the story are "real" and what parts are hallucination has become almost a default for Tom King's Batman run, and that holds true for Batman #71. Unfortunately, that also means that Batman #71 is a bit of a mess to read.

The threat to Batman honestly doesn't feel that substantial. But, of course, that may be the ultimate beauty of the entire issue.

Every page is an exquisite delight so beautifully crafted you can feel the desert sun on your face as you read and as the Waynes make their way towards an uncertain destination.

This deep in, readers get it: Bruce Wayne is a mess with a whole lot of daddy issues. Do we really need to drive that point home every issue?

Not even the one "shock" reveal is enough to lift this from what feels like a major low.

If #75 was too narrow, #76 is open exactly wide enough. There's a lot revealed in the tight narratives in the issue and you'll want to carefully read every expression and every word on every page.

Everything changes in this issue and, even with a shocking semi-cliffhanger, it feels like the story is truly coming together"even if it's in the darkest possible way.

This is 100% a key issue of Tom King's run and an absolutely defining moment for the hero himself.

Batman #79 is another one of the more quiet, character-driven issues in Tom King's run and, like many before it, an excellent example of just how good this run truly is.

The ending of the issue isn't a twist, you can largely guess what's coming, and like many issues of King's run this one could have benefitted from being part of a larger story rather than a single issue. But it is an excellent issue, one that truly sets the stage for the end in a powerful and important way.

Ultimately what works here most comes in the last few pages, when you realize Batman's plan isn't going to plan. It makes up for the somewhat disappointing undoing of most of the series' drama and the fact that we still haven't gotten to Bane.

If you can get past the threadbare cliffhanger approach once again, though, the use of orange tones in this issue tells a story all its own and is a real treat for the reader.

Comic books, at their best, tell stories by showing and not telling. Batman #83 does that in a way that is rarely seen anymore and it may well make this heartbreaking issue the crown jewel of the entire run.

The second-to-last issue of Tom King's run arrives with Batman #84, but it's an issue that, with so much story left to tell, feels an awful lot like stalling as it takes readers not into a final showdown but reminds them how we actually got to this point. To be fair, it's a beautiful stall.

The overall issue ends up feeling a little too bland and a lot too clean for a Batman story and while one could argue that it's never been a Batman story, it's a Bruce Wayne story, even from that angle it misses the mark.

Overstuffed with far too many words"dialogue, narration, all of it"and further burdened by art that is disproportionate and poorly executed, Batman #86 drowns in its own failed attempts to imitate better works resulting in unrelenting mediocrity.

Batman #87 firmly establishes that we are in a new era for Batman, but it's an era fraught with issues.

The third issue of James Tynion IV's Batman has arrived and while the previous two issues have been a bit difficult, Tynion genuinely finds his footing in Batman #88.

The big threat in Gotham is starting to take a more distinctive shape in Batman #89 and thanks to a bit more time spent on Catwoman's part the story it's more interesting than ever.

Batman #90 gives readers what they've been waiting for: the Designer's grand design, the big plan, the "what is the Designer up to" of it all by revealing Catwoman's big secret and, to be blunt, it's kind of a let down.

The real star of the issue is both the art and sense of subtle vulnerability that Tynion gives Batman"an unexpected treat in a fairly average issue.

The bottom line is this: while the amount of time fans have had to wait for the issue thanks to the coronavirus pandemic make things feel a bit more special in the immediate term, the issue is only average at best.

The issue is simultaneously too much and not enough and ultimately lands as just an "ok" book overall.

The book is one that in a sense serves to let readers catch their breath before things really pop off, but it generally just feels kind of messy, almost like Tynion didn't know really where he wanted to go.

Ultimately, the issue feels like a half-hearted mashup of the weaker parts of Nolan's The Dark Knight and The Dark Knight Rises with a bit more Joker and yet another random shiny thing"this time literally with that new Batsuit"to distract from what is becoming painfully apparent: fun ideas don't always make for a good story.

Things aren't thrilling or groundbreaking, and there's still this nagging sense that the whole story is going nowhere, but the issue is an intriguing read if for nothing else than a glimpse at what Bruce's ideal world looks like.

Batman #97 finally reaches the tipping point where the grand art can no longer cover the holes in the story. By now we should know what Joker's grand plan is or at least be stepping into a showdown. We're not. And it almost feels like we never will be.

It's not a flawless issue, but it's probably a best of run and a damn fine read.

It's well past time for this story to come to an end that, if the lead up is any indication, is going to be nothing more than smoke, mirrors, and marketing hype. Just like the whole arc has been.

This isn't about frightening the dark elements of Gotham nor is it about saving a doomed city. Batman #100 is about nothing more than Batman's (and, perhaps, the author's) ego. That's both a waste of this story's premise and a crying shame.

It's an okay issue that feels almost like it could have been a summary at the front of something more exciting. Not bad, not great and in some regards better than "Joker War" was an entire arc.

The bottom line is that Batman #102 is one of Tynion's better runs, but the story feels sort of recycled which detracts from its overall quality. Perhaps instead of constantly trying to create "new" characters there should be some investment digging into Batman's lesser-explored qualities first.

We're a few issues past "Joker War" into a promised new chapter of the Batman story and yet it's the second verse same as the first.

Batman #104 may be the most interesting installment of the "Ghostmaker" arc thus far, but that doesn't necessarily make it good.

For all of the ideas that James Tynion IV brings to Gotham as he overstuffs it with flashy new characters, the real disappointment of his Batman run ultimately comes down to two things: an over-reliance on hype that is enver really delivered upon and a lack of Batman.

Batman returns this week after taking a brief break for "Future State," but if you're expecting Batman #106 to live up to the excitement and sheer quality that was Future State: Dark Detective or even Future State: The Next Batman, this issue will probably disappoint.

The post-Future State Batman is certainly giving the series a much-needed mystery, but in James Tynion IV's hands, that mystery is getting muddled thanks to an excessive amount of dialog and posturing, much of it which serves only to kick a dead horse, as it were.

The Unsanity Collective is still a snore and the road to the Magistrate and Future State is still a snore and an eyeroll, but there are some genuinely well-done moments here. Whether they will restore your faith in Tynion as a writer or remind you of just how weak the rest of his Batman work is, that's up to you to decide.

Everything else just continues the same boring and largely formulaic we've seen in this arc.

Bringing Batman to account by making him a somewhat realistic character would be a good idea, but a complete take down of the vigilante with issue after issue after issue of kicking him while down is just too much and it's that lack of nuance and forethought that shows itself sharply here.

The current core of Batman's story isn't serving to tell a Batman story. It's designed to back fill "Future State," just with Tynion dressing things up with flash and gimmick characters. When you realize that, when the whole of Simon Saint's plan is laid out completely bare in the issue, it takes the shine off of everything else.

Ultimately though, the closer we get to the end of Tynion's run, the more it seems like the real plan is just to keep repeating things and hope no one notices there's no "there" there.

At this point, Batman as a title just feels like biding time until this whole arc and run is put out of its misery of mediocrity.

There is just too much going on and anything important feels poorly jammed in. This is not a good Batman story.

The fixation on a host of one-off "original" characters has left "Fear State" and this run and this penultimate issue lacking any nutritional value, as it were. At least Jimenez's art is good and Morey's colors fantastic.

It's no mystery that I've found the bulk of this run, and especially Fear State, to be a mess and while Batman #117 is less messy than previous issues, it's certainly not raising the bar by much.

A brand new chapter begins with Batman #118 and for the first time in a long time it actually feels, truly, like something new.

This issue is, on every page, a breath of fresh air and while I do still have some reservations about Abyss, I'm eagerly along for the ride.

The bar wasn't terribly high, but Batman #120 as an issue is wildly better than anything in the previous run and the "Abyss" arc just keeps getting better.

This is a really solid issue that caps off a refreshing and solid Batman run.

This is a great issue and one that doesn't just feel like a cog in a larger story.

Batman #123 does exactly what it sets out to do: it advances the "Shadow War" arc in some big ways, not only pushing the story forward, but also connecting a few dots as Batman and Robin work together to get to the bottom of who wants a war between Deathstroke and the League.

Joshua Williamson's run on Batman wraps up in Batman #124 and it does so in a satisfying fashion.

While first issues of new runs are usually pretty promising, Batman #125 comes out of the gate operating at such high levels that it genuinely feels like the only direction is to keep going up. Between the incredible art and a rich understanding and appreciation for DC's most iconic character, this comic book, this issue specifically, is exactly what Batman is meant to be; it's about damn time.

This book, as the kids would say, slaps.

Zdarsky and Belen Ortega both bring their A-games with the story and the art with the entire book feeling richly satisfying. Simply put, this isn't just a good issue; it's a great one.

It's tight visual storytelling and it's spot on. This is start to stop a fantastic issue and another chapter in a truly excellent run.

Chip Zdarsky is continuing to prove that not only is he the best writer on Batman in a long time, but he is carving out a spot as one of the all time greats.

In the end, the "Failsafe" arc concludes almost predictably and while the quality of Batman #130 isn't quite to the high standards set by Batman #125, it's still an interesting issue that positions the story to progress in intriguing directions. Yet it's an unfortunately bloated and somewhat rushed conclusion that doesn't quite land and leaves the reader wanting more because they're just as tired as Batman is by the end.

While it's a move that might feel like it operates counter to the idea of balance Zdarsky created up to now, the result is an intriguing detour from what Batman fans might expect even if this first installment is a little slow to get off the ground.

This is, in fact, the second chapter of a miniseries in much the same way that Powers of X #1 was the second chapter of its own. Once readers understand that positioning, this is an easy issue to enjoy as it frames a very promising saga ahead.

While I would like to see this story progressing a little faster so that we could get back to the main universe so that Bruce and deal with Failsafe because it feels more and more like we've just forgotten the urgency of that storyline entirely, this adventure in this alternate Gotham is still a fascinating one, particularly this issue as we dig a little more into the cracks in the system as it were.

Batman #134 is an issue of layers, both in the main story and the backup, and while not every layer holds it's still a solid issue and an interesting one.

Admittedly, a little bit of the storytelling is weak in spots and it does at time feel a little rushed, but there's a lot here that really speaks to the core of Batman as a multidimensional character, something I think a lot of creators miss. The art here is also bananas good.

Batman 2021 Annual #1 is, generally, wildly better than the majority of Tynion's Batman work but it suffers from a lot of the same pitfalls, especially in that it feels more like an imitation of something else rather than an authentic creation.

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.

This might be the best Batman book of the year.

If Tynion's main Batman work were even half as good as this story, readers of the main line would be in for a treat. At least with this book Clownhunter feels like a character worth caring a bit more about.

It's a convenient and rather tidy way to close off Tynion's run, but while it will satisfy some Batman readers in that it gives a distinct sense of closure, one can't help but walk away from the issue feeling as though it was all very superficial " a very slick way to shuffle characters around, clearing the board for the next creative team while also never really dealing with any of the issues presented over the course of the run.

The much anticipated Batman/Catwoman #1 is finally here and while it's not a perfect book, it's one that lives up to the hype.

Not a bad book, but certainly not a great one, Batman/Catwoman #2 is enjoyable enough but that only holds if you remain on the surface. Any real scrutiny just weakens the whole issue.

The result is an issue that is messy, confusing, and a little overcooked with a story that could have just been a one-shot.

If this is par for the course for the rest of this series, it's going to be a very long, boring, unsubstantial drag.

Batwoman/Catwoman hasn't been living up to the hype that preceeded the series for a while now, but Batwoman/Catwoman #5 might be the weakest issue yet.

This deep into Batman/Catwoman, it's fairly obvious that the only thing this series really has working in its favor is the art

Every issue of Batman/Catwoman has somehow managed to get worse than the one before it, but this week's Batman/Catwoman #7 is spectacularly awful.

If I'm being honest, I have no idea what is even going on in this title anymore - and I don't want to.

If you've been holding out for Tom King's Batman/Catwoman to finally pick up and go somewhere or for the multiple storylines to somehow make sense, you will be gravely disappointed.

The art's okay, but the story itself and its execution leaves a lot to be desired and really should have been reigned in a long time ago given the bloat, the fluff, and the lack of substance overall.

When it comes to Batman/Catwoman #11, you have to think of it as two different books: one comprised entirely of art and one comprised entirely of narrative. The former is exquisite. The latter is at least readable.

In the years since Batman #50, a lot has happened, both in terms of King's run on Batman, as well as with the characters themselves with all of it leading to this: Batman/Catwoman #12. The issue finally delivers that wedding after giving us a dozen issues of story that also wove in bits about their married life and family between a murder story and other elements, but while the issue finally offers up a conclusion and delivers on the "Batrimony" of it all, much like the rest of the Batman/Catwoman series it lacks substance, sense, and lands as little more than a somewhat pretty string of gimmicks that just feels like cheap fan service in the end.

This would have been so much better with just a bit more care and substance and as a result, it's the art that gets this issue the bulk of its rating from me.

Writer Bryan Hill brings a bit of a fresh approach to the team by incorporating numerous big fan favorites, such as Black Lightning, Katana, and Batman, with younger characters The Signal and Orphan for team incarnation that feels a lot like the Bat Family and is equally as complex and slightly dysfunctional.

The same clich story elements that created pitfalls in the debut issue still exist here, but the action is hard and fast and fun to read while being even better to look at thanks to Dexter Soy's engaging art.

The theme of the Outsiders as a broken team continues this issue and, while that's a point already made in the previous two issues of Batman and The Outsiders, this week the story shifts towards healing even as, in a paralell plot, the person the team has been charged with saving falls further towards darkness in the hands of Ra's Al Ghul.

It's not a bad issue. It's just not particularly great as it lurches forward towards what is (hopefully) an action-packed future.

Nothing here is easy, as we're learning, and it makes for another solid read.

It's a solid read and a good lead in to the next arc in the series.

Batman and the Outsiders #7 still struggles a bit with too much exposition, but we're finally getting into the story for real now -- and it's one that has promise.

Batman and The Outsiders #8 is flat-out one of the best issues of the series thus far.

Bryan Hill knocks it out of the park with his stripped down, raw take on Black Lightning's anger and grief, and it makes for a stunning, satisfying issue.

It's exciting, intriguing, and feels like solid payoff for all the build up we've had thus far.

In truth, there is a lot of establishing in this issue, but it works well in that it helps resolve some of the emotional notes that have been running through the series as well as bring all of the major players to a spot where the real fight can jump off: going up against Ra's.

It's not that it's bad or problematic that the book puts so much weight on this aspect of the story; these relationships are interesting and inform the future of the team. The problem is is that these are conversations that happen in nearly every issue of the series, almost exactly as they do here, and thus far has done nothing to advance the idea of the Outsiders as an actual team.

For all of the frequent issues of imbalance in storytelling that Batman and the Outsiders suffers, this week's issue #13 is an issue that finds itself firmly set on stable ground with a chapter that offers up not only some explanation as to what's next for the team now that Ra's diabolical plan has been revealed, but delivers on some of the doubts and concerns that have been planted irregularly through the series thus far.

Batman and the Outsiders had definitely hit its stride in terms of story and while things do drag a little in terms of pacing in Batman and the Outsiders #14, the issue rightly focuses on a bit of character development"Black Lightning getting his upgraded powers in particular"in a way that starts to truly set things up for a coming battle with Ra's al Ghul.

It feels like we've been waiting for the Outsiders to take on Ra's forever at this point. The book just needs to get on with it.

The finale of "The Demon's Fire" storyline hits in this week's Batman and the Outsiders #16 and rather than go out with an impressive, spectacular finale, the whole story comes to conclusion with a whimper.

It's a slightly too-tidy wrap up, but it delivers on the characters in a thoughtful way that serves as a "what might have been" while also serving as an adequate goodbye.

The story is a little dense and a bit repetitive at points, but it's a wonderful read and an absolute must for anyone already invested in the Batman and the Outsiders story.

Batman: Dear Detective is going to be a divisive comic book because it's neither a true comic book nor an art book, exactly, but tries to land somewhere between the two concepts.

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.

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.

There are many things in the darkness; this Batman: The Imposter #1 makes them worth exploring.

While I continue to have some major concerns about the diagnosis salad (I'm starting to question if Tomlin fully understands the conditions he tosses around) that is part of the Dr. Thompkins' internal monologue about Bruce Wayne"and I really don't buy the presentation of how Alfred would handle young Bruce"Batman: The Imposter #2 continues to be a really interesting exercise in realistically approaching the iconic character and his story.

Batman: The Imposter is a solid experiment, in terms of Batman stories. Taking a realistic approach to the character and his world is fresh and interesting, but this finale issue reveals a pretty sound weakness in how this creative team did that and it's inconsistency.

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.

It's the second-to-last issue of Betty & Veronica, and Jamie Lee Rotante once again nails the female friend dynamic in an honest, relatable way.

It's sad that the series is done, but there's so much good to take away from the story. Jamie Lee Rotante has created an instant classic with Betty & Veronica.

There is only one way to describe IDW's Big Hero 6: The Series #1: adorable.

Billionaire Island #1 is by far the most intelligent, jaw-dropping, razor sharp, impeccably-timed comic you'll read this week or possibly ever.

From cover to cover the issue is great writing and great art and it's overall a great read.

Everything just hits here. It's another knockout issue.

This issue is another excellent chapter of this all-too-real story.

Some comics falter a little in their penultimate issue, that's not the case here. Russell continues to craft a layered story while Steve Pugh's art is just so spot on.

Taken as a whole, Billionaire Island is a great series, but issue #6 loses its footing, weakening an otherwise great run.

There's an elegance to this particular sort of heist story and Jed MacKay pulls off something that is hearbreaking, thrilling, and satisfying all at once.

If Black Cat #5 offered an elegance to the heist, then Black Cat #6 is all brash and bold and it's perfect for this chapter of the story.

Generally I hate story arcs that conclude with everything in a neat and tidy box, but Black Cat #7 pulls things together cleanly and neatly in a way that may be light on action, but is a really great story.

If you're a Black Cat fan, this comic is an absolute feast of good things. It is a little wordy in some places but other than that it's a solid, exciting read.

Black Cat #9 is just flat out fun.

Even if "Infinity Score" isn't my favorite arc ever, this issue is pulling things together very well. It's a very well executed issue.

As annuals go, Black Cat Annual #1 is fun.

There's a lot of unmined treasure in the Black Knight and this comic is digging into both the humanity of the character as well as the Arthurian aspect of things; the result is something deeply engaging, relatable, and exciting"allowing readers both familiar new to the character to identify with his flaws and the darkness within him and still be thrilled by promises of more adventure around it all.

There is no sugar coating things. Black Knight: Curse of the Ebony Blade #2 has a lot to process in terms of the mythology and that lends itself to a lot of exposition and panel after panel of words. However, the way Spurrier uses that mythology to weave in other aspects of the story, bringing together parallel storylines and build a larger mystery, it makes the density worth it.

Like the issue before it, Black Knight: Curse of the Ebony Blade #3 has a lot to process in terms of mythology. It's something that makes the book very exposition heavy and while it's a good read, given its juxtaposition with what should be a significant battle, the result is an issue that looses its footing just a bit.

This is a fantastic issue. Period.

Black Knight: Curse of the Ebony Blade reaches its finale this week with issue #5 and while the entire run has been an action-packed ride that simultaneously delivers on some deeply thought-provoking concepts about the accuracy of the history we're told as well as mental health, Si Spurrier saved the biggest punches and most exciting moments for this finale and the result is a fantastic book.

While Black Manta #1 possesses some intriguing ideas and an interesting overall premise, the first issue has many moving parts that never offer readers quite enough context to warm up to the mystery this story is establishing.

Black Manta #2 is a strange book and it's honestly a little boring, but it isn't necessarily bad.

If you weren't engaged in this story before, this issue will change that - and there's even an appearance by Gentleman Ghost.

With just two issues to go, that's really disappointing. The slow burn of this book really deserves something a bit more elevated because the art brings everything else down.

This series has been pretty up and down so it will be interesting to see if the finale sticks, but this issue is a truly solid read.

Black Manta #6, despite its somewhat abrupt ending that leaves a great many of loose ends, is somehow better than the entire run of the series to date.

Bloodshot #1 is a comic with good intentions that doesn't work very well, save for a whole lot of explosions for fun's sake.

It's flat, it's predictable, and it's boring, leaving readers with no real investment or no real reward for opening up the issue.

BRZRKR #1 is a fun read, but it's going to need a lot more than the Keanu Reeves of it all to make the ongoing series worthwhile.

There doesn't feel like much to propel the story to the next issue here, but the issue is honestly surprisingly good overall and despite the rather ordinary "extraordinary" origin, it's a solid read.

To put it bluntly, the Wolverine-adjacent of it all is getting old, even as the story starts to heat up.

Overall, this issue kind of feels like a decision point for the title. Either it's going to kick fully into gear or it's going to fizzle. In either case, things are just okay.

If last issue was a decision point between full steam ahead and fizzling, BRZRKR #5 takes us closer to fizzling. It's not bad, but it's not great, leaving an issue that feels like it needs a shot in the arm.

BRZRKR #6 finally picks things up rather than completely fizzling out and while we do spend a good bit of time with B getting into his feelings, we do it in a different setting, on the battlefield in the present, as it were and it makes all the difference both in how we as the reader perceive him and, perhaps, how B perceives himself.

BRZRKR #7 takes the story on a bit of a turn that feels weirdly calm and almost comforting in that we get some answers"or at least what are presented to B as answers"as to what they really want with him.

BRZRKR #8 is a decent comic. When taken in the context over the overall series, this is definitely an issue that feels like it moves a little unevenly and on some level there are aspects that feel like they don't need to be a full issuewe already know the government is up to some less than savory things.

BRZRKR is a series that is up and down a lot and while there is a lot that looks really, really cool in BRZRKR #9, story-wise, this is a bit of a down for the series.

While this is an issue that does still suffer a bit from having a lot of moving parts and there are pages that feel a bit like filler the final pages ramp up quite a bit of tension, just enough that this epic story feels like it may have gotten well back on track as it rounds into its finale.

Overall, it's an okay issue but it takes so long to gain momentum that one has to wonder if it will hold through to the finale.

As conclusions go, BRZRKR #12 is "okay" at best and, at worst, an issue of missed opportunity.

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.

What works here is that there is a combination of a slight bit of humor as well as an increasing sense of escalation and while some of the action sequences here feel ridiculous at times, it's still an intriguing and fun read all around.

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.

It's just the right amount of horror for this time of year and a pretty fun comic at that.

It's scary, it's interesting, it's even got a bit of humor. The art is top-notch. It's a winner for sure.

Contagion #2 is perfect. It's got it all: there's action, there's some adventure, there's a dose of horror, a lot of heroes, and some unexpected turns.

Not to put too fine a point on things, but Contagion is a great series and if you aren't reading it you should be.

What started just as Ben Grimm's worst nightmare has quickly become everyone's and it's so satisfying, if not frightening to read.

Overall as a series, Contagion has been an incredibly fun ride and this issue brings it all to a fun, satisfying conclusion. And, of course, we get a great panel of Ben Grimm and his cat. Who could want anything more?

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.

It's a wild ride, but a truly great one and a solid reminder of why Crowded is simply one of the best comic books to hit shelves in years.

It's a great issue with a lot of fun to balance the fact that we know even less than before.

The twist at the end is pretty much the cherry on top of the whole crazy sundae that is an issue that kicks off fast and simply doesn't stop.

Crowded continues to be one of the best comics out there with Crowded #10 this week, and part of that is because of how much of a departure the issue is.

It feels very much like a transition issue, but one that offers a lot of promise for what's to come.

Crowded consistently manages to be one of the best books out there but this week's Crowded #12 takes things to a new level as it shakes up the story in a big, big way while also closing out the current arc.

The book doesn't take itself seriously while also taking itself absolutely seriously and the result is a kick-ass read from cover to cover that also looks cool and delivers quite a few full belly laughs.

As a prologue for the big "Dawn of DC" event, Dawn of DC: Primer more or less does its job. Joshua Williamson gives readers an important piece of world building for the story, offering up a frustrated Amanda Waller who is just done with the heroes of the DCU and is now ready to take actions against them from the shadows, of course.

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

This is quite honestly one of, if not the, actual best anthology DC Comics has ever put out, period.

It seems a little strange to call a horror comic rooted in religion and populated by uncomfortable characters with art and colors that make one feel like they need to wash their hands after reading them a masterpiece, especially after only one issue, but that's what Soul Plumber is.

This issue sets up a weird and grand mystery that blends the horror of exploitative spiritual malpractice with the very mysteries of the universe and it never misses a beat in terms of interest and excellence.

Yes, it's bonkers, but there's also a lot of well-done commentary about how religion is concerned only with itself and not the people who truly believe and it's that balance between vicious commentary and bonkers adventure that makes this book and this issue an absolute delight.

This issue is unholy in the best way and it it forces the reader to genuinely think about the nature of faith and it's brilliant.

This issue is an absolute blast and a knockout for one of the best series currently going.

Where the real strength lies, however, is the commentary about the nature of people " just how far we'll take things, how cynical we can be, and how history doesn't always repeat itself but frequently rhymes. For a book that was, fundamentally, an exploration of humanity and faith, it's a knockout send off.

DC Mech #1 is a lot of fun, even if at times it feels very much like an extended advertisement for some cool new toys (toys I would shamelessly buy, for the record.)

DC: Mech is proving to be a title that is just so specific and so niche that it's not really for most readers but, more than that, it seems to lean too much into its weakest points.

This is very much the definition of style over substance and a case of even the style being thin.

Does it all work? No, but it is engaging and a bit of an improvement over issue #3.

DC: Mech #5 continues this title's general trend of being style over substance, or more specifically, of trying to shove the world of DC into the box of another genre only to end up with a very mid result.

The art this issue improves a bit, but at the end, this whole series and this issue in particular was just a bit of harmless and at time mindless fun the absolute definition of mid.

This may be DC's best anthology to date and one can only hope that it is the start of more of these stories from these creators outside of just this one month

On the whole, I went into the DC Pride: Tim Drake special wanting to love it. The idea of one of the most enduring of Batman's sidekicks being bisexual is something that feels both groundbreaking and natural all at once, but these stories don't handle it well, particularly out of context.

This is a fantastic book and I wish there were more like it.

It's a fine collection, one that will make you wish DC did this more often.

Overall, each of the stories in this anthology is a winner and it's a really great book overall.

It's very much the equivalent of reading a magazine in a sense, where you get a some good stuff, but you flip through some lesser things for those few things and for a book this size, it feels like we should get something just a touch better.

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

Really, this is one of the weirdest holiday specials DC has put out, but it has a ton of heart and is a fun, offbeat read from cover to cover.

Dead Day #1 is an outstanding comic.

It's a good second issue from cover to cover.

It feels a bit too much like "Riverdale" in the worst possible way and that doesn't really move much this issue. Other than that, Dead Day #3 is a strong comic.

Well-written, heartfelt at times, and fast moving, the only real problem with Dead Day #4 is that it just wasn't long enough"it's an issue that certainly leaves you wanting more.

Still, it's an excellent read and, when taking this issue with the whole of the series, one of the better comics this year. I just wish there had been more.

Deep Beyond is an ambitious title and three issues deep, it continues to be visually fascinating and lovely to look at, but the story in progress drags and feels a little dull, if not bloated in places.

Puzzle boxes are fun, but this far in, we should be making more progress.

As a reader, I'm still not really sure what's going on and this far in, that's concerning.

There's a bit more to work with this issue than previously, but it unfortunately doesn't improve things much.

Deep Beyond #7 takes the story a lot deeper, but the continued issue of interesting elements that don't fully connect that has been an issue for the whole series remains strong here.

This issue has some stable art that is better than most of what we've seen in the run, bu the story is still cluttered, convoluted, and very hard to follow issue to issue.

I'm still not seeing the allure of Deep Beyond. Nine issues in and with so many twists and reversals and what feels like a truly pointless motivation from the politian in the story, nothing feels like it has any real stakes.

Told mostly in flashback to give some context for who Jolene is seeking for assistance, this issue really feels fleshed out and cohesive, unlike some of the more frenetic previous offerings. It's a solid issue.

That's one thing about this overall title that has been pretty consistent and makes it an immersive world, even if it is largely a confusing one.

Deep Beyond saved its big swing for the end and missed completely.

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.

Lead-in series have a lot of ground to cover and that means a lot of risk of being too much. That's the case here. Hopefully, things will improve going forward.

As an anthologywhich is roughly what this is with different writers and artists on each storyit's enjoyable and oddly consistent in look and feel save for "Mini-Spider" which looks a little rough, but is still fun.

The previous issues of Edge of Spider-Verse have been a little uneven with their stories that introduce the various players in a larger, coming adventure, but issue #3 is a trio of stories that are all winners, both in terms of their narrative and their art.

With Spider-Ham, the Disney Princess Version of a Spider Person, the Spectacular Spider-Mobile, and more, Edge of Spider-Verse #4 is probably the weirdest issue yet of this series and, save for a few spots where the overall "plot" is forced into things, this is honestly the most delightful.

Overall, this issue has decent balance and while it's not great, it's not awful.

Issues like this, that contain little vignettes, can be hit or miss, but this is definitely a hit with two stories that are fully well crafted, just in totally different ways.

Elvira does a lot of talking and it takes up a lot of the page where the book might be better served with some showing rather than telling. But even with that, it's a fun little romp of a book.

To put it bluntly, it's a very weird issue that doesn't seem to conform to any real rules, but for movie buffs, it's a ton of fun even if it does feel a bit like a narrative disaster. The art is also really kind of fun, though just a little inconsistent.

Simply put, this book is practically perfect.

The only real weakness to this issue is that if you aren't familiar with Eve, you aren't on the best footing to start this off and are left with a lot of questions that even a simple basic recap in the story could have fixed. Other than that, this is a strong start.

While this issue does feel a little slow in pacing, that's actually a very good thing as it lets you soak the story. You're left wanting more even as the story shifts to the present and leaves on a big cliffhanger.

Eve: Children of the Moon #3 feels a little lackluster.

With this being the penultimate issue in the series, there is still a lot of questions and no real set feeling that a firm direction is at hand, but the investment in terms of story is finally starting to gel and it's a marked improvement.

Overall, the series never delivers on any of the stakes it sets up and just lands the reader in a place where they wonder where eve will go next and while that's not a bad place to end, it just feels very basic.

Engaging and well-considered, Event Leviathan #1 both looks and reads like thriller, offering just enough in the way of twists and turns to take readers on a story that is both a little predictable and a bit unexpected, leaving the quiet possibility that this is a threat that the heroes may not be able to stop"while also making one wonder exactly who the heroes really are and what cost is worth paying for a "better world."

Event Leviathan is billed as a six-issue mystery thriller and after a stellar kick off issue, the second installment is absolutely living up to that.

Event Leviathan #3 may not be the strongest issue so far, but it certainly gives readers a lot to consider ensuring they'll want more.

To put it bluntly, Event Leviathan #4 is a damn fine issue of a damn fine series. Period.

The result is a damn near perfect penultimate issue that makes the wait for the finale that much harder.

Beautiful story, lovely art, it's an excellent closing issue to the short series, well-executed and well-done.

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.

Overall, though, Exorsisters #6 is a fun read and here's to hoping we don't have to wait so long to see what's next for the Harrow sisters.

The writing, the complete "one and done" story format, the art, and even the carefully crafted culture of The Feld all makes the book a standout. Come for the anthropomorphic cat. Stay for a genuinely original and fascinating story that will leave you wanting more in the best way possible.

Things take a sharp, sudden turn towards the resolution in a way that feels a little too convenient and easy, but other than that, Fairlady #2 is an absolute delight.

One of the best things about Fairlady is that each issue is a full story, but while Fairlady #3 does, in fact, give readers a full story, it also sets up a bigger mystery.

It's just a top notch issue and if you're not reading Fairlady then you need to correct that immediately. This book is fantastic.

The issue manages to pull off both a conclusion and a cliffhanger, defying convention much the way the book's heroine does thus making Fairlady #5 one of the best books out this week.

It isn't bad, but it's also not as great as it could be especially considering the quality of the art is already top notch.

Two issues into Flashpoint Beyond and I think that this event may end up being just as divisive as Flashpoint, but perhaps for different reasons.

In a sense, Flashpoint Beyond #3 definitely feels like a turning point for the story, but it isn't clear if that turn is going to pay off. That said, Penguin is delightful in this issue, as he has been the whole series so far. I wish we could get a book of just him and Dexter.

It's a great issue, the only real "negative" being that readers might really need to go back and do a touch of homework to get the full force of things, but man it is worth it.

Flashpoint Beyond has just one issue to go after this week's Flashpoint Beyond #5, and the penultimate issue may be the series' strongest.

It's not the cleanest series finalethe series largely serves to set up the upcoming JSA title in a lot of regardsbut it sticks the landing and offers a lot to consider about the nature of moving forward from insurmountable loss.

It's a simple book done beautifully"a real winner.

It's a gorgeous story, a gorgeous issue. A winner all around.

It's a back-to-basics story that is anything but basic.

This is a bold book and it's masterfully done and a great launch into "Future State."

Nuts and bolts here is that this is well-done and thought-provoking title that avoids being preachy but stays true to its message in a way more comics should.

The whole book is just incredible and easily one of the best Future State offerings. This book is a knockout.

This is a book that's fun to read even when uncomfortable and is very much of the moment in a way that feels timeless.

Simply put, this book from cover to cover is a revelation and it's brilliant. If this is the future of the DC Universe, these are absolutely the stories we need.

DC's "Future State" continues to be a fascinating set of stories about the future of the DC Universe, but just as was the case with the first issue, Future State: Dark Detective #2 is easily one of the best.

The whole issue is just a great turn from start to finish.

There's a lot of good stuff coming out of "Future State," but this story of strength, sacrifice and hope transcends it all.

Every Batman story should be this good. Period.

While not a bad read, Superman vs. Imperious Lex #3 misses the mark, overstays its welcome, and simply leaves readers wondering what the point was.

Future State: The Next Batman #3 is a solid book but what really stands out is the art.

While the story does feel like it moves a little fast and there's a sense of wanting more, it's a solid issue of a truly great Batman story. I can't wait to see what happens next when Tamaki and Mora take over Detective Comics next month.

They only "bad" thing I have to say about Future State: The Next Batman #4 is that it's the last one and with the quality of this book"specifically this issue and the little series overall"that's just wrong.

Future State: Gotham #1 is a comic book that no one really asked for, but between the writers' solid grasp on Jason Todd and their willingness to go (a little) outside the box with him along with the unexpected approach to the book's art, it manages to land as a solid read.

Ultimately, Future State: Gotham #2 is just okay.

The art itself is solid, but the choice to make the book black and white doesn't really work so well when without color it's becoming increasingly difficult to tell characters apart. Particularly in the case of Punchline and Harley Quinn, the two characters are essentially identical in terms of features.

While I'm still not loving the black and white for this story over all and that especially holds here given that Future State: Gotham #4 follows some of Gotham's most colorful characters, this chapter of the story is actually kind of refreshing and delightful.

While the lack of color has been problematic previously, it really works this issue and, in a sense, brings everything we've seen thus far together in a rich and immersive way.

The result is a fast-paced and nail-biting issue that is a delight to read.

This book felt a lot like a low key Fear State and now it feels like we're moving to a high key "Fear State," just with a different name. Gotham, and readers, need a break.

This story"and indeed this issue"would pack more of a punch if we hadn't just sort of resolved The Magistrate in the main continuity.

Again, it all just feels like everything we've already seen from Batman and other Future State stories run through a blender and while it's executed well-enough, the overall story just lacks punch.

Future State: Gotham #10 kind of feels like it could be sorted out using a series of bullet points at this point because most of the criticisms the previous issues have earned remain here.

While I get that the issue and indeed the whole title is supposed to have a manga-like feel, it never really hits that mark, both in terms of visual and story.

I realize that the art in Future State: Gotham is supposed to have something of a manga feel to it, but as I've said before this really looks more like someone's rough sketchbook rather than developed art.

It's not unreadable. You can certainly pull things of value from it, but so much here just feels like an elaborate junk drawer of ideas that DC can't justify throwing away but also doesn't really want to do justice and sadly it shows.

It's just so meh and the manga-inspired art, which itself isn't particularly well executed, doesn't help.