I wontspoil the ending, though I may not need to. Anyone who follows comic books forany length of time knows you can rely on a villain to do one thing: servehimself. I just hope the next chapter isnt so predictable.

GuillemMarchs artwork reminds me of that of Mark Badger back in the 1980s.Thankfully, more detailed, but that could be a result of current technology.

As I said,expect to be surprised, with the secret origin of Mr. Oz promised for nextissue. But what that means for the Man of Steel in the future remains to seen.I anticipate a crisis of conscience, perhaps a Bryan Singer-like attack on an emotional level, or maybe a fight between two powerful super-beings. Lets keepour fingers crossed its blend of both.

Im lookingforward to subsequent issues, to see how Jor-Els unmasking (assuming he is animposter) comes about. If hes not a phonus balonus, then Superman as a concepthas indeed gone off the rails, and those Curt Swan stories are more preciousthan ever.

However, the story is moving slower than I'd like, which is typical. I grew up in the age of Wolfman/Perezs New Teen Titans, Now THERE was some dense storytelling, which Iwould like to see more of these days. But until those two legends can be harnessed into another ongoing series, I'll have to content myself with back issues.

As I said afew issues ago, its likely this story will run up to the landmark Action Comics #1,000. It moves a bitslower than I would like, but thats an unfair assessment, as I have no ideawhat the next 10 issues will entail. My hope is that the creative team canremain in place for the duration of the story. I find it frustrating whenartists step away mid-way through a storyline. I dont fault them for it, Iblame the editor. He should manage the workload, and provide the art staff withthe resources they require.

As with previous issues, this story is written/drawn by the exact same creative team. Its almost as if they worked on them concurrently, with no break in between.Its helped maintain a consistency of narrative, but of course its seldom sustainable, so as the story continues, I wonder who will be at the drawing board. If it is someone different, now seems as a good a place as any to changeup the art roster. (ESPECIALLY on the cover. This issue by Nick Bradshaw and Brad Anderson is awful).

This story leads into the next chapter of the DC Universe, as Superman realizes someone is toying with its history. He determined to do something about it, though ifweve learned anything from the movies, it is that It is forbidden for you to interfere with human history, rather, let your leadership stir others. Because thats not just an S on his chest; its the symbol of hope.

The story is fun and exciting, as Booster mounts a rescue mission to prevent Superman from changing time any more than it has been. And while Booster and the Flash are both experienced time-traveller, its clear they have differing views on the ramifications of stepping into the past.

The artworkin this issue is a bit of a challenge for me, though. Dan Jurgens providedpencils, which were then finished by no less than four inkers. The changingstyles were a bit jarring, and I may have preferred one or two fewer artistsinvolved. But I understand the nature of deadlines. Perhaps when DC returns toits monthly publishing schedule, well see more stable art teams in place.

Artists Brett Booth and Norm Rapmund make a great team. The art reminded me somewhat of Jim Lee's work, but not so much so as to appear an imitation.

There have been rumors of the Watchmen characters being folded into the main DC Universe. Idrather they didnt, but I know Im in the minority. Regardless, I do hope that the fast approaching Action Comics #1,000 has the opportunity to stand alone, rather than become the setting for yet another over-hyped DC event. It would belike having your 50th birthday co-opted by your distant cousin's graduation.

The story seems to conclude, which is fine by me, though I was expecting Superman to return to a timeline different than the one he left " yet another re-set in the DC Universe, to coincide with Action Comics #1,000. Thankfully, that didn't happen, so far as we know.

I mustadmit, I was skeptical of Bendis run on the Superman franchise, though thatwas largely because He was such a name at Marvel. It was my fear that histenure might influence Bendis to marvelize the Man of Steel. But as of thiswriting, Im not convinced that would be a bad thing.

Bendisarrival at DC reminds me of the early 1970s, when Jack Kirby transitioned overfrom Marvel. Within a few years, he rejoined Marvel, DC Comics leaving a badtaste in his mouth. It is my hope that Bendiss tenure at DC is betterreceived. Im a little anxious for seeing some of his plotlines resolved, butyour mileage may vary.

Bendis seemsintent on elevating the supporting cast. Perry White displays a dimension ofcharacter I havent seen in years, if ever. Hes not simply Clarks boss, hesa man with a job, and an individual with his own agenda. However, Supermansson is only mentioned off-hand, which I dont particularly mind. I stillstruggle with Lois and Clark being married, let alone having a kid. But atleast Bendis gave us the reunion weve been needing.

Ryan Sook's artwork is nothing short of refreshing. Its simple, elegant, and evokes theinnocence for which Superman is recognized, while remaining sophisticated and ambitious. As for the revelation, well, we kind of saw that coming. But thats okay. Its not as if it was painfully obvious like other recent plot elements.

I must admit, I was skeptical of Bendis transition to DC Comics flagship title. Backin the early 1970s, DC lured Jack Kirby to the character, but hamstrung him byA.) putting him on secondary titles in the franchise; and B.) having someone else render the face. In the 80s, John Byrne came over from Marvel to completely revamp the property but he stuck around only long enough for the re-launch. If DC will give Bendis a free hand to maintain this level of quality, and he sticks around long enough, hell be remembered as one of those long-standing custodians for generations to come.

It's an okay story that adds pieces to the puzzle, though nothing is substantially resolved. A few pieces remain missing, though I suspect that may a matter of poor editing.

Im digging Eptings artwork. It kind of has aretro feel to it, one I associate with the work of Jack Abel in the late 60sand 70s. It reinforces that the classic Superman is back, free from theresidue of the New 52. The less said of that, the better.

I am enjoying Eptings work. I may have said itbefore, that it reminds me of Jack Abel, and as most of you know, I am a bigfan of retro. But Epting doesnt merely imitate; he brings his own tools to thetask and makes it his own. It can be a challenge, but Epting makes it lookeasy.

I thought DC was all about continuity, butapparently not in the manner I expected. I applaud that theyve loosened up,but perhaps theyve gotten too loose.

I cant say Im a fan of Kudranksis art. His bodylanguage and facial expressions are excellent " too excellent. Either hes aphenomenal artist slumming in comics, or hes running photos through imagingsoftware to turn them into line art. While I am all for the use of technology,sometimes it borders on cheating, like drum machines in the 1980s.

Last time, I commented on Kudranskis artwork. Ilike it better this issue, as it seems the aspects for which I did not care arefar less noticeable, and other qualities have come to the fore. I wouldconsider this the evolution of an artist, in regards to either his skill or thetask before him. If he continues on this path, Im sure he has bright careerahead.

Each of the stories is written and drawn by different creators, and given the holiday nature of the one story, I am wondering if they weren't part of a slush pile somewhere, and gathered and published in a ploy to keep the Action Comics #1,000 celebration going. They're not bad stories, mind you, but I have no idea what purpose this Special serves.

Theart by Rick Leonardi and Ande Parks is terrific. Im used to seeing Parksinking Phil Hesters work. As much as his inks compliment Hesters work, itsclear here that he is not beholden to any one penciler. Parks inks makeanybodys pencils look better, without obscuring what makes them unique.

Brent Anderson is back at the drawing board, still channeling his inner Neal Adams(not that thats a bad thing), but he seems to have added a layer of Jos LuisGarcia Lopez. But above it all is a style that makes Andersons work stand on its own merits.

Creatingthe spirit of music as a person is novel, but not necessarily new. After all,Barry Manilow was music, and he writes the songs. But as an ever-evolvingsuper-hero, it may or may not be an effective weapon against the forces ofevil. But the concept is interesting.

Itsa great story, but it only goes so far, as dogs notoriously have life spans 1/7ththat of humans. So what does that mean for our former-thief-now-hero? Well,thats a question to be answered nextissue.

Itsa satisfying story, if not an altogether cheerful one. There is no happy endingfor all, though matters play out as perhaps they should. But it makes me sitand take greater notice of Astro City; or, as I sometimes call it, AsTROCity.What I believed to be just another universe of super-heroes has greater depththan I realized. The costumes are merely the window dressing for the narrative.

Theres no real conclusion (I assume that will come next issue), so Lulu's investigation means for her, her dad, and those who seek to corrupt his research remains to be seen. It may be a card to be played (much) later, or we may see storys end in a month. But I enjoy the anthological nature of Astro City. Its stories with super-heroes, rather than the adventures of If you enjoyed Marvels (also by Kurt Busiek and Alex Ross), Astro City is an enjoyable follow-up.

For those of us who have every run around a backyard with a towel pinned to our shoulders, most comic books are about the heroes. But not everyone gets to wear the cape to be the hero. Or even be the sidekick. They also serve, who standand wait. Those of us who dont get to be Batman sometimes have to settle for being Alfred. And thats good enough.

Tolong-time comic readers, the source of the secret makes total sense, but thethe Friends " well, thats another matter. And here lies the strength of thestory, and the series as a whole. AstroCity isnt about the heroes, but more about the citizens, the collateraldamage. As a meta-human, believing the unbelievable is easy, but for usordinary folks on the ground, alien invasions and endless time-loops meannothing but fear and panic.

The artwork is perfect. I'm a big fan of the classic DC house style, mastered and refined by artists such as Dick Giordano and Jos Luis Garcia Lopez. It certainly doesnt hurt that Graham Nolan is credited as one of the co-creators of Bane, along with Chuck Dixon. Needless to say, they know what theyre doing.While others may have helped develop Bane as a character in recent years, thereis no denying he is in excellent hands.

Iveenjoyed the two issues Ive read so far, and it makes me wish I hadnt missedthe previous chapters. Perhaps when the trade paperback is released, Ill takea look. Its not my usual cup of orange pekoe, but then Ive found so manymainstream comics unsatisfying these days, Ive begun to think I need to choosethe road less traveled.

The story seems intent on introducing a new villain, and signals suggest it may be someone from Barbaras past. Its tricky to insert flashbacks in on ongoing narrative, but Larson does it smoothly and judiciously. The artwork is simple without being cartoony; a classic case of less is more.

Now that I have several issues of Batgirl under my belt, I'm enjoying it, but itseems too heavily aimed for the teen girl audience. Thats not necessarily a bad thing, but it it has overtones that are kind of lost on me, and other members of the audience as well, Im sure. Still, its an pleasant read, which is something to be treasured.

Batgirlmay be one of DCs most under-appreciated titles. Not because of the strengthof its starring character (which is considerable), but because its Hope Larsonseems to have a simple strategy: tell good stories. Not great stories, not epicstories, but good, solid tales, and she seem to do it consistently. Many comicbook series have ups and downs, but Batgirlhas a consistent quality other titles should envy.

Whilethe story has layers of merits, the artwork is a little disappointing. ScottGodlewski is good, but this issue is lacking something " an energy levelthat Im used to seeing from previous issues. I dont begrudge him that, assome days the creative well runs dry. But heres hoping hell be back in hisusual fine form ere too long.

This issue boasts an extra-sized anniversary issue. Two year anniversary? It is #25, but I'm not sure two years is all that laudable in the wake of Action Comics #1,000. Regardless, it does offer four stories of varying quality.

Barbarasday-to-day wear looks natural " something a 20-something would choose to wear " rather than simplyputting a dress or jeans & t-shirt on a figure. Its a minordetail, but its this level of attention that gives the visuals of the book(any book) veritas. It makes me sit up and take notice.

It's a typical super-hero murder case, but what makes it a-typical is that the story wouldn't work for just anyone. There's an emotional component that would not work on just anyone; not Batman, not Nightwing, not Green Arrow. Writer Mairghread Scott makes it entirely Batgirl's own. I think that demonstrates not only the strength of the story, but also the strength of the character within it.

What thisissue equally focuses on his Barbaras healing. Not just her physical body andher continued ability to walk, but also the growing understanding between herand her father. I consider it effective character development, though mypersonal preference is to see it in a bit more minimized. Growth is an ongoingprocess, and we often experience spurts of understanding. Im pleased to seeDC avoiding emotional scenes in each issue. Occasionally is fine, but too manyvery special moments detract from the narrative as a whole.

With thisstoryline over, I do hope Paul Pelletier and Norm Rapmund will remain on thetitle. Rapmund also inked this months issue of Batman Beyond, so hes wellliked in the Bat-office, but I prefer his work with Pelletier over that of BrettBooth. Fingers crossed.

Pelletier and Rapmund continue their stellar work at the drawing board, while writer Mairghread Scott skates dangerously close to advocating a political position. I don't mind anyones politics, as long as they don't run to either extreme. And I don't mind politics in comics, so long as they don't get preachy. Its an easy landmine to step on, but thankfully Scott avoids it, and rather gracefully, I might add.

Though notperfect, the writing has been strong and the artwork superb in the time Ive beenreading this series, maintaining a consistent quality that is nothing short ofrefreshing. In this era where more emphasis is paid to the writer, and less tothe artist(s), this series keeps me coming back for more, month after month.

Unfortunately, the story is to be continued, but that includes a detour into another DC title. At least it's still part of the Bat-franchise, but not one of the better known books. It's a shame if it's only a ploy to juice the readership of that particular title, because it's hardly a sustainable strategy.

Regrettably, the work ofartists Paul Pelletier and Norm Rapmund is not featured in this issue. Not sureif theyre taking a break or off the book permanently. But Elena Casagrande andScott Godlewski are suitable replacements, temporary or otherwise. Unfortunately, last issuedovetailed into the Batman Who Laughs,which I never followed up on, so its as if there is a chapter missing. I find itdisappointing that a narrative needs to digress into another title entirely. DCseems to be doing that a bit lately; Id rather they didnt.

Artists Paul Pelletier and Norm Rapmund have returned to the title after a brief respite, and couldn't be more welcome. I am loving their work and hope they'll be around for many more issues to come.

The art team of Paul Pelletier and Norm Rapmund are joined by Jose Marzan Jr., though it doesn't show. This speaks to his ability to blend his work consistently with that of his artistic teammates. I think that is sometimes the mark of genuine talent " the ability to fill a role without being obvious about it. It makes for good supporting actors and background musicians.

Batgirl has grown in the time I've been reading her book. She used to be a girl, in her purple outfit with the snap-on cape and yellow Doc Martins. Her new costume (which I thought was a temporary prototype) features a yellow bat-bra motif, perhaps because all the best super-heroes wear their underwear outside their tights. It's indicative of a growth to post-college age, which begs the question: if we've got Batgirl, who needs Batwoman?

Batgirl has become one of my favorite books. It's not entirely beholden to decades of continuity the way Batman is. Much of that has to with Batman's marketability in other media, but Batgirl's modest success in that area leaves her free to do as she pleases.

I canappreciate the merits of this story as an annual, building significantly on theBatgirl universe and her supporting players. It needed the expanded format,though two issues in the regular series might have been more than it required.

Theartwork is fine. Its easy for some artists to fall into the trap of renderingthe perfect female form every time, but to his credit, Antonio avoids theclich. He draws his women as they might appear in real life, with a variety ofbody types, offering veritas to his figure drawing.

Again,Paquettes cover seems too photo-influenced. Im sure its something that hasbeen done for decades, but here it appears to be painfully obvious. As an artdirector I used to work for once told a client, If you want somethingphoto-realistic, then take a photo. Leave the drawing out of it.Unfortunately, Marvel beat DC to the cosplay cover idea.

Marcio Takaras artwork is more sketchy than I'm accustomed to seeing in comic books. Perhaps if it had been inked by someone else, its better qualities would havebeen muddied behind someone elses vision, but he makes it work nicely.

I like Roge Antonios artwork, for its crusty, bold illustrative style. I thinkit would be perfect for a more traditional crime story. In Birds of Prey, it gives the book that harder edge I appreciate. Hehelps make it clear from the get-go this is not simply another title featuring girl super-heroes.

My only regret is missing the first chapter, which I am guessing would have madethe entire story arc a solid read. I know I took issue with the middle chapter, but that was mostly because the whole radical feminist angle came to light. I dont resent feminism, I just find a radical version of anything to be too muchof a clich these days. I simply filtered it out of my reading experience, andenjoyed a tale of super-heroes vs. extremists. Male, female, black or white, Itried to remain color blind.

It's a very entertaining story, with lots of car chases, fights and other action.The Bensons seem to have decided, Lets get back to basics. There is not alot of needless exposition or characterization. We know who the Birds are, they know themselves and each other. Its a tight little narrative that simply tells a good story, a pleasant palette cleanser amidst all the over-hyped events.More comics should do so well.

As Barbara struggles with the consequences of underestimating the Calculator, another teammate addresses some overdue issues. What this bodes for the nearfuture remains to be seen, but I expect the next several issues will further the value of one of DCs under-appreciated properties.

Itsonly recently that Ive begun reading Birdsof Prey in earnest. Id reviewed a handful of issues, but a more thoroughperusal has me thinking its one of DC Comics under-appreciated titles. Thethree team members bring passion, intellect and charm to the dynamics, makingup for one anothers shortcomings. I look forward to enjoying more.

It's a complex story, one I think I would enjoy more reading all the chapters in a single sitting.

Iveenjoyed this series very much, and am sorry to see it go. I wish Id discoveredit sooner. But thats not to say the Birds of Prey will be out of action forlong. They could always pop up again in any given title of the DCU, until theyfind their way forward once again. I look forward to that. In the meantime, perhapsJulie Benson and Shawna Benson can find their place on Bombshells.

I just wishDC had used this era Legion with the original Star Trek crossover that waspublished a few years back.

Iinitially considered this project shameless pandering to fans of bothfranchises, but the closer I looked, the more I realized how subtle thesub-references can be. For this, I give credit to the art team. The renderingis exceptional, merging the gritty, grainy quality of early Eastman & Lairdefforts with the current over-stylized DC fare.

This is the third teaming of in recent years of the two franchises, almost making itan annual event. While I have no objection to doing so, I must wonder how muchlife the idea has in it. Perhaps the Turtles should join another majorcharacter " DC, Marvel or otherwise. After all, if youre going to open thatdoor, open it WIDE!

Whatever the story may (or may not) lack in appeal, the art is wonderful. I appreciate agood watercolor wash as much as the next reader, but it can be a challenge tomerge it effectively with the heavy pen & ink work of Turtles creator KevinEastman. But this series pulls it off nicely.

My only complaint with this series is its gimmicky nature. Batman is one of DCsmost successful properties; the TMNT franchise is still going strong ageneration after its debut. Two great tastes that taste great together. Maybethe first time, and a second helping wasnt and either. But if this turns intoan annual event, the novelty quickly wears off, leading the audience to phonein any level of interest they have once had.

I'm disappointed. This series has sunk into the realm of gimmick, perhaps goosingthe sales of Dynamites Shadow comics for a time, and providing DC with amiddling excuse to reprint Batmans previous encounters with The Shadow (Batman #253 and 259). Whether DC willfollow through on that overdue promise remains to be seen.

Idexpected the series to run four issues, and would have been happy with that.But it appears to be running six. More is better, but not if its more of thesuper-hero team-up clichs weve seen for several generations.

Someof my fellow Shadow fans have commented in the negative regarding the artwork,but I find it stylish in the same manner as the much-revered Mike Kaluta Shadowof the 1970s. Not that Rossmo is emulating Kaluta, but I think both have astyle that works. Where Rossmo fails is not in his rendering style, but in hisdepiction of The Shadow. It seems to Rossmo, The Shadow is simply a guy in hatand long cloak; a common super-hero. He fails to add and maintain the layer ofmystery that has captivated Shadow fans for decades.

Overall, Batman The Shadow is a very broad interpretation, created for Batman fans that would like to see him partner up with The Shadow as they believe him to be. None of the six issues were the least bit satisfying as the single storyline published back in Batman #253. The artwork was also highly-stylized, which I don't mind in general. I like Rossmo's style, but this may not have been the best project for it.

Makeno mistake, this series has a different tone than the original, but that maynot be a bad thing. I am reminded of something supposedly said at DC Comics in1979, when Marv Wolfman proposed reviving the Teen Titans. Then-publisherJenette Kahn asked why, since it had recently failed. According to legend, hisresponse was, Well do it better. Hopefully that continues to hold true forthe Outsiders as well.

Im curiousto see how Hill develops the individual Outsiders. He will likely have afully-formed template for his Batman to follow, but the other members of the teamare a bit more free-form, and open to broader interpretation. This could be anopportunity for them to grow into higher-profile characters.

One couldargue Batmans team building exercise tried to do that, but its not somethingthat happens in a single issue. It requires several adventures. The charactersneed to be in the action, the heat of battle, and given the opportunity tosucceed or fail on their own merits.

If thischaracter is to be Gotham Citys new protector, Im fine with it, but I thinkit would be far more effective to divorce himself from the Bat-family. Allies,sure, but to bat-theme this nobody so heavily only serves to dilute theoverall-bat brand, and further weaken the legitimate characters such as Robin,Nightwing, and Batgirl. It just seems a cheap ploy to add "diversity" to the Bat-brand, without any genuine strategy.

That's what I like about the future of the DC Universe. It's not so beholden to the NOW of the DCU, and has the freedom to become its own entity, free from the constraints of current continuity. Batman Beyond is one of the few bright spots in DC's current roster of titles.

I appreciate Bernard Chang's artwork, perhaps in part because it reminds me Howard Chaykin. Chaykin has a distinctive style, which Chang seems to have taken and refined. I see this mostly in terms of layout than in actual rendering, though it does appear there's a bit of a swipe once in a while.

But Ill behonest " after three issues of fisticuffs, Im a wee bit tired, and am lookingforward to dozing on the flying car ride back to Gotham City. Perhaps afterthis epic, Jurgens should craft a couple of done-in-ones, to give new arrivalsthe chance to catch up.

The artwork is good, though a few panels seem to be a but less than polished, as if cornerswere cut in the inking process. That may be a bit disappointing, given DexterVines reputation as a solid professional, butif he cut corners, it was neverwhere it mattered. Several pages are stand-outs. Aviras colors are dynamic andeffective, making for any shortcomings in the overall artwork.

Chang's artwork is spot on, as he is a familiar name in the title. He knows the character, the setting and could be a welcome addition as writer of the series,should ongoing Dan Jurgens ever choose to step down permanently.

Phil Hester and Ande Parks are on art chores this issue, and I couldnt be happier. I've enjoyed their work since Green Arrowmore than a decade ago, and I have seen too little of them since then. If this is their new steady gig, great. They deserve a high-profile title from DC. If not this, perhaps Nightwing.

It all boilsdown to writers trying to tap into " or in this case, anticipate " the trendsof teens and young adults. Its a constantly moving target, and is doomed tofailure 99 times out of 100. This means writers are left to the dismal task ofcreating their own future slang.

One thing about the Batman Beyond series is its vision of the future. Theoretically its about 40 years from now, based on Bruce Waynes age. But the advancements are extraordinary, which only reinforces the sense of compressed time in ComicBook-land. Afterall, wasn't World War II just a few decades ago?

I enjoy Dan Jurgens writing (both here and in Action Comics) because he is able to offer the kind of art direction that fills in the blanks. One story element was telegraphed to me long before Bruce Wayne felt the need to explain it Matt. Even if I hadn't picked up on it, the exposition is natural, rather than feeling forced vis--vis Captain Obvious.

Batman Beyond is uniquely its own entity, and not beholden to the continuity concerns of the greater DCU. And that's what I enjoy most about it. Its familiar but fresh, and its enjoyable to see the possible future for the Bat-universe. Keepit coming.

I've enjoyed Jurgens' writing for many years. I believe he has a firm grasp of the fan's perspective on these characters. In the case of Batman Beyond, it's an open franchise, not beholden to the continuity issues of most of the DC Universe. That opens the door wide to so much story potential, and I'm eager to see what a creator of Jurgens' caliber can deliver.

This issue also launches a new story arc, one pitting Batman against the future Jokerz, who all seem in fear of a mysterious Bat-monster (The Dark Knight Returns Beyond?). I expect it to be a straightforward adventure, with less character development or expansion of the franchise. If I'm right, thats okay; I could use the rest from epic stories. If I'm wrong, well, thats okay too.

This is onlythe second installment in the latest story arc, so theres not so much meat onthis bone. Building blocks of the overall story, but I trust Dan Jurgens. Hesa proven professional who can deliver a quality story. And Batman Beyond is worth staying tuned for.

Kudos to writer Dan Jurgens for reinventing classic foes for the second-generation Batman. He is crafting a larger world for the Terry McGinnis version of Batman,from allies to enemies. Its my own impatience to see that architecture extend to Gotham City overall, and the greater DCU.

However, asmuch as I enjoy Dan Jurgens writing, I fear he is writing comics the way theyused to be written, perhaps applying out-dated sensibilities. Maybe he needs toclip Robins wings, and see how that works within the team dynamic.

This hasbeen a standard five-issue story arc, which n my youth, was an epic adventure.But these days its standard, perfect for re-packaging in TPB form. Im growingmore comfortable with the format, so long as the creative team remains in placethroughout the entire story. Its when each chapter is drawn by a differentartist that I feel the narrative becomes visually disjointed. Thankfully, Batman Beyond is pretty consistent, andits become a personal favorite because of that.

The world of Batman Beyond is described as decades from now However, with the respectiveages of the more familiar characters (Bruce, Dick and Barbara), it doesnt seemso far in the future, despite advances in technology. Nevertheless, I enjoy theseries: familiar but fresh, while building on established Batman lore.

But toJurgens credit, he played the long game by seeding the Jokers return severalissues ago. Some readers (including myself) may have chosen to not believe whatour eyes showed us, only to have forgetten it a month later when the followingissue was released. IN this chapter, Bruce mentions the voice, but thats thefailing of reading vs. listening: you dont actually hear the voice. Otherwise we may have recognized Joker for who hewas.

So, itappears Matt McGinnis will get that crowbar to the head like I hoped for lastissue. Cant say Im proud of that bit of foresight, but if theres one thingwe know about comics, its that nobody stays dead forever.

Jurgens has resurrected the Joker for one last outing (presumably), and spins a tale well suited for this latter-day legend of the Dark Knight. Thankfully, it's a tale with a clear beginning, middle and end, without some vague conclusion that then dovetails directly into the next adventure.

Doc Shaner provides the art, and is the lateststellar talent to contribute to the title. Unfortunately, they dont seem tolast. My favorites tend to last only a handful of issues before moving on toother projects. Id really like itif Doc hangs around a bit longer than usual.

I am usually a big fan of Dan Jurgens work, but inthis instance, there seems to be a great deal of exposition. All we need isyour fingerprint, Mr. Wayne. We brought up the Powers files but cant getpast the firewall without you. Scanners ready, Mr. Wayne. We get it, BruceWaynes fingerprint scan. But in fairness, all the preceding dialogue comesfrom Matt McGinnis, the former Robin Beyond. I wasnt wrong when I called himannoying, was I?

Jurgens has been writing Batman Beyond for over 30 issues. It's refreshing to see that kind of commitment to a title in an era when comic creators rotate among titles so rapidly. I genuinely hope he continues to apply his skills as a storyteller on the book indefinitely.

The artwork is great. I'm accustomed to seeing inker Ande Parks teamed with Phil Hester, but his work over Ric Leonardi's pencils seems to be blending well, as they become more of a team.

I'm getting accustomed to Ande Parks inks over Ric Leonardi. I've made no secret how much I enjoyed his collaboration with Phil Hester, but it's comforting to know neither is co-dependent on the other.

Dynamite's series actually makes me more than a little nostalgic for those Sunday nights back in '78.

Eptings artwork is perfect for the series. I like the way he reanders his figures, giving them a lightness, while making them look grounded, rather than simply digitally pasted against a backdrop. Im not familiar with other series he may haveworked on, but the veteran sensibilities and experience show in his work.

Thepainted artwork by Stephanie Hans is quite impressive. In some ways it remindsme of the illustrations I remember from my childhood, but with greaterattention to detail. The remarkable thing is Hans conveys that detail withminimal effort. So while the story may not be altogether satisfying, theartwork certainly is.

RenatoArlems artwork is serviceable, though not dynamic. That can be said by manycomic book artists whose body of work is often under-appreciated. But they earntheir bones by maintaining a consistent level of quality, and often being thego-to guy in times of need. But Ill be the first to admit my assessment may beunfair, not being familiar with Arlems work until now.

FrenandoBlancos artwork has a wonderful retro-feel, akin to that of Darwyn Cook orMike Allred. But John Rauchs colors and effects help distance it from them,and provides the artwork its own identity. DC could do a lot worse by keepingthese two guys on the book " or any book for that matter.

Thankfully, Bennett is more ambitious than that. This issue of Batwoman departs from some of the character development weve seenrecently, in favor of more action and ingenuity. Its refreshing, if the creative team can maintain the momentum of Batwoman kicking ass.

Speakingof whom, hes got a bit of a new look this time around. Less farm decoration,more bio-terrorist, complete with gas mask. But is he still truly a scarecrow?Or more of a Fear-monger? Or Fright Knight? Gas Master? No, Scarecrow he is anda scarecrow he should remain, complete with burlap mask and shabby clothing.

Batwoman's investigation into the many arms of death may reveal some unpleasant truths. It seems nothing Batman himself couldnt have handled, which begs the question as to why a Batwoman is needed in the first place - something Ive been wonderingfor a while. Thankfully, the answer is much more than Because DC needs more diverse characters. So maybe there's hope for the book yet.

The artwork by Scott Godlewski is suitable for the subject at hand. Combined with John Rauchs colors, it tells the story effectively without distracting fromthe narrative. Its unfortunate Godlewski and Rauch didnt have a more ambitious story to illustrate. But perhaps it just sets the stage for some really great storytelling next issue.

I don't know if there is an agenda here - and I don't mind if there is - butI do wish Batwoman could avoid falling into narrative traps, and simply tell a good story. Preferably one that doesn't wander aimlessly for a year. Perhaps it just needs a more experienced writer.

Honestly, though, Ive grown bored with this book. I should probably go back and re-read all the issues together to be sure, but it seems to wander a great deal. There have been moments that have been interesting - such as the visit to Scarecrow's underground lab - but they seem too drawn out to be completely satisfying.

FernandoBlancos artwork serves the Bat-franchise well, and Im confident he would dowell on any of the Bat-books. Combined with the colors of John Rauch, mood andatmosphere become the order of the day. They are an effective team, in that thework of one compliments that of the other without overshadowing it.

I have enjoyed Batwoman when she has been a supporting player in Detective Comics, but I feel giving herher own title is misplaced. Its as if DC believes Batman is so popular, thatif they place the word bat in front of anything, it will sell. In this case,I suspect they are mistaken. I believe Batwoman requires additional seasoningbefore being worthy of her own book.

Iam uncertain what audience this title is intended. To see Batman defeated sosimply would probably offend most Bat-fans. But its not his book, so maybe heshouldnt even be in it. Id prefer to see Batwoman challenged by her ownrogues gallery, and respectfully suggest creative efforts be made in creatingsome suitable villains for her.

Andheres the non-spoiler: A clock-like drug vending machine, for a drug thatoffers the user a narrow window to the future. Hmmm. Which of Gothamscriminals could THAT possibly be?

One thing I do appreciate about Batwoman is that she is not a super-cop likeBatman. Shes a soldier, and thinks and acts like one. It perhaps gives her anedge Batman lacks. That may make her flawed as a character, but I dont mindthat.

Yeah, we get it. In fact, most of us grew up on it. Spider-man has been beating that drumfor about 50 years now. Maybe theres an obligation to touch on the dynamics of every day life vs. crime fighting. But I expect it to be handled better by thepros like Giffen and Dematteis.

Its not myintent to politicize a comic book story, but my interpretation of the firstissue is that its a gender-based effort to write a better world. But that shouldntsurprise anyone. It is Bombshells in an alternate reality after all.

MargueriteSauvages artwork is well-suited for the subject matter at hand. My onlycomplaint is that she sometimes renders the women almost as teenage girls. Dawnstarscosmic revelations on pages 8-9 seem especially made for the tween audience.Butperhaps, thats the tone Sauvage picks up from Bennetts dialogue.

This issueis drawn by two separate artists. Siya Oum handles the first portion of thebook, later replaced by Luciano Vecchio. Oums work is more painterly andtraditionally illustrative, while Vecchios work reminds me of anim. There isa place for that, but I am uncertain if BombshellsUnited is it.

The currentstoryline appears to be over, but as I said, it dovetails into the next chapteras a new threat looms over Los Angeles. The war that gave rise to theBombshells appears to be over. This being an alternate universe, it wasapparently won in short order, thanks to the heroic actions of the Bombshells.But its still the 1940s, and the style of that era continues to resonatewithin the title.

I like thework of Siya Oum; it reminds me of raw John Byrne from back in the day. Thesecond half of the story " the epilogue " is drawn by Marcelo DiChiara, whosestyle is entirely different, and thats okay. My only complaint about thatportion of the book is how much Donna Troy weeps through it all.

The artworkby Jarrell and Fitzpatrick is more satisfying than that of previous issues, inmy opinion. Theres a simplicity to it, reminiscent of Mike Allred, that worksvery well. It seems better defined and perhaps less sketchy thanillustrations from previous issues.

My only grievance is the general openness Kate Kane and Renee Montoya display in thealternative lifestyles. I find it hard to believe the 1940s (even in analternate timeline) would be so tolerant. Bu8t thats the beauty of alternaterealities " anything goes. I like the notion of DCs heroes and villainsswitching partners from time to time. Id like to see more of it in themainstream DCU.

Mirka Andolfo's artwork is cartoony, yet trippy, reflecting the whimsy and the weirdness of the environment. It works very effectively, enhanced by Nanjan's colors.

However, mybigger concern this issue is Siya Oums artwork, which appears rushed andsketched. It lacks the polish Ive come to expect from most comic books. Aspencils, theyre very tight, but lack inking, although the coloring doesprovide greater definition. To my eyes, however, its not enough. I canappreciate an effort to meet deadline, but if another week would have made anydifference, I could live with it being late.

The art byMirka Andolfo and David Hahn for this issue is somewhat weak as well. The firstportion of the book is fine, but in the second half, the work seems very flatand stiff. I can appreciate its simplicity, but the figures seem to have arigidity that I cant get past.

I am uncertainwhere the series will go from here. An allusion is made to other characterswithin the Bombshell franchise, but thats not necessarily a promise.Regardless, I hope its some place fresh and new, where we can see theBombshells kick ass, instead of getting bogged down in too much emotionaldepth.

But to the credit of Sandy Jarrell, the art this time around is much stronger. In launching a new story arc, perhaps the artist was able to start fresh, afterthe last one got bogged down.

Im not saying its poor storytelling, but for Bennett to offer the same art direction in two stories the same week strikes me as unimaginative on her part. In fairness, I could be wrong and it could be the respective artists of both bookscoming up with the same solution, but I find that unlikely.

Bombshells is an interesting notion, up to apoint, and Im uncertain DC has acknowledged that. Its fine for figurines andmerchandise, but an ongoing series? Perhaps not. Maybe it should be publishedon an irregular basis, when there is truly a great story needing to be told.

I had such hopes when I first picked up this series. I liked the idea, but DC has allowed Marguerite Bennett to hit single notes only. For a book with United in the title, it doesnt seem to be very cohesive, other than the common thread of 1940s versions of female super-heroes. And thats not enough to sustain the series, in my opinion.

The artworkis highly stylized, and might work with another property, but I dont knowwhich one. Because the renderings are basic line drawings, I would suggest oneof the cartoon-based titles where texture and depth-of-field are in lessdemand.

So far, it hasn't been worth it. Cave Carson has a Cybernetic Eye has been a miserable experience for me, one I hope never to repeat. If were not my job, I would not read it.

The artworkis still somewhat muddled. I blame it on the garish colors and the bendaypatterns throughout. They are distracting, and I am uncertain how much of theaction (if any) takes place above ground. Ive liked Michael Avon Oemings artwork in the past, but here, not so much. In fairness, some of it may beattributed to Nick Filardis coloring. Which just goes to show how much of animpact one has on the other.

I appreciate the imagery of Michael Avon Oeming and colorist Nick Filardi. Its trippiness only added layers of befuddlement to my experience, but in another property " New Gods, perhaps " it might work better. In my opinion, the blend of words and pictures just didn't work together. Neither filled in the gaps of the other, leading to a rather bizarre mess.

Will Conrad is back at the drawing board, and that's a good thing. However, there is one character introduced that seems so obviously based on Alfre Woodard. In general, I like his art, and I like the digital effects he uses " sparingly " to convey Cyborg's optical input. I feel it's effective, but that's not a license to go crazy with it.

It is so utterly lacking in originality. Rather than present a remarkable re-interpretation of Cyborg's 21st century potential in the Digital Age, instead it falls so easily into over-used plot devices and clichs.

Artwork has been serviceable. Sure, that's faint praise, but my expectations are low where Cyborg is concerned. But as the scope of the book grows, longtime artists such as Allan Jefferson and Will Conrad seem up to the challenge.

Overall, this has been an ambitious storyline for the series, and seems more cohesive than those past. I hope this trend continues.

Perhaps Semper was asked to compress a bigger ending into a single issue. If so, DC did no one any favors; not the readers, not Semper, nor potentially new fans. Or perhaps, like me, DC has grown weary of Semper's slow-paced writing style and is hoping for someone with a greater sense of drama and action to take over the title.

My other concern is the magical implication of the rhino horn. Sure, magic exists in the DCU, but I just don't expect it to cross paths with a character of such advanced technology. Still, Semper stuck to the techno-thrills, and look where it got him. Kudos to Grevioux for going in the completely opposite direction.

All in all, the 2-issue story seems weak and rushed. Perhaps as a 3-parter, it might have worked better for me. This is Grevioux's second issue after taking the place of John Semper Jr. (a change I'm still not sure is permanent). But so far, neither writer has wowed me; quite the opposite. Which makes me question the merits of a Cyborg ongoing series.

The new Cyborg is loaded with new characters, new components, new villains with fresh motivations. And lots of action.

I have renewed hope forCyborg, as a character, and as title. I wouldnt be surprised if part of hisinvolvement is an attempt on DCs part to support the franchise as it movecloser to the intended film, scheduled for 2020.

In general, this issue seemed to read like a middle segment of a greater story arc. There's no sin in that, as we're (hopefully) on our way to an exciting showdown within the next issue or two.

It's a good story, but Huck's presence is somewhat superfluous. He serves as a sounding board for John's doubts, and provides some pithy life advice, but such a role could have been filled by almost anyone.

Despite the artwork being handled by a round robin of two pencilers and two inkers, it's surprisingly consistent. Methinks this book may have been produced under strict deadline, but that's okay. It works for me.

As the story winds down, it's easy to foresee the customary "misunderstood monster" ploy, but what I failed to anticipate is a comic history reference point most fans should recognize. If you don't, turn in your geek card.

Say what you will with about these DC-Looney Tunes pairings, but I prefer to thinkof them as good food. The right mix, the right people, and even the mostunlikely combination can work on many levels.

Its a fun read, and kudos to Bill Morrison for pulling it off. Figuring out a wayto feature characters from such widely differing universes cant be easy, butMorrison did very well. The main story features the artwork of Kelly Jones,which seems an odd choice, but given the storys EC overtones, maybe not.Jones work has always evoked that style, without copying it too closely.

Icant say when Ive seen wonder Woman look lovelier. As rendered by Kitson andFloyd, she has a Jennifer Connolly/Linda Rondstadt appearance I find delightful.The back-up feature, which stars a more traditional Tasmanian Devil, is achallenging rhyme of the Trojan War as seen through a Looney Tunes lens. Itfeatures cameos from other cartoon characters, with homages toward some classic(and not-so-classic) moments.

Overall,its a fun read, merging the world of the Looney Tunes with the greater DCUniverse. One might expect it to not work, but with the right writer on theright characters, it can, quite easily. If this were an ongoing project, I fearthe efforts might come across as forced, but with the occasional crossover, itbecomes a treat to be enjoyed.

Its a uniqueseries for DC, taking place outside the usual continuity. This allows a broader sense of freedom, and the luxury of telling great stories without the constriction of editorial mandates.

Theartwork here is, in my opinion, perfect. Sometimes, depending on the subjectmatter, I appreciate greater stylization from the artists, but just as often Ienjoy what might be called a house style. If DC Comics has a house style, Iwould consider it something reminiscent of Dick Giordano and Jos Luis GarciaLopez. Not a bad combo, and the art staff for Bombshells seems to hit the targethere.

But inaddition to Killer Frosts origin, we also come to understand Faorasmotivations, and her ambitions post-Krypton. Excessive dialogue during fightscenes is also a no-no in my book. Ive been to the movies; dialogue only worksin a fight scene if people are not moving.

Were I incontrol, I would modify the costume designs, away from evening dresses and highheels. I would also reduce the amount of dialogue when practical, especially inthe heavier action scenes. Suffice tosay, its a series best read in small, monthly bites. I fear it wont age wellwhen repackaged for the trade edition.

I dont wantto appear overly critical of the book. I must acknowledge I am handicapped bycoming in late, but perhaps its just not the book for me. I appreciate theconcept, but it hasnt played out as I expected.

I wish tokeep an open mind, but the first issue seems to be cobbled from familiar tropes" Batmans paranoia, torture at the hands of deSaad, zombies, Clarks immediateconcern for Lois and Jon, more zombies. None of the ingredients are anything wehavent tasted before, but Im hoping DC can present them in a fresh, new mix.A bold, new direction, if you will.

It remainsto be seen to what degree the events in this issue will have a long-lastingeffect. I anticipate when the adventure is over, matters will return to thestatus quo. Pity that. The recent developments could truly be a bold, newdirection.

Having written and drawn new Batman, Superman, and now Deadman stories in the past 10years, I guess its only a matter of time before Adams resurrects the GreenLantern/Green Arrow adventures from the early 1970s. Like I said, his newer efforts are often hit-or-miss, but always interesting.

Modern printing technology has provided Adams the means to create mood and atmosphere much more easily, tools he uses to a great degree. I wouldn't say he over-uses them, but he's clearly having fun. It is my hope he does not fall into the same trap George Lucas did when he discovered digital graphics.

But, asusual, its Neal Adams. His art is perfect, though after decades in the comic book industry, its not uncommon to see as many imitators. While we aren't really seeing anything new, we are seeing gorgeous illustrations from a master of the medium.

My other concern is how little regard Adams pays to the serialized format. Its as if he is counting on a six-issue run to be collected into TPB form. With 20 interior pages per issue, that amounts to 120 total pages. Adams has written the story accordingly, with little regard for where those issue breaks occur. As result,each chapter stops, rather than ends, and rather abruptly at that.

Its great to see Neal Adams revisit the characters he helped develop, but I feel his strength lies as an artist MUCH more than as a writer. In this particularinstance, some of his drawing lacks the finished look I expect from someone of his reputation. Despite his standing in the comic book industry, I genuinely wish DC Comics would insist on having a writer craft the story with him.

I appreciateNeal Adams work as much as the next guy. I think he is perhaps one of the mostinfluential comic book artists the industry has ever seen. However, when itcomes to writing, the man needs help, because when left to his own devices, thestory and dialogue simply dont measure up to the expected stature.

Naturally,for a bat-book, there is a lot of black. Paul Fernandez no doubt has a delicatebalancing act to achieve, but he very capably aided and abetted by BradAndersons colors.

Butthe art is otherwise remarkably strong. As I said before, its been ages sinceI read a Batman title, and Im very much enjoying this one so far. There may beextenuating circumstances, and the rug may be pulled out from under myenthusiasm, but Ill cross that bridge if/when I come to it.

Imenjoying the story, but Id enjoy it more if it were weighed down by needlessbaggage. But I suppose thats what titles such as Batman, or All-Star Batman arefor. I am reminded this is the 25th anniversary of Batman: The Animated Series. Perhaps Ishould dig out my DVDs and enjoy a few episodes.

Butthe art team of Martinez and Fernandez performed magnificently, renderingelements both technological and magical with equal skill. But most artists willtell you, designing such requires more imagination than skill. What is morechallenging to any artist is drawing the human form and all the mundane thingsit shares the world with: cars, buildings, animals, etc. But Im confident theycan do that too.

I haven't read many Batman comics in recent years. The franchise has become a bit bloated, much like the old Dick Sprang days when there was a Batman for everynation, and a bat-costume in every color. I wouldnt object to some judicious pruning of the property. Seeing the entire Bat-team in their personal fleet of bat-planes stretches my capacity for rational thought.

The story by Michael Moreci is mostly battle, the tide turning both for and against Batman at various points. Very little is resolved, and there just isn't much meat on these bones. But it fills 22 pages, and serves as a palette cleanser for those weary of major conflict among the various members of Batman's personal Justice League.

Inmy opinion, no, he does not. It was the solitary sacrifice of one mansdedicating his life to a war on crime that appeals to me. When heroes begin toform their own armies, I see it as little more than street gangs, with a clearcut definition as to who to root for.

Theartwork from Mendoncva and Egea is very good, but somehow it has a bit of aMarvel feel to it. Not that thats a bad thing, mind you, but it seemed alittle off, for Batman. But more importantly, this may lead to Batmandissolving his team of vigilantes, and them splitting off into anotheriteration of the Outsiders. Could it be? Tune in next month, same bat time,same " aw, you know the rest.

Karma has upped the ante, proving himself as lethal a foe as the Joker. His taste for murder rivals that of the Jokers early days, but regrettably, Bruce recognizes this too late. His origin almost echoes a scene from this weeks Batman Beyond,suggesting a certain irony seeds planted in the current Batman titles come tofruition a generation later. I rather fancy that idea. But more importantly, itmay harken a return to Batmans solo career, without an extraneous team surrounding him. I see that on the CW shows, and thats what has contributed to me abandoning them.

Twoissues ago I suggested there might be a resurrection of the original Outsiders,and this issue sees DC take a step closer to that. If the intent is to resurrectthe original team " either a brief reunion in Detective Comics or as a prelude to a new ongoing series " Im allfor it. But if its going to be series of teases, Id just as soon DC stopright now. I had enough of that kind of thing in high school.

Somaybe Batman handing his team over to Black Lightning is a good thing, as itmay bring the Caped Crusader back to his roots. The Outsiders has always been ahaven for the homeless, the DC heroes who would otherwise be an answer to aBronze Age trivia question. And if it breathes new life into them and leads toyet another CW show, well, its not as if I am required to watch.

Onething I am uncertain is included in the back-to-basics approach is a simplematter: shaving. There was a time when the Bruce Wayne persona was as importantas the Caped Crusader. Toward this end, Bruce presented an appearance of beingthe clean cut corporate head hes supposed to be. But more recently, Batman hasbeen seen with facial stubble, and I cant say it serves him well. Is it anindicator for his emotional state? Perhaps. But mostly it just makes him looksloppy, and not in a charming Don Johnson way. I blame Ben Affleck for this,but even he was clean shaven more often than not.

Butthe strength of this issue is in the dialogue, between Batman and Alfred andBatman and Commissioner Gordon. Two of Batmans oldest allies, they have theprivilege of being blunt with the truth, and reminding him that in their eyes,hes not the urban legend that all of Gotham City believes him to be. He needsto hear that more often.

Imexpecting answers next issue. These extended story arcs can be frustrating,even with the two-weeks schedule many of DCs titles adhere to. Im eager tosee the stories advance quicker. Heres hoping we will enjoy a more solidchapter in two weeks.

Regretfully,one of the problems Ive always had with extended story arcs is I get bored,perhaps sooner than others. This is chapter four, and Im ready to see thingswrapped up. Its an okay story so far, but I have yet to be overly impressed byit.

Nextissue teases the death of Harvey Dent? Could it truly be? Unlikely. Nobody evertruly stays dead in comics. Perhaps Two-Faces personality comes to the fore,completely subverting former DA Dent. So forgive the spoiler without an alert.Its not likely to happen.

What saved this story from being a complete and total disaster has been the artwork of Carmine Di Giandomenico. Highly stylized, intricately detailed and consistent from one chapter to the next, in an era where most artists on a title for two, maybe three issues before stepping away. Hopefully, his work here is recognized, narrative notwithstanding.

This issue reunites Peter J. Tomasi and Doug Mahnke, one of the most able of creative teams to work on the Caped Crusader in recent years. As such, it promises a strong narrative without a lot of hype to over-sell the story. Just good, capable storytelling.

Will it bring the Bat-family together? Honestly I hope not. Thats kind of what the wedding storyline of 2018 seemed to do. Id prefer to see a character-building story featuring Bruce and almost no one else. The children " Dick, Barbara,Selina, et al - are grown with live and titles of their own. When they hit #1,000, theyll have their big moment. Until then, this is Bruces story, andshould remain so.

Ive beenenjoying this storyline, as much as two chapters will allow. It has distilledBatman down to his comfortable basics, much like Batman: The Animated Series once did. I am hopeful this trendcontinues for the foreseeable future, making one of DCs flagship charactersaccessible to all.

As thebuild-up to Detective Comics #1,000continues, it is my hope that history will not repeat itself with a rehash of The Untold Legend of the Batman. Comicsoften repeat themselves, retelling old stories younger fans may be unfamiliar with.If its a fresh new spin, fine, Ill be open-minded. Otherwise, let the Detective Comics #1,000 truly be thegreat story it deserves to be.

I have noidea how this particular turn of events came about, or even if I am correctlyinterpreting the final page. But in a comic book where a guy can create abattle suit for fighting supernatural creatures, and manages to actually throwone back into the demonic underworld, you have to forgive a lot. Just go withit.

As a build up, it's just not much of an appetizer. But kudos to the art team, which consists of no less than four individual inkers. One might think their individual styles would detract from the visuals, but they manage to maintain a consistency. Whether that's due to their collective efforts, or the strength of Mahnke's pencils, I am unable to say. Your mileage may vary.

The book ends with the opening chapter of what isto come in Detective Comics #1,001. Iunderstand that marketing demands a teaser to keep the readers interested, butI much would have preferred a self-contained issue, with the next 1,000 issuesbeginning next month.

Despite last months landmark Detective Comics #1,000, its business as usual for the Dark Knight" as it should be. The fact that Detective has reached one of the highestnumbers in comic book history does not elevate the stakes any higher than forany other title. Its objective " and the objective of any title " should be totell entertaining stories that engage the reader. Time will tell hop subsequentissues of Detective Comicsaccomplishes that.

The chapter ends with the Knight revealing himself.We see him from behind as he removes his helmet, so readers are not yetpermitted to know his identity. Im assuming its a Bruce Wayne from analternate universe, or perhaps one of the Robins having time traveled from apossible future. Either way, its a variation on the evil twin clich, so Imparticularly impressed (yet). Hopefully, next issue will change that.

I'll admit I was skeptical when this story arc began in Detective Comics #1,000, but that's mainly because DC couldn't seem to allow that issue to be a standalone. The story has become more engaging, and so long as it doesn't drag on too much longer, I'm eager to see where it leads.

I'm not a fan of over-extending the story, anything more than four or five issues fails to hold my interest. But the creative team of Tomasi/Walker/Hennessy/Fairbairn have kept matters apace and come together to tell and engaging story. I had my doubts at first, but am pleased to have been proven wrong.

Walker, Hennessy and Fairbairn turn in some of the best art of this entire story arc. It's dynamic, it's tricky, and overall effective in conveying the terror, the challenge and the victory of our heroes. I'm usually skeptical when new villains are introduced, but Arkham Knight was provided a pretty substantial stage on which to maker her debut.

The narrative is a bit thin, focusing primarily on the reunion of Batman and the Spectre and the horrific crime that brings them together. But it's only the first chapter, so I'm prepared to be patient and keep an open mind.

The artwork is eerily moody, and Kyle Hotz no small skill in conveying menace as well as the supernatural.

As with most recent DC titles, this issue includes the shrouded spirit of Lex Luthor visiting a DC villain with an offer. Thankfully, he does not go for the obvious A-listers, but in this case, a respectable name in Batman's rogues gallery.

The artwork by Eddy Barrows and Eber Ferreira is excellent. It can be much harder than one expects to render a deformed face, or a villain of clay, but they pullit off quite effectively. Flashback layouts involving Hagens father use film borders extensively " perhaps too much " but it adds to the scope of thesegment. And their cover is a reel treat for fans of classic movie posters.

But all Batman aside, what I enjoyed about this story the most was Alfred's dialogue. He's gotten snarky in his old age, but overshadowing that snark is his admirable competence as a sidekick for Batman.

No doubt secrets will be revealed in coming issues, as the magical dial's impact is felt throughout the DCU. But I have to wonder, with the growing powers of magic within the DCU these days (Shazam, Raven, Dial H), what exactly does this mean. Answers will be forthcoming.

It's a bold, irreverent book, with a nothing-is-off-limits attitude that I find refreshing. In an era where so many titles are beholden to continuity, it's refreshing to see something so eager to go off the rails. Even the all-ages titles such as Bugs Bunny or Scooby-Doo Team-Up have a need to stay in their respective lanes. But this one, wherever it's going, doesn't need a road.

A high point of this issue was discovering how addicting the H dial is. Users become dependent on it, much like other sources of a high, and that's reflected in Summer's backstory with her mother. I hope to see this aspect of the H dial play out in other forms with other people.

If the series keeps this up and continues to poke good-natured ribbing at comics in general, it won't be long before Marvel wants in on the joke. It may have been Michael J. Fox during his Family Ties days who said that when Mad Magazine makes fun of you, that's when you know you've arrived. Perhaps Dial H will become the new Mad Magazine, the new SNL. I can think of worse strategies.

Is the H Dial likely to become a staple of the DCU, like the Bat Signal or the Guardians of Oa. Highly unlikely. But it's a fun property to drag out from time to time and experiement, and remind readers of a time when comic books could be fun, without the doom and gloom introduced by the Dark Knight Returns. If that's your cup of tea, then Dial H is not.

Maleevuses a monochromatic palette that works well here. Darker blues for the Batmanand Lois scenes, bright oranges for others. Its pretty much one or the other,which some might consider rather limiting, but it creates a unifying affect forthe scenes hes presenting, and allowing his rendering to challenge the color "effectively, I might add.

Your mileage may vary, but it does provide a nice wrinkle to the greater Leviathan storyline.

Ihavent been following Fables, but #8 makes the perfect jumping on point fornew readers. It offers a primer of some of the peripheral characters (at least,I think theyre peripheral). But they clearly play a key role, if not now, thenin the future.

Havingthe opportunity to read several chapters at one sitting has given me newappreciation for the series. Allow that to be a wake-up call for the comicsindustry in general, that more compressed storytelling has greater appeal thanextended narratives to eventually be re-packaged into a trade paperback. Heresa thought: release the trade first,then divvy it into chapters for those whod rather pay a few dollars a monththan $20-30 all at once.

Itsa good story, but has deviated heavily from the one I expected two issues ago:that of a secret task force that handles magical crises, sort of a sorcerersSWAT team. I could easily see such an idea optioned for television, were it notfor too many elements of other magic/supernatural based shows. But thats okay;Ive found a new title to add to to my pull list.

The art iswonderful, and shows what can happen when DC Editorial is willing to let go ofthe wheel and allow the creative team free reign to be creative. So it doesntsurprise me when the books that DC exerts the greatest control over " highprofile properties like Superman and Batman " are suffering, while lesser knowntitles such as Gotham Academy areflying under the radar and demonstrating how great comic books can be.

But GothamAcademy has been a liberal mixture of Harry Potter, Scooby Doo andInsert-Anim-Show-Here. The artwork is head and shoulders above most comics ingeneral, seemingly designed to appeal to anim fans. When the series iscollected into a trade paperback, it will be a terrific opportunity to sharewith the young comic fan in your life.

Perhaps another reason it feels familiar is due to its similarities to DCs Bombshell series (though its hardly sooptimistic). It seems to be the trend these days to take established franchisesand reinvent them in a new - often darker - setting. Other examples includes Afterlife With Archie and Scooby-Doo Apocalypse. If youre a fanof such projects, Gotham City Garagecan be added to your pull list.

It is my hope this is a particularly limited series. Sure, the Bombshells series worked, I guess, but any of these givenseries have a limited shelf-life. Were the Gotham Garage figures really selling that well? I cant imagine why.

Artwork by Aneke is okay, but by page 20, I begin to see a little sloppiness creep onto the page. Its almost as if it was drawn by someone less talented. Perhaps a monthly deadline is beyond the abilities of some comic artists. Thats okay; I leave it up to the publisher to find them a project where speed is not essential.

The artwork by Carmen Carnero is first-rate. I've not seen her name before, so I am uncertain how new she is to comics. Regardless, her work stand head and shoulders above the newer talent Ive seen lately.

I amuncertain how many issues this will run, but hearing DC continually beat the feministdrum these days is beginning to give me a head ache. Certainly there is room onthe comic book racks for more than one female-oriented title. But I can onlyspeak for my current load of reviews, which includes DCs Bombshells United, Batwoman, andMother Panic. Being estrogen-deficient, perhaps Im not the best person toreview these titles.

As the gangin the garage seeks to add to their ranks, I am hopeful we will be able to seeother variants of long-time DC characters. A few have been mentioned, andothers alluded to vaguely. But no doubt there will be a few surprises along theway. I look forward to that.

Overall, I'm not sure that Gotham City Garage is a viable ongoing title. DC already has an alternate-universe, female-centric title with Bombshells.

Its great to see the Blackhawks back in action in some form. Im a big fan, and I believe they are be one of DCs sleeping giants, until the right creative team comes along. If the A-Team, and the Expendables can be successful, why not the Blackhawks?

Aneke returns to the drawing board for this issue. I said in my review of issue #4 the artwork got a little sloppy towards the end. Not so, this time around. Itis much more consistent, so perhaps a few months off for Ameke to polish some skills is just what the doctor ordered. Nevertheless, I am disappointed in the constant rotation of artists this book has experienced. Its almost as if the title has become a try-out series for novice comic book artists.

The second portion was drawn by Brian Ching. I'm uncertain what his style is, unless hiskey motivation was Get it done by deadline. I often see comic book artwork that I dont care for, but its rare that I see work I would describe as awful. Chings pages look like they were sketched out with a dirty fingernail, penciled but never inked.

As I said, this book stumbled toward the finish line. Brian Chings artwork looks rushed and sketchy, as if the book was published from his pencils without the benefit of an inker. Maybe both DC Comics and Ching were done, and simply eager to move on to a more interesting project.

My othercomplaint is the cover by Jamal Campbell. It depicts Green Arrow under the bowof Merlyn, and the caption At the Mercy of Merlyn. But no such scene takesplace in this issue; not even close. One might think with the artists availableto DC, one of them might be able to knock out a generic pin-up style cover,instead of publishing this mistake.

Im oftenaccused of being a grumpy old man who long for comics to be as they were in mychildhood. I wont argue, but this issue does feature Green Arrow, in fullcostume and mask, piloting a submersible. Im uncertain who he expects toencounter beneath the sea that he feels the need to hide his identity. But likeFerreyras long-term commitment, I find such silliness both campy andcomforting.

I realizethat may diminish the story some, that perhaps without the betrayal there wouldbe no story. But hey, how good of a story can it be if it hinges on oneover-used gimmick? Do these guys not read each others material? Do they evercompare notes? Dont the editors ever have a sit-down to make sure some of thetitles arent mirroring one anothers narratives?

Juan Ferreyra is the artist on deck for this issue. I like his work very much,though it sometimes reminds me of the painted illustrations from Heavy Metal back in the 1980s. Thats not a bad thing, mind you. In the case of Green Arrow, it works quite well. Though I wish there could be ONE artist drawing an entire story arc, soup to nuts. Until DC Comics ends the bimonthly, publishing schedule, I doubt well see it.

I like theartwork of German Peralta and John Kalisz. Its consistent with the look of thebook established 46 issues ago, but if also fresh and different. Ive found newappreciation for colorists, who have historically gotten the short of thestick. Their work has evolved from color by numbers of the Silver Age to becomea key element of conveying mood, atmosphere, and overall sense of place. Kudosto Kalisz.

Onething Ive noticed with the Green Lantern franchise the past year or two is howmuch of it is space-based. Hal and the rest of the Corps serve as intergalacticcops, but almost never (in recent memory) has he or the others playedsuper-hero on Earth. I kind of miss that. Cosmic adventures are all fun andambitious, but once in a while I enjoy a simpler tale, as a palette cleanser.But event fatigue is a common problem from DC the past decade or so. Everythinghas to be BIG.

Thisseries is not off to the best of starts. Morrison seems bound and determined torepeat that which has gone before in this and other DC franchises. The highpoint of it is the artwork by Liam Sharp. Its polished, its stylized, andits ambitious, even when handed something so questionable as a volcanicextraterrestrial with no face.

All in all its a flawed book. But I can't say I'm really surprised. DC had a good thing going with Hal Jordan and the Green Lantern Corps and Green Lanterns. But they chose to fix them, when they really didn't need fixing at all.

Thereis another plot point I cant explain without giving much away. But I will goso far as to say that if Grant Morrison thinks he can convince us that Hal isnot undercover, then his reputation is considerably tarnished. His narrativechoices in this issue" telling a disjointed story from two differentperspectives " does nothing to impress me. But honestly, hes never impressed me. Your mileage mayvary, but I doubt by much.

DC Comics keeps rebranding its franchises, from Hal Jordan and the Green Lantern Corps, to Green Lanterns (note the plural), and now THE Green Lantern, as if there is only one. But unless the Corps is completely defunct, its not really applicable, is it? But seemingly DC Comicswould have you believe there is something new and different about this series,when in fact, there is not. Its just business as usual.

Asfor where the story leads, I am uncertain. The future of Green Lantern seemsless about traditional super-heroing, and more about a grand cosmic adventure.But thats par for the course at DC Comics these days. Everything must be doneon an epic scale, because small, personal stories to which every reader canrelate just doesnt measure up anymore.

My only disappointmentis that the two Green Lantern titles are not so tightly bound to one another.The impact of one is not felt in the other, and I would like to see a muchgreater cohesiveness between the two series.

After 25issues of Sam Humphries writing, it pleases me to see how he has continuallykept Green Lanterns fresh, always headingin new directions and never " to my recollection " repeating himself. Icome from an era when comic book writers stayed on a book indefinitely, andHumphries seems inclined to stay as long as DCs readership will have him.

But I do enjoy a good time travel story, especially when it incorporates elements of the DC Universe at large. Civilizations such as Krypton and Tamaran are given theirdue. Though it would explain why Simon and Jessica are absent from the currentgoings on in the pages of Hal Jordan andthe Green Lantern Corps.

The artworkis typical for what weve come to expect from the series, as Pansica and Ferreiradevelop a firmer grasp on depicting the near-magical scope of the power rings,as well as the cosmos at large. Humphries, however, may have stumbled into arut, saying that a GL needs to have imagination in their constructs. But hisloop hole is not so much him saying it, as having Jessica (a less experiencedGL) say it.

But even asthe story continues, Im ready for it to end. Its one of the things I hateabout modern comics, how the publishers insist on six-issue story arcs so theycan be repackaged for the trade paperback format. Such a strategy has no doubtkept some wonderful shorter stories from ever being told. Or if they wereprinted, they were padded, and thereby neutered.

Perhaps the entire story is best enjoyed in a single sitting. It's hard to say, six issues after it began. But this issue is a very satisfying conclusion. My only regret is that perhaps with some judicious editing, the story could have been told in fewer pages, for a tighter narrative.

A newcreative team is in place, but whether its permanent or temporary remains tobe seen. Regardless, it may freshen the bloom on one of Rebirths earliesttitles. Not that it needed it, necessarily, but after 30+ issues, perhaps itstime.

Ronan Cliquet returns to the drawing board for this issue. I don't mind the intermittent issues shared among a few artists, so long as each can maintain the established quality of their work. Cliquet seems to do that, and given his seeming commitment to the title, I'm happy to enjoy his occasional issue, rather than expect more qork at a lesser standard.

Returning artistsBarberi and Santorelli bring a fresh and oh-so-effective look to our favoritespace cops. Because thats what Simon and Jessica are. Theyre cops, unlike HalJordan who is more of a super-hero. Which is not to diminish Simon and Jessica,but that distinction affects how the series is written, and why itssignificantly different from other entries in the Green Lantern franchise.

Hopefully without giving away too much, its a story of some days you get the bear, somedays the bear gets you. But rest assured, we will be seeing Jaine again.

Tim Seeley remains on the book, and he seems to be doing well so far. Its a far cry from his Nightwing setting, but I see that as a positive. Theres only so many masked-avenger-of-the-night stories one can tell effectively.

The artwork in this issue does not have the cosmic scale one sees in a sister title like Hal Jordan, but thats okay. That is afar more ambitious book. This is the same concept on a smaller scale that hassuccessfully carved out its own segment of the comic book audience. It worksfor Green Lanterns very well, and thats no small thing.

Its good to have Ronan Cliquet back at the drawing board. Hes always welcome in the pages of any Green Lantern title " or anyother title, for that matter. His work is polished and professional, and has a refreshing individuality I don't often see these days.

This issuefeatures the artwork of Barnaby Bagenda, a name with which Im unfamiliar. Pitythat, because paired with Mick Gray and Ulises Arreola, their combined work isnothing short of delightful. It takes on a watercolor quality, with theunderlying rendering clearly defined. Im certain it could stand on its own,without color, but thats a presentation for another day. I hope to see more oftheir work in future issues.

While Barnaby Bagenda made an auspicious debut last issue, this issue seems less noteworthy. Perhaps its the alien world-building that throws me. When I was in art school, many of my fellow students were remarkable at creating the fantastic, but truly sucked at drawing the boring and mundane. I've known many who can design astarship, but couldnt draw a horse to save their life.

Until now, Ihave been unfamiliar with the work of artists V. Ken Marion and Sandu Floria. Ithink its among the best Ive seen in the GreenLanterns title " detailed, textured and expressive. DC could do a lotworse than make this art team regulars on the book of their choice. I doubtIll see that happen, at least until DC returns to a monthly publishingschedule. But I look forward to seeing more of their work, wherever it mayappear.

This issue concludes our current story arc, which ties off the concept of a dating app forsuper-heroes. It raised the question of a romance between Simon and Jessica, which seems inevitable. As GL partners, they share a certain intimacy which sometimes translates into romance (sometimes toxic romance). What becomes of this deeper relationship remains tobe seen.

Several issues back, Simon and Jessica encountered interstellar lawyer scumbag Singularity Jain. Now shes back, and preying on Jessicas weaknesses like any attorney would, Meanwhile, Simon is trying to free Jains latest would-be client from her clutches.

The story asa whole expands on what little is known regarding Jessicas origin: a tragiccrime, followed by crippling anxiety, only to be chosen by the power ring ofEarth 3. But this issue adds layers, much as other major characters have hadnuances to their origins over the years. Maybe it will help re-define Jessica,but I was kind of enjoying getting to know who she is NOW, rather than who she wasTHEN.

Its an interesting opportunity to see Jessica in an entirely different manner, when she was much more confident. I like her as a character, though I am curious to see how her defining experience changes her on an emotional level. Given what I've seen sofar, it seems so unlikely.

It's not perfect, and I saw some anatomy I'm not quite sure of, but further collaboration should enable them to work the kinks out in due time. I hope they stick around.

Ronan Cliquet is back at the drawingboard; hes perhaps my favorite GL artist in recent years. Which brings me tothe subject of the variant cover by Warren Loww. Imagine a Disney-styledrawing, heavily airbrushed to go on the side of your 1970s conversion van.Ick.

Id alwaysthought the person of launching this title was to feature Green Lanterns onEarth, but it seems Simon and Jessica have been zipping around the starsdealing with extraterrestrial matters. I thought that was Hal Jordan and the GLCorps. Id rather see Simon and Jess back on Earth. I like the pancakes.

In regards to the story as a whole, I see a potential turning point for one of my recent gripes. The two GL titles " Green Lanterns and Hal Jordan and the Green Lantern Corps " have functioned mostly independently of one another, almost to the point of exclusion. But now, it appears that the GL Corps is acknowledged as having a role in the lives of Simon Baz and Jessica Cruz, the stars of this particular series.

Mike Perkinsartwork continues to displease, though not as much as before. He appears to besettling in, growing more comfortable with the challenges of the title, anddiscovering how best to render its unique characters and concepts moreeffectively. Im optimistic he will have a handle on it in due time, given theopportunity.

What impressed me about this particular chapter is the artwork of Marco Santucci. I've made no secret that Im a big fan of Bronze Age comics, and Santuccis work reminds me of a blend of Jim Sherman, Mike Nasser and Terry Austin.

Im pleasedMarco Santucci continues to illustrate the book. I hope he sticks around, ifnot on Green Lanterns, maybeelsewhere in the DCU. I suspect he might do well on JLA or Flash. Mike Perkinscover, on the other hand, is a bit lacking. It looks cobbled together as anafter thought.

Scott Hannasteps in to finish the issue; perhaps Marco Santucci fell behind or had anotherobligation. I have no issue with this, as the art flows with hardly a visualhiccup to be heard.

I suspectthis will all build up to the forthcoming TheGreen Lantern title, which suggest there will only be one. Perhaps theothers will have be killed, and if so, it wont be long before Hal tries tocreate a new Corps.

I am hopefulnext issue will feature the conclusion of the current story arc. There could bea lot for 21 pages to hold, but Im ready for the story to end. After therecent battles between the GLs and the Dominators, I could do with a simplerstory, of Jessica and Simon putting out fires, stopping bank robberies, andeating pancakes.

On one hand,there is no extended epilogue, which I often find to be overly drawn out. Onthe other hand, with so many story elements involved, perhaps this issue neededit. It seemed a wee bit abbreviated at the end.

The artworkis very dynamic and stylized, which I appreciate. My only complaint is thatJessica has never looked lovelier. By which I mean to say that Perkins artreinforces the pattern among comic book artists that they are unable to draw normalpeople. Everyone in the world of comics comes across like a CW cast member,unless theres a reason for them to appear doughy and unattractive.

Perhaps itstime to, as the rings say, scan for a replacement.

My onlyregret is the complete disconnect with the GreenLanterns title featuring Simon Baz and Jessica Cruz. The Corps as a wholewas featured in recent issues of that title, but the entire Sinestro CorpsAlliance was ignored, just as Simon and Jessicas presence on Mogo was ignoredin Hal Jordan.

This issuefeatures everyone " Hal, John, Guy and Kyle, all in key roles, as well as otherGLs, and even a few former Sinestro Corps members. But thats okay. Noteveryone followed Soranik out the door a few issues back. Though perhaps not asstrong as they once were, the GLs have a tough mission ahead, but as Hal saystoward the end, All systems go.

Ive neverbeen a passionate Green Lantern fan, especially since the advent of KyleRayner. In some ways its become the lore has become a bit unwieldy, but itsbecome more manageable I think since Rebirth. Im liking it more and more.

Although, with Hal back on Earth (however temporarily), we should probably expect to seehim hook up with the current GLs of 2814, Simon Baz and Jessica Cruz. It would tie the two books more closely together, and the DCU as well. Unless this all takes place during their recent visit to the past.

Artist Patrick Zircher continues to channel Gil Kane, while maintaining his own style. Perhaps Jason Wrights colors contribute to keeping Zirchers work from being acopy - or homage, if you prefer. Regardless, Zirchers work is perhaps more textured than Kanes was, but much of the figure drawing is consistent. No sin there; theres only so much any artist can do with the human body.

Y'know, this would have been a great opportunity to tie the two GL books closer together, given Simon and Jessica's recent evacuation of another planet for a similar reason. Just sayin'

n this story, the GLs behave less like beat cops and more like seasoned investigators. Through guile, subterfuge and plain old force of will, they piece together clues and follow leads that will hopefully reveal the Controllers plan.

Artwork byDerenick and Herbert is polished and professional, but in a color-centric titlelike a Green Lantern book, its colorist Jason Wright who makes it work. Theenergy constructs of the individual Lanterns take on the energetic glow, ratherthan simply the green beams of light I grew up with.

Overall, this issue was a disappointment from the first page. Maybe if I read all thechapters in one sitting, Ill feel better about the story as a whole. But this is the pitfall of reviewing serialized fiction - its difficult to assess theentire project when its being fed to you in bite-sized pieces.

But Zod's story is not done. He has not been defeated. What this bodes for the DC Universe should be interesting to behold.

It's nice to see Ethan Van Sciver back at the drawing board. While he's cemented his place within the Green Lantern lore, it's rare to see him draw more than an occasional issue here or there. Perhaps he needed a mortgage payment this month.

I'm ready for this story arc to wrap up.

Kudos to DCfor pitting the Lanterns against Zod and Family, but for anyone who has readrecent issues of Action Comics, wehave a pretty firm idea of how all this turns out. Id appreciate it if nextissue we get considerably closer to the end of the current story arc.

The story concludes, but not in an entirely satisfying manner. Have read recent issues of Action Comics featuring Zod, I had aninkling as to what it meant for this title. The ending still doesn't make sense, and Im not sure I altogether buy it, but Ive never had much interest in politics, especially in comic book form.

Ethan Van Sciver returns to the drawing board for this issue. I would expect no less,given the raise in stakes for this particular storyline. But again, experience has taught me not to expect him to hang around for the entire arc. I hate itwhen that happens: A comic book company puts its a-list talent on a story,only for him to step away (for whatever reason) before the end. Imagine going to a concert, and part way through the show, one of the band members is replaced by a sessions musician. Rather disappointing, no?

This may beone of those epic storylines Green Lantern fans will be talking about for awhile. I feel it has that potential, so Ill be very disappointed if all thiseffort is wasted, and when its over its back to business as usual. Perhaps Imsetting myself up for disappointment, but somehow I dont believe so.

As for theDarkstar saga, I thought it had begun a few issues ago, and was well underway,so I dont understand how this is Darkstars Rising, Chapter 1. Unless thereare chapters within volumes. But it sounds like were in for a long haul for awhile. Given the powers that are being assembled in this issue, Im not sure Imind so much.

Ethan Van Sciver returns to the drawing board for this issue. I 3enjoy his work, and hiscontributions to the GL franchise. But I grow weary of his on again/off again status. Sure, the load may be more than any one artists can handle, but I'd rather DC assign him an entire story to be published when its finished.

The Rise ofthe Darkstars has not been the major story arc I was expecting. It hasntimpacted the whole of the DCU like Id hoped. Its like a musical note thatnever quite reaches its proper pitch, so Im ready to move on to the third act" the aforementioned battle. But wait " didnt the last major story arcconclude with a major battle? Yes, I believe it did.

Statusreport, Simon Baz and Jessica Cruz: its like theyre not even GLs any more, asfar as the Corps is concerned.

I wish comicbook publishers would stop crafting stories geared toward the six-chapter TPBformat. I would expect it to be creatively restricting, and hinders the writerfrom telling a good story. For me as an end-user, I care less about the idealpacking to meet marketing needs and more about being entertained by acompelling narrative.

It is my hope this current story arc has only another issue or two left in it. As Isaid, its dragged in a few places, and Other than a great deal of punching and being punched, I dont know that it has much steam left. I would hate for its conclusion to be too long coming.

One of thestrengths of this issue is its dialogue. Venditti is skillful at deliveringHals verbal sparring Tomar Tu, Johns exchanges with Zod, and Guys overallcomments. Together, they represent various facets of the two groups conflictingphilosophies toward achieving the same goal.

Its thestart of a new plotline from Palmiotti & Conner. While Ive been criticalof their SNL-skit-that-goes-on-too-long qualities, I must give them credit forkeeping their story arcs relatively short and tolerable. Writing for the trade?Fuggediboutit!

And in ourback-up feature, its a return to the old days, when Harley was partnered withMr. J. Though in this storyline shes keeping a few secrets from him, mostlyconcerning their new digs and all the major renovations shes putting into it.

I enjoyedthis story arc more than most. I found it relatable, and Harley (for once)seemed to have a reasonable goal. I dont object to a lack of reason; she isthe notorious Harley Quinn. But there was less insanity, chaos for the sake ofchaos.

WhetherHarley will ever genuinely take a place on the side of the angels remains to beseen. Shes a highly marketable anti-hero that has lost her criminal edge.Sure, she may still knock over the occasional bank or two, but its all in goodfun. No one gets hurt (much), and besides, she really needs the cash. Shes got big plans comin up.

For newreaders, next issue might be the perfect jumping-on point, as Harley and hergang take a run at public office. Could politics get any crazier?

After abreak of the past issue or two, the team that creates the Harley series is backin form, clicking on all cylinders. It may not the wacky Harley Quinn we mayhave come to expect, but entering the political arena could just be theenvironment for this former Joker moll to flourish. Especially given theage-old axiom, Power corrupts. After all, its not like Harley has far to go.

You mightthink that three artists on this issue is a bit much, but when Harley gets awhiff of Scarecrows fear gas, it takes the psychofunkadelic rendering of MikeKaluta to properly convey its trippiness. Good to see him working in comicsagain, however briefly.

This is astrong book. Its light and casual, but in the world of comic books, thats notalways easy to pull off without going off the rails entirely. Conner andPalmiotti have turned a villains henchwoman into an A-list character. Its notoften one gets to see someone rise through the ranks to stardom.

John Timms artwork is perfect, as always. Its a charming constant in an industry where most artists usually only run for a year or slightly more. Maybe its only been slightly more than a year, but its so comfortable, it seems much longer. I'm good with that.

This was a satisfying conclusion to the current era of Harley Quinn. From here, I feel the title/character could go anywhere, and I appreciate that freedom.

Overall, I've enjoyed reading the Harley Quinn series as presented by Conner & Palmiotti & Co. I'm pleased DC Comics is not beholden to a ridiculous concern over continuity these days. Ive seen her in other titles (such as arecent outing with the Suicide Squad in Red Hood & the Outlaws), but no mention of her bid for mayor or other events from her own book are mentioned. There was time when DC Editorial would feel obliged to include a comment to address continuity concerns, but those days seem over (for now).

The issue of the supporting players whose names I never bothered to learn is addressed within the book, and perhaps future issues will see a slight reduction in cast. Meanwhile, new readers can look forward to Harley Quinn #35 being a good jumping on point.

Its been awhile since Ive seen Man-Bat, so a return engagement was welcome. However thetruth was a little bit of a zig-zag of logic. Inaki Mirandas artwork isserviceable, her inking a bit heavy-handed for my taste, but your mileage mayvary.

Regardless, it sets up a conflict to be explored in subsequent issues. It may not entirely place Harley on the side of the angels " and thats okay " but it may establish a less villainous role within the DC Universe, Suicide Squad or not.

New writer Frank Tieri seems to be downplaying Harleys sizable supporting cast, which Ifeel is a good strategy. Its become unwieldy, and increasingly difficult tojustify each individuals place within the book. Though replacement artist Mirka Andolfo is perhaps new to the title, the artwork is consistent with whats come before. Almost as if there is a house style that each of DCs majortitles are following.

Art chores are split up, with Mirka Andolfo handling the Coney Island action, and Eleonora Carlini mostly illustrating the doings at the ESB. They're two styles mesh well, without creating that jarring effect when there is a sudden change inartists from one page to another. I wish they could have been more exclusive toone scene or another, though.

I am uncertain about Inaki Mirandas artwork in this issue. I hate to get judgmental right out of the gate, but I was a bit turned off. But I'm willing to keep anopen mind and allow Inaki to settle in more before I start comment on artisticchoices.

Harley Quinn is less about a henchgirl-turned-anti-hero. It seems to be a conduit for seldom-used characters from other corners of the DCU. That's not necessarily a bad thing, because it is less beholden to the continuity of high-profile characters like the Bat-cast. It opens the door to new ideas and new interpretations, and that's better for everybody.

My onlyissue with this issue is the artwork. Inaki Mirandas work feature some of themanic rendering one might expect from a book about an anti-hero with emotionalissues. But it also has a certain wild, careless style that is not myparticular cup of Earl Gray. I prefer a tighter, more economical line style,but thats just me. Moritat illustrated the latter portion of the book, and as much as I enjoy his retro-style, I'm not Harley Quinn is the best place for it.

In all, itsa fun issue if you know the 80s well enough. Those of us privileged to haveseen Star Wars on the big screen whenit came out will enjoy it, but if youre much younger than that, and most ofyour memories of the 1980s come from watching Pop Up Videos, well, you may missmore than you realize.

The artwork byMirka Andolfo is enjoyable, more so than that of cover artist John Timms. Notthat hes a bad artist, but I dont believe Harley Quinn was a suitable vehiclefor him. Id prefer to see him on another title; Batwoman, perhaps.

This is theend of the current story arc, so look for a brand new adventure next issue.Its always a treat to see what kind of mad-cap hijinks our favorite crazy galhas in store for us.

Ive always wondered how non-powered characters (Harley, Batman, Green Arrow) manage to traverse the lethal terrain of Apokolips. But again, its comic books. Some things are better left alone. But Harleys vacation isnt over yet, so theres more to come.

Now Harlmust suffer the wrath of her granny. Goodness, its enough to make a girl plotzright there in front of Darkseid and everybody. Never fear. Granny has a gadgetthat will remove any embarrassment, and is all too eager to use it on her failureof a Fury (Hey! Alliteration without a hint of sexism. Yay me. Im evolving.)

This is the conclusion of the current 3-issue story arc, which is fine with me. In the hurly-burly world of Harley, staying too long in one place only allows the humour to wear thin. It devolves into an SNL skit thats gone on too long. It is best for the writer (whomever it may be) to remember she works best as amoving target. Keeping the audience guessing helps keep things interesting.

Its a funread, with Harley at her homicidal wackiest. But at least shes chosen theright target. I mean, shes not so bad. She brought home Petite Tina from Apokolips.Heres hoping that act of charity comes to mean something, rather than simplysee another Misfit join Harleys band of Hard Luck Cases.

Harleysrecent crossover with the Looney Tunes universe may have rubbed off on her. Herworld has gone crazy, and nothing makes sense. But such is the inside ofinsanity. So if you have a difficult time buying what Harley is selling, justregard it as the world as seen through Harleys eyes.

It takes alot of art to get this crazy. Fortunately, the extra-sized book also features aroster of artists to illustrate each vignette, many of which are two-pagespreads. My only complaint is that between the ongoing Harley Quinn series, and the occasional special (last weeks Harley Quinn and Gossamer comes tomind), it feels like Ive been riding my Haley every week. Too much of a goodthing is a bad thing, And now that the book has reached its 50thissue, perhaps its time for DC Comics to dial it back to a monthly.

But a littlebit of Harley goes a long way. It seem as if there hasnt been a week in recentmonths that there hasnt been a Harley-centric book on the stands. I realizeshe could be the break-out anti-hero " DCs version of Wolverine " but Ido wish they would dial it back. Too much of a good thing is a bad thing.

If DC Comics(or any comic book publisher, for that matter) were to choose to resurrect anyof the classic Golden age characters, they could do a lot worse than hiringSami Basri to illustrate same. Basris fine lines and smooth textures fit thestreamlined era of the 1930s and 40 so very well.

Somehow, allthis sounds familiar, like a bad teen movie. A couple of teen girls squabbleover some imagined offense, leading to alternate misplaced joy and wailing andgnashing of teeth. Eventually it escalates beyond their control and they areforced to make peace. Its so juvenile a situation, you dont know who to rootfor. Hopefully this will end quickly.

Im sure itcould be fun story, viewed through the proper lens. I just dont happen to haveone. There are too many story elements taken for granted, in my opinion. But infairness, a broader canvas (i.e., more pages) might have enabled Sam Humphriesto flesh them out more, perhaps provide a more ambitious alternative.

John Timms returns to the drawing board for this issue, seemingly modeling his Harley after actress Evanna Lynch. It's taken me the better part of 50 issues to suss this out, and even though Lynch is Irish, she certainly looks the part.

Not onlydoes this issue feature a special guest villain, but also a guest writer. Ithelps keep the title fresh after 50+ issues. Ive been with it since thebeginning, and while I sometimes find the character of Harley a bit tiresome,her adventures are always interesting and entertaining.

All this leads to confrontation between Batman and Harley, the likes of which we haven't seen since Batman and Harley Quinn(2017). Shes up to the challenge of facing the Dark Knight, not because shes a semi-super-villain, but because with her mom battling cancer, Harleys got nothing to lose. Batman, on the other hand

I willadmit, I sometimes wonder how long the Harley series will last. A reformedcriminal trying to go straight, a lovable anti-hero with more than one screwloose seems like it would become tiresome after a while, but this isconsistently one of DCs better books.

The trialsof Harley Quinn will continue next issue. It appears the story arc still hasthree chapters left to it, though my numbers may be off. But the next trialactually starts here, so dont wait until next issue.

Like much ofDCs output these days, the emphasis seems to be on spectacle, an immensecanvas of cosmic events that would shake the universe. But its been going onso long, its hard to discern the highs from lows, mainly because the only lowsthat exists are in the cinematic DCU, with all its grim and grit. DC seems tobe trying to turn that around, but the fact is there is no magic formula tomeet the needs/wants of the audience. If they truly want to climb to the top,they should do it one good story at a time.

But beforewarned " its a multi-part story, so next issue will be more of the same,with a few secrets revealed and surprises thrown in, I am sure.

The story is a pleasant diversion from Harley's trials as an agent of chaos and order.

DC Comicshas called this the Year of the Villain, presumably offering the bad guys thespotlight for a while in a line-wide event. What that means for Harley " avillain with her own title " remains to be seen. Shes been going straight forthe past 60+ issues, but there are allusions to a possible return to a life ofcrime in the near future.

I love it when a story becomes self-aware, and self-deprecating becomes the icing on the cake.

Not that this a bad story " I just don't understand why it was presented in this format. It easily could have been presented more effectively within the pages of the mainstream Harley title.

My only concern is that Harley Quinn is an increasingly popular character in danger ofbeing over-exposed. She has her regular title publishing twice a month, and inaddition there have been numerous specials and guest appearances in otherbooks. It is my hope that the audience will not grow weary of her err too long.

Overall, the story (both issues, and all the previous back-up installments) is a worthyentry to the canon of Harley Quinn.

I appreciate Marc Laming's artwork. It almost has an old-school 1960s style, which works well for Bond, even though the story is clearly set in contemporary times. I am uncertain how long this particular story will run, but I hope he is in for the long haul. I'm looking forward to the ride.

Theartwork by Tom Derenick is rendered in what I consider to be DCs house-style.Its variations on the work of artists such as Dick Giordano and Jos LuisGarcia Lopez, but developed further. It has a classic look that grows inmultiple directions by todays comic book artists. Its comforting andrefreshing, like your favorite pair of jeans.

This issuereinforces to me one of the pitfalls of modern comics. ITs a single chapter ina larger story. As such, Im not terribly moved toward picking up subsequentinstallments. Casual readers may feel the same, content to wait for the trade.But if everyone felt that way, would there even be a trade to wait for?

Theartwork is fun, if a bit dark. I appreciate how Stephen Byrne renders hischaracters in classic poses, reinforcing the iconic nature of these legendaryheroes. Thankfully, it does not descend into caricature, an easy pitfall forthe best of artists.

The artwork is stellar, though not heavily detailed, but I'm okay for the mostpart. There are a couple of instances where it seemed something was left out,perhaps the penciler expected the inker to finish it. But that can be fixed forthe trade. Some artists will meticulously delineate every leaf on every tree,every shard of glass, every brick in a wall. As someone who graduated from art school, Im here to tell you, thats not talent; its merely patience.

If there is a young comic book fan in your life, this may be a great gateway book to get them hooked on either Justice League or Power Rangers, but I recommend waiting for the trade.

Neil Edwards figure drawing is dynamic, much like Neal Adams, but without resorting to the kind of extreme poses Adams is known for. Sandu Floreas inks are lightwhere they needs to be, dynamic where called for. If you're open to new iterations of the JLA, this is a book worth looking at.

This appears to be a story of intrigue and deception, (again, right in Ruckaswheelhouse), and I hope it stays that way. Lois has no super-powers, and itwould be a disservice to her growth as a character if she has to rely onSuperman (or any other meta-human) to bail her out. With that in mind, MikePerkins artwork is a bit scratchy in texture, but it fits the tone of thestory very well.

Perkins layouts and storytelling techniques are not in doubt, and he has a fine attention to detail (perhaps too fine). Maybe he simply needs the assistance ofan experienced inker to lighten his workload and cultivate a more cohesive visual presentation.

It's still the same old story " a fight for law and order, against people with too much power and not enough compassion. Not terribly different from today, but if Dynamite wants to portray the Lone Ranger as a 19th century SJW, I'd just as soon stop right now.

I'm just not sure it's a good Lone Ranger story. I'm still willing to maintain an open mind, but this issue makes it difficult.

I dont expect much from all-ages books, but I do expect the creators to try. Here, it seemed as if they were striving for quantity over quality. Its a shame, because with names like Derek Fridolfs, Sholly Fisch and Mike DeCarlo, Iexpected better. But even in high-profile titles like Superman or Spider-Man, not every issue is a winner.

This issue features cameos by virtually all the Looney Tunes characters, with a fewnotable exceptions. I wouldn't mind seeing them continue the Star Trek rip-offssatires, with the Tasmanian Devil as a Klingon, and Gossamer the Monster as atribble. That would be innnnteresting.

The book also features a couple of single-page vignettes; spoofs of Little Bo Peep and The Blair Witch Project. The best that can be said for either is they fill space. Maybe there was a seed of an idea for a greater story, but if a one page is all the writer can muster, well, maybe its not even worth that.

Artworkis true to the established designs, though I would expect no less. One would believethe cartoon characters to be easy to draw, and to a professional perhaps they are.But as I once learned, Chuck Jones was absolutely right in his strategy ofdrawing a carrot with Bugs Bunny attached to it.

For those of us who grew up on these cartoons, I appreciate the comics remaining true to the roots, with flat areas of color, instead of the excessive shading seen in modern animation. In trying to keep the characters relevant, Warner Brothers Animation has seemingly abandoned its core audience. But the Looney Tunes we know and love are alive and well in these pages.

While it may be easy to dismiss the artwork as cartoon simple, the truth is ittakes no small effort to capture that Termite Terrace style made famous and funny by the likes of Chuck Jones and Friz Frieling. Anyone could publish a Looney Tunes title, but the team at DC breathes the Looney Tunes life into it while they do it.

If I have a problem with all-ages books such as Looney Tunes and Scooby-Doo, its the price point. Personally, I feel its a bit high for an all-ages book,but the cost of printing doesnt vary from one title to another. I would preferto see all-ages books at a lower cost, and more availability at conveniencestores and supermarkets, where they can catch the eye of smaller children.

Forlong-time fans of Looney Tunes, this particular issue is fairly weak. Oh, well,you cant win them all.

Ingeneral, a bit of a disappointment for Looney Tunes fans. Granted, the bar isnot especially high, and one must be ready to forgive a lot with an all-agestitle with three stories squeezed into 21 pages. But jinkies, its as if DC gotway desperate for this issue. The premise was strong, but the promise ofentertainment, not so much.

I usually enjoy all-ages books, butthis title is so all-ages, its reminiscent of the Harvey comics of the 1960s.There is no price point on the cover, but anything over $1 is perhaps too much.

I love theobscure, and the Looney Tunes have a broader range of characters than mostpeople realize. I enjoy seeing them given screen time. The latest issue beginswith appearances by Miss Prissy, Wicked Wanda and others.

Finally, wehave Flee Em in the Museum, as Bugs underground travel mode leads him intothe caveman exhibit of the Natural History Museum. Hmmm cartoon cavemen.Wherever might we find models for such an idea? Thankfully, DC Comics hasanother corporate sibling to draw from. Elmer Fudd is the comedic foil as anoverzealous security guard. Oh, and the title? Yes, it may have a certain ThreeStooges ring to it (Disorder in theCourt, Commotion on the Ocean, etc), but thats recognized within thestory.

Rossmo's artwork is highly stylized, in a manner that works well for a shape-shifting alien. Though far removed from any resemblance to that of Bill Sienkewicz, Rossmo makes the same kind of bold artistic decisions that are immune to distracting from the narrative itself. This only enhances the book's potential

The series so far is good, but not as great as Bendis would like for you to believe.

I fell as if now the real story can get under way. Think of Superman: The Movie. Once the origin was told, cast and crew could focus on presenting an original adventure. Same thing here, and believe me, there are far worse storytelling templates to follow.

J'onn did well on the Justice League cartoon, but perhaps making much more central to the JLA franchise might be a better strategy. Allowing him to grow and develop, then launch him in his own series. But it could be argued DC Comics is doing exactly that right now.

I despise cliches. I find them to be indicative of lazy writing. This issue of Martian Manhunter has a big one.

If memory serves, this is a 12-issue series. Now that much of the origin is over, I look forward to the next six issues. As a manhunter, I appreciate seeing J'onn in super-hero mode, and seeing the added layers of his budding crime fighter career and eventual JLA membership. If the rest of the series is as good, I see no reason it can't be ongoing.

The series is scheduled as a 12-issue maxi-series. It could easily return as an ongoing, or as a second series. I'm fine either way so long as the storytelling retains the high quality established here.

However, the artwork by Ty Templeton is stellar, and its a shame we don't see more ofhis work in mainstream comics. Hes vastly under-appreciated in this age ofoverblown dynamism, and its such a welcome change to see a master draftsman practicing his craft. Keiren Smiths coloring only helps.

Meanwhile,in our back-up feature yet another bat-themed vigilante arrives on the scene,but for how long? Gotham Radio may be close to unmasking the Dark Knight. Imreally enjoying the return of a back-up feature to comic books. More writersshould be challenged to write in this compressed format, and compelled todeliver in a handful of pages what they may be accustomed to delivering in anentire comic.

Meanwhile, the back-up feature, Gotham Radio, continues. It features an innovative layout that I genuinely appreciate. However, its the sort of method that must beused judiciously in order to be effective. On a three-age feature, it worksvery well. In a longer format, perhaps not so much.

I enjoy Shawn Crystals artwork, but Im not sure this is the right project for it. It almost has an EC/Jack Davis quality, so Im not sure what would be a better place. Regardless, Mother Panic is on the verge of committing the cardinal sin of comic books: its becoming boring. I'd like to see the creative team step things up, lay Vis old demons to rest, and stop wallowing in this pit of childhood trauma.

The tiresome emotional drama I spoke of last time continues. Alcoholism, physical abuse, unhealthy same sex relationships and self-loathing seem to have become the featured agenda of the book, rather than the crime busting we expect from comic books.

Recently while reading Batwoman, it occurred to me that there is little difference between the characters Batwoman and Mother Panic. Both fight crime in Gotham City. Both are lesbians. Both suffered traumatic childhood experiences that have helped shape their adult selves. Tome, one them is redundant, but I'm uncertain which. But the upside is, if you enjoy one youll probably enjoy both.

Moustafa's artwork is more appealing than previous artists. I think they tried very hard to be extremely different in their rendering, perhaps in an effort to set the book apart. That may have worked under different circumstances, but when the book is so derivative of established properties, wandering too far afield seems inconsistent to me. Moustafa's artwork is more traditional.

The current story arc is too early in the making for me to form a strong opinion, but the alternate universe idea is a big help. Until her roll on this Earth is determined, I'm willing to keep an open mind. She seemed redundant and wasted on Earth 1, so let's hope for something different in her new world.

I love that the art team has remained in place. Since the advent of DCs Rebirth,many art teams have come and gone, or rotated around so that no given issue promises a consistent visual appeal. I grew up in an era when art teams stuck around for YEARS, not a handful of issues and then moved on. I appreciate the commitment Ibrahim Moustafa and Jordan Boyd have made to this series.

Iappreciate this alternate reality take on what was another addition to theBat-Family. As I said once before, she seemed redundant at first, but inanother universe, her role has the potential to expand beyond the constrictionsof mainstream DC continuity.

Still,one of the great things about Mother Panic is that its not necessarilybeholden to mainstream DC continuity. The opportunities are endless, to createengaging characters and tell compelling stories that might not be suitable forother titles. I hope DC Editorial recognizes that potential, and can avoidsimply telling yet another super-herostory.

Futureissues (assuming this isnt the end of the series, which it easily could be)should accelerate the action and lead Violet Paige in her quest for vengeanceagainst Gather House and it represents. Id appreciate seeing a balls-out,no-holds-barred assault on the villains Violet despises. There is no need todraw it out, even to make the six-issue trade. Just let the war last that long,until Vi is the only one standing.

The artwork from Brent Peeples and Richard Friend is serviceable, though a bit puzzling. Laney is portrayed constantly wearing gloves, though I'm completely confused as to why. Not sure if it's a fashion statement or a clue to a greater role alongside the JLC.

Had the series focused instead on Kong Kenan and his role as a super-hero for Asia, the series may have had greater potential. Eventually, he may have evolved away from the Superman copycat mold. But we'll never know, and I suppose that's okay.

The artwork is classic Chaykin, but what makes the story sing in places is the coloring. Wil Quintana conveys the bright lights of Broadway, or the blackouts of Paris, with amazing effectiveness. His work also elevates Chaykin's rendering, which despite for 30 year admiration for his work, is not always the best. Nevertheless, I wish for Chaykin and Quintana to do a book of Damon Runyon tales in comic book form.

Its not a good time to be a DC fan. If this is how they treat one of their longest lasting characters, it makes me wish he had died in one of the many Crises.

The endingis somewhat clichd. Its a common cliffhanger weve seen many time before, andwill no doubt see again. But Im comfortable with that so long as the entirestory does not hinge upon it. Future issues will tell.

But Nightwing is a good title when thesetting stays in Bludhaven. This issue allowed a controversial ongoing plotpoint to be laid to rest, thereby opening the paths to which the story mayfollow. It has potential to be a great book. Hopefully this new beginning willallow it to be.

I find it tiresome to see this kind of content in comic books. I see it on the news, andin my local paper, and the Internet, and I hear of it from friends and acquaintances. I read comic books to escape from this stuff. Cant they just feature some good old-fashioned good guys vs. bad guys? If I wanted a sermon on corporate evil, Id read Green Arrow.

The wholestory reads like a story originally intended for Grayson, but the when the pluggot pulled on that book, the unused script was retasked for publication at alater date. Not a high-point for any comic book.

As Metalcontinues making its way through the various titles of the DC Universe, itsunknown what the Nightwing title willbe in the months to come. DC loves its mega-event company-wide crossovers, soregular programming for some titles may be on hold for a while. But to its credit,DC seems less beholden to continuity concerns. Dont worry about anyinconsistencies vis--vis Green Arrow,Suicide Squad or Harley Quinn. Itsonly comic books.

All in all,a rather uneven return to the status quo, but its early yet. The story is justgetting ramped up. Artwork by Mendonca and Egea is serviceable, though notoutstanding. It may be a good jumping on point for new readers.

As for supportingplayers, the Run-Offs, their story is not yet over " though it SHOULD BE. Imean really, how long can Seeley milk thesuper-villain-wannabes-who-dont-wannabe-yet-still-act-like-it? If he wants toexplore supporting characters, perhaps he should focus on Detective Svoboda. Icant help but feel its more fertile ground.

Artwork by Eaton, Mendonca, Faucher, and Egea seems excessive, having four artists on a single issue. But with the breakneck speed of the Rebirth titles,all-hands-on-deck seems necessary to meet the goals DC has set. If it takes that many hands to meet the publication schedule, Im in favor of it. Its a business, after all.

JavierFernandez returns to the drawing board as the sometimes go-to artist for Nightwing. Its a good match, thoughsomewhat inconsistent as artists rotate in and out of story arcs " shall we say" less than satisfying results. It seems the wiser plan would be to feature thesame artist for the duration of the story arc.

I don't object to the occasional ret-con, if it improves the overall lore of the franchise. But sometimes I think DC wants us to believe the ret-con in question was always there.

If you're a casual fan whos been turned off by the lukewarm reviews on this book, now maybe the best time to jump on board and give it a test drive. Its a brand new day in Bludhaven.

Im enjoying Bernard Chang's artwork. Its a refreshing change from that of Javier Fernandez. Nothing against Fernandez, I just appreciate Changs work more. I think he waswell-suited for his recent stint on Batman Beyond, so Nightwing should be too great a challenge for him to manage.

The flashback sequence was drawn by Klaus Janson, whose work we seldom see these days. Its great to see old-fashioned, hand-drawn comic books by a master ofthe craft. The moment I saw it, Id hoped for it to be a long-forgotten story by Jim Aparo or Eduardo Baretto. But Janson is good enough. However, seeing his work side-by-side with the digitally polished work of Jamal Campbell only widens the gap between the qualities of the two artists.

I enjoy Bernard Changs artwork. I think it works very well on the title, moreso thanprevious artists in that Chang (and Maiolo) give Bludhaven a polish that all the neon and glitz requires to convey a better sense of place. Sometimes Changs work reminds me of Howard Chaykins, but never so much that he appears to be imitating Chaykin. Perhaps merely an influence.

The art byPhil Jimenez and Santorelli on the flashback sequences helps delineate it fromthat of Jamal Campbell, who draws the present day sequences. I appreciate theidea of using different artists to illustrate different sequences within astory. It alleviates the workload for everyone, without the jarring effect thatoften occurs when multiple artists draw a book.

Chang's artwork seems not quite up to snuff in this issue, almost as if its lost something. I wasnt even sure it WAS Chang until I read the end credits. But even weak Chang is better than many other artists drawing comics these days.

Overall, Nightwing is strong title that I am enjoying. My only grievance is how often DC tries to re-write Dick Grayson's history. Hes arguably the third-oldest character in the DCU, so Id prefer to see all that history count for something. For the most part, it has.

I regard this issue a palette cleanser, until the next ongoing story arc. Perhaps Nightwing will return to Bludhaven, or maybe hell share an adventure with another member of the Bat-family. I think after his lengthy battle with the Judge, hes due for a bit of rest. I know I am.

There was atime when comic artists developed their skills on back-up features. Today, theydo it by way of the inventory stories, that helps editors refine the work andjudge their response to critique andwork ethic. I could be wrong, but MinkyuJung and Felipe Sobreiro seem ready for prime time. Their work together is as goodif not better than some of the regular artists featured in ongoing titles.

Chris Mooneyham is the new artist on deck. His work on Nightwing is different, inthat rather than the polished neon weve seen more recently, Mooneyham appliersa level of grit to the city. Not as much as one might see in Gotham City, butenough to ad veritas to his environments. His still reminds me of Denys Cowans,and thats not a bad thing.

I am confidentNightwing is in capable hands, creatively speaking. It seems to me the book hasstruggled since the beginning of Rebirth. Tim Seely and Sam Humphries bothcontributed to getting the book back on its feet, and now its Percys turn.Maybe Im wrong, but all three writers seem intent on providing legitimate,sustainable creative growth.

In my opinion, the story arc so far lacks the gravitas to justify a six-issue story event, but I could be wrong. But I love the introduction of Nightwings underground bunker, from which he and Batgirl can strategize against the bad guys. However, given its plethora of high-tech hardware, is it not vulnerable to Wyrm as well? Well see.

Kinda reminds me of the much-hyped Identity Crisis series from some years back. All those masks, peeled away in a nano-second. But we'll have to wait until next issue to see what happens, because despite DCs claim, this was no finale.

Its billedas Harms Way, Part 1, but if this race runs another five issues, Im goingto be mighty tired, and not in a good way. I just dont believe its the typeof scenario that they can pull off that long and still maintain interest. Ihope they can either A.) prove me wrong; or B.) have something else planned. Weshall see.

This ischapter II of Harms Way, a brief story-arc-within-a-story-arc as Nightwingcontinues his battle against the Dark Web. Its a tale thats gone on longenough, in my opinion. Like professor Pyg, a little goes a long way, and Ivegrown a little bored with it. Time for DC to wrap this story up.

I regardthis as a temporary diversion, much like the electric Superman or the AzraelBatman of some years back. Things will change back soon enough. Perhaps whenBooster Gold fixes the Heroes in Crisisfiasco, hell impact time in a way to prevent Nightwings near deathexperience.

But forthose wondering how Ric Grayson would carry on as Nightwing, boy, wonder nomore. The answer is on the last page.

ChrisMooneyhams artwork seemed a bit uneven this issue. Uneven compared to whathes done before, I mean. Perhaps he drew it under a tighter deadline thanusual, but it seemed to me a wee bit rushed. But even rushed Mooneyham isbetter than some other artists I could name (but I wont).

This issuefeatures the artwork of Travis Moore and Patch Zircher. Zirchers work is consistentwith what Ive seen previously in ActionComics. Perhaps too consistent. In more than one scene, Sapienza looks morelike Superman in a Nightwing mask than another person. I think Nightwing is a different book, and callsfor a different artistic approach. But there is time for Zircher to work onthat.

As with lastissue, we have two artists on deck " Garry Brown and Will Conrad. Their workcompliments one another more easily than last issues Travis Moore/PatchZircher pairing, I think. I didnt notice the transition as much as I did lastissue. Perhaps its time for Nightwing to go back to a monthly, allowing for amore consistent art team (either individual artist or penciler/inker combo) totake the reins. Just a thought.

The artworkfor this issue is lackluster as well, as if drawn in haste. It has a Jack Davisflair to it which I might enjoy in a less serious storyline. But here it justseems rushed and unpolished. Perhaps its time for Nightwing to go monthly, instead of prolonging the Rebirth strategyof bi-monthly.

Given their amateur status, I have to wonder if the Nightwing team may fragment, with one or members becoming Flamebirds. Yes, you read that right. Because you see, kids, back when Dick Grayson was still Robin, there was another Nightwing, and he had a partner named Flamebird. I honestly doubt DC Comics would resurrect the name/character in some way, but the 11-year-old in me would love it if they did.

With no realuse of Nightwing OR Dick Grayson in this issue, its clear to me DC Editorialhas no idea what to do with the property. As one of its oldest characters,thats a genuine pity.

I have nodoubt that Dick Grayson will return, asNightwing. Its the nature of comic books that radical changes are almostalways temporary. Sure, Dick Grayson abandoning his Robin identity has beenpermanent, but considering the Boy Wonder costume has changed hands many times,what was Grayson to do. Join a super-secret spy organization?

Thesequestions and more, unfolding amidst the chaos of high adventure and crimefighting, are what make for good comic books, in my opinion.

ChrisMooneyhams art works for the book, much as it has on other titles. Maybe Imimagining things, but it has a distinctive style that is reminiscent of DenysCowan inked by Klaus Janson. Not a bad mix, but its only a matter of time whenhe cultivates his own style, if he hasnt already and Im projecting my owninterpretations.

Given the title is Nightwing, I can't help but wonder if it might be time for Ric Grayson to step off-stage for a while, and leave the crime fighting in the hands of those who now wear the costume. Perhaps a story that reinforces them as a team, or maybe something with a bit more individual character development.

The highpoint of this issue for me was the meeting of the four replacement Nightwings,in which they raise concerns over their mysterious allys backstory. Honestly,Im surprised its taken them this long to question his origins andmotivations, but Im glad its finally happened.

But despitesuch Batman 66 camp aside, this is afabulous reunion of writer Benjamin Percy and artists Otto Schmidt. They didvery well together on Green Arrow acouple of years ago, and I anticipate equal success on Nightwing. Schmidt has a rendering style that is equal partsPlayboy and Hanna-Barbera. Others might struggle to make that work, but hemakes it look easy.

The artwork is perfect, evoking my teen memories of several comic fantasy artists.He seems to have taken the designs of John Buscema, the textures of Joe Kubert,and the figure drawing of Gil Kane, and blended them into a unique style thatseems both new and familiar at the same time.

Another reason is it tells a story featuring strong, likeable characters. Not strong ina physical sense, but strong as in solid-from-the-ground-up. People may thinkits great that these are empowered women characters, but honestly, their gender doesnt matter to me. Male or female, they have depth, and thats farmore important.

GailSimones writing is superb, as always. Im confident this will be a fun seriesto read, without being so fun it becomes a parody of itself. Plas is simply oneof thos characters we all know " someone who has a much lighter way of lookingat the world. Adriana Melos artwork is light and simple, in a good way. Itsvery fluid, which is suitable for a character who can bend his body into anynumber of shapes and forms.

Butthe humor is still there, such as the moment when Plastic Man is riddled withbullets. I know, since when did murder equal wacky fun? Since he didnt die,its hardly murder. (Nor a spoiler, cuz you dont kill off your star in thesecond issue) (unless your name is Joss Whedon).

Illcontinue enjoying this series, if writer Gail Simone can leave the socialcommentary out of it and simply tell a nice, funny story about acriminal-turned-super-hero trying to reform, and have fun doing it.ButAdriana Melos is fabulous. More please.

Ilike Adriana Melos artwork a lot. The line quality is bold and definitive, andlends itself well to simple, bright coloring. No subtle shading, no moodyshadows. It all works together to brighten Plastic Mans world. Certainly theDCU can use the light-heartedness.

PlasticMan has never been a character that has taken himself very seriously. Theres alot of that going around lately, with self-aware characters who recognize theabsurdity of their comic book lives. Marvels Deadpool has set the bar higherthan ever, and Gail Simone seems to be attempting to beat him at his own game.I can appreciate the notion of, Steal from the best, forget the rest, butrather than copy what the competition is doing (something DC has done a LOTlately), Id rather see the company do its own thing. If I wanted to read somethinglike Deadpool, Id read Deadpool.

Itsa great book with great art, and suggests a sequel or ongoing may be in ourfuture. If the same creative team remains in place, Im all for it. Hopefully,DC, Simone and Melo are on board for the ride. My only concern is for Plasssidekick. Not sure Im digging the whole gender fluidity thing in such a youngcharacter, but Im willing to be open minded. Hopefully, Ill learn something.

As for story, the board is still being set, so this issure is a bit of an introduction. While navigating the perils of high school, something is a little off in Raven's world. A mysterious being held by a government think tank seems to call to her. Raven feels a connection, but how or why is yet to be discovered.

The combined talents of Pop Mhan and Lovern Kindzierski are perfectly suited for the material " it's moody and spooky, with enough detail to convey the visual equivalent of techno-babble. Though it's a 12-issue limited series, I do hope they've made the commitment for all 12, rather than replaced after a handful of issues.

Raven must confront secrets to her past if she expects to ever have a future. And while she may possess magical abilities, it should be remembered she is still a teenager in what is to her an alien world.

I'd said before that Mhan and Kindzierski's artwork is suitably moody for the material at hand, though I've come to realize that is only partially true. They do great with Raven and her environs, but far less so in the scenes set at Baron Winters' mansion. They seem rather flat, in a very Silver Age sort of way.

As we approach the half-way mark in this series, a stronger narrative has begun to emerge. I hope Wolfman can sustain this momentum, and launch us toward a rollicking fun conclusion. I'm confident in his abilities as a comic book writer. It simply remains a question if the current DC editorial climate will have the sense to get out of the way and let him do what he does best.

After six issues, I can't say I am particularly impressed by the artwork of Pop Mhan. It seems overly simplistic in this modern era of comic book illustration.

The baron's efforts may lead to the creation of a new Night Force, which may not be a bad thing, as various DC characters seem to be in the process of being re-allocated. Raven's time in the Teen Titans may be over, and she needs to go somewhere. Night Force is as good a solution as any.

Its a superfluousdepiction, because yeah, their gay, we already got it. Its not that I have any issue with the LGBTQ community (I honestly dont consider other peoples' sexuality any of my business). But I DO object to comic book writers and artists whose imagination is so limited, their best means of portraying a homosexual character is to depict a same-sex kiss. In my opinion, it's superfluous. The point was already made that Robert was gay, so in my opinion, the kiss is superfluous and gratuitous.

Only three issues remain in the 12-issue limited run. If the series becomes an ongoing, there is a great deal of opportunity, if DC can cultivate it properly. Some of the characters have yet to impress me, but they've barely been introduced, so there's still time for them to develop, if not here, perhaps elsewhere.

There is a development in this chapter that seems either A.) a waste of a token character; or B.) a plot point to be revisited later. As much as I would hate option A, option B would be even worse. I fear B is a predictable trope of the reluctant hero bailing in the interest of self-preservation, only to return at the 11th hour to save the day.

I look forward to next issue. Not because it's the end of the series or any sort of climactic battle between the forces of good and evil. But because the series as a whole will be complete, and I can look forward to enjoying it as a whole, complete story, rather than being spoonfed to me in bits and pieces.

It was a good series while it lasted. Throughout, we have seen Pop Mhan's artwork develop and mature, though there's still some growing to be done. Back in the 1970s and '80s, there were artists like Don Heck and Alex Saviuk who weren't necessarily fan favorites, but they hit their deadlines. Hardly rock stars, but vital to the craft. Pop Mahn may be such an artist, and that's not a bad thing.

Overall, its a typical team-up story, with two teams of heroes fighting one another. Of course, its the other team who arethe bad guys here, because this aint their book. If they are featured elsewhere in the current DC library, no doubt the Outlaws would be the villains du jour.

Regardless, the storyline is fine and agreeable, but some tweaking of dialogue and character seems to be in order.

It appears to be the end of a two-part story. I appreciate the shorter story arcs than runover two or three issues, rather than the typical six issue epic that is inevitably repackaged as a trade paperback. By chapter 6, I often cant recall how/why the story started in the first place.

It's a good story, with solid ramifications for the future of the team on many levels - not the least of which is a teammate who may be suffering from the cure to whatails him. Either way you look at it, its sure to cause some fractures down the road.

Dexter Soy is back in at the drawing board. He must be given credit for his consistent quality of work, issue after issue. Its refreshing to see someone remain on a title, in this age of rotating artists. Scott Lobdell deserves equal praise for his stories. The book is surprising fresh, without descending into rehashed clichs and over-used story-telling techniques.

Looking back through my reviews, I realize how much Dexter Soy has been a part of theseries. Kudos to him for making that commitment, and his role in building upon the myths of Jason Todd, Artemis and Bizarro. And his art aint so bad either.In fact, its pretty damn good.

Red Hood isone of those titles I look forward to. I tend to wade in the shallow end of theDC Universe, so its refreshing to read characters and properties that donthave decades of baggage and history to constantly reconcile.

Its only the beginning of the story, so theres no way to guess how much Artemis and Bizarro will play into matters with Jason. As co-stars, its safe to say theywill. As Jasons investigation becomes more troublesome, hell need their help. But if this is perhaps a prelude to the series being retitled as a solo book, well, Im okay with that, too.

Its apotentially powerful issue. I say potentially because Im too jaded to acceptwhat Ive read at face value. Somewhere there may be misdirection and misrepresentation,but I suspect the truth will have to wait for next issue.

Hints are made at deeper secrets of Jason Todd's background, as well as laying the groundwork for future tales of the Outlaws. So perhaps this isn't the end.

Pete Woodsartwork is well-suited for the crime genre RedHood is a part of. Yes, its a super-hero concept, but it deals more withcriminal biker gangs and modern era gangsters, rather than maniacalsuper-villains. As part of the Batman family of titles, it could round out themany different iterations of what it means to be a part of that.

It's a good story, the centerpiece being the reunion between Jason and Bruce. I was pleased that Lodbdell recognized the value of Bruce in the situation, rather than go for low hanging fruit by touting a Batman guest appearance to boost sales.

I like theturn this series has taken. In its former incarnation " Red Hood and theOutlaws " the outlaws in question were a thinly-veiled reference to theBig Three. I would have preferred to see him take up with some actualsuper-villains (Kinda like Batman is doing).