Ray Goldfield's Comic Reviews

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Overall, besides the first two stories, there aren't too many classics here"but there also isn't a single weak point. This is probably the most consistently strong of these giant one-shots, and it's a fitting tribute to eighty years of the DCU's greatest sci-fi franchise.

Overall, there are a lot of top-tier stories in this volume. It's surprising not to see Kelly Sue DeConnick or Cullen Bunn in the writers, but the talent they picked up delivered a great volume.

Overall, there isn't a bad story in this oversized special. But there are quite a few that feel very slight and don't leave much of an impression, and as a whole the issue feels more like a time capsule to past runs than an attempt to celebrate the future of Robin. Worth buying for the Seeley/King, Tynion, and Wolfram stories in particular.

Overall, another strong anniversary spotlight for one of DC's longest-running characters, with a few stories that are destined to be classics.

These stories have a massive variation in tone and style, but almost all of them are excellent. DC gathered an enormous amount of talent for this one-shot, and it pays off. This is one of the best giant anthologies they've done yet, with several all-time classics in the mix.

Overall, another great giant anthology issue without a miss here.

This is one of the bleakest first issues of an event comic I can remember in a while. My only hesitation is that this still doesn't feel like Waller, and I'm wondering if that's a twist to come. But one thing is for sure I am hooked.

This is one of the bleakest DC stories I've ever seen, but I have full faith in Waid that the whole picture will bring it together in the perfect way for his upcoming JLU relaunch.

This is a surprisingly short event, with only a few books a month over four months, but an experienced writer like Waid has managed to balance everything well and even give the spotlight to some unexpected faces.

This is a fantastic start to the event, with all three stories setting up fascinating future plots.

As much as I've been enjoying Absolute Power so far, there's been one cloud hanging over the whole thing Amanda Waller. She's evolved into the main villain of the DCU, cutting deals with every evil force possible to bring an end to the age of heroes. It's an impressive plot but the character doing it bears little resemblance to the one famously developed by Ostrander and Yale as a ruthless and pragmatic spymaster. So it falls on John Ridley to bridge the gap and try to make sense of this new version of Waller.

The characterization here is so good that it just makes me want to see this level of nuance in the character in other books.

So far, this event is almost claustrophobic in its intensity, which is a great way to set the scales and establish why Waller might be a bigger threat than the last alien invasion.

The visuals here are fantastic Max Raynor is one of those DC artists who fills in when needed, but really needs more attention as a standout.

There are a lot of little subplots in this issue, such as a great visit to the Oblivion Bar with some excellent cameos and a chance to catch up with Steve Trevor as he escapes captivity and starts to try to undermine Waller from within.

I'm hoping that this is just the start of Pichetshote showing off what he can do at DC, because this is a fantastic start for someone we already knew was pretty much a guaranteed hitmaker.

It might not quite have the emotional intensity of the last two issues, but it's probably the purest match between hero and villain that we've seen in this series, and it drives home the stakes of this whole event pretty well.

Overall, this issue didn't quite have the impact of a few of the other installments, but this series is doing a great job of expanding the world of Absolute Power with some high-intensity one-shots.

As we rocket towards #1000, Superman's in a genuinely compelling period in his story.

Dan Jurgens, an iconic writer/artist on both Superman and Booster Gold, finally gets to team up his favorites again on an issue where he once again takes art duties. And like Tony Isabella, Gerry Conway, Marv Wolfman, and others, he shows he hasn't lost a step

This has definitely firmly established itself as the best Superman book right now.

As the title marches towards 1000, it hasn't been this good in a long time.

Superman and Booster's jump through time continues in Superman: Action Comics #996, as the series marches on towards the biggest anniversary issue in comic history. But after last issue's drop-in on the 25th century and Booster's family, this issue doesn't quite deliver the same punch in the main narrative.

Brett Booth's art is well-suited to this story, and there's a real sense of tension throughout. However, the Booster/Superman story isn't on the level of the b-plot, focusing on Lois Lane and her son

The conclusion of Superman and Booster's trip through time In Superman: Action Comics #998, (only a month before Batman and Booster have their own similar adventure) ends with an action-packed, emotional issue with a few surprising twists.

Jurgens has had the unenviable task of trying to make sense out of a VERY tangled Superman continuity, and usually, it works. This issue, I'm not so sure he was able to stick the landing.

I'm on board for the new direction, and I think all in all this epic tribute issue to DC's most iconic hero came off incredibly well. Let's see how they top this for the Dark Knight Detective.

We've gotten an advance look at Brian Michael Bendis' vision for Superman over a miniseries and a launch issue in Superman #1, but it feels like Action Comics #1001 is by far the purest look at who his Superman is " and it's also by far the best issue that Bendis has written since his arrival at DC

This is a comic that's definitely the better of the two Superman books at the moment, but it's also suffering from a combination of Bendis' style and the scheduling.

This book is definitely improving a lot issue by issue.

Bendis' Superman run has been a mixed bag so far, but his run on Action Comics coming off the big Action Comics #1000 issue has been getting better and better.

Overall, this series remains strong and Bendis' Metropolis is much more interesting than his Krypton.

Still the better of the two Superman titles at the moment, but the run as a whole feels unfocused.

Bendis seems to be building to an elaborate spy-war, as mysterious agencies both good and bad are being targeted by this strange force.

The best way I can describe Bendis' run on the Superman books so far is "Pretty great unless something weird is happening, and a lot of weird stuff happens".

Steve Epting is an artist best known for spy thrillers like Velvet and Captain America, so he seems an odd fit for Superman. However, as he flashes back and forth between the present day and the events of Leviathan's attack, it works. The polished sheen of his art works well with both the lighter and darker segments.

The title's been largely consumed by the lead-up to Event Leviathan, but the dynamic between Clark and Lois keeps it fresh.

Overall, good as a setup for Leviathan, but in two books I still have very little idea what Bendis' Superman is like.

This is probably further from a regular Superman comic than any issue Bendis has done yet, but that's what keeps it interesting.

Superman: Action Comics is where Bendis shines most in the mainstream DCU, as he indulges his noir instincts (where his career began) to tell a story far more at home in Gotham or Bludhaven than the Metropolis we know.

The entire thing is a compelling noir title with great stuff at the Daily Planet, but the many subplots don't quite come together.

Bendis can be an odd writer to get into, because a lot of his issues can be best described as "characters talk about what's going on" " but when he's on his game, as in Action Comics #1015, his dialogue as they do that can have a unique charm that makes his books feel unlike anything else on the stands.

It's been a while since we saw Superman in a mentor role at length, and the addition of Naomi to this arc let Bendis show off Superman's kinder, more compassionate side after many arcs where he's up against world-destroying menaces.

I do know that Bendis' Metropolis feels more alive than the city has in years " which makes it all the more puzzling that he's blowing up Superman's secret identity soon and likely making the Daily Planet segments more infrequent. Like I said, compelling, but puzzling, but the ambition is enough to win me over. .

Following the chain of events in Bendis books can often be tricky, because he's fond of non-narrative plots and jumping around. That's definitely the case with Action Comics #1018, which takes place around the events in its sister title in Year of the Villain, and also incorporates several flashbacks.

It feels like the two Superman books under Brian Michael Bendis have switched position in the last few months. While Superman is taking on the challenging identity storyline, Action Comics is still stuck in the past era dealing with various subplots. That's not to say Action Comics #1019 is not well-written, but it's definitely lost some of its momentum.

Superman: Action Comics doesn't quite feel like it has its own story at the moment, but that doesn't stop it from being an entertaining ride.

This has been the most explosive arc of the title since Bendis jumped on, with Leviathan and the Legion of Doom descending on Metropolis and Superman teaming up with Young Justice to fight back. John Romita Jr's art continues to be strong " except Grodd looking like a bear this issue " but this issue mostly belongs to Robinson Goode, aka the Red Cloud.

This book is fleshing out Superman's world like we haven't seen since the 90s, and that's its biggest strength.

Bendis' Superman is a lot more unpredictable than the character usually is, and it feels like this is the first shot in a war that's going to get nasty.

Having the whole Super-family together for a mission could have been a lot of fun, but as it is they're mired in a story that feels way too dark for Superman and essentially guarantees that Red Cloud is likely to be shelved after this run rather than getting a chance to be a more fleshed-out character.

As Bendis' run reaches its final act before the conclusion in December, this book seems to be losing the plot a little bit.

Superman's dealt with some bizarre storylines over the last decades, and Bendis is treating them all as strange flourishes on a linear history similar to the way Morrison does with Green Lantern or Batman. It's an acquired taste, and so much information has been dropped that it's hard to see how it all gets resolved in two more months of story. Entertaining, but a lot of unanswered questions.

This series is at its best when it focuses on the Super-family and Lois, and I kid of wish there was more time for that as opposed to focusing so heavily on a pair of villains who it's very possible might never appear again.

We're rushing through subplots and what comes out is some nice moments that could use a lot more time to breathe. I enjoyed a lot of this run, but I'm not sure the pace and split between the titles served Bendis' style as well as it should have.

Phillip Kennedy Johnson is taking a leisurely approach to the start of his Superman run"which is funny to think about, given that he's starting out by pitting Superman and son against an army of interstellar invaders. But the backdrop to the battle against the Breach is a nuanced father-son story about what happens when children realize their parents aren't invincible.

Phillip Kennedy Johnson is telling different stories in the two main Superman titles, although we now know that this will only last a few months before Jon Kent steps up as Superman in one of the two titles and Tom Taylor takes over. But Johnson is on this one for the long haul, and he seems to have a master plan here.

Johnson doesn't seem to be trying to make huge changes to Superman's mythos here, just to tell a great story, and he's succeeding.

Daniel Sampere's art is perfect for the widescreen action of this storyline as well, and I can't wait to see what twists it throws at us next.

While Johnson is down to one Superman book right now, he's packing enough thrills for two into this title.

This is how you elevate a villain into an A-lister"Mongul's presence looms large over this entire series even without him appearing on a single page of this issue.

One of the best parts of this run has been the compassion Superman has shown.

A fun backup, but anyone following Johnson on this title has their work cut out for them.

It's a fun look into his character, but nothing groundbreaking yet coming off a phenomenal solo run for the character.

In some ways, this actually feels more like a Black Label book"from the isolated nature of the story, to the older Superman, to the sheer level of brutal violence that gets dealt out. But it never feels gratuitous"it feels like the opening act to a story that might just define Superman for this current era, if he's lucky enough to escape it alive.

If there was a Black Label Superman tale, it probably wouldn't look much different from this, but what's impressive is that Johnson manages to keep Superman's inherent character even amid the most brutal of situations.

It's brutal, fascinating, and it's quintessentially Superman. It strips him of almost everything that makes him iconic, and yet he's never seemed more like himself.

This may not have had the punch of some of the past issues, but I think it's essential to get us where we need to be.

It's another strong installment as the revolution looms.

The war for Warworld heats up, with a non-stop issue that gets all the key players in position for the final showdown.

This story began with so much brutality that it was hard to see how the day would ever be won. We're getting close to that victory, and it's all the sweeter for the difficult journey.

It's clear that Johnson is drawing from two main sources herehis military background in this story of building a resistance from the ground up, and his work on The Last God in designing truly disturbing alien kaiju. It all comes together into a truly iconic Superman tale.

This is easily the most unpredictable the Superman titles have been in years, and stripping Superman of every one of his tools besides the ones that matter most has been a brilliant development.

Superman is back on Earth, but he's not coming alone.

Mike Perkins' guest art delivers great visuals, fresh off his fantastic run on The Swamp Thing, and Johnson is delivering the best in-continuity Superman story in years.

The conclusion of the "Kal-El Returns storyline, which brought the entire Super-family together for the first time in over a year, delivers with an emotional coda that works really nicely despite the whole stakes.

What is clear is that the writing team of Johson, Taylor, and Williamson have the entire Superman family in very good hands.

The intention here seems to be to make this book something similar to Batman: Urban Legends with a stable main storyand so far, it's an amazing start.

The next installment of the Superman family anthology that Phillip Kennedy Johnson is spearheading continues to deliver, kicking off with an excellent lead story that pits the Super-family against Metallo.

The three stories in this book continue to all be top-notch, with the main story being the class of the three.

The Superman line continues to be the best it's been in many years, and while Josh Williamson's adjective-less title may be the most-hyped, this Superman family anthology feels like it's the heart of the line.

The Superman line is as good as it's ever been, thanks to a one-two punch of lead books. Phillip Kennedy Johnson's lead story would be a fantastic book on its own, thanks to its combination of high-octane action with deep continuity lore and great character moments.

Overall, this run has been a much-needed spotlight for all the rarely-seen members of Superman's supporting cast.

Although this is a dark and tense issue, there's an opening segment involving Superman's regular visits with an ex-con that sums up why Johnson's take on Superman is so excellent.

Overall, this is one of DC's best books and it's headed for one epic finale.

The mystery of Norah Stone and how she can affect the Supers' powers has been fascinating for a while now, but this issue's big reveal calls back to one of Johnson's earliest DC bookswith a dangling plot thread that I hadn't ever expected to see again.

While Superman embarks on a quest to get his kid back with the help of a very confused but competent John Constantineand a few surprising guests in the climaxthere are some really excellent scenes with Kara and Osul as well, as Johnson continues to make the most of this powerful new Super-family he's built.

While Bizarro is more intimidating here than he's ever been, the real strength here is in Aaron's Superman characterization. There's an excellent scene involving how his super-hearing works early on. It's a strange story to begin with, but this arc has a ton of promise.

Much like his Batman story, Aaron has taken an iconic character and found a way to plunge them into a completely new scenario that feels thrilling and haunting at the same time.

This story did a lot of unique things that we really haven't seen before. A Bizarro story that made the character genuinely terrifying? Check. A Superman story with strong horror overtones? Check. It also seems to put the cap on this version of Bizarro now, which makes sensebecause I don't really see this story being easy to top. Over to you, Josh Williamson. Aaron has set a high bar in this era.

The scale of this first chapter is massive, with some spectacular action segments and surprisingly emotional moments, and it sets up another unlikely team-up next month. Fantastic stuff.

This is a very fast-paced story, and calls back to some of the best 1990s Superman crossoversparticularly the highly entertaining "The Trial of Superman, which also dealt with some odder areas of space.

The visuals are stunning, but amid all the action, Williamson has managed to perfectly ground this tale in a very human battle for family.

The wonky timeline aside, this is a brilliant story that perfectly captures how Superman fights and what he fights for. Its big, occasionally funny and goofy, but with a great heroic core and high stakes.

Gail Simone's arc on Action Comics is set at some point in the past in a stylized Metropolis inspired by the 1970s comics. But she's managing to give us a Superman story that's truly timeless in the best way, as alien conquerors have come for Earth and set Superman an impossible task.

The art by Oum and Godlewski, especially the scenes in the Phantom Zone, is dramatic and haunting, and this remains one of the most unique Superman stories in a while.

This entire run, and the Warworld Saga in particular, are going to go down as classic Superman stories, and the odds are some of the events of this run will sill be referenced decades from now.

Overall, any Midnighter run is going to have an uphill battle given that Steve Orland just hit it out of the park only a few years ago. This isn't that run and it doesn't have the emotional context of it, but if you're looking for a run that pays tribute to the chaos of the old Wildstorm run with a bit more depth, this will read pretty well as a whole.

This feels destined to go on the short list of great one-issue Superman stories that perfectly sum up what makes the character great.

This is one of the darkest Superman stories in a while, with a very vivid and occasionally gruesome version of hell that is compelling but feels a bit out of place in the DCU.

This story took a lot of beats from Johnson's brilliant The Last God, but the last chapter reminds us that it is a Superman story through and through, with a stunning last few pages that make me hope he's writing Superman for a long time to come.

DC has given the writers of Superman and Action Comics an opportunity to wrap up their runs with these oversized specials before Bendis takes over, and Jurgens chooses to use his to put a bow on his take on the complex rivalry between Superman and Lex Luthor. His story is strong, although it has some issues, but the shorts by guest writers that follow are unfortunately not up to par.

This book is a journey, not a straight narrative, and one that left me a little confused at points but ultimately very glad I went along for the ride.

This first issue is a little laid-back at times, due to setting up its plot, but it has some great emotional moments as Jon and Lois realize that the monster who took years from Jon is backand may be threatening their family again. Of course, we know that the headline threat here is someone else entirely, and this issue did a great job of setting up the journey to Injustice.

This run is only six issues, likely wrapping up Tom Taylor's Jon Kent series, and what an adventure it is.

This is the best issue of this new series so far, and Taylor does an excellent job of ramping up the tension in this multiversal adventure.

The story is great, but one of the real strengths this issue is guest artist Darick Robertson. He's a perfect choice for an Injustice-set story, as that world shares a lot of similarities with the world Robertson helped create with Garth Ennis. His style helps to jack up the tension as we get closer to Jon having to pick a sideand likely, to make his daring escape from a world ruled by an evil Superman.

As we reach the penultimate issue of this series, it becomes clear just how far gone the Injusticeverse isand how far Jon Kent will have to go to try to save it.

The ending sets up the next DC event, as a fast-paced but ultimately strong series comes to an end.

There could be an interesting story here, but as long as this series seems like like two kids having fun and more like a bully and his younger tagalong, it's lacking the charm it seems to be going for.

And that basically sums up this book " it's silly, it's over the top, and it's at its best when it embraces that vibe and tones down the caustic sarcasm a bit.

It's fun and silly at times, but I wish it was more so " it feels afraid to embrace the tone where it works best.

Pete Tomasi's revival of the Super-Sons series so far has been an over-the-top cosmic adventure, but the problem is that it's not nearly as much fun as it should be.

Finally, after four issues that were bogged down by too much cosmic villainy and snark between the two kid heroes, Adventures of the Super-Sons #5 gives us an issue that perfectly recaptures the Silver Age vibe the series is going for.

Halfway through, it doesn't feel like Adventures of the Super-Sons really has a strong central plot yet.

Overall, it's just an odd comic that doesn't really know what it wants to be " it's lost the innocent fun of these characters' earlier team-ups, but its darker elements don't come together into any sort of compelling larger plot.

The overall plot, though, is very thin " it's just Damian and Jon in a constant state of running from one threat or another, and it lacks a compelling thread to take it through twelve issues.

Adventures of the Super-Sons almost feels like an anthology at times. While there is an ongoing story involving the kid supervillains hunting them, it spends most of its time ping-ponging its tween heroes between one bizarre adventure and another. A lot of them have been duds, like the recent escape from Takron-Galtos, but once in a while, they hit exactly the right notes " like Adventures of the Super-Sons #9's strange space-western adventures.

As the final in-continuity Super-Sons story " at least until Damian gets a growth spurt " heads into its final act, it loses most of the momentum of the clever last issue and returns to the same old battle with the Junior Legion of Doom.

It's the penultimate issue of Peter Tomasi's salute to the former Super-Sons dynamic before Jon got a growth spurt and Damian took a level in jerkass, and this comic pretty much sums up the run as a whole " it's fun, but not memorable.

The story tries to tie everything up before sending Jon and Damian back " just in time for Alfred to let them know summer's over and it's time to head back to school. This is certainly preferable to some of the stuff the boys have been up to lately, but I think this series missed its mark as a fun all-ages book.

Sheridan manages to infuse this story with emotion and pain that kicks it up to the next level.

There's a fascinating mystery at the center of the story, as well as a powerful and dangerous new antagonist, but this series wouldn't be half as good as it is without the brilliant character work Sheridan is bringing.

Last issue, which saw Alan Scott stuck in Arkham Asylum, was one of the most emotionally powerful DC comics I've read in a long time. It was going to be hard to equal thatbut I think the creative team has come damn close with an issue that takes Alan deep into a murder mystery with an unexpected ally.

The art is strong as always, and Sheridan's deft, emotional script manages to perfectly capture the time period and make this feel like one of the most personal superhero tales on the stands.

Given this context and the segment we see at the start of the issue, I'm guessing we're headed for a tragic final issuebut first we've got one epic Cold War battle brewing, complete with some long-awaited guest stars in the cliffhanger.

This isn't just one of the best DC books in a while, it's one of only a few big two comics that I would say is essential queer reading.

I enjoyed this comic, mostly thanks to strong art by Georgiev and enjoyable scripting from Campbell, but it requires accepting that the DCU is a far crueler, more bigoted place than it's usually portrayed as.

Overall, while I'm not sure that a second book for King's story was needed, Campbell is able to follow up on her Mary Marvel mini compellingly and set up a strong cliffhanger for next issue.

This issue is a little darker than the last two, with not all that much Hoppy (although his caustic relationship with Faruka is always a welcome addition to this book). But so far it seems to be avoiding the pitfall of so many tie-in comics. Not only does it feel relevant to the main story, but it feels like it's revealing key details from the story that we can't find anywhere else. Hopefully this is just the start of what Campbell has planned for the DCU.

With King's laser-focus on Diana and his unique writing style, it's great to have this book to expand the story of the Amazons' battle.

The reveal at the end of the issue likely isn't what it looks like, given the effects, but it feels like there is still a lot to explore here with only about twenty pages left to go. The fact that Campbell is going to be taking over Shazam soon and continuing Mary's story there makes me hopeful that some of these characters will be following her.

The final battle has some fantastic visuals, and it also gives us the chance to see the Wonders work together like never before, and allows Hoppy to steal the show one more time.

The third new Vertigo title to launch, Bryan Hill's American Carnage, is by far the most gritty and down-to-earth.

American Carnage #2, Bryan Hill's thrilling racism/espionage drama, ups the intensity to an almost unbearable level.

A stark, brutal look at the racism bubbling under the surface of American society, American Carnage #3 delivers the series' best issue yet, picking up from the tense cliffhanger when black FBI agent Richard Wright " undercover as a white supremacist recruit " is presented with a sadistic "initiation" ritual to beat and torture a black man captured by his supposed fellow Nazis.

The issue shifts seamlessly from political intrigue to violent horror in pages, and these are some of the best characters I've read in a long time. Hill's writing has elements of Ed Brubaker's work but with a more diverse eye. It's easily the class of the new Vertigo wave.

Morgan seems ready to make another big move at the end of the issue, furthering his push for respectability, and this title continues to be the crown jewel of the new Vertigo line.

The masterful part of Bryan Hill and Leandro Gonzales' racial spy saga has been how it can weave tension out of any scene, and that's never clearer than with American Carnage #6, a fantastic issue where there's virtually no violence " but every scene and every line of dialogue is brimming with hate and suspense.

With two issues to go, American Carnage has yet to stop surprising me " it's a brilliantly tense neo-noir that has its finger on the pulse of racial issues without simplifying its narrative into cartoonish evil. Its Nazis are human, and that's what makes them such great villains.

The most impressive thing about American Carnage, Bryan Hill and Leandro Fernandez' modern race-based noir, as it enters its penultimate issue is the way it can seesaw from ultra-violence to charged dialogue " and make the latter feel just as tense as the former.

I'm not sure the pacing of this issue entirely worked, but the series as a whole is a must-read.

We have a compelling group of heroes, a terrifying villain lurking in the background, and a strong setup for a thrilling final arc. I think this book is a recap page and cast of characters away from being a perfect book, but I'd encourage a re-read before diving back into the world of American Vampire.

American Vampire has never really been a hard-boiled horror book, instead coming off more like a thriller. That means that when it dials up the horror, it's rarely more effective. We're headed towards a classic ending to a masterpiece of a book here.

I'm not sure how long Snyder and Albuquerque plan for this last act to be, but there is a lot of story yet to be told. Black Label reviving some Vertigo classics under this new brand has delivered some excellent dividends so far.

There is a lot of story left to be told in only two more issues, but I have little doubt that the creative team will hit the landing. It's looking like a fitting ending to one of the modern greats of Vertigo.

This feels like a finale to a long-running creator-owned comic, and as the last remnant of the great old Vertigo lineup, it has a lot riding on it. I see no reason to doubt that Snyder and Albuquerque's finale next month will be spectacular.

It's been a long, winding path to get here, but the conclusion of the American Vampire saga after around a decade was worth the wait.

Visually, it's one of the most impressive books DC is putting out, and story-wise it immediately sets up an intriguing mystery and a likable main character worth rooting for.

Amy Reeder's addition to the Wonder Comics line has delivered in just about every way, thanks to a great art style that fully captures the scope of Gemworld and a cast of compelling characters.

This issue doesn't miss a step after a long absence, and it's another creative win for the Wonder Comics line and a return to form for one of DC's most underrated heroes.

It's been a while since DC went into the high-fantasy genre, and Reeder is doing an amazing job of building on the excellent work past creators have done with Amethyst. The Wonder Comics line continues to be the place DC is putting out some of its most daring books.

A fascinating subversion of fantasy epics, Amy Reeder's Amethyst has been a great new take on the semi-obscure DC heroine.

Much like their previous graphic novel, the Hales have managed to take a fantastical story and give it a very human core. It could be the start of a franchise, but it also works brilliantly as a stand-alone tale. It's another big win for DC's OGN line.

It's a perfect introductory story to the DCU for kids, but there's enough to chew on in this book to make it a perfect all-ages story that reminds me in tone of the best Pixar movies. The art style is the right combo of cartoony and expressive, and DC has a trio of bold new talents in the creative team. At only $9.99 for a full arc worth of stories, this is one of the best projects to come out of DC's OGN line yet.

The title says "In This Issue: Apes, and it's exactly what it says on the tin. Three oddball stories featuring DC's top Simian heroes and villains.

The high-stakes storyline is more than enough to keep me engaged, but I'm hoping to also see characters I can get invested in in future issues.

While this is a stand-alone series that seems to take place on the fringes of continuity, the creative team does a great job of making it feel like an event.

This has been an odd series, but I think it brought it home in the end.

Sejic has brought out the best in Abnett here, and I'm hoping that continues once he leaves regular art duties.

There's a compelling concept to this series, with Aquaman deposed from his throne and forced to build a resistance out of Atlantis' dispossessed and disadvantaged rebels, while not actually being sure if he wants the throne back. The problem is"the concept just isn't strong enough to carry the title as long as it's being asked to.

My main complaint with this Aquaman series until now has been its rather slow pace, as it seems to drag out the battle against Corum Rath and Aquaman's struggle to gain allies over an extended period. Well, that finally ends in Aquaman #32, as several major plot developments occur in twenty pages.

It's a fairly entertaining run, but there's still little in the way of plots or characters to really connect to.

There's a rather significant art shift this issue, as iconic Batman artist Kelley Jones steps on. That turns out to be a clever choice, as Jones transforms the world of Atlantis from a gorgeous fantasyland to a creepy underground haunted kingdom, which works with Rath's twisted worldview.

It looks great, but the problem is that few of the characters involved have been given much development or characterization. It's exciting, but it's rarely as compelling as the best Aquaman runs were.

The issue has some great visuals courtesy of artist Federici, who comes off like a more gritty Stepan Sejic, but the story is lacking in momentum. When the battle with Rath comes to a close, it might be time for a new direction.

It's a story with a lot going for it visually, but it feels like it's gone on at least several months too long at this point.

I've been pretty critical of the pacing of Aquaman for a while now, as it seems like the Atlantis Civil War has been raging for years, with Aquaman banished and the mad Corum Rath on the throne. This issue, it all comes to a close, and despite the massive build-up it feels a bit rushed.

This remains a more compelling plot overall than either of the involved books have had in awhile.

The issue is action-packed, but the plot is kind of weak overall.

Dan Abnett is bringing his long run on Aquaman to a close in a few months as Kelly Sue DeConnick jumps on board, and his final act will be this tie-in to Drowned World. It's also one of the best acts of his series, as he gets to close out plot points from his Mera: Queen of Atlantis miniseries and give the character a major spotlight she was lacking during the extended Corum Rath storyline.

Abnett's run was by and large always entertaining, but I think a lot of people are ready for Kelly Sue DeConnick's distinct run to begin. As a tie-in and a tribute issue, this was a decent way to go out.

DeConnick is known for provocative Image books like Bitch Planet, and she works a little bit of that social commentary in here around the end of the issue. By the first cliffhanger, I am totally hooked on her vision for this series and I hope she's around here for a long time.

A lot of people reading Kelly Sue DeConnick's Aquaman will probably only be familiar with her writing style from her extended Captain Marvel run " a peppy, fun, optimistic superhero comic about the impact Carol Danvers had on her civilian fans. But they might be surprised because that's not at all what she's drawing on for her run here.

Thus far, this series has built a fantastic mystery, and Robson Rocha is doing the work of his career on the Gods and monsters. This could be an Aquaman run for the ages.

This has quickly built up into one of DC's most interesting runs.

In only one arc, DeConnick has managed to open up Aquaman's world and introduce a host of fascinating new elements that will give writers a lot to play with " including one of the best new villains in years in Namma/Mother Salt.

There's more double-page spreads than usual in this issue, and some are the best work of Bogdanovic's career.

Easily the most plot-heavy issue of the run, Aquaman #49 advances Kelly Sue DeConnick's story in a big way " while also tossing us quite a few massive plot threads that upend everything we think we know.

This is easily the best Aquaman run since the days of Geoff Johns in the New 52, and it feels like we're just getting started.

I continue to be blown away by just how well Kelly Sue DeConnick weaves together the many subplots in her Aquaman run.

Kelly Sue DeConnick's run on Aquaman has been building since the first issue, leading to Aquaman #52, and developing its own mythology while tying in seamlessly to the larger DCU " and almost a year in, I can safely say it's probably my favorite run on the character in a long time.

Like the earlier half of this run, DeConnick is balancing a lot of elements and mostly hitting on all cylinders. Hopefully the tie-ins will resolve themselves quickly and she can continue building her master story uninterrupted.

The story wisely keeps what happened on that boat between Aquaman and Manta's father vague, but this rivalry has been building for years since Geoff Johns revamped both characters. This may be the best and most nuanced take yet.

Kelly Sue DeConnick continues to deliver one of the best Aquaman runs in memory in Aquaman #55 with a story that has brought in elements from multiple eras of Aqua-history along with many flourishes that are only hers.

This issue might not have the dense, mythological storytelling of DeConnick's run, but it delivers an entertaining Aquaman story.

This run has done marvelous work with expanding Aquaman's mythology, but as it gets down to more down-to-earth concepts, I'm hoping it course-corrects a bit to give Mera more of a voice.

There is some VERY good stuff in this book, but right now it's not living up to the early issues.

I'm still not thrilled with Mera being sidelined so frequently in this series, but this is probably the most compelling issue of DeConnick's run in a while.

There's a lot of good in this series, but a lot of the comic book tropes it plays with take away from the epic mythology DeConnick has been building.

The first half of the issue is a lot of setup, but when the chaos breaks out, it delivers in a big way.

A fill-in issue usually means two things"it won't tie in to the main story much, and it won't be as good as the main run. Surprisingly, that's not the case on either count for Jordan Clark's fill-in on Aquaman.

These are two jam-packed issues, that in a lesser writer's hands could feel jumbled. But Clark manages to handle a lot of plot points, including Jackson dealing with anxiety over the full extent of his powers (which hurt Mera the last time he used them). There's a fascinating undercurrent of commentary on dysfunctional families in this story, as Jackson tries to repair his tense relationship with his grandfather " and figure out whether there's anything in his father that's worth saving.

This is one run that fans of the character are going to look back at as one of the greats.

: Kelly Sue DeConnick brings down the curtain on her exceptional Aquaman run with a final issue that's notable as much for how non-explosive it is than anything.

Suffice it to say that this issue is Aquaman's take on one of the most iconic DC stories of all time, and it's got some great emotional punches towards the end, making good use of multiple DC icons.

This is one of the best books I've read in a while when it comes to the supporting cast and the sense of place for a hero, and it continues with the biggest strength of the DeConnick run " everything matters, and even a small-scale issue like this works to inform the rest of the run. Easily the best Aquaman run of the modern era.

All in all, a highly entertaining mini-event that did justice to both the books it tied into. Needed more Jarro, though.

This isn't like anything else DC is putting out"it's an oddity that never fails to surprise, and I'm curious what craziness awaits us in the next six issues.

Ronan Cliquet's art is great here, and it's really interesting to see how these two heroes adapt to each other's styles. We don't get much more information about the why this issue, but the arrival of the main villain in the cliffhanger might change that.

It swings for the fences, but I don't think it quite always hits what it's going for.

The concept of this series, essentially switching the powers and identities of Green Arrow and Aquaman, is pretty fascinating. But I'm not sure it's being used to its full potential.

It's an oddball side story to the bigger stories for these two characters, but it's definitely won me over.

I don't really know how this fits in with Thomas' other work in the Aqua-family, but it's increasingly enjoyable on its own.

The ending is a little rushed, but given how wild the concept is I'm not sure if it ever could have felt any other way. It's a suitable tribute to the two heroes before they likely head off to oblivion for a while.

Overall, it's a solid read, with three decent stories in service of a movie that seems to be slipping under the radar.

Black Label has been riding an incredible hot streak, and so has Ram V, so it's no surprise that when you put them together, you get a full-on masterpiece.

Brilliant art is backed up by a highly compelling and memorable story that fuses a lot of the best sci-fi tropes with some great superhero action. It's part of a great month of prestige-format books for DC this month.

This isn't some swashbuckling seafaring adventure, as fun as those are. It's a melancholy mystery that pays tribute to some of the greatest deep-sea adventures of all time.

There are a lot of interesting details about Jackson's anxieties running through this book, and the strong story and brilliant art come together into a promising first chapter in the Aquaman mythology.

The story is strong, but this issue suffers from the fact that Diego Olortegui's stunning art only lasted a single issue. He splits art duties with Skylar Partridge on this issue, and Partridge is strong as well, but the decrease in the smoothness of the art is noticeable from the first issue. Overall, it's still one of the most interesting Aquaman comics we've gotten in a while.

I don't know what's going on with the art on this book, which now has a third primary artist in three issues. Scott Koblish is a talented penciller, but it's definitely a different style than the hyper-detailed work of Diego Ortolegui. Fortunately, the story stays strong as Jackson and Mera both find themselves with their backs against the wall.

The characterization is great, but most of the high-octane action of the series is missing this issue.

If this series is trying to sell us on Jackson going from Aqualad to Aquaman, it's definitely succeeding.

Aquaman's mythology has always been one of the less fleshed-out of the DC stable, but that seems to be changing. Of course, the elephant in the room is that the Justice League is apparently dying soon"and maybe Arthur with them"so that gives Jackson's transformation into a lead all the more weight.

This first issue takes a while to get everyone on the same page, and the ending promises much more tension down the line. But both previous minis were consistently strong, and this debut continues the excellent character development all the main characters got.

Overall, this series isn't giving away its secrets too easily but I'm very intrigued by where it's taking this plot.

If the goal of this series is to set up Jackson and his supporting cast for a solo run after this, it's doing a damn good job.

It's probably the most nuanced supervillain reformation arc since the one Dan Slott and Christos Gage gave Dr. Octopus. Hopefully this one sticks like that one didn't, because with Arthur on the way out, the sea is going to need all the guardians it can get.

It can feel a little frantic, and with only one issue left it's hard to imagine how this will all wrap up smoothly, but the creative team has done a strong job so far and I have no reason to believe that's going to change.

Just about every major character gets a spotlight in this issue, but Black Manta has got to have the most interesting character arc.

This first issue is a little slight and kind of underuses the Archie characters, but it's a fun start and I'm hopeful that this six-issue miniseries will have as many fun twists and turns as the previous DC/Archie crossover.

This Archie-published crossover still doesn't quite live up to its name with its second issue " the main characters are mostly separate, and the crossover does begin, but not with the title characters yet. Still, it's a fun, engaging comic that pays tribute to the classic versions of both franchises with a plot that manages to be light and silly while still having real stakes

Archie Meets Batman '66 has been a good example of how a comic doesn't need to feel like a world-threatening disaster to deliver an entertaining and exciting read.

Archie Comics' oddball co-production with DC continues to deliver an amusing spy adventure that pays proper tribute to the Batman '66 universe.

This series has done a good job of telling an exciting story while still keeping it in the retro tone of both the properties it works with. It's a good example of how crossovers work best when they feel like they can equally take place in both comics' worlds.

One of the odder DC crossovers in recent months comes to an end, and Archie Meets Batman '66 #6 does a good job of showing off what a crossover should do " a celebration of both properties involved.

Overall, with one exception none of these stories are brilliant, but they all feel like a good fit for the genre of scary stories to tell in the dark.

Arkham has been a mainstay of Gotham for a long time, but it's never really been asked"it's a bad system, but what happens when it collapses? This team seems ideally positioned to answer that.

The tension builds consistently through the issue, with various chaos agents continuing to make Gotham a more dangerous place. Between the writing and the terrifying art, it's another winning issue for this unique series.

This series has a very deliberate pace, with certain characters being teased issues ago and only rearing their faces now. That's because this is more of a mood piece than anything else, showing how the madness of Arkham slowly infects and corrupts Gotham. It's part of the main line, but to a degree it feels more like an experimental Black Label book"well-suited for this creative team.

It's a compelling slow-burn horror mystery that's only getting better.

The arrival of Azrael doesn't add too much besides an elaborate fight scene, but the Ten-Eyed Man remains the most fascinating rogue in this series, and his escape segment is brilliantly creepy. The cliffhanger, however, leaves me a little dubiouswith only one issue to go, the addition of this very odd new villain as a major player could go either way.

The art is brilliant and this issue has a great sense of tension to it, but some of the characterizationespecially of Azraelseems a little spotty. But it's hard not to get pulled in as this series rockets towards its tragic conclusion.

Kids love Batman, they love colorful and wacky characters, and this book delivers both. It's the oddest book that Baltazar and Franco have put out yet, but one that hits its very strange technicolor mark.

It does feel a little pat at times, with several pages devoted to a character explaining to other characters why they're such great heroes, but as a whole it's a solid next installment in the Amazon saga.

This is the first part of a three-part story that will wrap the volume, and I couldn't think of a more fitting subject to revisit for the finale.

This issue has a lot to deal with, and as a middle chapter, it doesn't quite resolve anything. But there's one issue left, and this arc has been the perfect contemplative, melancholy capper to a series that has consistently been one of the most human takes on superheroes ever written.

The story doesn't so much end as move on " Michael's life is going to continue, with him doing good in the little ways he's chosen. That's the beauty of Astro City. It's a series without a main character, because its main character is its city and the people in it both spectacular and human.

Tula Lotay's art feels painted and haunting, and an ongoing sci-fi subplot doesn't seem to fit with the rest of the story yet but only drives home how unpredictable this book is. Brilliant start.

Fans of Stephen King will definitely recognize his influence in his son's work, from the slow burn to the intimate scenes in a Maine town, but I'm not sure it's the best way to kick off a new horror line. A comic is very different from a book, and the leisurely pace might make it hard for this intriguing book to keep readers from month to month.

Two issues in, it feels like the comic still moves at a pretty slow pace and the main character is mostly a blank slate.

Basketful of Heads, the first of the Hill House books to debut is still the one that isn't fully clicking with me, due to its slower pace and its odd grindhouse-inspired concept.

The whole story has the vibe of a 70's grindhouse supernatural slasher, but while the other three books weave slow-paced mysteries, this seems like a one-joke horror concept that doesn't really go anywhere more than half of the way in.

There's very little dramatic momentum beyond the inherent horror of the concept.

Between the strong plotting and dialogue and the excellent guest art, this continues to be one of the top gems of the Bat-line.

The conclusion of the "Summer of Lies" arc, reuniting Batgirl and Nightwing as they chase the ghosts of a mystery of their youth, delivers a satisfying conclusion as the two heroes face off against the Red Queen.

A done-in-one holiday issue teams Barbara with some of her best friends against Harley Quinn, in a story with lots of current events commentary but also some sketchy characterization.

This issue feels more like it's making use of the Batgirl of Burnside characters than the book has in a while, and Larson's Batgirl is a good combo of the youthful Burnside version with the more skilled Simone version.

Larson's Batgirl is very strong, a nice bridge between Burnside Barbara and classic Barbara, and I hope it continues on that path.

Batgirl takes the issue off from its overarching story to do a done-in-one team-up issue that's probably one of the most enjoyable issues of the series.

This arc is calling back to plotlines from the entire run, and it's a solid combination of the strengths of both Gail's run and Batgirl of Burnside.

It's a compelling, if somewhat slight final arc, in a run with a lot of interesting elements but without a real central plot.

Maybe this would have been a bit better as a two-parter, but it's still a thoroughly enjoyable done-in-one.

The latest anniversary issue for DC delivers a big package of stories more associated with annuals, weaving together four narratives by three writers into one semi-cohesive but highly compelling story.

I really enjoy how Scott is writing the two leads, and I hope we see more of the supporting characters in future issues. But Barbara might have more pressing concerns, as the chip backfires at the end of the issue and seemingly causes a stroke. Hell of a cliffhanger to leave off on " but this isn't the only time we see Batgirl this week.

The plot issues aside, this is one of my favorite takes on Barbara Gordon in a while and I'm hoping Scott's on this book for the long haul.

Mairghread Scott's Batgirl run continues to be one of the most intriguing new runs in DC Comics at the moment, but it almost feels like two runs in one.

The stakes are high, with both Barbara and her father in the building as the clock ticks down. But maybe too much of the issue deals with Wyrm's minions, the shapeless techno-zombies known as Terminals. These hulking threats didn't really excite me in Percy's issues where they appeared either.

There's a lot of interesting ideas in this first issue, and Batgirl as a title has surprisingly been involved in a lot of political storylines in recent years. Scott's run continues to be off to a strong start.

This is a great combo of the "Teen detective" vibe of the Burnside run with the more mature Batgirl pioneered by Gail Simone. I hope they end the rift between the Gordons soon, but this is a great run.

There are few breakout moments in this issue, but the overall take on Batgirl remains strong.

James Gordon Jr. has haunted the Gordons for years, ever since Snyder's earliest days at DC, but his dual roles in the two comics coming out right now may be his finest hour " and it comes just as he's maybe not a villain anymore. And I can safely say Scott is doing the best work with Barbara Gordon since Oracle was retired.

I don't think this is the best issue of the run, and the ongoing Jason Bard subplot doesn't do much for me, but it's an intriguing mix of elements setting up a strong finale.

Writer Mairghread Scott is leaving after next issue, paving the way for Cecil Castellucci to take over, and I wish she had gone out on a stronger antagonist in Batgirl #35.

A disappointing end to a great run.

The subplot involving Jason Bard apparently developing feelings for Barbara".pass, given the significant age gap and just how many times he's screwed over her family. It's not a pairing I'm particularly interested in. But as a first issue, Batgirl #37 is showing some good characterization for its lead character, so there's promise here.

Jason Bard referring to Batgirl as a "menace" may be a little too on the money, but this run does seem to have a very good take on Barbara Gordon " at least in the present day.

This is a title with several big ideas that aren't coalescing into a cohesive whole.

There's a good Barbara Gordon in this story, and a good sense of tension, but I'm not sure the central plot is doing the character any favors.

Overall, it's definitely getting better but I'm looking forward to seeing what Castellucci does once she's out from under this storyline.

After several runs that fleshed out Barbara's new supporting cast and setting, this run and especially this arc feel like a big step back.

The oddest story in recent Batgirl history concludes in Batgirl #44 with a fantasy-accented adventure that mostly seems to serve to push Babs and Jason Bard together as a couple. If you're into that pairing, you might like it " but it didn't work for me.

The problem is that this is a story we've seen before, and the way it's presented in this issue is deeply uncomfortable. And the ongoing subplot about Barbara's role in Jason being disabled"coming to a head soon"isn't holding my interest.

We now know that Batgirl is ending in only two issues, and based on some Joker War promo pics it looks like the mantle might be in for a shakeup. Given these two tie-in issues, I can't say I'm opposed to a complete revamp.

With only one issue to go before the end of the run, it feels like a summary of the entire Babsgirl run " a few interesting ideas, but critically flawed and a less-than-ideal use of a great character.

It's the last issue of Cecil Castellucci's run, and potentially the end of Barbara Gordon's time as Batgirl if rumors are to be believed. So for the finale, we get an extra-sized issue that tries to do a lot but is bogged down by many of the problems of the run as a whole.

This is a fascinating tale about dark, codependent relationships and the way that while Barbara will keep on foiling James, she'll never quite be able to rid herself of him.

Political comics aren't necessarily a bad thing, but they are when they devolve into this.

It's a serviceable issue without much obviously wrong with it, but that's the best that can be said.

Overall, this issue seems to set up a final showdown with Calculator, but it mainly blows up the segment where the book was at its best.

While Birds of Prey has a long and excellent history of stories, Batgirl and the Birds of Prey never got off the ground, and this issue sums up the reasons why.

Burnrate, Calculator's Terminator-esque robot, continues to destroy everything in sight, and the action is intense, but this series as a whole lacks what makes Birds of Prey work.

There's been a lot of attempts to revive nostalgic hits in the last few years, but this one shows that sometimes a property is a product of its time and place, and when too much has changed it's just not the same anymore. Might be time to let the Birds rest and try a new concept " Batgirls Inc, maybe?

It's clear that this creative team deeply loves these three characters, and this first issue makes it feel like the start of something great.

Between the organic feeling neighborhood and the great lead characters, it's making a strong case for the best new Bat-book in a while.

This book continues to be one of the biggest surprises at DC in recent years, a non-stop chaotic romp through Gotham combined with some surprisingly tense plotting and great characterization for the three Batgirls.

While the plotting is strong, this is a case where the leads are really what drives this comic. Steph and Cass may not exactly be what they were before Flashpoint, but this book captures their joyful energy in a way no one has in years.

Batgirls continues to be DC's lightest blast of a book every month, combining high-octane action with top-notch banter featuring the three heroines.

This first arc has been an absolute delight of a comic, exactly what Cass and Steph have needed for a very long time, and the cliffhanger is a great twist. Bring on the next arc.

Mostly a locked-room search with a whole lot of chaotic action, this issue is a lot of fun. How much you enjoy it will depend on your tolerance for Dick and Babs' couple banterwhich can lean a little too heavily on the cutesy side at times, as they bicker about him sneaking advanced looks at their favorite streaming show.

It's still one of the most enjoyable Bat-books on the stands right now.

None of this stuff is bad, but it feels a little genericwhile Cass and Steph bring such electric energy to every single one of their scenes. They might be the only DC teen heroes who are actually allowed to feel like teens at the moment, and that helps this book stand out from the crowd. It should stick to its strengths.

Overall, this is probably the messiest issue of the series, both in art and pacing, but its Cass and Steph are still such fun characters that I maintain this is the best spotlight either of them have gotten in a very long time.

This book has really emphasized their friendship in a nice waybut let's be honest, it feels like a lot more than friendship at times and I would love to see DC actually take the leap and confirm that in the coming year. One way or another, it's great to see these girls getting the spotlight they deserve again.

Batgirls has always been one of the most fun books in DC's current stable, but this issue might be the best of the entire run.

Jonathan Case, the guest artist on this arc, does an amazing job of creating unique fight scenes, particularly a dazzling battle on a suspension bridge far above Gotham where Cass comes under assault by close to a hundred ninjas.

This arc has been the most emotionally fraught of the series, although it's also had the most mood whiplash.

This has been an odd series so far, with a lot of mood whiplash, but surprisingly it manages to make the whiplash work. The story feels messy and real, in a way few comics usually do.

People can quibble with some of the decisions made with this series, but I dare anyone to argue that these characters have gotten a better spotlight together in the last decade.

This series has been one of the strongest books in DC's lineup for a long time, and that's heavily due to just how much love it clearly has for its lead characters.

There are so many great players here, like Alysia Yeoh and Grace O'Halloran, that I'm hoping find their way back to the comics soon. And most of all, I'm hoping these two continue getting the spotlight they deserve. Cass seems to be covered with Birds of Prey, thankfully, but I'll keep wanting a book continuing this dynamic.

After a year of stories, the Batgirls occasionally feel like second fiddles in their own bookwith several complex villainous conspiracies and Barbara Gordon occasionally pulling focus as the third Batgirl. In some ways, this annual feels like it's attempting to refocus the book on Cass and Stephand then it takes a strange and wacky turn into left field and throws the entire series for a loop.

I wasn't expecting much of this series based on how long it's been since Silvestri wroteor really drewanything, but I have to say this worked a little better for me than I was expecting.

The art by Silvestri is strong and gritty, but the story doesn't live up to it.

The visuals are good, but there is little plot advancement and the overtly bleak tone makes it hard to get invested in what's going on.

But while it works decently as a horror comic, it lacks the noir edge that makes the best Batman horror comics work. Instead, it feels like an '80s splatterpunk horror, and there's only so far that can go.

Silvestri's art continues to be right out of the '90s, and Batman and Gordon get a few good scenes, but the villain is your classic stock monologuing creep.

This story was ultimately about what I expected, but there were a few moments that hinted it could have been more.

Exactly what I'd want from a first issue set in the original movie's continuity.

This and the Superman counterpart are some of DC's most underrated comics right now.

I don't know what went on with the schedule herethis issue is around three months late, and the series has just startedbut it probably has something to do with the brilliant art by Joe Quinones. It's worth the wait, but it's definitely stunted the momentum of the serieswhich ended its first issue on a brilliant cliffhanger.

Still excellent, and I'm just sad this is only six issues.

The delays between issues of this miniseries, likely due to Joe Quinones' hyper-detailed art, are so big that I would just recommend reading the past issues again before the new one. It's worth it because this 80s-set movie sequel continues to be a true gem.

This reinvention of the Burton-era Batman has been one of the most pleasant surprises out of DC in a long time, and as we hit the halfway point things are only getting better.

These books are very much paced like a movie, so it feels like we're about to hit the epic final showdown but there are a lot of villains to get through.

Two-Face has never quite had the flair of other Gotham villains, lacking the flashy lairs and gimmicks. No more, as he gets a new home base at the end of the issue that's one of the best visuals of the entire series. In only four issues, this version of Gotham feels fleshed out and with enough complex flashpoints that it's hard to see it wrapping up in only two issues.

It's been a while since we got an issue of Sam Hamm and Joe Quinones' thriller, and the return doesn't disappoint at all.

There have been many delays for this comic, probably due to Joe Quinones' very detailed art, but the finale brings it together as another modern classic in the vein of the Venditti/Torres Superman '78.

While the action segments as drawn by Jones are brilliant, it's King's character work that steals the show. I don't know what King's master plan for the run is, but I can't wait to find out.

Who knew King had such a handle on the lighter side of Batman? I'm hoping for a lot more issues like this.

This is far and away better than any Batman/Superman team-up we've gotten in years, and makes me wonder if King has a plan for Superman in his future. I, for one, can't wait.

King once again takes a break from his main narrative to do something completely different in Batman #38, and once again, this isn't an issue that will leave my mind anytime soon.

Another great issue in King's run.

Batman #40, the conclusion of the Batman/Wonder Woman arc delivers satisfying moments for everyone involved, but it's really Selina who steals the show in an issue that resolves a lot of the questions people had about the first part.

Equal parts horror story and artists' showcase, the creative team's Poison Ivy story debuts in Batman #41 with a gorgeous, haunting tale that shows off just how powerful she can be.

Surprisingly, it's both one of his funniest issues, and one of his most powerful as he addresses some of his most controversial moments involving Poison Ivy head-on.

As we build towards the wedding, this book continues to hit on all cylinders.

The issue is almost frantic in pace, and while it's fascinating to explore, it's sort of a wild misjudgment even for Booster. I'm excited to see how it plays out, but I'm not entirely sold yet.

Things go from bad to worse to horrible as the timeline reaches its brutal climax " and we've still got several issues to go. How King gets Booster out of this one is going to be interesting to watch.

The conclusion of "The Gift" takes the story to a dark place in Batman #47, even darker than we've seen before " and that takes some doing.

It's not going to be for everyone, but to my eye, this issue is brilliant.

Between the gorgeous art and an ending that will have people guessing for two weeks, it's one of the most distinctive issues of King's run.

Part lead-up to the wedding, part retrospective of Batman and Catwoman's wedding, this is a surprisingly tense and moody issue with a lot of complications.

Coming off the devastating wedding issue that ended with Batman being left at the altar (well, rooftop), Bruce Wayne is not in a great mental place as Batman #51 opens. And what's the one thing that'll make everyone feel better? Jury duty!

I wish we had seen a bit of Dick as Batman again this issue, but this is one of the most compelling issues of this Batman run, and Batman is barely in it.

As the second half of King's Batman run begins, I see no reason to believe it won't be just as exceptional as the first half.

Matt Wagner's art looks great, but he's been very vocal about not being allowed to use his choice of colorist. That's a fumble on DC's part that might keep this legendary creator from working with them again. Shame, because this issue is pretty close to being an all-timer.

Batman #55 is a high-quality comic where not much happens, all leading up to a shocking moment that's been spoiled six ways from Sunday weeks before the issue comes out.

Whatever the next issue brings in terms of the actual showdown between the two players, this issue set it up in such a way that it had better live up to the prelude.

It's a deeply disturbing issue, yes, but not one that passes the smell test.

I'm hoping to learn more about Penny Cobblepot, because her random introduction is sort of an odd touch for the issue, but this is much closer to the best of King's run than we've seen in a while.

Tom King's Batman is quickly finding itself in a very interesting spot, where I admire the quality and craft that goes into every issue while disagreeing more and more with the direction.

Lot of questions to be answered, but this issue is a big step up from the last one.

Easily one of the darkest, most fascinating Batman stories I've read in awhile.

Ultimately, this is a very well-executed issue, but it lacks that special touch that's made King's other issues in this vein stand out so perfectly.

As we approach the third act of King's Batman, there's a lot of unanswered questions, and this issue makes me pretty excited to find out the answers.

Entirely written by Joshua Williamson, the man behind last week's exceptional Flash annual, "The Price of Justice" seems to be a good fusion of psychological drama and high-octane action " but so far it doesn't seem to have all that much to do with the main plot of Heroes in Crisis, and even more surprisingly it draws its biggest plot point from the early issues of Tom King's Batman.

This crossover has been a tragedy, as Gotham Girl repeatedly makes the worst possible choice towards self-destruction. I can't see her coming out of this alive after the end of the issue, and that feels like a waste. As a Batman-Flash crossover, it's a great way of sorting out the bad blood between them. But as a next chapter in Gotham Girl's storyarc, it's sorely lacking.

It's no secret that I've had a few issues with the direction of King's Batman over the last few months, and this "Knightmares" arc has been a mixed bag of fascinating experiments without a clear narrative thread. Somehow it's all happening in Batman's head, but not all of them are from Batman's perspective. That's the case with this issue by guest artist Jorge Fornes, easily the best of the arc " because it puts Catwoman front and center and finally gives us a little insight into her controversial decision to stand Batman up at the altar

I don't think it's quite on the level of the brilliant originals, but it's more than worth a read for the stunning art and another piece of this increasingly complex puzzle as Batman's journey through the dreamscape approaches its end.

This is an extremely elaborate way to get Batman to the next step, but with more issues like this I'm ready to be patient and enjoy the ride.

Batman #69 is the final story of Knightmares, and the second half of this bizarre arc has picked up the pace with some twist illusions and a great sense of tension.

The slick Mikel Janin and the gritty Jorge Fornes share art duties this issue, an awkward mix that shouldn't work but does thanks to the episodic nature of the issue.

While the execution of this comic is excellent, the never-ending bleakness and dark turns make it a little hard to stay invested.

It defies belief slightly occasionally, as Bane's long game seems more fitting for someone like Ozymandias, it's so intricate. But it's a good use of Bane as a smarter mastermind villain, which is in line with his original characterization (if a bit exaggerated here).

Over the last six months, Tom King's Batman run has felt less like a cohesive run and more like a narrative experiment " with each issue dramatically shifting locations and themes to the point it often became confusing and frustrating. When it doesn't work, it feels annoyingly literate. When it does work, like this issue, it's fascinating.

City of Bane and the last big storyline of King's run on this title is right around the corner, but when talking about the high points of this run, this issue is bound to be high on the list.

As Tom King's Batman enters its final arc, this mind-bending and often frustrating run kicks off its biggest arc yet, City of Bane, with a double-sized anniversary spectacular, Batman #75, that raises way more questions than it answers and delivers one punch after another.

There's a LOT going on here, and it's building into one of the most exciting stories of King's run.

Tom King is one of the biggest puzzles in comics, as his comics are often equal parts the most impressive and the most frustrating on the stands. That's the case with Batman #77, which begins with some of the best writing of King's run and ends with a gut-punch of a twist that has the potential to destroy the character's status quo if not reversed.

We all know some grim stuff is coming as Batman and Catwoman return to retake Gotham, so this break arc is a nice breather before this title heads into the last six issues of its run.

We know he's going to make a face-turn by the end of the arc and probably wind up back in oblivion just like Jor-El, but unlike Jor-El he's been taken so far that I don't know if I'll buy it. And still no word on or reaction to what happened to Alfred. But segments like Batman's face-off with Hush, or the brief and thrilling segment involving Kite-Man, show King's deliberate pacing at its best.

There's a strange backup with Harvey Bullock half-naked and singing a weird song while wearing Joker makeup, and I'm not sure what to make of it, but the art by both Romita Jr. and Gerads is top-notch, even if the story feels scattered.

But the problem with this narrative is that for all the hype over City of Bane, it doesn't feel like Bane is the ultimate arch-villain of this story. This showdown almost feels like a Mini-Boss, with Thomas Wayne lurking in the background.

Tom King may have the strangest sense of pacing in the DC stable, and it alternates between fascinating and frustrating, especially in reading Batman #83.

I've had my issues with Tom King's Batman run for a few months now, but I'm happy to report that he does stick the landing in Batman #85 with a strong final issue that calls back to the run's best moments.

So, a fine start. It's nothing we haven't seen before in a Batman story but we haven't seen this type of story much lately, and it's well-executed.

It's a clear attempt to win back the crowd with a run that seems to take some of its DNA from Snyder and Dini but quickly becomes its own thrilling flavor. Let's hope Tynion gets to keep building this run for a long time.

Guillem March's art has improved a lot, although he still has elements of the cheesecake style he had on the Sirens " and fans of that series will be very glad to see the last page. Three issues in, I am fully invested in this mystery.

Under the surface, this Batman is more unwell than he has been in a long time, and I suspect that's going to come out in a bad way soon. But until then, we're being treated to one hell of an entertaining run.

This entire run has been great, but this issue builds the tension up to an almost unbearable level at times.

Joker War is getting all the hype, but Tynion is coming out of the gate on this title as strong as Snyder did.

The title hasn't missed a step, though, as we plunge right back into James Tynion IV's high-octane thriller.

As we rocket towards Joker War, James Tynion IV's run continues to build momentum and it becomes clear just how many hands Joker has everywhere in Gotham.

There's a real sense of dread all over the issue, and it's the perfect lead-in to what promises to be the biggest battle against Joker since Scott Snyder's Endgame.

This is an explosive kickoff with a great cliffhanger. We'll see how the tie-ins do, but Tynion has done an excellent job of making this feel like an event.

We're still in the opening act, but this storyline is exactly as intense and creepy as it should be.

This is what a Joker event should be, and we're only halfway to the big showdown.

It's a great setup for the final two issues of the story, and Selina's cliffhanger has a lot of promise as well. No Joker or Clownhunter this issue, but that's just whetting our appetite for the chaos to come.

The upcoming Batman #100 is an oversized conclusion, and it'll need it"there is a lot built up here for an explosive conclusion to one of the best Joker stories in years.

This story directly leads into the upcoming Punchline one-shot, and it's set up a fascinating new status quo for Batman and everyone around him.

After the sheer chaos of Joker War, it's time for a break"at least for one issue, because Ghost-Maker is lurking right around the corner to be the next breakout villain of Tynion's run. But this issue is much more about the long-term fallout of Joker War"and how it's going to change Batman's operation.

This era of Bruce's past hasn't been explored too much"the last major plot thread to come from that was David Cain as his deranged former mentor"so there's a lot of promise here. And like much of Tynion's run, it's sure to make a chaotic Gotham even more challenging for a very different Batman.

With some great cameos and one hell of a central fight, it's another strong issue in a near-flawless run so far.

With only one issue to go before a hiatus for Future State, this series is still one of DC's most consistently entertaining, but it needs to get its art situation sorted out before the next big arc.

Despite not having any developments as huge as the last few runs"yet"it actually feels like one of the most ambitious recent runs for the sheer number of significant new characters it's introduced.

It's no surprise that one of DC's best books before the relaunch remains so now.

This is very much a breather issue, but that's not a criticism at all. James Tynion's Gotham feels alive in a way the city rarely does, and that allows him to make issues like this"where we're mostly waiting for the chaos to break loose"as compelling as the big action set pieces.

Tynion seems to be asking some hard questions about Batman's role in Gotham, and all these new players are only creating a more complex picture.

This story is really just the lead character fighting his way through a different boss level every issue before he gets to the woman of the hour, but it's written well enough that it's more than holding my interest.

Ghost-Maker's ascent up the tower continues to be highly entertaining, and I'm looking forward to him finally facing Madame Midas. It's superhero comics by way of Korean martial arts films.

Much of the cast is split around Gotham without too much to do this issue, but coming off the jam-packed Alpha issue, it's a good break that shows us just how much Gotham's fabric is collapsing in only a short time.

This issue, like the last, is mostly prelude before a coming massive showdown, and it's a testament to just how good Tynion's writing is that it hasn't lost a step.

This event has wavered between surprisingly character-driven stories like last month's installment"and no-holds-barred Gotham action like this one. It's a testament to Tynion's writing that both are equally compelling.

This story has been giving just about every member of Tynion's larger Bat-family the chance to shine, and the end of the issue escalates the threat to a new level. Scarecrow continues to be a terrifying presence in the background, but one who prefers to let others do his dirty work. And that makes this story feel very different from past Bat-events.

The cliffhanger might confuse some people"it ties in deeply to what's happening in Ram V's Catwoman run, and I'm not sure it's been set up properly in this book. But this is all coming together into one of the most compelling and chaotic Bat-stories in a while.

Fear State is James Tynion IV's final big story in the Bat-books, but what's surprising is how little it feels like a traditional comic book event. Sure, there are villains and even a powerhouse who Batman can fight, but this is a comic with a lot more on its mind. It's as much about what fear and anger does to a person than it is about fighting villains.

It may feel like a step back in intensity from past runs, but I think that's by design. Williamson is an expert at building a run from the ground up.

Josh Williamson has a tough task ahead of him, following up a quartet of the most acclaimed extended Bat-runs in memory. Based on these first two issues, the veteran horror writer might just join them.

Three issues in, this continues to be a strong addition to a great streak of Bat-runs.

With Mikel Janin and Jorge Molina sharing art duties, the art on the fight scenes is fantastic. Anyone who thought certain characters were acting out-of-character in this run" you're not wrong, and the reasons why will become clear.

Josh Williamson is writing almost the entirety of Shadow War, so this is less of a crossover than an epic-sized story to wrap up this current era of his titles. And based on the first two issues, we're in for a hell of a ride.

This issue is surprisingly funny at times, but by the end of the main story it pulls back and reminds us of just how high the stakes are here and just how fast things can go horribly wrong.

Overall, this is more of a quiet epilogue to the explosive events of the recent crossover, but it does a solid job of closing the book on this chapter of Batman's story.

It's just a huge win all around as a debut issue.

Zdarsky is a master of character work as always, and it's hard to pull off a character who expresses nothing but feels so much. Then comes the cliffhanger as we get our first hint of where Failsafe actually came fromand it's a brilliant callback to one of the strangest Bat-stories of all time.

This is a bigger, weirder, and wilder Batman story than we've seen in a while.

It doesn't quite have the emotional punch of the previous few issues, but when it hits on all cylinders, it's as good as the best of the run. But I'm a bit surprised by the sudden dovetail into event-style storytelling at the end.

Taking place in several timelines, it's more of a mood piece than anything as it delves into the origins of Batman's no-killing rule, and it ends with a truly chilling moment as we're left hanging for the next part.

The first part of this issue is brilliantly tense, a wordless action segment reminiscent of the Oscar-nominated thriller Gravity.

Zdarsky did an amazing job of emphasizing just how well Bruce and Tim work as partners, and this story is the ideal evolution of that dynamic.

I think Zdarsky has pulled off the near-impossiblethis run so far is truly a type of Batman story we've never seen before.

The still-anonymous villain has expanded Arkham's operations in a way we've really never seen before, and the setting introduced at the end of the issue is just another great level-up for a series that never seems to take its foot off the gas pedal.

Zdarsky's run on Batman has been one of the most ambitious since Snyder's, but with this issue it becomes clear he's aiming for something even crazier. This is a full-fledged multiversal saga, maybe the most ambitious Batman story in decades, and we're just scratching the surface.

I don't know if I've been this excited for a next issue of a Batman book since the heyday of Scott Snyder and Greg Capullo's run.

Bruce and Selina finally meet after the recent events for both of them, and some unpleasant truths come out that set the two of them on opposite paths. This is some of the less compelling stuff Zdarsky has written, and I'm expecting the crossover to lack some of his signature madness. That being said, everything that surrounds it is still VERY good.

The idea of Batman always required a man who wasn't entirely well, but I don't think any writer has ever taken that as literally as Zdarsky.

This is a brutal story, not just for the no-holds-barred fights between family, but for how ugly it is when Batman actually abandons the code he's sworn to protect. This almost feels like a deconstruction on the stereotype of "Batman as lonely grim warrior, and it's a bit uncomfortable to see at points. But this is turning out to be a far more emotionally-driven storyline than I was expecting from the solicits.

In the aftermath of Gotham War, Chip Zdarsky is doing what he does besttaking his heroes to rock bottom.

Batman and Joker are finally facing off againbut the clown prince of crime actually feels like a side story to this issue, as Batman's greatest battle is with himself.

It's a tense, issue-long action segment without a single break, and the outcome is really never in doubt.

This is going to be a weekly release, as Zdarsky takes his shot at a definitive Joker story like so many other top creators have done. So far, it absolutely looks like it's going to be one of the greats.

Brilliantly tense and chilling in places, it does an amazing job of turning Joker back from being a routine supervillain into being a nightmarish force of nature. The character has never had a definitive origin, and while this seems to be leaning on the story from The Killing Joke, it does a better job than we've ever seen of truly making Joker feel like a threat that could go toe to toe with the entire DCU.

The conclusion of Chip Zdarsky's multi-timeline saga of Batman and Joker hits like a truck this issue, with Batman lost in the deep future in a world where Joker's madness has taken over the world like a virus.

We're seeing the evolution of Joker from the confused criminal we saw in the last arc to the Batman-obsessed monster he became. I'm glad Zdarsky didn't commit to a full origin for Joker, but this has been a fascinating lost chapter for the clown.

This issue has a distinct sense of hopelessness to itat least, for everyone but Bruce, who wastes no time turning Blackgate into his private staging ground for a great escape. It's amazing that this plot has been building since Zdarsky began his run, and I suppose it makes sensewho makes a better arch-enemy for Batman than Batman himself?

We don't see the big showdown start this issue, but Zdarsky does an amazing job of building the tension as both players make their moves.

This felt like a perfect wrap-up to Zdarsky's main arcso it's a pleasant surprise that he's not mic-dropping here. He still clearly has a lot left to say on the character, as he's continuing to deliver an all-time great run just like he did on Daredevil.

Despite it supposedly being a "breather issue where there is no big central threat, it actually feels like this issue might be the most meaningful in the series in a long time. Next up are some Absolute Power tie-ins, but I'm hoping Zdarsky has a lot more planned for this title.

Zdarzky let this plotline simmer for a while, but he made the outcome count in a big way, and this is and the last issue are the perfect breathers we needed before things hit high-octane again.

This issue feels a lot like a cosmic heist adventure, which is a lot lighter in tone than the rest of the event but Zdarsky never lets us forget just how high the stakes really are for the mission.

Chip Zdarsky has taken Batman to some strange places over the course of this run, but the dead world of Czarnia is definitely up there.

Overall, this issue nicely builds off what Brisson has been building, and I trust Ghost-Maker and Clownhunter in his hands in particular.

There's nothing left by some loose ends for James Tynion IV, and one of those loose ends is filling in the blanks on Ghost-Maker. The mysterious villain who started as Batman's deadly rival and seems to have become his snarky partner in crime has been kept in the shadows until now, but this issue finally peels back the curtain.

There might be a few too many coincidences in this issuemaybe supernatural in origin?but it does a great job of setting up some fascinating stuff in Gotham's past and raising the stakes for the upcoming next chapter of Ram V's run.

King has committed to the Batman/Catwoman relationship like no other writer ever has " not just in having Gotham's It Couple get engaged, but in truly exploring the underpinnings of their relationship and what keeps bringing them back to each other.

It's easily one of the best Batman stories I've read in years.

As King's run winds down, there's been a lot of debate over some of his story decisions. But this issue is not only King's run at its absolute best, it's one of the best single issues he's ever written.

This is the perfect epilogue to "act one" of Tynion's run, and makes me more excited than ever to see what he has planned for Clownhunter and others in the next act.

A great event needs to hook readers from the start, and that usually means some big explosions or other chaos. But James Tynion IV, in his final Bat-story, manages to hook us immediately with a simple conversation between two evil men.

These great vignettes are undercut by a bitter main story that makes Bruce feel emotionally useless and the Bat-family feeling rather cruel to each other. It just emphasizes how broken the Bats are without Alfred " which may have been the point.

It's a strong epilogue that leaves Joshua Williamson and Mariko Tamaki with a lot of fascinating elements to work with.

Even now knowing much about this universe, I'm intrigued to learn more and this one-shot sold me.

Brilliant art, and a great teaser for the upcoming annual by Tynion and Stokoe that will finally give us Clownhunter's full origin. It's the perfect way to end this near-flawless anthology.

It's not a perfectly smooth read, but it's a fascinating launch that sets up what's sure to be a year-long classic.

Overall, aside from some slight confusing shifts when switching timelines, this is one of the best DC books at the moment and the strongest King Bat-story we've gotten in a long time.

This is definitely inspired by King's more stand-alone, cerebral work as much as his Batman run, and it's paying off.

Continuing to take place in three timelines, King and Mann's exploration of the past, present, and future of Gotham's most iconic couple delivers some more fantastic moments in an issue that feels more leisurely than the last.

This title somehow delivers both more and less than it was promised.

This series has always been good, but it wouldn't be nearly as effective if King wasn't this great at showing what drives his characters in these three different timelines.

It's very rare to see an art switch mid-stream work out, and even rarer for it to take a title to another level. But while Clay Mann's art was always excellent, Liam Sharp's super-detailed and gritty work is even better for this three-pronged story.

King works best when he's dealing with characters who he can put his unique stamp on, and while there is a lot of good in this series, it doesn't quite match up with his other recent work because it feels too apart from the character we know.

We're almost to the end of what is likely Tom King's final say on his Batman epic (save a stand-alone series starting in March), and it pretty much sums up both the best and worst of King's work.

This series largely feels like a mood piece more than anything, and while King is great at those, this series doesn't quite live up to the standard of the densely plotted masterpieces he puts out at DC on a weekly basis.

King and Mann's take on the core couple's relationship has been strong, but this feels like it would have been a stronger series if it had been allowed to be the final arc in King's Bat-run rather than a stand-alone series. It doesn't quite live up to his other maxiseries.

When it works, it really, really works. But when it doesn't, it often feels like an overly ambitious experiment that never quite hits the mark. And that matches pretty well with Kings run as a whole.

It's a brilliant comic, but don't miss the backmatter, which includes tributes to Leon, two DC stories he illustrated for anthologies"one classic and one modern"and a fantastic collection of pin-ups. This is a true must-read tribute to a legend.

Damian wants to crush crime no matter the type, Jason openly sympathizes with Catwoman, and Tim struggles to stay loyal to Bruce while the numbers aren't adding up to him. It all comes together into a tragic conclusion that kicks off the war in fully, setting up what might be the most compelling line-specific event out of DC in some time.

All in all, a fun if truly bizarre event.