Ray Goldfield Comic Reviews

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

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.

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, 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 great giant anthology issue without a miss here.

This first issue already makes this one of the most exciting new comics to come out of DC in a long time.

The character work in this book is fantastic which makes it all the more surprising that the action is phenomenal as well.

This is a book that keeps building its world with every issue, and creating something unlike any other Batman book out there.

We get some hints at a larger villainous conspiracy here, as well as some great action as we see our Batman in action for the first time. But while Walta's guest art is brilliant, what really makes this issue so strong is how effectively it gets us into Bruce's head as he comes of age and uses his pain to become something we haven't seen before.

Every issue of this book continues to raise the bar from one of the best creative teams in comics.

Between the many fascinating character beats in this book, the spectacular action, and the way it keeps on growing and evolving its version of Gotham, it's got a strong case to be DC's best book.

It's fascinating to see this alternate version of how these dark enemies of his could have become his friends and it's a needed counterbalance to just how bleak the rest of the world is.

This is one of the most radical reinventions of Batman I've seen, but it's also incredibly true to all the characters and delivering a stunning story.

It all comes together into one of the best Bat-books I've read in a long time maybe since Scott Snyder's last run on this title. There are so many other great beats, including Martha Wayne and the former Mayor Gordon, and a flashback to Bruce's relationship with Selina. I'm hoping Snyder has a very long time planned on this title.

This issue is packed with disturbing visuals that could probably never happen in the main line, and the tension is through the roof throughout.

This is definitely not the direction I ever expected to see this title take, but that just makes it an even stronger title.

This is probably the darkest issue of the run so far, and so the character who appears at the end is very welcome. Scott Snyder has played with these dark themes before, but we've never seen him unleashed quite like he is in this run.

Another brilliant installment in the best line in comics right now

This series has managed to be one of the most brutal DC has ever put out, starting with gang murders and brutal bat-beatings and turning towards full-on body horror. But somehow, it manages to top itself once again with the conclusion of the Bane arc.

This feels like an expansion on what Snyder did during his past Joker stories, making the Clown Prince of Crime a more supernatural being with a centuries-old backstory. And no surprise, from this book it's brilliant.

Nick Dragotta has always been one of this series' secret weapons, but he really outdoes himself this issue with a magical wilderness that packs a ton of detail into several pages with panel-heavy layouts, before taking us into an epic arena for a dramatic battle.

Every time we get a new villain in this title, Scott Snyder goes above and beyond to debut the most disturbing version of the character we’ve ever seen. Now it’s Poison Ivy’s turn to shine – and the larger scale and no-holds-barred tone of the book definitely works in her favor.

This book might be a very dark take on Batman, with some horrific visuals every month, but it also has a surprising sense of humor that works very well. Ivy was a compelling threat, but she’s just an appetizer for what’s to come, as we get another tease for the extremely intense Jack Grimm – and the potential coming of our first Robins.

Overall, fantastic stuff with three talented indie artists doing an amazing job of paying tribute to Snyder and Dragotta''s work.

There is so much lore to explore in the Absolute Universe that the architects have begun experimenting with spinoffs. First came the Absolute Batman Annual, which let a trio of cartoonists freestyle with the character and his world, and now comes this one-shot as Scott Snyder gets an assist from his Arcbound collaborator Frank Tieri, and the latter puts out the best comic of his long career thanks to help from acclaimed horror artist Joshua Hixson.

Given the quality of the line until now, it's no surprise the first hints of an event are as exceptional as the rest of the series.

As strong as DC has been lately, it hasn't had a great teen-centric book in a while. This shows that Jeff Lemire, amid all the other genres he's a master of, has an amazing handle on coming-of-age tales, something he really hasn't worked with since his short Superboy run pre-New 52. It's another home run right out of the park for the Absolute Line.

This book is so different from the rest of the line, but it's a great coming-of-age story for the universe's youngest hero. I'm very curious to see how this young Flash will interact with the rest of the line, but right now this is yet another phenomenal book in it.

Amazing issue, with some great moments and a last-page jump scare that sets the stakes high. Another month in, the Absolute line absolutely does not miss a step.

This is ultimately a hopeful book that argues that change is always possible whether you're a rambunctious dog or something else entirely. And Krypto is a very good boy indeed.

They're an interesting and messy group, one that definitely captures the vibe of the classic family of criminals. But this issue also contains some incredible lore drops, including the first appearance of an incredibly important figure in the Flash family and a betrayal that, while expected, comes at the exact right time for maximum impact.

Amid all the other great elements of this title, one thing that always strikes me about Jeff Lemire's take on Wally West is how good it is at conveying uncertainty amid homelessness.

It's a testament to just how good this line is that the flashbacks are so compelling.

Grodd, the little psychic monkey, continues to be a huge scene-stealer and fan favorite in what's been a pretty dark line so far. But overall, it's the slow-burn scale building and the excellent character work that really makes this book excel.

I've really appreciated the way Lemire has done truly unique things with the way Wally's powers manifest. It takes on an element of cosmic horror as he seems to be shifting back and forth in time an interesting new wrinkle for a kid who barely understands what he can do yet, with no mentor to guide him.

This is the kind of story that the Absolute Universe excels in taking familiar characters and taking away their safety net. You see what they're really made of when everything is on the table, and no one is safe.

Lemire has done an excellent job of throwing the characters for a loop with every issue, and as year two begins next month, this continues to be one of DC’s best character-driven books.

This feels like it's going to be one of the darkest books in the line, which is a very big change for the Green Lantern line, and it's absolutely one of the most ambitious as it brings truly unpredictable cosmic forces to Earth.

Another phenomenal entry from the Absolute Universe so far.

Al Ewing has turned Green Lantern into a full-fledged horror story, and like every horror story, it has some classic inspirations.

This continues to be one of the most intriguing books in the Absolute line, packed with mysteries and scares in the best Al Ewing fashion.

This is the kind of series that rewards patience, and as we get to the end of the first arc, it looks like the pace is only going to speed up from here.

Another huge win for this line.

This whole issue feels so distant from what we've seen so far, with two artists with a distinctly unique vibe, but it hints at a whole new world that I can't wait to explore as Ewing's vision continues to unfold.

This comic doesn't demonize anyone, but it makes clear that this is self-destructive behavior that blows up in Jo's face. In the end, her decisions lead her back to Evergreen, where Hand has recently died and the town is back in a shape where she can start over and reconnect with all her old friends.

With the threats of deep space far from Earth right now, the power struggle is still only beginning and this is just as good as any of the other Absolute books.

This is one of the most intense and violent issues of the series so far, with the stakes sky-high despite the lack of a huge-scale villian for much of the story. There are also some great flashbacks that show Jo's complicated past, and the addition of Simon Baz here a magic-afflicted agent with a very interesting reason for his mask continues to add new wrinkles. It feels like unlike the other books in the line, we've barely scratched the surface of the mystery here.

At its core, space is terrifying. The Green Lantern franchise has always played it for more cosmic adventure, but with lashings of horror. This series takes it in the opposite direction and gives us a glimpse of just how scary a world ruled by these cosmic energies would be.

All the Absolute books do an amazing job of raising the stakes each issue, but grounding the story in phenomenal lead characters that are extremely easy to get invested in month after month.

It's equal parts horrifying and incredibly beautiful, with some of the best art I've seen in a DC Comic in some time, and two very different characters forming a symbiosis that has incredible possibilities. Camp is now officially one of the only creators out there to have A+ books going at three companies at the same time.

The issue doesn't feel like there are any big reveals about the overall mythology of the issue, but it doesn't need them it's just incredibly fascinating to watch these two unlikely partners work.

This book is an experience in the strangest way possible.

All the Absolute books have a near-perfect fusion of story and art, in a way that's pretty rare to see in comics these days. It all comes together into a book that feels like it could have come out of the Golden Age of Vertigo, but with a superhero twist.

There's a claustrophobic sense of all-too-familiar horror that pervades this series from the beginning, and this issue dials the tension up to an almost unbearable level as we get to next issue's climax.

I was not expecting this book to be nearly as creative or spectacular as it was, but it's maybe the best example of how the Absolute Universe is showing off DC at its best.

This title so far seems almost completely disconnected from the rest of the Absolute Universe, with a gonzo sci-fi vibe that doesn't match the other titles at all. But as long as it's this good, I can't imagine anyone else quibbling with that.

The visuals in this issue are on a new level, with Rodriguez playing some fascinating games with format. And the ending introduces a major new player, leaving readers with a pit in their stomach.

It’s a brilliantly tense, almost suffocating issue.

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.

There are just enough huge status quo changes here that it feels like the perfect lead-in to All In but I think even bigger is coming.

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

This is a darker, more pained take on Jon Kent than we've seen so far, and it makes me hope that this creative team has more planned for the character.

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.

The biggest strength of this issue has been the way Ridley has mixed in Waller's often-forgotten family life, with them being the only people she can't intimidate or force into obeying her.

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.

This series has been a large-scale thriller pulling in almost the entire DCU, and it's set up a truly epic showdown for Absolute Power #4. The issues varied a bit in quality, but overall this was a very intriguing way to do a tie-in.

The Absolute line so far has been a brilliant example of what happens when you combine original storytelling with top talent, and just let them cut loose. You get the most exciting comics on the stands.

This is a fast-paced, thrilling read with some great moments, but it keeping its lead at arms' length means it can't quite reach the heights of its two counterpoints yet.

Many of the plots here are a little reminiscent of many end-of-the-world movies that deal with class warfare, just on another planet. But while the main plot may play out as expected, there is one great twist after another that keeps things fresh. The last page in particular brings in an iconic figure from Superman mythos and asks some key questions about what her role in everything was here. Just like the other Absolute books, it's really interested in keeping us guessing.

This creative team is doing something unlike any Superman book on the stands, which is the assignment for this whole line.

It almost seems like a running gag at this point I think that this has to be the month where the Absolute line loses a bit of its momentum, and each month the three books prove me wrong.

It's another brilliant issue in a line that has not missed yet.

What happens when all that power and intelligence winds up in the hands of someone who's already had their mind shattered? It's a terrifying concept, and one that's executed brilliantly here.

The action in this issue is intense, but as usual with the Absolute Universe, there's a great emotional underpinning to every issue.

Of all the Absolute books, this one might be jacking up the tension the most with every issue.

Ra's madness, Lois' conflicted nature, and Primus' determination to finish the threat once and for all and see Superman evolve into the kind of warrior he needs to be are all intriguing subplots but the issue takes a huge level up in the last few pages, with a shocking betrayal and an identity reveal that I never saw coming. Just brilliant stuff.

This issue has some big shockers, with one that'll change the status quo of the series going forward, but I think this title has one distinction going for it in the VERY intense battle for the best Absolute book. It may just have the best villain of the lot in this sadistic green hivemind who takes over the series once again.

This hero is probably the furthest from the version we know of any of them, but it's one of the most compelling takes on Superman we've had in a while.

This series started a little slower than its fellow Absolute books in the first wave, but since then it's been no-holds-barred all the way.

The first half of the issue all unfolds in only a few minutes, and has a lot of the emotional intensity that makes this series work so well.

There are some great bits involving the humans who have come into his life, but it's the villains who really steal this issue.

The villains in the Absolute Universe are quickly proving themselves to be the real stars of these comics.

This series continues to be one of the absolute best on the stands right now, both incredibly new and true to the core of Superman.

This is an issue that definitely has compassion for Medusa and views her punishment as unjust, but it also doesn’t offer any particularly easy answers. It just takes you along for the ride as this version of Wonder Woman continues to make the world a better place, one story at a time.

This is a much faster read than Absolute Batman #1, but all that did was make me want the next issue that much more. The Absolute line is a spectacular two-for-two right now bring on Superman.

This Diana is no less heroic, but far less courteous to the men who seek to order her around. We get a little more time to get to know these characters and it's perfect buildup to when Sherman manages to top themselves with another creature that's one of the best monsters I've ever seen on the page, straight out of "The Mist.

The Absolute line continues to be one of the most ambitious and exciting things to come out of DC in a very long time, and there's a good chance that this title winds up becoming its crown jewel. Kelly Thompson's unique take on Themysciran mythology and Hayden Sherman's stunning widescreen art continue to be stunning, and this issue takes us deeper into the unique world that Diana and Circe built in the middle of Hell.

Every issue of this series just impresses more and more with its beasts, but at the end of the issue we're introduced to a new villain who operates on a very different field of power and who may be the iconic version of this character we've waited years for. Brilliant again, can't wait.

This series doesn't feel like quite as much of an Elseworlds as the other two in the line it somehow feels like a quintessential Wonder Woman tale, just brilliantly askew.

Whenever a guest artist comes on board, it's always a risk that the series will lose its momentum especially when the regular artist is as incredibly distinct as Hayden Sherman. But Kelly Thompson has worked with Mattia De Iulis before, and the two put together an incredibly surreal book with photo-realistic art.

The second chapter of this flashback story continues to be as brilliant as the main narrative, with the creative team behind "The Cull reuniting for a tale that gives us an insight into how Diana escaped Hell in the first place.

Arachnophobes beware, but this is some brilliantly creepy visuals, with a great last-page cliffhanger setting up the next epic quest for Diana.

Fantastic issue, and the start to the biggest-scale adventure yet.

Another excellent issue of one of the best books on the stands.

This series just won the Eisner for Best Ongoing Series, and it richly deserves it it's hard to say if this is the best of the Absolute Line, given how good it is as a whole, but it's one of the best books DC has put out in a long time.

Every time I think one of the Absolute books has to have reached its peak, the creative teams surprise me once again.

I'm still not sure if this is the best Absolute book, but it makes that case for itself every single month.

This is a fantastic series and even the smaller-scale adventures are huge but next up, we've got the first crossover in the Absolute Universe.

All in all, ths is a fantastic first meeting that hints at crossovers that are just beginning, given the implications of Absolute Evil.

This continues to be one of the best books on the stands every issue.

This continues to be one of DC’s true all-star books at the moment, every single month.

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.

Gail is having a fantastic renaissance, and while she's very busy at the moment, DC would be smart to make sure this isn't her last Superman story.

There are only a few things that really rattle Superman, and a deranged Kryptonian is one of them. As the abomination rips apart the city, Superman and Supergirl the only pure Kryptonians who can stand up to it do battle and Superman makes the risky move of bringing in an extremely dangerous tool that hasn't appeared in decades kudos to Waid for not only knowing his pre-crisis lore, but being willing to infuse some of that energy in the modern comics.

This is essentially a hard-sci-fi story, and it's a great change of pace from Superman's usual style.

The reveal about Kara's new power and the power she no longer has continues to create a sense of uncertainty in the post Absolute Power world, and it's great to see Kara in another space adventure.

While this story isn't taking place in World's Finest, in many ways it feels like the tale Mark Waid has been building to since he returned to DC. An epic space adventure, as well as a complex ethical narrative about the Phantom Zone, it takes us inside the infamous Kryptonian prison and asks some hard questions about how Krypton was run.

There's also a hilarious subplot involving Conner and Kenan as they battle against a Khund invasion of the space museum, but the real heart of this issue is in the very rare interactions between Superman and his parents.

Bogdanove's art could often be divisive in the 90s, but it looks great here.

These two have been so much fun in this story that it makes me wonder how it's taken DC so long to get a proper Teen Titans or Young Justice series going again they have so many great players. But a big cliffhanger sets the stakes high for the next chapter.

This is the conclusion of act two, before the story shifts back to Earth for the big finale, and it continues to be a solid and entertaining tale with a fast pace and great visuals.

It's amazing how Waid is perfectly navigating the pace of a weekly comic that flows much more smoothly than it would in a monthly book.

This is a great opportunity to bring in some old, new, and obscure Superman villains some so obscure I'm not sure if they're originals or not. We've known that Krypton had a lot of prisoners, but it's rarely established what they're actually there for until now.

This is how you do a weekly event.

It's a strong start to a very different kind of Superman story.

This is a pretty good example of combining emotionally true storytelling with sci-fi concepts in superhero writing, and it does a very good job of showing just how determined Superman can be when a case really hits him in the right emotional place. The ending introduces another set of villains that I didn't really recognize, but with only one issue left to go, Ridley has a whole lot of interesting elements to tie up.

This comic tried to combine a lot of different elements, but I think it came together into something compelling.

New artist Stephen Byrne is perfect for this story, giving the events a gorgeous art style that really makes the character designs shine, and it was great to see Zatara again the former Teen Titan hasn't been used well in a while. But the ending, which was spoiled in solicits, promises to set up a lot more antics going forward as Bea's desperate attempt to fix things lead to things getting, um, freaky. A fun start.

This is very much a retro tale, even though it takes place relatively close to modern continuity. That's partially because of the very campy villain, but it's also characterization-based it's been a long time since we saw a story run so heavily on the trope of Clark Kent as a milquetoast weakling who is disregarded by everyone around him. It's definitely funny in a few places, and makes it easier for Clark to sneak around unnoticed, but it feels a bit like a relic of the silver age.

This might be a flashback story, but it feels like an iconic Superman story in the making, one that perfectly sums up what makes him a hero and gives us new insight into how he became the man we know today.

This is a great coming-of-age tale that feels perfectly suited for the boy who would be Superman.

This is a great example of how, with the right angle, you can take well-trod ground and tell an original story that really feels like it add something new to the mythos.

This is an early-bird appearance from one of Clark's most complex antagonists, and this run continues to do an amazing job of fleshing out the character's world long before he met most of his supporting cast.

This first arc has had a few large-scale threats, but what it's had even more importantly is a fantastic take on Clark as he learns the basics of how to be Superman. This wouldn't be possible without Mark Waid's skilled, experienced pen controlling Clark's actions, and I'm hoping that the next arc is just as compelling as the first as Clark's journey continues.

Mark Waid is doing an incredible job of adding new layers to Clark Kent's journey from Superboy to Superman, as he's finally resolved things with Captain Comet but he might miss the elderly superhero's tough-love guidance as he's left to figure things out on his own.

One of my favorite parts of this series so far is that it shows how difficult it is not only to be a superhero but to raise one, with Jonathan and Martha feeling like they have to ensure their son understands right and wrong even if it comes at great personal cost in this case. But the ending shows that an even bigger moral dilemma might be ahead for Superboy, as Sam Lane comes calling once again.

This issue is very much a "reality ensues moment for Clark, as he starts to realize the toll that being a hero will take on him and just how alone he is in this quest.

This is quickly becoming the defining Superboy origin.

For the first time, Mark Waid’s reinvention of the early days of Superboy is crossing over with the present as part of Reign of the Superboys, but that’s just a small part of the issue. The bulk is just more great Mark Waid Superboy action – but then things get weird.

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

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.

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.

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.

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 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.

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 feels like one of the most ambitious books DC has going right now, and I can't wait to see it unfold.

The scope here is so huge that we're not seeing the full picture yet, but what we are seeing feels like a note-perfect conclusion to Johnson's epic run.

This series has been building and building with each issue, and it may just have a chance at equalling the thrills of the WarWorld, saga. Johnson clearly understands the larger mythology of Superman in a way very few writers do but that's part of why the Superman line is so great right now.

So far, the visuals in this series are fantastic, but it also delivers one of the best takes on Superman I've ever seen. This is no surprise Warworld may be the best Superman story of the modern age. We're lucky that despite Johnson departing from DC town for the foreseeable future, he's doing it in a way that lets him deliver a truly satisfying conclusion to his years-long epic.

As Phillip Kennedy Johnson prepares to mic-drop on his time at DC, he's saved some of the best stories for last as the scope of this epic Superman saga is up there with his work on Warworld.

This series so far is bigger and wilder than the Action Comics run that preceded it, with Johnson getting to fully embrace the Kirby influences that spawned it.

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.

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.

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.

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

It's left me wanting more right now, which is always the first sign of a strong debut.

The first issue had my attention, but this one has my fascination.

This book has just started, but it has great character work, great plotting, and phenomenal art it's shaping up as one of the great Aqua-runs.

Arion and Vivienne are intriguing new additions to the series, as these magical beings are Arthur's tutors as he enters a strange new world of magic and myth. By the end of the issue, I'm definitely left wanting more and that's the mark of a good title. I'm hoping we get some answers about the rest of the cast soon, but this series is expanding Aquaman's world and his rogues gallery in the biggest way we've seen in a very long time.

This book has big ideas and big action, but we haven't seen much of the big bad himself yet and from the very end of this issue, it seems like we might be heading for the darkest issue yet.

Aquaman's adventures mostly seem to be apart from the main DCU at this point, and I think this title is better for it. The character really shines when he's doing things that only he can do and exploring new realms deep below the waves.

It's such a huge reset for the title that I can't even guess what'll come next but I suppose that's the mark of a run that manages to genuinely shake things up for its character.

I'm wondering if some of this ties into the larger mythology of the Green, the Red, etc could there be a "Blue out there? But one way or another, this issue leaves us with a new status quo, a new supporting cast, and a whole lot of unanswered questions as we head into a bold new arc next issue.

I'm confused, but I'm very intrigued.

This arc doesn't have the wild visual sense of the battle against Dagon, but it continues a fascinating effort at building Aquaman's mythology in this run.

This definitely isn't like any Aquaman run we've seen before.

This issue is jam-packed with top-notch action and visuals, as well as great narration that explores how both men see their abilities and their connections to nature, but it's probably the most straight-forward of the three matches we've seen so far.

This continues to be one of the best Aquaman runs in a long time, upping the scope and scale with some seriously menacing new villains in each arc.

Jeremy Adams is getting ready to set up a big new status quo, titled “Emperor Aquaman”, and it all begins here.

Great start to a new era.

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.

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.

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.

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.

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.