Ray Goldfield's Comic Reviews

Reviewer For: Geek Dad Reviews: 4067
8.3Avg. Review Rating

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.
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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.
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It's easily one of the best Batman stories I've read in years.
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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.
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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.
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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.
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This isn't a long run, but with this finale it's proving itself to be one of the very best DC books I've read in a long time. Don't miss it and give Gene Luen Yang the credit he deserves.
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There are some surprisingly emotional moments in this final issue, which hit all the harder when compared to the supernatural storytelling. I think this goes down as a new Batman classic.
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It's an oddball book that isn't likely to have any bearings on the DCU in the future, but it's also a great entry-level comic for DC's magical characters.
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We're only two issues in, but I can safely say that Batman: Creature of the Night is, in fact, the best DC Comic of 2017 (and the latter two issues may very well be the best of 2018).
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The final issue (and hopefully it'll be sooner in coming than this one) has a lot to resolve, but if it sticks the landing, it'll be an evergreen classic that DC will sell for years to come.
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A master class in tension that deftly leapfrogs between genres, it never lets up and its 56 pages both fly by and leave you enough to pore over until next month.
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Like a twisted pastiche of Mad Max; On the Beach; and The Twilight Zone, what starts as a Batman story becomes something spectacular that encompasses the whole DCU in fascinating ways.
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A run like this deserves an equally epic mic drop, and while Snyder and Capullo aren't going anywhere " they're likely the creative team on the next great DC event come summer " this is the perfect ending for their Bat-run. Much like Doomsday Clock, this is destined to be a timeless DC classic.
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This series has done an amazing job so far of setting up Zdarsky's Batman run, but no issue has hit as hard as this one.
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I don't know if Bendis is planning any more Batman stories in the future, but this arc indicated that he has one of the most unique and compelling visions for the character in a long time. DC printing it again in this format has been an essential step in making sure this gem gets the attention it deserves.
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This is easily one of the best first issues I remember out of DC in a long time, and it's clear Thompson already loves and knows this universe. This could be a match made in absolute creative heaven.
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So far, Danger Street has been a series both defined by and held back by its sheer ambition. With a cast of over 20 heroes, villains, and antiheroes from across the multiverse involved in a conspiracy ranging from local crime to a battle between ancient worlds, it's always felt sprawling and a little overwhelming. Which is why this issue, before the final acta two-character spotlight taking place entirely on a single rooftop, is so brilliant in its simplicity.
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This is destined to go down as one of the very best comic book events of all time, alongside the legendary Crisis on Infinite Earths.
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How did DCeased: Unkillables, a kill-em-all alternate reality of superheroes vs. zombies turn into one of the most powerful and emotional comics DC has put out in years?
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This final issue, divided between the conclusion of the showdown with the OMACs and a powerful epilogue that wraps up the character arcs of the entire team, is probably the best issue of the series. It's a celebration of the Bats, of Gotham, and of the best in everything Batman represents.
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The biggest unqualified win out of the Wonder Comics line so far, Dial H for Hero #1 shows that Sam Humphries is better than anyone in the business at fusing the absurd and the human.
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Combining a coming-of-age story for its two leads with an epic adventure through time and space, Dial H for Hero has become the class of the new Wonder Comics line and one of the best books in DC's stable. But for Dial H For Hero #7, the title's return from a brief hiatus, it does something completely different.
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A brilliant conclusion to the most creative comic to come out of the DC main line in years, Sam Humphries and Joe Quinones bring Dial H for Hero #12 in for a perfect landing.
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This is the issue I've been waiting for since Doomsday Clock began, combining the whip-smart writing with the plot advancement I've been waiting for.
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Two-thirds of the way in, this series has been compelling, disturbing, and essentially perfect. When you put this against its fellow dark, psychologically-driven event comic Heroes in Crisis, it's not even close " Geoff Johns is the master of event comics.
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With two issues to go, I don't know the last time I've been this enthralled by a comic book event.
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This might be a two-issue event tie-in, but it's begging to be more. I don't know if Sauvage can do a monthly book, but she and Bennett need to be given the opportunity to do as many Supergirl titles as they want. So far, this is the first Future State title to come together into a classic.
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Grant Morrison never quite left, even between the "Seasons" of his Green Lantern epic (thanks to an excellent bridge miniseries), but he blows the doors off the first issue of his return, The Green Lantern: Season 2 #1, like he's been resting and coming up with new ideas for a while.
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There's only so many plots out there and the undercover cop one has certainly been used a lot " but rarely this well. Grant Morrison is a weird writer whose writing style often goes off the deep end, but he's found a title that brings out the absolute best in his style. This could be his best work since All-Star Superman.
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I don't know if we'll ever see these characters again, but I do know that in only one issue, Morrison and Sharp introduced us to one of the most fascinating new worlds in some time. We need more comics with this level of creativity.
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This may be the best Harley Quinn single issue since "Mad Love."
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A fantastic successor to the original Hellblazer series.
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This story is a master class in tension and worldbuilding, and is already one of the high points of Tynion and Martinez Bueno's careers.
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Every issue packs enough action in it for a full arc, but somehow it doesn't overwhelm just how good Tynion is at the quiet moments. His Detective Comics was fantastic, but this fuses the best of that run with the best of Tynion's weirder works. It's arguably the best ongoing in DC's stable at the moment.
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Watching Wonder Woman and Zatanna take charge of the DCU's magic has been fantastic, and there's no comic in DC's stable that delivers the same level of thrills. Phenomenal.
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Tynion has raised the bar, and Justice League Dark may not be the flagship Justice League title, but it's the best we've had in a very long time.
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Once again, King surprises with this incredibly intimate and emotionally intense issue that chronicles what may very well be Scott Free's last day alive.
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This is essentially a story about trauma and moving on, and it's one of the best comics anyone has put out in years.
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Any writer or editor who says it's hard to write comics about married people, or parents, just needs to read this issue. It's not hard at all. And it can be brilliant.
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Mister Miracle #10 is one of the best portrayals of domestic strife and a relationship under pressure that I've ever seen.
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It's taken a while for Mister Miracle #11 to get here, with quite a few delays to the last few issues of King and Gerads' DC masterpiece. But when you look at the way every single issue of Mister Miracle delivers on every level, it's well worth the wait.
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This series has been one of the most acclaimed mainstream comic series in modern history, and it's not hard to see why " Tom King and Mitch Gerads have taken the bones of the Fourth World mythology created by Jack Kirby and boiled it down to the horrors lurking underneath " a story of a boy sold into hell by his father to create a lasting peace that would never hold in the first place.
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Of all of the Scottober books, this hard-boiled horror collaboration between Scott Snyder and Francesco Francavilla has been hyped far longer than any of the others. Now that it's finally here, it's well worth the wait"this isn't just the best launch out of Comixology so far, it's my favorite Scott Snyder #1 issue since he terrified us all with Severed a decade ago.
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It's one of the best Bat-stories in a long time.
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Rorschach was never a hero, he was a mentally ill man who engaged in acts of brutality because he believed they were right. As the idea of what he was is twisted further, that corruption is only going to get worse. And this could turn into the greatest work of King's career.
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This is less a DC Comic than a Coen-esque suspense thriller, and it's one of the best books on the market today.
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This is the work of two masters, and it may go down as one of the best DC stories of the modern day.
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Above all, this series is about one thing"paranoia. The villains were driven to commit an act of attempted murder by paranoia, both about the world at large and about imagined threats. And now, as the Detective reveals his cards, he's forced to wonder"how far will people go to keep the truth from coming out? Two issues to go, I have no idea what will happen, but this is brilliant work.
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It's one of the best graphic novels I've read in a long time, and the best story Cassandra Cain fans have received in over a decade. Dare I hope the sequel will introduce Stephanie Brown?
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For the first time, we start to believe that Adam"and Rann"are capable of war crimes, and the switching up of the artists from what you'd expect delivers a great visual surprise that helps make this the best issue of the series.
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As the two heroes head off towards the next stage of their journey, they'll have a tough act to follow from this brilliant issue.
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Supergirl might seem like an odd character for this type of story from King, but in many ways it feels like she's always been waiting for this story"to let her voice be truly heard.
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Whatever the ending"and I expect it to be emotionally traumatizing"this is destined to be a classic.
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The dialogue is packed with clever little Easter eggs and jokes, but there is a real sense of stakes to this story. The preview of what's to come has me more excited for a Superman comic than I have been for a very long time. I think the Golden Age for DC's original hero is in full swing.
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A true game-changer of an anniversary issue in what's becoming a strong contender for the single best book DC is putting out each month.
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It's one of the most engaging first issues that I can remember out of DC, and I expect that the final product is going to be a modern classic.
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Gene Luen Yang and Gurihiru have put together what's destined to be a DC classic, a story that ends perfecting in Superman Smashes the Klan #3.
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It's rare that a comic sets is tone and themes up so perfectly in one issue the way Superman's Pal, Jimmy Olsen #1 does, but Matt Fraction and Steve Lieber's bizarre continuation of the wacky status quo they set up in the Leviathan Rising special takes that story's strengths and doubles down on them.
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This feels like a genuine magnum opus for everyone involved, and possibly one of the best Superman stories of all time.
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This book is a pure masterpiece so far.
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Before the main series comes back from its extended hiatusright off the shocking cliffhanger that led to the death of an iconic JL memberthis oversized issue catches up with some of the secret history of the Justice League International, and it's the kind of puzzle box of an issue that only Tom King could do.
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This issue is very heavy on dialogue, but every line is packed with tension.
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What was teased as a simple follow-up miniseries to the popular Dark Knights: Metal villain has turned into something else entirely " an epic Gotham-set mini-event that ties together plots from the entirety of Scott Snyder's extensive Batman run.
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Overall, all four of these stories are note-perfect, but the first Dan Jurgens tale might go down as an all-time classic.
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Thus far, The Jetsons has been a fascinating musing on progress, life, death, and what it means to be human, told through the filter of a surprisingly normal family. In The Jetsons #5, all those themes come to a head in an explosive penultimate issue that leaves multiple lives in the balance.
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This series should get an Eisner nomination.
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This new horror book has been slowly unraveling its mysteries over its first two issues, but it's this issue where it breaks out and turns into one of the best comics put out by any company.
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We're only halfway in and now there's an extended break, but this has the potential to be one of the best horror comics of all time.
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A lot has changed since The Nice House on the Lake went on an extended hiatus"including the writer leaving DC for Substack. But it's no surprise that DC couldn't wait to have it back, as it continues to be the best horror story to hit comics in years.
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This is one of the best works of both creators' career, and cycle two can't come fast enough.
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Marieke Nijkamp has written many stories featuring disabled lead characters before " a rarity in YA lit " but she deserves to have this be the book that catapults her into the stratosphere.
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The addition of Doc Shaner to Jeff Lemire's oddball weird-science team book, The Terrifics, has turned it from the easy best of the New Age of DC Heroes line to a serious contender for DC's best book overall. Not only is the art brilliant, as one would expect from the man behind the best issues of Future Quest, but Lemire's writing seems to have risen to the occasion to match it.
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This is probably the best issue of the series and one of the best issues of Tom King's career, and it's all about one thingbuilding armies
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Diana's rogues gallery rarely gets much attention, but King has put them together in a story that will likely serve as the definitive tale for many of themas well as for showing off Diana's boundless strength and grit in a way few tales have.
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There's no Trinity story in this issue, just another perfect issue from what is becoming DC's best book.
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It's a fun look into his character, but nothing groundbreaking yet coming off a phenomenal solo run for the character.
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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.
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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.
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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.
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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.
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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.
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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.
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The three stories in this book continue to all be top-notch, with the main story being the class of the three.
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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.
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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.
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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.
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Overall, this is one of DC's best books and it's headed for one epic finale.
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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.
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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.
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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.
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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.
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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.
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This feels destined to go on the short list of great one-issue Superman stories that perfectly sum up what makes the character great.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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American Carnage #2, Bryan Hill's thrilling racism/espionage drama, ups the intensity to an almost unbearable level.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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This and the Superman counterpart are some of DC's most underrated comics right now.
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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.
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Who knew King had such a handle on the lighter side of Batman? I'm hoping for a lot more issues like this.
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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.
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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!
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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.
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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.
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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.
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Easily one of the darkest, most fascinating Batman stories I've read in awhile.
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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
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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.
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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.
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There's a LOT going on here, and it's building into one of the most exciting stories of King's run.
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This entire run has been great, but this issue builds the tension up to an almost unbearable level at times.
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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.
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This is what a Joker event should be, and we're only halfway to the big showdown.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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It's just a huge win all around as a debut issue.
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This is a bigger, weirder, and wilder Batman story than we've seen in a while.
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The first part of this issue is brilliantly tense, a wordless action segment reminiscent of the Oscar-nominated thriller Gravity.
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I think Zdarsky has pulled off the near-impossiblethis run so far is truly a type of Batman story we've never seen before.
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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.
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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.
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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.
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In the aftermath of Gotham War, Chip Zdarsky is doing what he does besttaking his heroes to rock bottom.
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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.
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It's a tense, issue-long action segment without a single break, and the outcome is really never in doubt.
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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.
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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.
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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.
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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.
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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?
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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.
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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.
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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.
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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.
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This is definitely inspired by King's more stand-alone, cerebral work as much as his Batman run, and it's paying off.
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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.
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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.
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Excellent retro art from Ivan Reis brings both worlds to life, giving us a genuinely unique new take on the iconic two heroes to explore.
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The issue has a very down-to-earth vibe, which made the last page's out-of-nowhere horror swerve all the more surprising. I have no clue where Tamaki is going with that, but so far this is the first Batman run in ages that actually seems concerned with issues like criminal justice and how vigilantes and policing interact. It's a fascinating run.
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The two stories eventually fold together in a very clever way that seals the deal for this run being considered a new minor classic.
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While most of the Authority doesn't get too much more fleshing out here, the story is compelling and also serves as a one final team-up for Batman and Superman before Superman leaves. But the ending cliffhanger promises there are maybe more twists coming for the Dark Multiverse. It hits on basically all cylinders and makes me hopeful Johnson will be coming back to this twisted world before long.
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This is very much a weird DC comic at its best, embracing the Silver Age genre elements while giving them a modern twist.
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We're off to a big new arc next month, as the forgotten sidekick of Superman is revealed, but this issue reminds me a lot of the best of Waid's one-off Brave and the Bold stories.
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Waid has been writing DC books for a very long time, and similar to Dan Jurgens and the late, great Keith Giffen, it's amazing how seamlessly he moves from era to era. This is a perfect capper on his greatest story.
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This is Damian's second time trying out school, and the first in Gotham Academy had a bunch of normal and friendly kids in a very strange school. This one is a full-fledged challenge for him to take on, and it's clear neither he or Bruce are in their element. That's a recipe for a great story, and the growing bond between father and son feels like it's been building in Williamson's work for a while.
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The end of the issue brings in some major elements from Vertigo lore, making this rather perfectly timed for release. But amid the fast-paced story, this has some of the best Batman characterization I've seen in a long time, and an absolutely perfect Alfred. Waid is a master of the DCU, same as he ever was, and I'm expecting this to be an event mini to remember.
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Waid is one of the most overtly optimistic superhero writers out there, even on a usually darker character like Batman, and the ending to this issue had me grinning from ear to ear.
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Overall, there isn't a weak link in this volume and almost all the stories feel like modern classics.
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All in all, a near flawless issue and a phenomenal series destined to be a classic.
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This is a wildly ambitious first issue, and its concept slowly unwinds in a way that makes it almost unbearable to wait for the next issue.
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It's hard to believe there's only one issue left here, because the end of the issue has so much left to explore and the main setting is only now being discovered. Black Label seems to be morphing into a bit of an artists' showcase at the moment, and it's creating some fascinating work.
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The central question of its series is never quite answered, with the nature of the Batman and its links to Bruce's birth remaining unsolved. I wouldn't really want it any other way, since the ambiguity is what makes it work. Now that this series is complete, I'm pretty sure it'll end its run as an all-time classic.
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Batman: Curse of the White Knight #7 is probably the best issue of Sean Murphy's epic alternate universe, as Bruce Wayne grapples with his family's complex legacy and comes to the most dramatic decision of his heroic career.
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Klaus Janson's polished but gritty art is a perfect substitute for Murphy's on this issue, and this issue's handling of thorny and dark subject matter puts any other handling of the Nazis in comics recently to shame.
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As the issue comes to a close, full of horrifying visuals and mysteries, it's clear that DC has a new line full of promise. If Black Label continues to explore the darker side of its heroes with this style and none of the cheap exploitation associated with many "mature readers" lines, DC could have something special here.
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This is a fascinating look into a story where Batman's creation went sideways, with a last-page reveal that makes everything about this story a lot clearer. It's not quite as immediately captivating as the Superman mini, but it's well on its way to becoming another huge win for the creative team.
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Finally, this seems like it's rising to the level of King's other elite works.
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Not only is it a great Batman story, it's a great Bruce Wayne story " one of the rarest things in comics.
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This makes an interesting parallel to Superman's Warworld Saga, which had a more mythic take on the concept. But that's not Batman. Batman is here to get his hands dirtyand this first issue makes me very confident that Aaron's time at DC will be spectacular.
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As good as the character work is, the action in this title is world-class, with some of the best fight scenes in any book at DC right now plus a space escape that pushes Batman to is absolute limit and sends him to the next stage of his journey away from Synn's shipand into an incredibly hostile world that has very different threats waiting for him. Brilliant.
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Jason Aaron has landed with a big impact at DC, and this series is already showing he's an absolute perfect fit for Batman. Could a run on the main title be up next? We'll see, but until then, this thrilling sci-fi adventure is scratching that itch.
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Fantastic stuff, and I wonder if this is a prelude to Aaron taking over Batman.
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The story takes several unexpected turns, and while it's clearly out of continuity, it doesn't feel like it's distant from the versions of the characters we know. Its take on Ra's is incredibly ruthless and terrifying in places, but never completely lacking in his moral core. Ivan Reis was the perfect choice to illustrate this issue, capturing both natural beauty and bloody violence. It's a fitting close to a fascinating experiment.
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This is a hard character to make work, because of how many times he's gone back and forth across the line, but the disturbing ending here is definitely going to make this go down as one of the defining Clayface stories.
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It's a hard-boiled Gotham crime thriller that shows just how compelling one of Batman's most underrated villains can be.
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Of all the one-shots so far, this is the onealong with John Ridley's Penguinthat feels the most like an evergreen story giving a villain a much-deserved spotlight.
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Overall, this is one of the best issues of the series, especially due to the first and last stories.
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This was a great collection of storieswith a potential masterpiece right at the start.
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Another great issue, with some interesting divergences from the usual fare in this book and a phenomenal lead tale.
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This first issue covers a lot of ground for the beginning of a twelve-part issue, and it's impressively ambitious. It has the potential to be one of the defining works on Bruce Wayne's character if the next eleven issues are as strong as this one.
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This story is only a quarter in, but it's already established itself as a potential classic.
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The ending sets up some potential bigger threats down the line as wellit continues to be one of the best origin retellings in a long time.
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This is another fantastic installment that takes Bruce a little closer to being Batman, and it's great that Zdarsky is setting up his own take on Batman long before he gets to write his main title.
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As we enter the last act of Bruce's journey, we get another all-time classic issue.
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What makes this work so well is that we can see the glimmer of Batman emerging through Bruce's training, but he's not there yet. This Bruce is much more flawed, much more vulnerable than we usually see him, and that makes this one of the most compelling Bat-stories in a while.
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This has taken a story that everyone knows and added so many new flourishes and characters to it. It's one of the best superhero origin retellings of all time.
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Whatever comes after this packed first issue, we've been set up for one of the best Batman stories in recent memories. Johns waited a while to tackle the Bat, but he looks like he's going to make it count.
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This may be Geoff Johns' swan song at DC Comics given how busy he is as a producer, but damn"between this and Doomsday Clock, he's going out on a high.
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I have no clue where this is going, but it's some of the most fun I've had reading a DC comic in a while.
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It's just pure fun from beginning to end, and that's even before we get into the reveal, which brings in another surprising ally from the teamone that Harley knows, and one that is basically the funniest thing imaginable given Kelly Thompson's Marvel past. Decent chance this winds up becoming DC's best book.
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Another fantastic issue from DC's best new book.
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Four issues in, I'm ready to say this is probably the most consistently excellent DC book at the moment, and I'm hoping it's just the start of Thompson's DC tenure.
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Thompson has put together a compelling team with a unique mission statement, and is pairing with one of the best artists in the industry to bring it to life.
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Lemire never wastes a page, and I suspect this will fit into the overall tapestry of the world of Black Hammer, making it a must-read.
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This crossover furthers its status as the best creator-owned superhero universe since Astro City.
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The main narrative is over, but Ram V has one last issue to tie up his Catwoman run"and it's probably the best of the series.
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Chiang said his inspiration here was the Brubaker/Cooke Catwoman run, and this might be the best spotlight for Selina since then.
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Cliff Chiang's brilliant art does a lot of the heavy lifting here, and it's incredible to think that it's a one-man job, but unlike so many other writer-artists, he hits the writing side out of the park as well. It's impossible to tell he's not a practiced long-term writer, because he knows the characters of Gotham inside and out. The lengthy delay hurt the pacing a bit, but ultimately this book doesn't suffer at all in quality.
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There is nothing else like Cover #1 being put out right now. It feels like a throwback to the experimental style of Bendis' early career, and that's something I very much want to follow.
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The most intriguing book to come out of the Jinxworld imprint yet, Bendis and Mack's Cover is a twisty title that wastes no time completely upending the status quo it set up in the first issue.
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It's all highly confusingand utterly fascinating, a perfect Tom King combo.
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It's a fascinating narrative that is still keeping its secrets well, but it's managed to get me invested in all the subplots. And that's no small feat given how many characters it's juggling over less than thirty pages.
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This is a unique comic that doesn't always 100% make clear what it's supposed to be, but like just about every other King comic, it's a fascinating ride.
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This book is similar to Rorschach, in that issues can be incredibly compelling while keeping you almost completely in the dark, but this one sets itself apart by having a much larger scope and scale. It's easily one of the most experimental and fascinating books King has ever put out.
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This series is often dizzying with just how much it has going on at any given time, and it's a testament to King's skill as a writer that he wastes no time getting us back and hooked as this series heads to the finish line.
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This series is a puzzlebox, and that may be a bit too much for people. Some of the plots that are discussed this issue have been percolating for the entire run, while others may have not been touched on for almost a year. But at its core, this massively ambitious comic still does have a great human core.
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If the rest of the one-shots are on this level, they may just outshine the main mini.
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These tales are four-for-four so far as DC continues to show that limited event tie-ins are the way to go.
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Four issues in, this isn't as dark as the previous Taylor alternate realities, but it's no less fascinating. It's essentially a family tragedy, and one of the best books in DC's stable right now.
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Almost halfway in, this has the potential to be one of the best Elseworlds of all time.
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While we have another guest artist in Nathan Gooden this issue, the series doesn't lose momentum at all.
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This issue largely calls into question everything we've seen so far, making us wonder exactly who was in charge in every scene. It's definitely not what I expected to see when I opened this issue, but it's another issue moving this closer to being an all-time classic.
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But while this is a wildly ambitious story, it's impressive just how invested I am in the individual stories.
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Overall, Taylor only writes one of the three stories here, but all three are excellent and live up to the level of quality he's established for this book.
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This is one of the most unpredictable first issues I can remember, with callbacks to some of the greatest DC events of all time and excellent characterization for a Wonder Woman and a Batman pushed beyond their limits. It's exactly what I'd want out of a first issue of Snyder and Capullo's ultimate comic book event.
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Has there ever been a DC event that played on a scale like this? Crisis on Infinite Earths is probably the closest, which means Scott Snyder and Greg Capullo are treading on sacred ground. This penultimate issue is equally the most epic issue of the run, and the most subtle and story-driven.
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It's a great way to close the door on an era of DC Comics, and easily the best tie-in of the event.
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It's a two-for-one Flash-fest by Josh Williamson this week, as he says goodbye to his extended run on the main book and writes this oversized Death Metal tie-in. So does he have anything else to say on the Flash Family? It turns out the answer is yes, as he hasn't been able to give Wally West the focus " until now.
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Add in a powerful intro by Phil Jimenez, and a heartbreaking text tribute to Rachel Pollack, and you have a recipe foronce againone of the best anthologies DC has ever put out. There isn't a bad story in this.
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Overall, this may be the best anthology, top to bottom, that DC has ever put out. Near-perfect with stories ranging from good to spectacular.
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Overall, this issue was incredibly good. Not a single weak story in this and a few instant holiday classics.
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The zombie spin-off has been a long-standing trope, of course, but Tom Taylor and Trevor Hairsine have done something very different with it. This is ultimately a human tragedy with massive stakes, and it's a great opportunity to let characters like Damian and Jon Kent to take the lead. I want more of President Lois Lane, among other things, and I cannot wait to see what happens when these heroes reunite with the Earth survivors including Jason, Cass, Harley, and Ivy. Brilliant start.
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It's a fantastic first issue that fits perfectly with what Taylor built in the first mini, and is likely to be just as big a hit.
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Life " and death " come at you fast in DCeased: Unkillables #2, a double-sized comic that delivers more thrills, laughs, and heartbreak than you usually get in a full arc.
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There is so much going on in this issue, and so many long-dangling threads yet to explode, that I'm hoping Priest has years more planned on this book.
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The end of the issue hints at massive escalation, which I can't wait to see. And just based on this issue alone, Priest is a brilliant Batman writer. When King mic drops on the main title, Priest needs to be next in line and they should make him that promise yesterday.
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I'm excited to see how this story comes to a close, and glad to see that Priest is continuing on Deathstroke past this arc. It continues to be one of the best books DC is putting out.
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This final, brutal issue of the story, in Deathstroke #35, has Batman and Deathstroke begin to uncover the truth is a masterstroke and maybe the best issue of the arc.
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Although the previous event arc was a lot of fun, it's great to have this title back to its bread and butter.
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I have no clue where Priest is going here, but it's clear he has a lot more ideas and this run isn't missing a beat after the Batman arc.
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Corrina is right in that this is a more compelling, haunting look at mental illness and therapy in a superhero world than Heroes in Crisis, but it's also a fascinating conspiracy thriller and one of DC's best books.
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This is one of the best fallouts from the death of a lead character in a long time.
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Not a cheery book to read just as Pride month ends, but it's one of the best depictions of a relationship ending I've read in a while " it doesn't lay blame, just shows that sometimes priorities diverge too much.
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Jericho's upgrade in Deathstroke #46 is one of the most impressive so far in "Year of the Villain", and it's not long before we see how it corrupts him.
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Now that it's finished, it's destined to go down as one of the greatest longer DC runs in memory.
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This may be one of the book's finest hours, and it's had a lot of them.
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Another near-perfect issue from James Tynion IV on what's technically the second-tier Batman book right now, but delivers just as much emotional punch and high-octane action with the supporting cast as the main book.
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A brilliant, brutal, character-driven issue that drives home the consequences of the war the Bat-family faces every day, this prelude to next issue's anniversary issue picks up seconds after Batwoman fired a high-tech bullet into Clayface's brain.
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This isn't a plot-heavy issue, but it wrings some fantastic tension out of showing us what goes on in Gotham every night under Batman's nose. But it ends on a hopeful note that shows us that maybe, just maybe, Superman isn't the only DC hero bringing his two lives more in sync lately.
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Without a single bad story and many exceptional ones, this might be the best collection of talent DC has ever put together under a single-issue banner.
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There is a lot going on in this issue, and all of it is compelling. Not surprising from one of the most talented writers in the entire industry.
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Mariko Tamaki continues to deliver one of the smartest Bat-runs in recent memories, as the gritty underbelly of Gotham comes for Bruce Wayne.
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The first issue of Ram V's run was fascinating, moody, and tense, but somehow it didn't hit quite as hard as I expected it to. It felt like a lot of setupbut anyone who let that fool them was selling him short. This second issue takes the strengths of the first issue and builds on them with a Gotham that feels genuinely haunted for the first time in a long time.
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Ram V might be one of the few writers who can manage to infuse a sense of urgency and uncertainty into stories featuring the world's top superhero. I was also very happy to see the return of Shoes, a character Ram introduced in Catwomanand whose secret identity promises to be a major part of upcoming DCU storylines.
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Ram V's run has been one of the most ambitious and atypical Batman runs in a long time, because while it stars Batman, sure, he's only a bit player in one of the longest-running battles in the entire DCU.
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We're about to embark on an epic journey through time, and Ram V has done an amazing job of getting us invested in what's to come.
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The ending left me breathless, as the wait for next issue will definitely be intense.
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This arc has mainly taken Batman out of the action, but it's never felt like a better depiction of Gotham.
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One thing I've really liked about this run is how Ram V addresses the complex bond Bruce has with both Selina and Talia, without demonizing either of them. The conversation between them this issue is so packed with meaning in places. But while this issue has some more subtle moments, it also has some huge twistsincluding a major development in the Orgham family that fully reveals who our main villain of the arc is, and a cliffhanger that brings in a major Bat-villain who has been largely forgotten in recent years.
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Ram V continues to develop one of the most mysterious, intriguing Bat-runs in a long time with a tale that has taken Batman beyond the edge of reality.
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Stefano Raffaele's art here is more low-key than Federici's painterly style, but it's no less beautiful and the two segments work together perfectly to create a fascinating story of Gotham without Batman.
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I'm just sorry this is only six issues, because it's easily the most inventive book in DC's stable right now
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Creative team Sam Humphries and Joe Quinones get an assist from indie creator Arist Deyn making their Wonder Comics series even more surreal in Dial H for Hero #3., What ensues could easily be mistaken for a Young Animal title.
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This is one of the most enjoyable comics in recent years from DC, and the boundless energy and creativity reminds me why I love comics so much.
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The chaotic pace of this comic continues to be hilariously entertaining, but there's a genuinely strong story and characters at the core of it. Sam Humphries is quickly building a reputation for himself as one of DC's best writers.
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But as good as Humphries' writing is, the true superstar of this series is still Joe Quinones, who does a series of fascinating tribute art pieces that are easily the most creative panel work in a DC Comic in years. Just this issue, he takes on a classic 90s event, a whole universe of reinvented heroes, and a Mad Magazine fold-in.
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Look for some incredible cameos towards the end of the issue, and one hell of a cliffhanger leading into the final issue. If Humphries and Quinones stick the landing, and I have no reason to believe they won't, this should go down as an all-time classic.
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This is going to be a wild, year-long ride that promises to bring massive changes to the DCU. And I, for one, am completely on board.
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To me, this feels like it's delivering on every level as both a sequel to Watchmen and a DC event.
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This is the third excellent issue in a row, and this series is absolutely living up to its promise so far.
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As this series exits act one, I can't wait to see how it begins interacting with the rest of the DCU.
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Brilliantly written, beautifully drawn, and almost unflinchingly bleak, this isn't a book for everyone. For me, however, it's one of the most fascinating DC comics I've read in a while.
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This issue somehow manages to be very slow and haunting, and yet one of the most action-packed of the series. We're halfway in, and there are still a lot of mysteries.
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The overall craft in storytelling here is stunning, and the amount of story packed into one issue is impressive. I can't believe there's only one issue left.
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Johns and Frank have stuck the landing on what's sure to be a DC classic.
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The quest of the cubs continues, with Ambrose returning home to tell his parents of his adventures. It was rather hilarious just how unbothered both he and his dad were by him nearly getting eaten by a demon, but his adventures turned out pretty well.
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Joshua Williamson and Howard Porter's epic Flash showdown comes to a shocking close in Flash #50, shaking up virtually every element of the Flash-verse, removing some players while adding others, and containing at least one moment that left this reviewer cheering out loud.
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Williamson has upped the stakes and delivered an excellent issue before what looks like a major final showdown.
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This is one of the best arcs of Williamson's run and his run is likely to go down as one for the ages.
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This is quickly turning into one of the defining Thawne stories, and the supporting cast Williamson has built over the last four years is served really well here.
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Josh Williamson's entire run is a love letter to the Flash, and that becomes more clear with every issue of "Finish Line."
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Wally's absence is very notable, but this technically isn't the end of the story " don't miss this week's Dark Nights Death Metal: Speed Metal for Williamson's actual last Flash story. What we have here instead is an emotional goodbye to the world of the Flash, in the last act of a run that rivals Johns/Reis on Green Lantern and Snyder/Capullo on Batman as one of the all-time greats.
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This book has basically been a textbook case in how to pull off a good tie-in.
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It's another win for Adams, who was nearly unknown but has now delivered one of the best Flash runs in recent memoryand the first to let Wally truly shine in well over a decade.
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This is a phenomenal start to an event.
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The younger Flashes dominate this issue, but it's really Jay who steals the show in a great interrogation scene that features one of the bestand grossestuses of speed powers I've seen in an escape attempt.
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This was the perfect appetizer to next month's mega-sized finish.
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This is overall a fantastic anthology issue and a great tribute to the character.
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Perfectly combining the cosmic with the painfully human and tying in dangling plot threads from Williamson's entire run, The Flash Annual #2 may be one of the best issues of the title since Rebirth.
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We have massive hints for stories to come, as well as the last few pageswhich tease a sequel to one of Johns' most controversial stories. It's a bold mission statement as Johns gets ready to restart his twenty-year DC legacy.
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We only get to know these characters for a short time before the war finds them, and it's a testament to how good Johnson's writing is that deaths already pack an intense emotional punch based on those few pages.
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In the best Future State issue yet, we get a closer look at Gotham under occupation, and it's one of the most compelling alternate realities to come out of DC in a long time.
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Unlike The Next Batman, this one feels like it's setting up major developments in the future of the Bat-verse"and it's doing a hell of a job.
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If this is any indication of what Tamaki has planned for us in her regular run, bring it on"this has been one of the best stories of Future State.
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Something was missing in the first issue, but this one feels like the classic Tom King quality.
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This perfectly sets us up for one of King's trademark brutal finishes.
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This is probably the most straightforward of King's stand-alone series, but just as powerful as the rest.
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The Green Lantern: Season Two #2, a spectacularly bizarre issue from Grant Morrison, shows that while he may have adapted his style to fit this more straightforward cosmic epic, he has not lost an iota of his Morrisonesque charm.
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While The Green Lantern Season 2 #3 doesn't involve many of the cosmic elements of the previous ones, it's no less ambitious and gives us a great look at exactly what's going into Hal's new role stationed on Earth. Thank Mogo this was expanded back to twelve issues!
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Grant Morrison's runs on mainstream comics are often divisive, but I don't know if he's ever found a book where he's better suited than the Green Lantern franchise.
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Morrison on a licensed property is always a risky proposition " you never know when you're going to get those last few arcs of his X-men " but this is the kind of property where it feels like he can truly cut loose and indulge his best instincts.
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Whatever bizarre cosmic walkabout he's planning for Hal on those final pages, this is easily the most invested I've been in a Green Lantern run since Geoff Johns' days.
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If Geoff Johns' run was Lord of the Rings in space, this run is basically The Dark Tower in space " playing with your expectations and sending you on a fascinating meta adventure. It's a new classic in the making.
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Green Lantern has been in such rough waters for a while as a franchise that this feels refreshing.
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This series has been heavily inspired by Top Gun since the start of its run, bringing Hal back to its roots as a story of a high-flying space cowboybut it's never embraced its roots quite as much as with this issue.
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This is already starting to feel like the next great DC run.
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The main plot is excellent, but there are also some excellent hints at larger plotsincluding what Guy Gardner is going to be up to now. Adams' run is picking up steam just the way his Flash run did.
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Adams played it slow to start, but he's being rewarded with an excellent ramp-up to the next arc.
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One thing is clear " as a bridge arc before the next season, this is succeeding massively and proving just how big Morrison's vision for the Green Lantern Corps truly is.
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Morrison spent the first year building a mythology and a whole new cast of supporting players, and it seems like season two is going to pit them against each other in a cosmic war like we haven't seen in a long time.
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Despite being chaotic, almost overly so, this issue keeps a genuine, human core that makes it maybe my favorite Harley comic.
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"The Trials of Harley Quinn" has been one of the most inventive and complex storylines the character's ever been through, combining cosmic adventures with meta-commentary on event books and a very human story of Harley grappling with the death of her mother.
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After a longer-than-expected wait between issues, Jimmy Palmiotti and Amanda Conner's R-rated revival of their Harley Quinn run returns with a second issue that somehow manages to be significantly crazier than the first " and that's saying something.
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Harley's new digital-first anthology serves as both a sequel to Sejic's work and a bridge between the two versions of Harley we know. It's a near-perfect epilogue to Sejic's series that enhances it after the fact.
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Overall, there isn't a single weak spot in this issue.
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There have been some great Hawkman runs over the years, but this might be the one where the writer was the most effective at getting me invested in the character's mythology.
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There's a grim, haunting tone to this issue, and the gut punch of the final page is one of the most effective cliffhangers I've seen in a while. Making Constantine work in a superhero universe is tricky, but Taylor has done it before. This issue makes the case, though, that he'll never be more at home than he is in a mature-readers title set in its own gritty world.
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Tom Taylor has given us a full-on, unapologetic revival of the original Hellblazer series in a way none of the other versions have quite captured.
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It's another very strong start from one of the industry's best writers.
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Three issues in, Tom King's latest dark superhero mystery really hits its groove with an issue that indicates that this might be the defining Justice League International story"even if many of the original property's fans might object to it.
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Tom King has always experimented with other genres, but I don't think he's ever immersed himself in one like this series. This is essentially a hard-boiled noir thriller stuffed inside a story featuring some of the wackiest superheroes around.
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This comic reminds me a lot of Rorschach, in that its main character isn't really the emotional heart of the story and is in some ways kept at a distance from the viewer. Chance parcels out his backstory like a tool he uses, and it's impossible to fully figure out who he's conning at any given moment. But the clock is still ticking, and the tension hasn't lost a step in this return.
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Despite the pitch-black noir tone of the book, this does in many ways feel true to the odd family vibe of the JLI, and it's part of why this is going to go down as another classic in King's library.
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This continues to be one of DC's best books, jacking up the tension each and every issue as Christopher Chance edges closer and closer to his inevitable death.
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This isn't a story where the killer is unmasked and gives a megalomaniacal speech about why they did it. This isn't about finding a villain. It's about finding the truth, no matter how much pain it causes.
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This series is obviously out of continuity, as its takes on the JLI are pretty far from what we'd expect. Everyone is a little more twisted, a little more corrupt. A fan of the classic comic could be turned off by that, but when you think of it as a noir story using these characters as a jumping-off point for an Elseworlds, it works brilliantlyjust like many of King's past works.
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I have no clue where this story is going over its year-long run, but I can't wait to find out.
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Tom Taylor's multi-year run on this comic book adaptation of the Injustice-verse comes to a close with Injustice 2 Annual #2, and he drops the mic with what's actually one of the best Batman and Superman stories in years.
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In only two issues, Adams has already gotten us deeply invested in their characters and their small dramas, as well as built a fascinating larger-scale mysteries. So far, this is definitely my favorite of the three JSA series, but none of them are lacking.
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Whether you enjoy this story probably depends on how much tolerance you have for Joker-mania " he's far from my favorite villain, but a great Joker story can easily win me over. The first issue makes me think this is going to be a great Joker story, and another strong entry for one of the best creative teams in comics.
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This is probably the most effective Joker story since Endgame, and it's not quite over yet.
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It's a perfect coda to one of the best miniseries in recent years, and more evidence that Jeff Lemire is one of the few writers in comics who can write almost any genre.
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Scott Snyder's run on Justice League so far has best been described as "big", with every issue featuring a wide group of characters engaged in a host of chaotic plotlines. But when he goes small, the story hits its stride, because Justice League #17 is an intimate and tense issue between two characters " Lex Luthor and J'onn J'onnz " and it's the best issue of the entire run.
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Williamson had a few jobs here. He had to get us excited for Dark Crisis. He had to get us invested in these characters and make us care when they fell. He did both perfectly, and his choice of the sole survivor is a curve ball to be sure. It's an excellent kick-off to the bold next era of DC Comics.
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The best Justice League title in years is James Tynion's unique horror-based adventure, which perfectly blends a-list and c-list heroes to uncover the dark magical history of the DCU.
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As The Witching Hour continues to unfold, the battle shifts to Nanda Parbat in Justice League Dark #4, one of the most spectacular issues of an event comic I've read in a while.
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This series has a lot of dangling plot threads, and most of them are holding a ton of promise. This is easily the class of the DCU's team books at the moment.
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Tynion and Martinez Bueno stepping onto this book after their long run on Detective Comics may have seemed like an odd fit, but creatively it's turning into one of the best decisions DC has made in a while.
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James Tynion IV's Justice League Dark continues to be one of the best books in DC's stable, packing every issue with enough action and suspense for an event comic.
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Magic stories are hard to pull off, but this title is consistently full of suspense, horror, and brilliant visuals. It might be DC's best book.
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Over a year in, I feel safe in saying that Justice League Dark is the most consistent book in DC's stables. Every month, James Tynion and a top group of artists give us a masterclass in horror and supernatural spectacle " and it's not slowing down at all.
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This is a continuity-lover's dream book, and I hope it stays as strong as it transitions to a new writer.
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James Tynion IV had to leave this title a little early due to his massive new gig on Batman, so Ram V began his run early on script. We'll see how he does when he goes solo, but this first arc hasn't missed a beat on one of the DCU's best titles.
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This is sort of a breather issue in that there's no big battle, but it's funny given that this might be the most packed comic I've read in a while.
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This series has been a core part of the event, and the ending nicely sets up one of Williamson's upcoming series as the race to the final showdown begins.
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This is the second Knight Terrors tie-in written by Williamson besides the main series, and it's also far and away the best of these miniseries. That's not a surpriseWilliamson is writing the main Superman book at the moment, and it's one of DC's best books.
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This is one of the most disturbing Flash stories I've seen in a while, building to a genuinely horrific conclusion that feels like something right out of Junji Ito until we're snapped back to reality in a perfect way and the Flashes join the main fight once more. The first issue of this mini was just good, but Paknadel brings it to a close in a truly great way.
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There isn't a weak story in this volume and a few instant classics, which makes this one-shot another must-buy from DC.
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Lifetime Passes is the debut book from the new Surely imprint of Abrams ComicArts, a line of graphic novels curated by Mariko Tamaki and focusing on LGBT voices and characters. It's a fantastic start from two incredibly talented creators.
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This is a slow-burn mystery that brilliantly combines high-concept sci-fi with classic detective noir, and Riley Rossmo is putting on the art clinic of his life in a surreal style that brings Mars to life like never before. This is easily one of the DC books to watch in 2019.
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I was skeptical about making J'onn a corrupt cop in this story, but the dramatic payoff is well worth it and J'onn's path to redemption has been fascinating. This has far more in common with great TV dramas than it does with past stories starring the character and may go down as Orlando's greatest work.
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This hasn't gotten the same hype of King and Gerads' Mister Miracle, but it's no less a modern DC masterpiece.
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With Martian Manhunter #10, we head into the final act of Steve Orlando and Riley Rossmo's Martian saga, it seems destined to go down as one of the defining works of their careers thanks to its stunning visuals and in-depth characterization of its two main characters.
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This is so good that it could easily sustain a few more years of stories, and I hope it's the prelude to more stories from this creative team.
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No great story works completely without great art and Rossmo's wonderful depictions of Mars, even of Martian sex, and his horrifying depictions of Charnn stand out, as do his various depictions of the crime scenes. The colors, too, have always burst forth, adding texture to life on Mars and horror to the scenes with Charnn. But perhaps the best color job is the different shades of green for J'onn and Ashley.
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Overall, Mayor Good Boy is better than a book about a dog Mayor has any right to be. It's a surprisingly savvy satire that will work as a fantastic way to introduce kids to the concepts of politics, citizenship, and bigotry. It also has some laugh-out-loud moments that will make the educational elements easier to swallow. It's one of the best books Random House Graphic has put out yet.
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Every issue of this series is like its own 22-page play " each different, but each brilliant.
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Thus far, the one way to describe Mister Miracle would be "Harsh". Tom King and Mitch Gerads' reinvention of the Fourth World has been nothing short of brutal in different ways in every issue.
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It's at times brutal, with a protagonist who can be hard to like. It's also painfully human, a tale where it's almost impossible not to empathize with everyone. It's one of the best comics I've read so far in 2022.
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This is a haunted house story at its core, one that spans time and plays games with our perceptions. As it goes on, we get some great, unsettling jump scares. It continues to be the most ambitious and fascinating of the whole Scottober lineup so far.
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After a crazy few years"and one lost memory"the Suicide Squad creative team of Taylor and Redondo wisely reset Dick Grayson back to his baseline. But everything old is new again in this exceptional first issue that pays tribute to what's come before while blazing a new path.
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This issue is funny at times, heartbreaking at others, and grounded in a trio of great characters. Oh, and we can't forget Bitewing, as the nasty little puppy steals every show she's in. This is the run Dick Grayson fans deserve.
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It's a fast read, sure, but it's one that almost immediately calls for a re-read as soon as you're done.
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Much like his Superman book, this is just such a fun title that I look forward to every month.
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It's another huge winner of an issue from one of DC's best books.
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The cat-and-mouse game for control of Bludhaven continues to escalate, as Tom Taylor continues to prove with this and his other ongoing that you can absolutely write a socially conscious book that is a compelling read where the politics flow smoothly with the story.
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Geraldo Borges' guest art this issue is a good fit, giving the entire affair a slightly more gritty, slightly more realist vibe than Redondo's brighter art.
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Every issue of this book seems to be tenser than the one before it, and we haven't slowed down once.
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Amazing work just like every issue.
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This continues to be one of DC's best books.
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This issue, which is up there with the best of the run, may be the most emotionally resonant story Taylor has done so far.
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Tom Taylor's Nightwing run has all been building to thisa fifty-page jam issue bringing back many of the iconic artists from the character's decades-long history. But while the artists are celebrating many different runs, this is all Taylor, wrapping up many of the stories he has been building since the first issue of his story.
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It's actually been a while since the villain of this story appeared, so this seemingly art-focused, experimental issue does a great job of getting us excited for the next act of Tom Taylor's run on this title.
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I had no clue where this series was going to go once it returned from a Knight Terrors hiatus, but I can tell you I did not expect thisa call-back to one of the most divisive Nightwing runs of all time, the "Ric Grayson era where a brain-damaged, amnesiac Nightwing worked as a taxi driver while estranged from the Bat-family.
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This isn't just a tribute to Nightwing, but to the late, great George Perez, and while so many of these meta segments can feel hokey or even manipulative, this one is a brilliant tribute to the work these two legends did to turn Dick Grayson into one of the best characters in DC comics.
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While the plot here doesn't break new ground, the characterization for the two leads is fantastic and I'm hoping Taylor gets to do spotlights for all the Bat-family members going forward.
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Fitting for the concept, Nocterra #4 relies more on slow-creeping tension than fast-paced horror, immersing us in a world gone dark and giving us doses of hope and horror as it slowly unlocks its secrets.
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This is how you do a one-shot.
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I don't think this is the absolute best OGN DC has put out, but it's absolutely in the top tier. It creates a new hero who speaks to the very real challenges girls of color are fighting against, and makes for a perfect companion to the equally excellent Wonder Woman: Tempest Tossed, which reinvented Diana's story as one of a modern-day refugee. While all these stories take place in their own world, many of them complement each other. This line has a good chance of being DC's most influential new line in the last few decades if it keeps this quality level.
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This is the kind of book that really hints at the full potential of the DCU when it's exploring some of the biggest and boldest concepts it has available. It also takes the big risk of not being afraid to show its team members as out of their depthshonestly, Batwoman and Batwing don't have too much to do this issue. It ends in a nicely ambiguous way that could hint at moreor just give us a fantastic done-in-one.
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This feels like it could be opening some fascinating doors into the history of these plant-based characters, but the underlying story is darkly familiar in the best way.
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She might have started as a product of hype, but this issue indicates that she could wind up being the most important new Bat-villain in years"and that may be Tynion's legacy on this title.
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Based on this first issue alone, I think this is destined to be a new classic Bat-story and one of the best Robin stories.
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Is it any surprise that Lemire and Nguyen are putting out another masterpiece?
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Hands down the best new book to come out of DC's main line in a while and the best teen-oriented title in years, Robin has given fans of Damian Wayne exactly what they've been asking for years. And all it took was getting him out of Gotham and the Teen Titans.
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This works as both an excellent coming-of-age story for the young Robin and the most exciting martial arts battle the DCU has seen in years.
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Joshua Williamson continues to throw Damian Wayne into the most fun book in the DCU.
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Williamson just keeps on cranking out great comics, and he's quickly becoming the universe's biggest architect.
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This is a classic heist thriller with some fantastic DC twists, and it's shaping up as one of the best Black Label books.
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DC has had quite an effective run lately doing villain and anti-hero books, and this one calls back to classic film noir and action thrillers. None of these people are good, but you can't help but feel for them at times as everything collapses around them.
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Williamson has taken these characters a long way, and I can't exactly say that this Cold feels like the one he wrote in his Flash run. But this works brilliantly as a villain-centric Black Label series, serving as both a final Rogues story and one of the best stories these villains have had in a long time.
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Unlike its predecessors, it doesn't feel like Watchmen at all. It feels like Tom King is using the foundation to build something totally new, and I'm excited to be along for the ride.
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For those looking for a deep dive into the mythology of the Watchmen world. Rorschach may not be for you. For those excited for a dense, character-driven thriller that uses its surroundings to build something fascinating, this is what you've been waiting for.
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I'm one-fourth of the way through this series, and I honestly have no clue where it's going. But I'm intrigued to put it lightly.
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This story continues to be about cults in one way or another, but some cults are more subtle. No issue of this series has been anything like the one before it, but King and Fornes are spinning a fascinating tale that I suspect will come together brilliantly.
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Tom King continues to pull one surprise after another out of his hat, and this issue may be the most twist-filled yet"as well as the most controversial.
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With only three issues left, it's likely we're getting close to some even bigger reveals as this strange, brilliant puzzle box of a comic enters its last act. Right now, it's looking like the Watchmen-verse has a fourth classic chapter in the making.
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It's been a long road to the final page of this issue, and with only one issue to go it feels like there's still a lot of story waiting for us. I'm guessing the ultimate conclusion will be a brutal and shocking finale, and I can't wait.
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This story is rather limited in scope, the story of one simple man's journey into a world that isn't his own, and how it may unleash something terrible. I can't wait to see how this story plays out when read as a whole now that this modern classic is complete.
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For those who are already invested in this series, this is a pitch-perfect second chapter. For those looking to start, get that first volume and dig inyou'll definitely be glad you did.
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After seven chapters and a one-shot, it all comes down to this issue and the finale of Shadow War does not disappoint.
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Overall, four exceptional stories without a real weak link. This is how you do an anthology and an event tie-in and make it count.
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For the first time since Jerry Ordway's The Power of Shazam, it feels like we have a creator who totally gets these characters.
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We've introduced a completely new world to the DCU, based on an obscure Jack Kirby concept the legend never got the chance to explore, and this creative team is the perfect choice for it.
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Two issues in, this series has the potential to be one of the best new series DC has put out in a very long time, and that's due to how deftly it weaves together plots that honestly, have no business working together!
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I feel like this series didn't get as much hype in advance as Johns' new Justice Society of America series did, but so far this is the one that's probably going to stick with me longer and deliver the more exciting read.
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This is easily Johns' best work in years, to my eye.
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While Johns' new JSA book got the most hype leading up to this new era, this is the one that best recaptured what made him the top voice at DC for well over a decade.
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Geoff Johns is back in fine form with this series, which I actually think is significantly better than his much-hyped JSA relaunch.
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This is easily the most optimistic book Johns has written in a long time, and I hope he gets to revisit these characters soon.
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With ten issues to go, I have little doubt there's many more twists and turns in this superhero detective drama ahead of us.
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Strange Adventures continues to be the most fascinating look at the bleakness of war DC has done in a very long time, even if it's coated in a fantasy/sci-fi veneer.
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The Gerads segments, as usual, are gritty and compelling, but it's the Doc Shaner segments on Rann that are the star of the issue.
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The "King-verse," such as it is, feels distinct from the main DCU and the events of this issue feel like they can't simply happen without being reflected elsewhere. But this series works best as its own thing, and this issue is one of the strongest of the run.
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This is probably going to be the most divisive issue of Strange Adventures, and I think that's entirely by design. Tom King has never been one to shy away from tricky concepts, but this issue feels personal in a way none has since The Sheriff of Babylon.
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I'm referring to a twist and a reveal that is one of the most genuinely shocking I've ever read in a comic book, and leaves me genuinely conflicted about whether it's a good idea. What it is, though, is fantastic drama that leaves me curious what the hell is planned for these last two issues? Because this is one of those things where there really is no going back.
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It's weird, violent, tragic, and such a radical change to the world of these characters that it's hard to imagine how DC even greenlit it. But I'm very glad they did, because it's one of the best works of fiction about war in a long time.
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Suicide Squad has been a troubled property for a while, with several comic runs and a movie losing sight of the strength of the concept and turning it into a generic action plot full of a-listers who know won't die. It only takes Tom Taylor, who turned "DC Zombies" into one of the best books of 2019 and spun gold out of a video game tie-in, to fix all its problems with Suicide Squad #1, a fascinating beginning that feels like a breath of fresh air and brings back the tension of the Ostrander run.
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Tom Taylor delivers a master class in tension in an issue that focuses almost entirely on Deadshot"only a short time, as we know, before the character seemingly meets his end.
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The biggest shame is that there's only three issues left of one of DC's best books.
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This issue is another big winner in what's quickly turning out to be one of DC's best books, and I'm excited to see where Taylor plans to take these characters after the curtain drops " he's surely onto bigger things.
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It's yet another win in Tom Taylor's fast-growing DC library.
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Far too brief but no less spectacular for it, Tom Taylor's Suicide Squad is probably the finest run with these characters in over a decade.
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This is probably the best Supergirl run since Sterling Gates' time, at least.
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This is only a done-in-one right now, but it fleshes out Kara's current mindset and sets up so many more potential stories for the Girl of Steel. Hopefully this will be just the start.
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This is a messier, more driven Supergirl than we've seen in a long time, and it feels like she's needed a run like this.
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The story of the other survivor of Krypton's explosion has been spotty over the year, but two issues in this feels like it could be the defining Supergirl run since she returned from an extended limbo in the early 2000s.
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The events that go on here could easily fit into another character's story, but the youth of the two main characters and the way it affects them on a more personal level really sell the events here. We're almost halfway through Kara and Ruthye's story, and this could easily become one of the best Super-family stories in recent memory.
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We're in a brave new world now, and this issue has me 100% sold.
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The first issue of this fantastic new series plunged us into Metropolis by dayfleshing out the city of tomorrow like we haven't seen in well over a decade. It seemed bright, alive, and filled with promisewhich makes it all the more interesting that this second issue is so intensely bleak and dark.
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This has been one of the best Superman runs in recent memory, and certainly the best that focuses on Superman in his most iconic settingsMetropolis, with his classic supporting cast, and sparring with Lex Luthor.
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The back-and-forth between Superman and his new associates is a great part of this series, as he constantly frustrates Luthor by refusing to give up his morals. This is also the best use of Jimmy since his solo series, as the offbeat former cub reporter actually seems like an adventurous and heroic person in his own right.
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While original artist Jamal Campbell is missing from this arc, Gleb Melnikov has been building into one of DC's best new artists for a long time and he has a great sense of epic scope and scale here. The Superman resurgence continues to turn this franchise into one of DC's best.
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Williamson has done a lot of great DC book over the years, but this might be the best yet.
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This book does something no Superman title has done for a very long timeit's developed an elaborate supporting cast that makes Metropolis feel fully alive, and that's enough to make it one of my favorite current books.
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This continues to be an absolute golden era for Superman, with two excellent books right now and a promising new era for Action kicking off soon.
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This is one of the fastest-paced issues of the series yet, with a mile-a-minute feel that sets the stakes sky-high for this latest arcs and gives Superman several new villains to face off against.
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Joshua Williamson has built one of the best Superman events in recent memory over the last year by going in deep on the complex, often dysfunctional bond between Superman and Lex Luthor.
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No surprise, Williamson has built to a great event here.
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The main Superman series has been on hold for a few months for Knight Terrors, but this oversized art-jam one-shot fills the gap with one of the best issues of the series.
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It has a wicked, subtle sense of humor that creeps in, and that's where Morrison is at their best. It's unlike anything else in DC's roster right now, and I imagine this will be one of the highlights of the next few months.
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Based on the solicits, I never would have picked this as one of the best DC comics in memory, but here we are.
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As we reach the halfway point of Priest's space-faring adventure that finds a time-lost Superman building a new life in space, this issue is probably the breakout that shows just how good Priest can be when he's truly on his game.
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This clearly out-of-continuity book has been slipping under the radar a bit amid a great era of Superman comics, but it may be one of the best books DC is putting out right now.
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Of all the directions this fascinating psychological study of Superman was going to go, I was definitely not predicting it taking this one.
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This is the kind of Superman story that we probably wouldn't get in the main continuity, which makes the fact that Priest pulled off this spectacular story all the more impressive.
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Honestly, not only isn't there a bad issue in this first issue, there isn't even one that's just okay. It's an across-the-board excellent start.
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Overall, another phenomenal issue without a single miss.
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One of the best books at DC right now.
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This is pretty close to a perfect comic, and one of the best issues of the series yet.
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Tom Taylor is obviously one of the hottest writers at DC right now, but I don't think any book of his is quite on the level of this groundbreaking reinvention of the Superman mythology.
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It's a strong issue of the parent title, but it also does a great job of introducing us to this new version of Dreamer. The fact that she's trans is never really brought up in this issue, which is smartit wouldn't fit in, and there will be plenty of time to explore the character's motivations and backstories down the line. What we do get this time is a strong introduction to her role as a heroand she's definitely a character I'm excited to follow anywhere.
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This is a chaotic issue, with some great action and eventually Jon pulling off a feat just as impressive as his father did on Warworld over the last year.
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Taylor's greatest strength in this book is the emotional punch he can get out of small moments, and while the timeline of this issue is a little hard to grasp at first, it comes together brilliantly.
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Clark narrates this issue, putting us squarely in his head as we see how he views Jon, and it's a great way to set this issue apart from the rest of the series.
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I thought the first two issues were among the finest DC comics since Kingdom Come and The New Frontier, which meant this final issue had an enormous barrier to meet in order to finish the story. Does it pull it off? I'd say yes almost completely.
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Mark Waid has written some of Superman's most iconic stories, but he's never had an extended run on the main book. Instead, he's focused on flashbacks and stand-alone tales that break the character of Superman down to his bare essentials. He may be on the verge of another classic with this Elseworlds that focuses in on the complex rivalry between Superman and Lex Luthor, combining moments in the present and the past.
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With only three issues left, this feels like a new DC classic in the making.
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With only one issue to go, it feels like there is still a world of story to unlock, but it doesn't feel like it'll be rushed. It feels like everything is proceeding exactly as planned, as the creators unlock the final secrets of their epic mystery.
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The last few Swamp Thing runs have all massively expanded the mythology of the Green and its champion, and Ram V's take is no different. But it also seems to be doing something completely different as we reach this final issuecreating a beautiful, almost lyrical reflection of what it means to represent the Green and the myriad of plant life in the world amid the ever-encroaching presence of humanity and technology.
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The last line of the book sets up a conflict for the character we've never quite seen before, and Lemire's kicked off what could be a defining story for the Swamp Thing mythology. No surprise that whatever he touches in the DCU turns to gold. Another big win for Black Label.
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This is a fantastic comic, one of Black Label's bestand hopefully we'll get the next issue less than fourteen months from now.
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There's a dark sense of humor and fatalism to much of the issue, but it all comes together into a surprisingly powerful emotional catharsis. There's a reason Lemire is considered one of the all-time greats, and I'm a little sad this might be his DC swan song.
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This seems to be a story about cycles, about history repeating itself, and about how far we would be willing to go for the truth. But it's also a very simple story about a boy who wanted more and an old man who"well, the book hasn't given us those answers yet. What it has given us is proof that sometimes, the second trip around is just as compelling as the first.
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It's a fast read, but one that doesn't waste a single panel. I have a hard time believing a story this intriguing can be wrapped up in only six issues, but hopefully that's just the first arc. When Lemire is on his game, few writers or artists can match him.
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This is a small issue, but something I really liked here was the positive relationship it gave Kory and Barbara in some small scenes. This first issue makes me think this mini will be a must-read for any Titans fan.
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This is one of the best books Dan Jurgens has written in a very long time, and it's about time he made his mark on the Caped Crusader.
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After decades of writing the brighter side of the DCU, Jurgens continues to prove that he has a brilliant take on Batman in him and I hope this is just the beginning.
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No one in the recent years before or after Snyder's run has done a Joker story half as effective as Endgame, but in this miniseries, it seems clear that he still has one spectacular act to go for comics' most iconic arch-enemies.
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Things truly come full-circle with the final reveal, and two issues in this is one of my favorite works of Scott Snyder's in years.
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It's a story about crime, insanity, and corruption, and it's easily the best thing Snyder has written for DC since the end of his 52-issue Batman run.
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It's yet another brilliant Batman story by Snyder and Jock.
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Batman Who Laughs #7 is a comic that should work nearly as well as it does. It tries to combine big event-level storytelling with subtle character-driven writing. It's as explosive as the "Court of Owls" and as haunting as Snyder's Severed.
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This series could easily have just been a visual feast, but Sharp turns out to be as great a writer as an artist.
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The second book in the Hill House line is an unqualified win, and my only regret is that the 100 pages or so we're getting of it don't feel like they'll be nearly enough.
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Of the two Hill House books so far, The Dollhouse Family #2, by a legendary creative team, is weaving the story that will haunt my nightmares for years to come. That's because it has the perfect blend of supernatural horror and the horrors that real kids encounter every day.
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This is the one of the Hill House books that's probably hardest to sum up in a sentence, but that's a good thing. While all the others seem to be aspiring to homages to old-school horror movies, this one feels like it's playing in the same field as the great horror writers. It still feels like we've only scratched the surface of this world, and I could easily see a follow-up, but this stands alone as a modern horror masterpiece.
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This series pulls off a very delicate balancing act " perfectly fusing the dense, traditional storytelling style of the best classic Vertigo books with a more reader-friendly crossover style.
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It's definitely more straightforward than Sandman ever was, but its use of the concepts in Gaiman's masterpiece is fascinating. It feels like we're just slowly peeling away pieces of the puzzle, and I cannot wait to see where they go next. This is easily the class of the Sandman Universe line so far.
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It's an intense read, but one that earns every bit of that intensity in excellent storytelling. It's another must-read from Image.
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Harper and the cult are more interesting than Punchline herself right now, but Andolfo's art is always something special and this is a great look at the psychology of supervillains.
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For a title with Joker in the title, Joker has relatively little to do in this series so far"and that's a good thing.
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Both the main story and backup are delivering some of the best tension in any book on the stands.
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Francavilla's art is brilliant as always, and this may be one of the best comics Rosenberg has been involved in.
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There is so much going on in this issue it would feel overwhelming in lesser hands, but instead it's probably the best Bat-book at the moment.
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The Tynion/Rosenberg/Francavilla interlude issues of this series have been just as good if not better than the main series, and that continues with this follow-up to the events of The Killing Joke.
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It's a perfect setup for a packed final two issues, and probably the best Joker story in a long time"even though the killer clown appears in all of one panel this issue.
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What's interesting about this issue's portrayal of Joker is that he's actually" funny. It's very rare for Joker to have any actual punchlines anymore, but here he seems to have a genuine chaotic energy that's more unsettling than any of his past portrayals.
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This four-issue miniseries has been a long time in coming, but it might be the best new Shazam content in ages.
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One way or another, this issue took me back to just how good Johns' JSA wasand I have no doubt that's about to continue.
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This feels like it's going to be an exceptional slow-burn horror saga, and few are better at writing those than James Tynion IV.
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It's one of the best horror books in years.
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One of the very best books on the stands every month, The Nice House on the Lake is getting close to its halfway hiatus"and oh, boy does it have some surprises for us before it goes.
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This slow-burn horror series never fails to surprise, and its "paradise is no less eerie than the previous incarnation.
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This issue is one of the more laid-back of the run so far, with few scare moments or shocking twists. But it's all the more impressive that it's never anything but completely compelling.
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As we reach near the end of this epic horror storyor maybe the end of act onewe finally go behind the curtain like never before.
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This is one of those books that demands to be re-read in full as soon as it's finished.
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John Ridley's long-awaited DC Universe project is unlike any other DC Comic you'll read this year"starting with the fact that it isn't fully a comic. You should set aside a brick of time to read this book, because it's mostly prose backed up with some gorgeous art from Giuseppe Camuncoli, but it's really not a sequential story. Rather, it's a deep dive into the mind and heroic career of one man.
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Teen Titans has always been a troubled franchise, with many retools and rough periods, and this issue somehow puts that all together in a devastatingly powerful emotional journey for two characters who finally get their moment in the spotlight.
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This has the potential to be the darkest book King has done yet, and yet another winner in his massive library of DC gems.
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Big risk devoting the entire second issue to only two players and not following up on many of the plots in the first issue, but as usual for King, it worked brilliantly.
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We don't know these characters too wellthey were largely all just bit characters and kind of jokesbut King does an excellent job of introducing us to them in only 20 pages, before setting them up for a nightmarish ride that is likely to get worse with every new recruit Penguin finds.
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Creating a series centering around a villain is always trickysee the recent Joker seriesbut this one seems to be turning Penguin into an iconic crime antihero.
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We're building towards the return of the Penguin to Gotham, and King has done an incredible job of getting us invested in this story. Not in Penguin himself, per sehe's still a horrible person with few redeeming qualitiesbut a great conflict has been set up, and we know why we're supposed to fear Oswald Cobblepot, and maybe view him as the lesser evil.
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Tom King has been weaving a fascinating story of Penguin's return to power so far, but for this issue he goes backway backto explore the story of Oswald Cobblepot and his first rise to power.
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This is the most purely noir-influenced book King has ever done, and it's fantastic.
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The last few scenes of the issue are twisted and inscrutable, hinting at a very strange relationship between these two, and I am already wildly excited to see how this new rivalry plays out.
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This issue keeps us at a distance, never quite letting us get into his head, and isn't that the best way to handle a Question comic? Vic Sage has never given away his answers easily, and that's not changing any time soon.
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This issue had a few more hiccups than the Death of issue did, but it's still an amazing tribute to an era of comics that I remember very fondly.
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This is a fascinating, excellent start that shows off the talent involved in this universe. I cannot wait to see the new books debut next month.
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This is a Constantine we haven't seen in a while " a desperate, depressed man neck-deep in bad deals and all too willing to sacrifice those closest to him.
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It's a fascinating story that kicks off with a slow-burn journey into something unique and creepy. Even though Tynion is done with superheroes for now, it's clear he's still one of the best writers at DC.
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It's easily the best launch out of this universe since The Dreaming, and it's not a surprise he was not walking away from this opportunity.
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Guest artist Patricio Delpeche is a perfect choice to illustrate this surreal, haunting landscape and the terrifying creature at its center, and this issue starts to establish just how deep the conspiracy that the Corinthian is hunting goes.
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It's a genuinely unsettling take on the zombie trope, and these two villains continue to be the most disturbing figures to enter the Sandman universe sincewell, the Corinithian himself, who has been largely kept out of focus for the last few issues.
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Masterful stuff as always.
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Gaiman's world can be terrifying when written right, and this is probably the most compelling use of it since the Sandman Universe line began. It's also a great possible send-off to Tynion's time at DC.
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This issue sets up some fascinating conflicts and developments that make me think this is turning into one of DC's best books.
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After a few more conventional issues, Jeff Lemire is getting to cut loose on The Terrifics #8, taking his misfit team of four DC heroes into uncharted territories.
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Jeff Lemire is leaving The Terrifics in March to close out his time in work-for-hire, but it's not clear yet if the series will continue. I would advise DC to let the run stand on its own because I can't see anyone else equalling this level of quality.
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There aren't as many options for success or failure as there are in the books " this is more of a puzzle to find the one right solution " but it's an inventive concept that provides a lot more re-read value than your average comic and puts you into the shoes of your favorite heroes.
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This event did an amazing job of telling a truly epic-scale story while never losing sight of what made Taylor's work great and pulling in threads from Nightwing, Titans, and Jon Kent's solo stories.
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This is one of the most psychologically honest books DC has put out in a long time, and this done-in-one issue might work as a great evergreen story.
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This is ultimately a great story about grief and recovery, as we meet Casey and his father as they're obviously still healing from a fresh loss. Casey's mother is sort of shrouded in mystery through this story, although we learn a lot more about her as it goes on. There are a lot of great details that drive home the impact of this loss without it ever being discussed too directly.
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This is a widescreen supernatural thriller that delivers in every way, even if I have absolutely no clue how we're wrapping this up with only one issue to go.
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Snyder and Capullo have pulled off the feat of giving us three new properties that all feel completely different and yet have many themes in common. Of all of them, this may be the one that most cries out to be adapted into another medium, but the execution of it as a comic is near-perfect.
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Much like many of the DC OGNs, Whistle does feel like a first chapter at times rather than a done in one. There's so much more to explore with these characters, but what we get in this volume is a fun, intense joyride of a comic that takes us into Gotham in a way we rarely see. Long live Willow Zimmerman and Lebowitz, and let's hope the DC OGN line keeps giving us bold content like this.
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It could just be the next arc of Justice League Dark, but it gets bigger and better with every issue.
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In only four weekly issues, Tynion has shown exactly how you do an event comic and put many of his competitors to shame.
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G. Willow Wilson has managed to pull off an amazing feat with her Wonder Woman run so far " she makes it feel both gigantic in scope and incredibly intimate.
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This story is a hard read, brutally intense and painful in places as it evokes immigration roundups, police brutality, and kill squads. It's too early to say how this book will fit in with the rest of the DCU, but it's easy to see that this will be another King classic.
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That's why I'm sure it'll frustrate people that this entire issue takes place amid a fifteen-minute battle segment of Diana vs. the US military, combined with a lengthy flashback to the final battle of Diana's initial tournament on Themysciraand it is a very odd way to start a run only two issues in. But you know what? It doesn't matter, because it's excellent.
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Three issues in, we're barely scratching the surfacewhich is par for the course for a King book.
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This is a quintessentially Wonder Woman story, in which no rule will stop her from doing what's truly right, and it also features some beautiful dialogue from her young friend about his fears.
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There's an intriguing subplot involving the Wonder Girls capturing Sarge Steel and trying to get information out of him, but this issue is mostly a tense, one-on-one play as Diana is lost inside her mind and battles her way out bit by bit. It's a brilliantly done spotlight that sets up next issue's showdown.
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There's a lot of heavy lifting to be done in the rest of this series, but thankfully he has two issues left to bring all he's set up to a satisfying close.
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It's easily one of the best modern Wonder Woman stories, and another must-buy from the line that's transforming DC Comics for the better.
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Watters' writing is usually best known for twisty, dark storytelling with the occasional deep bout of body horror. However, he takes those horror-influenced elements and somehow manages to make them work perfectly in this tale that finds Orm return to the place he called home with a harrowing tale of monsters and horrors deep below the sea.
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This is a quick read, at about 160 fast-paced pages, but it both works as an all-ages adventure and a great look at one of Batman's most important figuresthe man who raised him to become the man who could raise so many other young heroes. On the surface, it looks like an odd choiceif not as odd as Johnny Constantinebut when I think about it, it's one of the most original and well-earned solo spotlights in the DC Kids line yet.
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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.
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Overall, another great giant anthology issue without a miss here.
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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.
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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.
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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.
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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
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This book is definitely improving a lot issue by issue.
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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.
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This book is fleshing out Superman's world like we haven't seen since the 90s, and that's its biggest strength.
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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.
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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.
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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.
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One of the best parts of this run has been the compassion Superman has shown.
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A fun backup, but anyone following Johnson on this title has their work cut out for them.
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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.
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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.
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It's another strong installment as the revolution looms.
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The war for Warworld heats up, with a non-stop issue that gets all the key players in position for the final showdown.
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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.
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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.
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Superman is back on Earth, but he's not coming alone.
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What is clear is that the writing team of Johson, Taylor, and Williamson have the entire Superman family in very good hands.
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Overall, this run has been a much-needed spotlight for all the rarely-seen members of Superman's supporting cast.
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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.
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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.
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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.
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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.
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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.
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This run is only six issues, likely wrapping up Tom Taylor's Jon Kent series, and what an adventure it is.
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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.
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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.
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The ending sets up the next DC event, as a fast-paced but ultimately strong series comes to an end.
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Sheridan manages to infuse this story with emotion and pain that kicks it up to the next level.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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A fascinating subversion of fantasy epics, Amy Reeder's Amethyst has been a great new take on the semi-obscure DC heroine.
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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.
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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.
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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.
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This has quickly built up into one of DC's most interesting runs.
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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.
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There's more double-page spreads than usual in this issue, and some are the best work of Bogdanovic's career.
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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.
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I continue to be blown away by just how well Kelly Sue DeConnick weaves together the many subplots in her Aquaman run.
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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.
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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.
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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.
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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.
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The first half of the issue is a lot of setup, but when the chaos breaks out, it delivers in a big way.
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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.
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This is one run that fans of the character are going to look back at as one of the greats.
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: 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.
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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.
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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.
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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.
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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.
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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.
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Just about every major character gets a spotlight in this issue, but Black Manta has got to have the most interesting character arc.
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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.
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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.
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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.
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Between the strong plotting and dialogue and the excellent guest art, this continues to be one of the top gems of the Bat-line.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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It's still one of the most enjoyable Bat-books on the stands right now.
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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.
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This arc has been the most emotionally fraught of the series, although it's also had the most mood whiplash.
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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.
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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.
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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.
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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.
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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.
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Exactly what I'd want from a first issue set in the original movie's continuity.
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Still excellent, and I'm just sad this is only six issues.
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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.
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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.
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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.
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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.
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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.
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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.
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Another great issue in King's run.
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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.
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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.
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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.
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As we build towards the wedding, this book continues to hit on all cylinders.
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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.
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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.
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It's not going to be for everyone, but to my eye, this issue is brilliant.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Joker War is getting all the hype, but Tynion is coming out of the gate on this title as strong as Snyder did.
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The title hasn't missed a step, though, as we plunge right back into James Tynion IV's high-octane thriller.
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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.
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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.
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We're still in the opening act, but this storyline is exactly as intense and creepy as it should be.
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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.
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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.
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With some great cameos and one hell of a central fight, it's another strong issue in a near-flawless run so far.
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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.
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It's no surprise that one of DC's best books before the relaunch remains so now.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Three issues in, this continues to be a strong addition to a great streak of Bat-runs.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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It's a strong epilogue that leaves Joshua Williamson and Mariko Tamaki with a lot of fascinating elements to work with.
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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.
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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.
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This title somehow delivers both more and less than it was promised.
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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.
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The first issue of this series was compelling enough, with an interesting look into a world of comics most Americans have never seen, but this one feels much more rooted in the world of the DCU and Vertigo in particulara world where Dylan Dog and the scumbags he fights feel right at home. At 60 pages of story per issue, this is a strange journey well worth taking.
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The thing about this comic is, it sounds like a joke comic but it's really notat all. There's a serious threat that takes Batman out of his comfort zone, and Santa is another warrior from a different sector of heroism to partner with. It takes the absurdity of the concept for granted and instead gives us an action-packed winter thrill ride that fits perfectly in the DCU.
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I never would have thought "Batman meets Santa could create a story as entertaining as this one, but that's the current golden age of DC.
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The end result is a series that seems to have a real love for the DCU and the absurd, colorful world they live in. After all, in a world of Gods and monsters, is an immortal gift-giver really that ridiculous?
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Can the DC Santa return every December for a new series like this?
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We're only three issues in, but this title seems to have a stronger central concept than these team-ups have in previous versions.
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As the dark mirror to the current storyline in Justice League, Batman/Superman seems to get better every issue.
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Superman and Batman feel almost like supporting characters here, the villains are such outsized characters. But that's not a complaint. And the ending lays bare the flaws with Zod's plan in a fantastic splash page that is alternately horrifying and the most Silver Age thing I've read in awhile.
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While this issue does have a hard sci-fi bend, it also has an intriguing detective vibe that makes good use of two of the lesser-used heroes in the Batman and Superman families. It's the start of another strong arc by Williamson on the best team-up book in years.
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There's some great action in this issue as the mostly hapless villains put up a surprisingly good fight, but the eventual resolution is anything but violent.
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It's a compelling look at whether their heroism would persist even without the yin to their yang"and the answer seems to be yes.
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Just let Yang reinvent comic book history for as long as he wants.
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This inventive series only has two issues left, unfortunately, and Gene Luen Yang's run will only be one extended arc. What a relief it is, then, that it's such a unique arc that it'll leave an impact on the DCU on its own.
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As Gene Luen Yang's run on this title comes to a close"and the title with it"we get another engaging chapter of one of the most unique stories in DC in a long time.
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It's an old-school thrill ride brought to life by one of the best creative teams working today.
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Mark Waid continues to prove right out of the gate why he's a legend of DC even without writing for them for more than a decade.
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Waid has not only gotten this title off to a great start, he may be setting up the next great DC villain.
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This is definitely one of the most frenetic issues of the series yet, as the battle shifts and the balance of power tilts several times within a few pages.
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This is a very strong start to a major new arc.
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It seems like Waid is being set up as the new architect of the DCU, and based on his two titles right now, DC couldn't make a better choice.
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I still have a lot of questions about this book's continuity, but it's delivering great stories.
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It's another great installment in a series that features brilliant art and excellent characters, but definitely seems like it might read even better in a collected format.
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Waid has pulled in elements from his long, storied career in DC that he's only getting to resume now, and it's another strong installment in a soon-to-be-classic series.
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This title has been useful for setting up the new DCU continuity, which puts Supergirl back in her original place as the first Super-sidekick and makes her a bit of a peer to Dick Grayson. As the same generation, they also have a meet cute and briefly consider datingonly for it to go horribly wrong.
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This story has been done before, but never exactly like this, and kudos to the creative team for keeping this book fresh.
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It's no surprise that Waid is leaning heavily on classic villains here, and it's easy to see why this run is so well-regarded that it's getting a spin-off in a few months.
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It's just a good, old-school superhero adventure that wouldn't be out of place in any era of DC Comics, and it shows Waid and Mora's love for some of the more obscure characters.
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I don't think this arc was quite on the level of the first two arcs, but it's a fun old-school adventure that sets up potential future adventures with some great visuals along the way.
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It's amazing how much mileage Waid can get out of a bygone era for these heroes without ever losing momentum.
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I noticed that this was a much more intense version of the first Batman/Superman meeting than we usually seein the past, they spent their first team-up fighting Magpie, not a deranged Kryptonian terrorist. But it does a very good job at exploring how the trust between these two formed so quickly.
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Overall, it's a great return to an iconic world that gives Waid the long-awaited chance to tell the next chapter of his epic.
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Waid isn't the only writer to work on this world and its characters. Geoff Johns played a key role as welland one of the key elements of his run is about to return in a big way. Superman and Batman aren't just up against their doppelgangersthey're up against a dark God, and it's one that doesn't intend to let them come home.
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This series excels when it's balancing compelling character work with old-school action, so it's no surprise that Waid returning to his roots on this classic Elseworlds is resulting in what might be the best arc of the whole series so far.
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Waid continues to deliver on this title, weaving some fascinating hidden adventures for DC's two biggest heroes.
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Waid continues to be one of the quintessential DC writers.
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While this story is much more serious than the type they usually appear in, that doesn't mean Waid and Mora don't know how to have some fun. The sheer unpredictability they bring to every story is on full display, such as when they randomly decide to give Robin superpowers because it'll up the power level (and he asked).
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Overall, this is a great collection of tales without a dud in the mix.
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There isn't anything groundbreaking hereit's a little too laid-back of an issue for thatbut it's a great new start to the next chapter of Williamson's Damian Wayne saga.
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Overall, the banter between Bruce and Damian is the best it's ever been and this might be the only time I can remember where they actually feel like father and son rather than associates. It's a golden age for the bat-books and this is another winner.
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This exciting series is kicking things off with an interesting first arc, because it's one of the fastest-paced series at DC in terms of actionbut it also takes place over a very small timeframe.
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The idea of Kirk Langstrom as a true supervillain isn't one that fully clicks with me, and we don't see quite enough of him this issue to say how it'll play out, but it's an interesting change of paceand it adds a higher stake to the Bat attacks Batman endured.
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This continues to be another huge winner in a golden age of Bat-books.
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Joshua Williamson, for all his background in horror comics, has managed to give us one of the most optimistic and wholesome Bat-family comics as Bruce and Damian slowly learn to not just be partners, but father and son.
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I'm enjoying this half of the story, although I'm still a little confused by where this sadistic, megalomaniac version of Man-Bat even came from.
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This continues to be another winner in a sea of them among DC's recent launches.
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While this is definitely a book for younger readers, it's another impressive example of just how good DC is at this all-ages line. Talented cartoonists and creators from outside of comics are reinventing these characters in ways that feel fresh while still being immediately recognizable. Watching Damian and Howard go from enemies, to friends, to crimefighting allies is a lot of fun and there is room for many future adventures featuring this oddball crimefighting team. I kind of want to see Damian and his new friends cross paths with the rest of Gotham's residents.
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This title has consistently built since its first arc, and it's one of DC's most underrated books at the moment.
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It's been a long, strange journey for Batman Beyond, starting mired in the dark future of Future's End and turning into a genuine sequel to the original cartoon. And through it all, Dan Jurgens has been steering the ship to a satisfying conclusion.
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This has been an entertaining, pulpy comic with a ton of Hong Kong-inspired action scenes and countless rogue Batmen across the globe, but it also has some very interesting and thorny issues.
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Overall, Batman Tales: Once Upon a Crime is a definite level up for the creative team of Fridolfs and Nguyen, taking the elements that made their earlier stories work and adding more depth, more comedy, and some inventive art tricks. This is a worthy addition to the DC all-ages OGN line.
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The first issue of this strange Vertigo crossover was an odd one, with unusual pacing and new characters that it felt like we were supposed to know. After reading this second issue, I'm starting to get my bearings here"and it feels like we might be in for something special.
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It's a type of Batman story we've really never seen, and it's genuinely impressive how much history and continuity Waid is weaving in here. But he needs to be careful with this cliffhanger, which delivers a gut punch of a reveal but also stands the risk of undermining a lot of the good will he's built with this series.
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This is definitely the best Bat-event in a long time.
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It's the kind of event comic that, despite being self-contained, manages to make a huge impact and set up something even bigger coming soon.
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Overall, a very strong first issue that feels more like an art showcase than a traditional anthology at points.
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All around, another excellent issue.
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All in all, another fantastic issue without a single weak link.
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Once again, a near-perfect issue of excellent stand-alone tales.
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The visuals here are great, but this second issue elevates the story into a high-stakes suspense thriller and delivers the visuals we expect from a Murphy joint.
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A strong flashback to Alfred's role in the Wayne's big secret, and a tense cliffhanger that leaves another hero's fate in question adds up to the best issue of the run. It's no surprise that this series essentially launched Black Label.
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One of this title's best feats is the way it takes things from the 1990s and revamps them to fit perfectly in Murphy's unique style. The new design for Azrael's villainous identity is one of the best art pieces of the run, and the second half of this series is looking to easily outstrip the first in intensity.
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Murphy's been show-running this comic nearly solo from the start, and it's evolving into one of the most promising Batman alternate universes in years.
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The first five issues of this comic were largely about putting the team together, but now the heist beginsand it's one of the best set pieces I've seen in a comic in a while.
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Grampa's art is always astonishing, of coursecheck out the noir edition, in black and white, to see the full detailand the story is intriguing, even if it might have a few too many subplots for a very busy first issue.
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For the first two issues, Batman: Killing Time was a compelling heist thriller with a twisty timelinealmost like a Christopher Nolan moviebut without a true hook. This issue we get that hook, but it raises more questions than it answers in the classic Tom King fashion.
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Batman is always noir-inspired, but it's rarely this much in the groove of the crime thriller/farce, and it's a tone that works perfectly.
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Ultimately, it's a very strange story but a far more satisfying one than the recently concluded Batman/Catwoman.
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It may seem like a minimalist story, but under the surface is one of the smartest Batman stories I've read in a while.
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When a random one-shot comes out, I'm usually not expecting muchit's often an inventory story. So I was pleasantly surprised by this issue by long-MIA DC writer Andy Diggle, which not only takes place in current continuity but feels like a really good pitch for a new Outsiders series.
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The mystery at this issue's core is pretty simple, but what elevates it is the way it uses the Bat-family.
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Definitely a strong start for the line.
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The stakes in this issue are much lower than the others. There's no sadistic game of murder, or battle for control, or slow-burn master plan. Instead, there is only a lonely and desperate man being exposed for what he is, and a battle that feels as much like catharsis as anything else. And oddly, it's a Christmas story as well!
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There's no grand mythology here, and aside from a few new characters it could take place in the main continuity. Instead, Jock"showing impressive chops for a first-time writer"simply wants to take us through one of the most insane nights of Batman's career blow by blow. Think the superhero equivalent of 24, but with less torture.
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It looks great, it's a fast-paced adventure, and it understands that Batman is often at his best when he has no one to rely on.
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Jock's Black Label adventure has been surprisingly simple in its nature, and that's worked well for it.
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Overall, Batman: Overdrive is an irrepressibly fun book that gives us a unique take on Bruce Wayne backed up by some highly entertaining car chase action and a strong supporting cast.
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In lesser hands, it could have been a throwaway tie-in, but with Tynion and Ward at the helm it delivers a smooth and compelling story. I'm hoping writers continue to explore the Gardner and Tynion's other originals after he departs.
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While other characters like Punchline and Clownhunter had origins that march up with what I expected, Miracle Molly is a great example of how to still surprise your audience.
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I'm not sure if Mahoney will meet his end in this story or not, but the creative team has slowly turned him into a genuinely terrifying threat"one that feels more real than costumed villains.
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This first issue sets up a lot of intriguing plotlines, and it's always fun to see Batman thrown off-balance as he reckons with the forces of the supernatural.
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With Catwoman, the Court of Owls, and other wild cards lurking in the background, we're set up for a pretty great finish.
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This has been one of the best surprises out of DC in recent memory, spanning about three years and three seasons as it revived the old animated series with two of the top writers from it. Not only did it capture the perfect dynamic and all the fan-favorite heroes and villains, but it brought in several major players who either weren't used in the original series or didn't even exist when it debuted.
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Overall, this is a fantastic start from four excellent creative teams.
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These final black-and-white stories are a great way to wrap up each issue.
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The latest chapter of this anthology has another fill-in for King and Gerads' Joker tale, but it's one with an impressive creative teamLanzing, Kelly, and legendary Batman artist Kelley Jones on "Enter the Abyss, a chilling tale that finds a mysterious force kidnapping people all around Gotham.
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Overall, another great issue with a truly spectacular main feature.
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The main story is definitely the headline here, but this is overall another strong issue.
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Overall, four solid tales that get a little weirder than usual.
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A perfect mystery for the Dark Knight Detective, and another big win for one of DC's best.
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It's more intimate, less epic than Taylor's usual stand-alone miniseries, but just as compelling so far.
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This type of international espionage and terrorism story is different for Batman, and as we had to the final act, Taylor and Kubert are doing a great job of jacking up the tension with every issue.
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Unlike all the other future Batman stories where Batman seems to be more bitter, more brutal, and more alone, it feels like Bruce Wayne is coming out of this one wiser and with a better view of what it takes to make a difference. That's the Tom Taylor effect " he can take old tropes and make them feel completely fresh.
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While it's not quite as emotionally powerful as the first issue, this installment takes Bruce a long way down the line to actually becoming Batman.
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This feels like a great companion to the just-started Batman run by Zdarsky.
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This is a gorgeous comic, minimalist but almost as good as the originals. I don't know if we'll ever get more, but this is a fitting capper to the previous installments.
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From the opening pages, as Batman argues with Alfred from inside the Batmobile as we see the city as Batman does, it delivers on a visual level like few Batman comics do.
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Brian Michael Bendis' DC work has been a mixed bag since he arrived at the company, but this former Walmart exclusive comic has shown off all of his strengths " namely whip-fast dialogue and a great sense of tone and place " with none of the weaknesses in Batman Universe #2.
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With Batman Universe #4, two-thirds of the way into Batman Universe, I can safely say this team-up adventure is easily the best comic Bendis has written in years, and maybe one of the best of his career.
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This run feels like an entire event comic stuffed into a single miniseries and I mean that in the best way possible. Bendis understands the inherent chaos of the DCU better than most of his regular comics indicate, and if he brings this style to a regular Batman run down the line, I highly endorse it.
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Overall, though, a very solid first issue with no real weak spots.
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Overall, another excellent issue with some great stories and nice surprises.
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One of the best issues of the series, with two excellent stories and one very significant one.
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Overall, four great tributes to strange possible futures for the Bat.
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Overall, the quality of stories in this anthology continues to be sky-high.
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Overall, the two main stories were excellent enough to make this one of the best issues of the series.
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Overall, a very intriguing new beginning, with some real gems among the four stories.
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The four new stories continue to unfold this month, continuing off a promising set of first installments last month.
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All in all, another four winners as this anthology continue to deliver.
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Overall, three out of four stories here hit on all cylinders and get a full recommendation from me.
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Overall, there isn't a weak link here and I'd love to see more of these team-ups in the future.
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We have four strong new stories in this issue, and one that might just be a masterpiece.
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Overall, this is another strong installment that makes me wish this book could have continued a lot longer.
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Overall, this is another excellent installment as we move toward the end.
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A must-read for Batwoman fans.
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This is a tense, gripping first issue that raises a lot of questions, and I can't wait to see how it plays out.
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Bennett's run has brought this title back to the roots established in the original Rucka and JH Williams run, with some brilliant new twists involving the island of Coryana. More than anything, this title's strength is in giving Kate her own unique world to inhabit " as a global crusader for the mission of the Bat whose personal demons haunt her as much as those of her villains.
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Drastic art shifts mid-arc aren't ideal for storytelling continuity, but Thompson's scripting is so strong that it didn't take long for me to get back into the arc.
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This is a very good issue, if very busy and lower-stakes than the first arc, but that might be a good move. After the chaotic supernatural thriller of the first arc, this team's biggest strength is its characters and I'm excited to see how it evolves.
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. There are so many mysteries surrounding this book, particularly when it comes to wild-card from the future Meridian, that it's easily one of my most anticipated books from DC every month.
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People who wanted a lot more of Black Adam's typical brand of explosive action may be a little disappointed with this first issue, as there is only one big fight scene, but those people are just missing what makes Priest's work great. He's creating the supervillain equivalent of a nuclear arms race by the end of the issue, and the eleven issues ahead are likely to be great.
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It's chaotic fun, but more importantly it seems to be very interested in exploring the long legacy of Black Adam and what his ties to ancient Egypt actually mean for the character.
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The character is one of the big selling points here, but the top one is probably on the cover " experienced young adult author Meg Cabot, one of the biggest names in fiction and the woman behind the extended Princess Diaries series. Making her comic book debut on this OGN, she's possibly the biggest get the line has had so far and I expect this book to be a superstar seller for DC.
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I'm not sure if the first issue structure allowed Lemire to excel on the same level that he normally does, but he's set himself a strong foundation to explore these two groups and how they deal with their new realities in coming issues. And any time Lemire and Walsh do a comic together it's a must read.
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Jeff Lemire is a master of the small character moments, even in the middle of a massive comic book event, and the last third of this event promises to wrap up another great arc of the Black Hammer mythology.
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This is definitely a side issue, with no real ties to the larger story until the cliffhanger. But sometimes you just want to see a pair of lovable idiot superheroes act like buffoons with very little stakes. This is a perfect tribute to the era these characters come from.
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Dan Jurgens has been doing a bit of a farewell tour of the DCU for a few years now, after writing its characters for around thirty years. I'm not sure if he is actually mic-dropping on a comic career any time soon, but what is clear is that he still has it.
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I've liked this series from the start, and the second volume is a major step up from the first, but I think this is probably the best issue of the entire run. It might do what the character's needed for a whilegive Blue Beetle a true arch-nemesis.
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The stakes are very high in this title, and the final segment between Jaime, Booster, and Ted reminds us of that in a big way before heading back to the present. Now that the initial threat of Blood Scarab has been removed, I am very intrigued to discover what this creative team has planned next for the title.
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There's a lot of big reveals in this issue, as the Bombshells-verse continues to be DC's most intriguing and inventive long-form alternate universe in years.
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This Black Adam-focused arc of Bombshells United may be the series' finest hour, delivering both epic superhero action and some surprisingly heady themes of life, death, and fate.
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What sets Bombshells apart from the other DC alternate universes currently running is the way it deftly tackles serious topics like racism, fascism, and the nature of grief while never losing sight of its mission to deliver an entertaining superhero story.
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As Bombshells United " and the whole Bombshells franchise " enters its final act, this issue proves that it's still got plenty of tricks up its sleeve.
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Two of the most popular side characters from the Bombshells series " The Batgirls and the Suicide Squad " face off in Bombshells United #14, in a plot that brings Black Canary into the narrative and features surprisingly strong moments for characters who rarely get much focus.
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As it ends, this remains one of the most unique, appealing, and well-thought-out alternate universes DC has ever created.
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Books of Magic #14 is the best issue of the series. This collaboration between regular writer Kat Howard and line mastermind Simon Spurrier concludes a month of John Constantine cameos by giving the blue collar mage his biggest guest role yet.
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This issue has a lighter tone than the last few arcs, but there's still a sense of genuine danger to it, and it's great to see Tim out of his element and acting more like a normal kid. More DC work for Barnett, please.
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With a second issue that's less broad and more mythology-driven than the first, Border Town comes into its own as a great sci-fi/fantasy satire that kicks off the new wave of Vertigo with a bang.
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The debut book from the relaunched Vertigo line continues to be one of the most pleasant surprises out of DC in a while, telling a story that deftly combines race issues and modern politics with cryptozoology and mythology.
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Kirby's concepts have been getting a massive revival lately, and while this one is a lot less straightforward and more indie-accented than many of them, I think Kirby would be proud.
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An oddball book, to be sure, but it's another modern classic in the Kirby renaissance.
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V and Blanco know how to create a great fight scene, and the battle for Alleytown is one of the best set-pieces of the run. Nanako does seem a little more one-note than he usually is, with none of his sympathetic characteristics, but this is one of the best issues of the run"with a cliffhanger that will make fans of a certain pairing very happy as we rocket towards Fear State.
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A lot of fascinating stuff in this book, and the title has picked up a lot of momentum since Ram V took over.
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Ram V is leaving this title in only a few months, which makes this tie-in arc his final arc"and surprisingly, he's hitting it out of the park with an action-packed thrill ride that drives home what makes Catwoman work so well as a character.
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This event could be the shot in the arm Howard needed to take this run to the next level.
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I'm a little disappointed that the next issue apparently won't be hitting until March, but given how detailed and stunning Chiang's art is, it makes sense. Between this and Ram V's run, Catwoman fans are getting better solo comics than they have in a long time.
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It's been a while since Cliff Chiang's future-set Catwoman saga released an issue, and the conclusion won't be released till August. That's a common pitfall of these Black Label bookssometimes the best titles lose momentum due to lengthy delays for the top-tier art to be ready. With Chiang doing literally everything on this book, it's not a surprise he needs his timeand it's also not a surprise that it's worth the wait.
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Thus far, we're two-for-two in Young Animal titles coming back from the Milk Wars event just as strong or stronger.
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This remains one of the Young Animal line's crown jewels.
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The last few pages of the issue are a great, absurd turn and leave the door open for more adventures. If we don't get them, though, this is a perfectly satisfying final chapter in the story of Cave and Chloe Carson.
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Mariko Tamaki's unique spotlight on the teenage lesbian Czarnian with a whole lot of issues has been a slow burn, but in many ways it feels like this issue is what it's been building towards.
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This is ultimately a story about a girl trying to better herself after having the worst role model possible, and that's something I definitely was not expecting to get out of a Lobo comic. But then, it's not surprising given the usual quality of Mariko Tamaki's writing.
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Cyborg has had many attempts at solo series since the New 52 elevated him to a prominent DCU headliner, but I think every one of them lacked a true hook until this one. This manages to give Cyborg a new home base, a new supporting cast, and some villains who can directly challenge him in a way that sets him apart from other heroes. Now that the schedule is back on track, I see this series continuing to build momentum.
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This might be Tom King at his most unleashed on DC characters, and it's not going to be for everyonebut it definitely has me hooked.
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The overall structure is a bit confusing, but the world is fascinating.
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Overall, we're halfway through and just starting to scratch the surface, but damn if this series isn't still fascinating.
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The most inscrutable Tom King series yet has hit the two-thirds mark, and it's finally starting to reveal its secrets.
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Much like many of King's books, we're left with one issue to go and I still have no idea where most of this is goingbut I'm fascinated.
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After the explosive action in Justice League #75, this issue largely decides to let us sit in the loss for a bit. That works as effective setup for all the chaos to come.
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Overall, this second issue is just as strong as the first, although I'm still waiting for it to hit that next gear and equal the scale of the top-tier Crisis events that have come before it.
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This is shaping up to be one hell of an event.
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Halfway through this event, the heroes are still scattered across this world and beyond, but the divergent plots don't make this any less compelling.
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As we approach the last act of this event, things are falling into place for one hell of a final showdownbut surprisingly this issue feels like the ones before it, in terms of it being very character-focused.
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Josh Williamson has been building to this story for years, and while it definitely has a different pace than other line-wide event, it's no less thrilling.
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The story ends with some great family-focused moments for the Bats, Supers, and Flashes, nicely sets up some characters for future adventures, and leaves many unanswered questions about what the next big threat is. I can see some people feeling like it didn't live up to the hype, but I think it delivered one of the most entertaining and complete DC events outside of the Metal duo in a long time.
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This might be one of the strangest comics to be part of the Dark Crisis event, but I think it'll wind up being among the most memorable.
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It's a mysterious issue with some great twists along the way, but it's also one of the best looks at the passionate dynamic that animates these two.
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This is Taylor once again taking the characters we know and twisting their fates and origins just enough to give us a completely new take on them. The art is stunning, the story is fascinating, and it's a great start to what's sure to be twelve issues of top-tier comics.
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Taylor builds the suspense excellently throughout as what started as a family drama becomes a conflict that threatens to engulf the whole world. We're only two issues in, and it's hard to guess just how bad things can get"for the characters. For us, we're in for a great ride.
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This reminds me a lot of Game of Thrones in its ruthless, anyone-can-die style and whip-fast pacing, but with Taylor's usual care for characters and plotting.
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Add in a shocking reveal about the Demon Etrigan's host in this world, as well as a possible resurrection, and this remains one of the most intriguing Elseworlds the DC universe has had in a very long time.
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Some major players aren't present in this issue, but the story still manages to hit on every cylinder and escalate in a huge way. With only four issues left, it's hard to imagine just how many twists and turns still await usbut I can't wait to find out.
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This issue is basically a medieval arms race, as the two sides debut shocking new weapons that could spell the end of days.
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Is this a good final issue? Absolutely, but it's also a little hamstrung by some of the best things about the series. It has an epic scale and a huge cast of characters, which means not everyone gets a fair shake in the final issue.
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Remember how chaotic the first issue of Death Metal was? Second issues of event comics usually calm down and let things settle a little"but not Snyder and Capullo's magnum opus, which features more crazy twists and turns than the first issue. Maybe too many? That will vary, because this is definitely one of the most chaotic issues I've ever read. But buried in that is the kind of high-octane suspenseful storytelling that makes for a pretty great event.
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By now, everyone knows if they're into the tone of Snyder and Capullo's over-the-top, epic dimension-hopping crossovers. I definitely am, and I can't wait to see how they continue to up the stakes every issue.
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With only three issues to go, I have no clue how this is going to end"or what the DCU is going to look like when it's over. That's what I call a good event comic.
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This is one of the best events from any company in years.
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There's a lot of exposition in this story, yes, but it's also got a surprising emotional punch, as we watch this dispassionate alien discover the true heroism behind this universe and become a true believer in it. It feels
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There isn't a weak story in this volume, making it another big winner for DC's latest event.
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This is an essential part of the crossover, with the cliffhanger to be resolved in the next issue of the main series. That can be dicey, but with a creative team this strong, you can be assured you're getting a worthy next chapter even if it's in a one-shot.
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Overall, a mostly brilliant anthology that delivers the quiet moments and emotional punch that are often missing from big events.
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As we head into the final act of this event, it's taken a turn that I think long-time DC fans will be very pleased with.
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It's suspenseful, explosive, and adds new elements to the shared universe. Snyder and Capullo have been building to a truly epic conclusion.
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There are shades of other events in this comic, of course " when the heroes emerge with shiny new armor forged from the mysterious Tenth Metal, it definitely feels like the conclusion to Blackest Night or Forever Evil. But what sets this series apart is the way it's such a deep dive through the strangest levels of the DC continuity. And Capullo's art, of course " few artists are better at depicting the strange and spectacular.
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Like all classic heist thrillers, a sense of temptation and danger fills every scene. We know this isn't going to end wellwe can basically guarantee it, given the narrationbut we can't help but root for these underdogs.
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While there's no megawatt display of brilliance like there was on last year's Noir-accented Batman/Elmer Fudd, this is the one-shot that best embraces the chaotic combination of DC superheroes and Looney Tunes absurdity " and most of that is down to Gail Simone, who brings in many of her old favorite characters for the epic battle between cats and birds.
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DC's new wave of anthologies continues on a seasonal schedule, and Beach Blanket Bad Guys #1 may be, top to bottom, the highest-quality volume they have ever put out.
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Overall, this is an exceptional connection of stories paying tribute to some of DC's most underrated heroes. The only weak spot is that some are very short and leave you wanting more, but this is a must-buy.
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Overall, there aren't any bad stories here, and all of them range from good to exceptional. Another win for DC's anthology program.
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The short preview of Far Sector in the back nicely hooks people for the inventive sci-fi series, and overall this is a great anthology without any weak links. The creative teams do justice to this excellent bans of heroes.
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This anthology is a little different from the rest, because three of the four stories here are reprints, each featuring a groundbreaking LGBT character from DC's history, but the fourth story is all new and it's worth taking a look back to see how far we've come.
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Every volume of Fontana and Labat's series expands the world a little more, adding new characters and concepts. It also jumps forward the narrative a bit, with events happening off-panel in the animated series, so that can be a bit jarring " you need to be in the franchise and watch the multimedia content to get the whole picture.
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All in all, it's just as strong a package as last year's holiday special " a little more bizarre in places, but not a weak story in the bunch.
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This is far from a standard DC comic, it's making no attempts to be a family-friendly tale, and the creative team has committed to the tone in a way that sells it a lot better than the concept does. This is a pretty promising start, and a worthy successor to DCeased so far.
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It's a top-notch horror book with a lot of promise for the next ten issues.
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It's creepy, tense, and we're only a quarter of the way through"which makes me pretty sure that some very dark times are ahead for the survivors of the vampire plague so far.
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Otto Schmidt's art continues to be some of the best the DCU has to offer, and this series has improved from issue to issue as it slowly unfolds its mystery.
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The tie-ins have been hit and miss, but the main series is still top-notch.
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This series has successfully managed to come out of the shadows of the megahit DCeased, despite both being focused on turning famous DC characters into horror villains. The main difference is that this book doesn't turn them into generic slobbering monstersit turns them into serial killer cult members who wear your loved one's face and prey upon your trust in them. It adds a whole new sense of horror to the whole thing that works very well.
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Overall, not every story in this issue fits, but I do think this book as a higher hit record than the last few anthologies with a few truly exceptional ones.
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There have been some downright odd holiday specials over the years, but few weirder than DC's Nuclear Winter Special #1. This strange post-apocalyptic anthology continues DC's trend of seasonal anthologies and is another strong installment in a great year.
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Overall, not every story in this book hits on all cylinders, but this is one of the most fun anthologies DC has done in a while.
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Overall, this might be one of the most bizarre comics DC has ever put out. It's absolutely not to be missed.
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Overall, a very strong anthology with two tales that could be all-time classics.
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Overall, another strong anthology without any real weak links, even if no stories reach the highs of the best installments from other recent anthologies.
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It's not hard to see why this is the biggest new hit out of DC in a while.
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This furthers my opinion that regardless of the Injustice status quo, Taylor is one of the best Superman writers in the last few years.
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Tom Taylor writes one HELL of a post-apocalypse, and DCeased, his zombie horror take on the DCU delivers its best issue yet in DCeased: A Good Day to Die #1, a side story focusing on some lesser-known DC heroes making their stand against the anti-life equation.
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I didn't know it was still possible for Taylor and Hairsine to shock me, but the creature that appears in the last few pages is a unique nightmare. Can't wait for the next issue.
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These issues aren't double-sized like the Unkillables ones were, but they often feel like it"because Tom Taylor packs a LOT of story into each issue of this DCeased mini, a major step up from the first series.
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As DCeased goes, this issue is one of the calmest and most hopeful of the series.
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Overall, this is a gut-punch of an issue that delivers some spectacular moments and sets us up for a gripping final two issues.
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I have a hard time believing that there's only one issue to go here, because it feels like there is way too much story left to be told in only twenty-something pages.
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There's a few amazing scenes, but there are still a lot of unanswered questions about this world"both for what comes next, and for what came in the many gaps. It's one of DC's most popular alternate worlds in years, so I would be surprised if the story truly ended here.
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It still feels like there's so much more story to explore here, although I do have to say Taylor's biggest competition may be himselfas good as this is, Dark Knights of Steel is definitely his crown jewel by the time this returns.
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Taylor's writing seems a bit more irreverent here than I'm used to, but not in a way that feels out of place.
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Taylor always manages to surprise in his Elseworlds series.
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This is a comic that's taken quite a few twists already by the halfway point. Surprisingly, the main threat is mostly off-page this issue, but there's no question that the final showdown is being built up effectively.
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This has always been a war comic, but this is one of the best issues when it comes to conveying the sheer scope of the battle.
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The thing about this series is that death isn't permanentboth for good and bad. Those who are lost rarely stay down and often try to kill their loved onesbut now they can be saved. The key question of fighting to save those lost or fighting to save the universe has largely defined this issue, and the stakes are deeply personal here.
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It truly does feel like an ending, one that slams the door closed with style. It's probably destined to go down as one of the all-time best Elseworlds to come out of the modern era.
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This wasn't a natural fit for a sequel, given that only a few of these characters could be called likable, but Northrop and Duarte have delivered yet another big win for the DC OGN line.
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he second original book from the DC Zoom (now DC Kids) lineup, Dear Justice League neatly sidesteps all the problems that plagued the Super-Sons graphic novel and comes out of the gate strong as a near-perfect all-ages introduction to the Justice League's most popular characters.
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The third of three new Vertigo miniseries by prominent DC creators in recent months, Deathbed #1 brings Williamson's unpredictable style and a great artist in Riley Rossmo, and feels like it just might be a breakout hit " a wholly unpredictable tale of what it means to live a full life, what it means to be a writer, and mummy assassins.
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Priest continues to deliver the densest, suspenseful comic in the Rebirth stable, as Deathstroke's past sins come back to haunt him (and there are a lot of those) and he faces off against his most powerful enemy yet.
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It's just another issue of Deathstroke, and as always has more going on than most books have in an arc.
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The ending is a game-changer that finds Slade at his lowest and sets up what could easily be the series' best arc yet.
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It's another great chapter in a run that's quickly turning into one of Priest's masterworks.
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Everything that plays out in this issue has a purpose, and it's creating a self-contained event comic that is going to be one to remember.
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Priest always packs a lot of different genres into his books, but it's rare that he manages to weave comedy and high drama as effectively as he does in this issue.
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With every passing issue, Priest's Deathstroke becomes more and more bizarre " and I mean that in the best way possible.
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I can't even describe half of the twists in this issue, and you need to read it to believe it. It's easily one of the most inventive and unpredictable books in DC's stable.
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Deathstroke #41 is the prequel issue to "The Terminus Agenda", but don't let that fool you " while the crossover with the awful Teen Titans will be kneecapping this book for the next few months, it doesn't really affect this issue. Instead, this is another great issue of Slade's solo book with a lot of fallout from the recent Arkham storyarc.
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"The Terminus Agenda" is one of the oddest crossover events DC has done in a while because it seems the two sides of the crossover are each written by the title's main creator with little input from the other half besides comparing notes. That means the Teen Titans issues are predictably mediocre to bad " and the Deathstroke issues take the framework of the story and hit it out of the park with Priest's unique handle on the lead characters.
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Priest's work on Deathstroke continues to be the densest and most twisty book in DC's stable, as every issue delivers more dark turns than may books do in an arc.
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This is a DCU title that makes good use of continuity, but it's a very human story at its core and that's its biggest strength. Not everyone makes it out of this issue alive, and I'm guessing more tragedy is to come as we rocket towards the end.
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Reading this comic issue by issue can be a little challenging due to how dense it is, but I think the entire fifty-issue run is going to go down as a true DC masterpiece.
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We're building towards something big here, and this gonzo genre-bender title is easily carrying its own weight as part of that picture.
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I'm not sure where this story is going yet, but with the return of a more powerful Victim's Syndicate backed up by Anarky's genius mind, and great dialogue and spotlights for almost everyone (especially Batwoman and Clayface), this remains one of DC's best books.
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As "Fall of the Batmen" ramps up what looks like Detective's biggest arc yet, this issue delivers one brutal punch after each other as Batman heads into the belly of the beast.
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This book doesn't get the attention of King's book, but it's one of the best Bat-runs in years.
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First up, I totally understand how the concept of this issue " "The Trial of Batwoman", as Batman brings in all his allies to discuss whether Kate should be allowed to remain part of the Bat-family " could turn off a lot of people. And I think Tynion understands that in this oversized prelude to his final arc, because the issue feels largely like a subversion that, if not exonerating Batwoman, implicates Batman in a lot of ways too.
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This run hasn't gotten the hype of King's run, but it's a great run that has delivered excellent storyarcs for some of the Bat-family's best characters.
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I also really, really liked Tim going to Batman for advice, and the two of them reminding me a lot of the classic Batman and Robin dynamic again. However, Armstrong is willing to go further than Tim thought to get him on his side, and we're headed for a tense finale with a lot of unanswered questions.
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There are a lot of great moments in this issue, especially a segment between Tim and Cass. Javier Fernandez, last on Nightwing, is a master of character interaction and posing, and the way he draws some of the scenes this issue (especially Cass' body language) are excellent.
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The General's evolution into the main villain of Tynion's Detective run has been fascinating and shows how much this run is rooted in the classic Chuck Dixon Robin run, both in its villains and in its characterization of Tim and Stephanie.
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Detective Comics #980, the penultimate issue of James Tynion's Detective Comics run brings a whole lot of OMAC action, but it's also the spotlight Cassandra Cain and Stephanie Brown fans have been waiting for, with a jaw-dropping last act twist that completely upends the two characters' status quo " hopefully not too late, given the creative team change.
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In the wake of James Tynion IV's groundbreaking run, guest writer Bryan Hill jumps on board for an arc starting with Detective Comics #983 and doesn't miss a beat as he begins dismantling Batman's world in dramatic fashion. This is a strong, stand-alone Batman story, but it's also the worst kept secret in comics that this is a backdoor pilot for Hill's likely Outsiders series which is expected to come late this year.
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Two issues in, Bryan Hill has proven one thing about his five-issue Detective Comics run " it should not be a five issue run. I'm already ready to say this arc has the potential to equal the best of the Tynion run, and I think DC will have a very hard time matching this level of quality when they pick the new permanent creative team.
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The final issue of Bryan Hill's short Detective Comics run delivers the goods, as Hill both closes out his narrative and sets up some future adventures that will be happening in a yet-to-be-announced title.
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Overall, there are no bad stories in this volume and quite a few brilliant ones. A fitting tribute to eighty years of keeping Gotham safe.
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When it comes to the "Year of the Villain" tie-ins, this is the most "Red Skies" one so far " there's virtually no connection except a brief two-page segment at the end of Mr. Freeze brooding over Nora's frozen body and saying that it'll be "soon". That's not a criticism, actually " the main story has nothing to do with the central DC branding and is actually the best story of Tomasi's run so far " and one of the best Bruce Wayne stories in a while.
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After a few arcs that didn't quite click with me, Peter Tomasi's current arc on Detective Comics has been one of the most unusual and exciting Bat-stories in recent memory " placing Bruce Wayne firmly out of his element and introducing him to a pair of unlikely new allies.
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The epilogue, involving Mr. Freeze putting his plot to resurrect Nora into effect, was a reminder that we're in the middle of an event but little more, but this arc showed off Tomasi's writing at its best and emphasized that sometimes the best thing you can do for a Batman story is to upend what you'd expect and throw him in the deep end of a new situation.
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While this isn't the main staging ground for big Batman events, Tomasi seems to be setting up an intriguing new status quo. I'm hoping he gets to stick around as DC hits some major upheavals in their comic book lineup in 2021.
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The competition has done a lot of stories where the public goes anti-superhero, but this seems to have more nuance to it. The ending, which brings back Damian Wayne, will give Tomasi a chance to redeem the storyline that turned Bruce's son evil. Based on the last few issues, he may just be able to do it.
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This title has been on the upswing for months now, and the arrival of Bilquis Evely takes the quality to another level.
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Few writers have made more out of the fallout from Joker War than Pete Tomasi, and this new issue sends the heroes deeper into a dangerous new era.
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Pete Tomasi has had a long run on Bat-books, arguably being the writer who defined Damian Wayne the most"even more than his creator Grant Morrison. So it's fitting that his final issue on the franchise (save the digital-first Super-Sons series which just started) is focused on the father-and-son dynamic of Bruce and his son.
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The issue has a very down-to-earth vibe, which made the last page's out-of-nowhere horror swerve all the more surprising. I have no clue where Tamaki is going with that, but so far this is the first Batman run in ages that actually seems concerned with issues like criminal justice and how vigilantes and policing interact. It's a fascinating run.
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The identity of this character shows Tamaki is definitely getting into some deep Bat-lore for this run, and the ensuing team-up with Huntress is strong"although Bruce is oddly more tolerant of her taste for lethal weapons than he usually is with his own kids.
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The addition of Mr. Worth to Batman's rogues' gallery has been one of the best decisions the Bat-books have made in some time. A powerful in more ways than one titan driven by misguided rage, he's a great illustration of how privilege and entitlement can turn someone from a nobody to a monster in a hurry.
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Mariko Tamaki's Gotham continues to be one of the scariest places in Gotham, as much for its human monsters as its supernatural ones. It also feels like the most organic version of Batman we've seen in a long time.
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I had some complaints about the character of Vile and the gross-out elements of this plot, but Tamaki and Mora nicely homage the classic Alien series here and end with a tense cliffhanger that indicates things in Gotham might have just gotten much worse.
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This is very surreal and horror-oriented for a Bat-comic, but what works better about it than previous issues is the way Tamaki has grounded it in the philosophical debate between these two inherently decent but deeply opposed men.
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It's the perfect violent record scratch to set this storyline off on a high-note, with major stakes and tension through the roof. But seriously, maybe this time Gotham will learn you can't fix Arkham.
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"Shadows of the Bat" continues with a very interesting second issue, as the mystery of Arkham Tower deepens.
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he story continues to flash back and forth between different time periods, but it's a highly compelling story about mental health that is pitting the Bats against a villain they can't punch. Given what we know about the ending, it feels like a dark march towards something terrifying.
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Fernando Blanco's art does a great job of building tension, especially when a young Robin enters the fray and quickly finds himself overwhelmed by one of Batman's deadliest rogues. But the ending has a great twist that reveals just how far Scarecrow will go to preserve his "investment," even if the larger relevance of this story is still a mystery.
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With more than one Bat-hero behind enemy lines, the cliffhanger sends us into act two of this event miniseries with a bang. Max Raynor's solid art is well-suited to the flashback-heavy issue as well, although it doesn't stand out like Mora's does.
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Aside from a few scenes, this story hasn't gotten most of its excitement from traditional Gotham action. Instead, it's a slow-burn mystery relying on psychological horror and great visuals, like the one we see in this issue's cliffhanger.
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Shadows of the Bat continues to be one of the best mini-events at DC in a while, uniting the entire Bat-family"sans Batman"in a mystery surrounding the new Arkham Tower.
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Wear's increasingly desperate scrambling and his despicable behavior towards his inmates makes his upcoming fate very satisfying, but Tamaki continues to do a great job of building a sense of dread into the inevitable fall of the tower.
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Overall, this chapter doesn't advance the plot too much until the very end, but it does a great job at immersing us in the story as everything goes to hell.
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With only two chapters to go, it seems likely that this will go down as the crowning achievement of Tamaki's surprisingly long tenure on this title.
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We're at the penultimate chapter, and Shadows of the Bat is ramping up the tension as we head to the finish line.
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It's not exactly clear what's going on yet, but this feels like a classic Gotham noir. Unlike many past runs, both these stories feel like they're living up to the title of this book.
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Ram V continues parceling out the secrets of his new Batman run slowly, relying much more on gothic moodiness than extreme action.
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For the first time in a while, Gotham is facing a threat that not only feels existential, but feels totally unpredictable and foreign to Batman.
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Ram V's take on Two-Face is particularly intriguing, as we get a look inside Harvey Dent's twisted mind like never before. He's still in controlbarelybut maintaining that requires him to do some things that may defeat the purpose of keeping Two-Face in a box.
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The tension in this issue is through the roof, and it fits with V's pattern on past booksit may take a while to get there, but the payoff will be more than worth it.
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Both this and the main story seem to be following up on elements of the recent Arkham City: The Order of the World, and they're doing a great job of making Gotham City seem creepier and more unfriendly than it has in a while.
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Ram V is building a long-form mystery here, as the Orghams have the time and patience to make their roots in Gothamand it may be the biggest threat Gotham has faced in some time.
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This is one of only a few issues released this week, and due to a minor delay it gets a surprisingly big spotlight. It deserves it, as this is one of the most dramatic and epic issues of the run as Batman finally faces off against Arzen Orgham and his deadliest assassins.
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Ram V's run continues to be some of the creepiest Bat-material in a long time.
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This is a fascinating arc, and one that promises to set up Ram V's final chapter compellingly. I have no clue where this is going, and that's a very good thing.
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I don't think this is Ram V's best issuethere are too many things going on for it to have the focus of last issue's brilliant done-in-onebut the train keeps rolling on an utterly fascinating run.
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Much like many of King's books, we're left with one issue to go and I still have no idea where most of this is goingbut I'm fascinated.
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Ram V continues to deliver near-perfect characterization for this star-crossed and thorny pair.
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As one Bat-event ends, another is ramping up. Shadows of the Bat, a weekly event in Detective Comics, will apparently see Bruce Wayne's time as the guardian of Gotham come to an end by choice. It's an interesting direction, very different from the last few times he was replaced, and this setup issue by the two creators in charge of the weekly shows how he's starting to ask some tough questions about his time as Batman.
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The death of Alfred Pennyworth is not a storyline I'm happy DC has decided to go with, but I can't say that the execution so far hasn't been excellent.
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The story remains strong, but Joe Quinones' brilliant art shifts make this one of the most inventive books on the stands.
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Sam Humprhies and Joe Quinones continue the first arc of their mind-bending road trip superhero adventure with Dial H for Hero #5 that eschews the flashy transformations of the first four issues for a more emotional journey through the mysterious Heroverse " but still delivers the visual thrills thanks to Quinones' unique style.
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If Humphries and Quinones have plans for the final act that are anywhere near as strong as the rest of this series has been, we might be in for an all-time DC classic. Here's hoping we get return appearances from some of the most creative identities so far.
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I could see this finding a huge audience among young fans of the Gal Gadot movie who have been looking for comic material that isn't carrying decades of continuity. While this adventure is over, I could see the Hales and Ying having many more stories of young Diana to tell in this world.
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The story has a fun, light, and very human tone that makes it instantly engaging. By the end of the first issue, Dudley is in a completely different place than where he started, and the journey ahead looks to be one I'm very excited to follow.
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It's a great character spotlight, and also does an excellent job of setting up what makes this series different from all the others in this line. It's such a charming read that by the time Magog actually shows up, it's almost distracting.
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This is unlike anything else DC is putting out at the moment, and I highly recommend giving it a shot so we get more from this time period.
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One of the most inventive and unexpected comics to come out of DC's roster in a long time, Steve Orlando and Travel Foreman's Electric Warriors continue to impress with its second issue.
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Endless Winter has been a pleasant surprise from the start, but this one-shot with art by Phil Hester may be the issue it went from good to great.
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The Young Animal line continues to deliver comics unlike anything else at DC.
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It's as chaotic and dense as it ever was, and based on this issue at least, it's good to have it back.
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This issue continues to be all over the place in a good wayskipping across dimensions with ease.
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The series has been good since the start of the new run, although it has yet to reveal much about its larger narrative. This issue feels like something new, with a truly killer cliffhanger.
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This series has been a lot of fun since it returned, but it's also as scattered as it's ever been.
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Halfway through this series, it seems hard to believe that everything that's been introduced can be neatly wrapped up in only another six issues.
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Overall, this is an odd series and one that makes the most of its unpredictability, but its huge cast sometimes makes it difficult to know who to connect with.
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After so long building up to this story, the sudden action of this issue took me a bit by surprise. It's a great reminder of just how powerful these Cubs areand that's even without seeing Bigby truly unleashed.
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There are a lot of interesting subplots running through this book, like a look into King Cole's new magic school, but with these final three issues, it seems like the creative team is going to need all the time it has to wrap up the main threat it's been brewing.
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Far Sector #2 and Far Sector #1 are easily the most fascinating original sci-fi story DC has crafted in some time, this fusion of the Green Lantern mythos and an original planet created by sci-fi author NK Jemisin has delivered a strong second issue that buried any of my minor quibbles with the first.
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This is how you flesh out a character, and any quibbles I may have had about her playing second fiddle to the fascinating worldbuilding have been assuaged. The brutal ending of the issue takes the story to a new level and sets up a major conflict that will likely define the rest of the year-long adventure.
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Far Sector #4, the most linear issue of Far Sector, is also one of the most fascinating, as Jo Mullein grapples with the failings of the strange planet she finds herself on and commits herself to change.
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This book is so dense that it can be a little hard to keep up sometimes, but I have a feeling it's going to read amazingly well when it's collected in a single volume. It's doing what a franchise like Green Lantern should always be striving for " showing us unique alien civilizations and broadening the far frontiers of the DCU to bring us new and interesting stories along with a compelling central mystery.
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It's an ambitious series, but one that mostly sticks the landing despite some pacing struggles along the way. It's good to have another diverse Lantern added to the GLC"and, I believe, the first LGBT one"but any future writer to work with her will have a high bar to match.
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This book's got its groove back in a big way.
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With this plot, and Flash War around the corner, it feels like this is becoming one of DC's premiere books.
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Now, this is how you set up a hero vs. hero conflict, not registration acts or Inhuman MacGuffins.
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"Flash War" is finally here, and only one issue in, starting with Flash #47, and it's already far more compelling and nuanced than any of Marvel's nonsense Civil War/Avengers vs. X-Men/X-Men vs. Inhumans events
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I have no clue how this will end, except unhappily, but this is easily one of the stories I'm most excited by at DC right now.
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This arc has been one of the high points of the run so far, and it's clear Williamson is building what is likely to be a definitive Flash run.
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This run could have so easily been a bland retelling of a story we already know, but Williamson keeps packing surprises into it. It looks like it's going to be an essential read before the next big storyline " "The Death of the Speed Force", beginning in August.
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So far, even though this is a flashback story where a lot is preordained, it has zero problem maintaining a compelling narrative. And the Barry/Iris relationship is a bright spot that I hope informs the current-day relationship for the rest of the run.
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his flashback story has been the best thing to happen to Josh Williamson's Flash run in years, as taking Barry back to the beginning has done amazing work in making us care about the often-controversial character.
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Josh Williamson's Flash origin arc may be his finest hour on what's looking like a 100-issue run, and Flash #74, a big-scale issue, delivers the biggest thrills of the arc.
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It's a strong oversized package that celebrates the best this run has to offer.
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This is how you build a run to what's likely to be an epic conclusion in the coming year " unless Williamson is having too much fun to leave after 100.
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Flash #83 is a pretty strong issue until a big twist a few pages before the end, which leads to a stunning splash segment showing exactly what happens when Barry takes the collar off " and what has happened to the Speed Force.
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Williamson has had over eighty issues to show us exactly how to balance the dense plotting of an event storyline with a more character-driven take, and as this title marches on towards 100, it remains one of the most consistently entertaining books in DC's lineup.
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As Williamson builds towards the epic oversized 750 issue in the coming month and then his 100-issue anniversary, he's maintained the momentum of a long run better than any other writer in the Rebirth era.
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Josh Williamson is almost four years into the longest ongoing run of the DC Rebirth era, and he never fails to surprise. Flash #87, an epilogue to Rogues' Reign and a massive setup for what comes next, moves just as fast as its lead character.
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It's another win for Williamson's epic run.
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This is a tight, exciting anniversary issue where there isn't a page of wasted space. There aren't as many iconic Flash creative teams as other properties (partially due to Mark Waid being gone from DC and unlikely to return), but the teams they chose all deliver an excellent tribute to the Flash and his network of speed-powered heroes.
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This is a very intimate comic in some ways, focusing entirely on these two rivals traveling through time without the usual supporting cast. It works really well, but I'm looking forward to a story that brings in all the elements of this book for the final act.
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I have little doubt that when this wraps, it's going to be considered one of the all-time great Flash runs and Williamson will be on to his next epic DC gig for another memorable run.
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We're in for one hell of a final run here as Williamson brings the curtain down.
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There are still a lot of hanging plotlines here that I'm hoping Williamson will come back to before the end, but it seems pretty clear that this will be one of the defining Flash runs. I can only hope whatever property Williamson moves on to next lets him go as in-depth as this one did.
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Over the last few years, it feels like the walls keeping the different eras of the DCU apart are falling apart, and Williamson's run is calling back to Flash eras long gone. The final arc is being set up for a great finish.
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I haven't been sold on this run completely yet, but this is easily the best issue of the run and a potential classic for Wally West fans, depending on how this arc comes to an end.
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The creative team has done something genuinely inventive and surprising here, and it's probably the issue this run will be remembered for.
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This continues to be one of the most pleasant surprises of the Infinite Frontier era.
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After years of serious, crime-thriller Flash stories starting Barry, this run seems to be channeling The Incredibles and the silver age as its primary influences"and it couldn't be doing better by Wally fans.
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It's hard to find a book that's more pure fun right now than Jeremy Adams' Flash. It doesn't have the dense storytelling or larger issues of some books, but it embraces the spirit of the DCU in a way I haven't seen for a long time. It could come right out of the '90s in the best way.
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This is one of the most lived-in books in the DCU right now, and it really shows in this tie-in.
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This story works not just as an event tie-in, but as a fascinating look at decades of Flash legacy and the way comics have changed over the years.
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While Night Flash is certainly an intimidating figure, this story has some clever twists and one in particularly calls back to one of the all-time most infamous horror movies. It's a lot of fun.
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This is a book that never loses sight of what makes itself workits focus on charactersand that's why it's the best Wally West run since Johns' heyday.
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The new arc of The Flash has thrown everything we know about the series into the airincluding turning the bad guys into the good guys.
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This story seems to be bringing the entire Flash family together, including reunions we weren't expecting like Max Mercury and Bart Allen finally meeting again for the first time in well over a decade. It feels like a celebration of the Flash family after so long of DC seeming to want to pare down legacies and families.
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This is a long story, going through April, but so far it's held my attention like no major Flash story has in many years.
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If I have one complaint about this issue, it's that the story doesn't quite give itself enough room to breatherthere is so much going on here that it can feel like whiplash at times. But it's more like riding a thrilling, mile-a-minute roller coaster that always delivers in terms of suspense and excitement.
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The penultimate issue of One-Minute War delivers some of the best action of the run, as the Flash Family takes the fight back to the Fraction.
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I think at some points this story struggled with just how much it had to juggle, but it had all the strengths of Adams' run and has left the entire franchise in a stronger place.
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Adams' run is wrapping up soon, and this issue is another great example of why his run was so well-liked. He manages to capture the Silver Age fun that defines the Flash while also making its characters feel very real and human, and he's made the Flash feel like a family book again.
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This continues to be one of the best books DC is putting out.
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Another great issue.
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This is just a blast, all around. All the segments fit together smoothly, and Adams' unifying voice keeps this a tight story with great action.
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Some of these stories work better than others, but overall this book absolutely does what it set out to. There's even a little book of simple science experiments in the back. I predict it's going to be a mainstay in school libraries for years to come.
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It's an intriguing start, but the tangled web of Thomas Wayne's story means he has a lot of heavy lifting to do to make this the definitive conclusion.
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As we enter the final act of this series, the creative team has dialed back some of the less-interesting subplots to focus on what we're all here forthis supremely disturbing version of Gotham.
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This is probably the best issue of the series, having a truly epic scope and leaving so many things unanswered for the final issue.
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It's big, fun, cosmic action at its best as Mightor and his club go up against a giant alien battleship and a particular ruthless enforcer of the Collective, in a story that doesn't really need any additional knowledge to enjoy.
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Stephanie Phillips, the new regular writer on the character, gets the chance to set her tone for the character, and I think she does a great job of distinguishing herself from the past creative teams.
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This is probably the best Kara Zor-El story we've gotten in years, and I'm hoping it's the start of an extended run on the character for these creators.
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This creative team works with one of DC's non-A-list characters, but they deliver one of the most inventive and compelling stories of the event so far.
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Overall, just about every story in this volume has something going for it, but none can stand up to the spectacular main feature.
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If this is a preview of what Yang has planned for the characters in the main series, count me in as sold.
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Less overtly funny or absurd than many of his DC works and less overtly angry and topical than many of his indie works, this might be the closest Russell has come to fitting into the DCU. Not that we'd actually want him to"his unique style is what makes his work great.
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Many of the Future State books feel like prequels to upcoming titles, but this one feels like a smooth continuation. It works for the run overall, because the writer was able to set it up in advance.
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Ram V wrote Catwoman before Future State and will write it after, which means he doesn't have much to set up here. That works to his advantage, as he can just use this tie-in to tell a tight, thrilling story paired with the excellent art of Otto Schmidt.
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While the nature of this miniseries means that things are a little rushed, it delivers a powerful and emotional finale that sets up some great things to come. I'm looking forward to Yara's presence in the Infinite Frontier era and she could be a great foundation for a new generation of young DC icons.
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Swamp Thing has never been a typical superhero. He's a force of nature, something that serves something higher than humanity, and this issue is a great example of that"with a powerful ending that makes me very optimistic for Ram V's upcoming run featuring a new Swamp Thing.
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It's another strong leap forward for the franchise after DeConnick's excellent run.
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It's more a strange Elseworlds than an event tie-in, and that works just fine for Russell fans.
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Dan Watters is one of the writers at DC most known for darker stories, particularly in his Sandman Universe work. That's why it's a surprise that his Future State story is actually inspired by, of all sources, the Silver Age.
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This is definitely not something that fits into the main Future State timeline"it's a Russell joint, through and through"but it makes a fitting capper to these tales of what the future of the DCU could look like.
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It's not always an easy book to read, but it's an incredibly passionate one and that comes off every single page. I think it's going to earn a prominent place in DC's OGN library.
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Very promising start to a sequel-in-spirit to a modern classic.
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This isn't a perfect first issue. Johns is clearly not used to worldbuilding outside the confines of DC yet. But it is an incredibly promising start that serves both talents very well, and a long-awaited creator-owned debut from the biggest comic talent who has never visited that pool yet.
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This is the second Lois Lane graphic novel to come out of DC that bears relatively little resemblance to the character we know from the comics, instead reinventing her story to be more universal to the audience rather than part of a larger universe. However, unlike "Lois Lane and the Friendship Challenge, which often felt like an all-ages graphic novel that had Lois' name slapped on it, this YA-oriented reboot has a secret weaponacclaimed YA writer Sarah Kuhn, the writer behind the brilliant Shadow of the Batgirl (which seems to take place in the same continuity, given a cameo by a fan-favorite supporting player from that book). It also reinvents Lois as an Asian-American teen looking to establish herself in journalism.
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This might be the most pitch-black of King's works so far, but it's also excellent.
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This is a tense, gripping story that immerses you in a very different Gothamone less crime-riddled, but maybe just as cruel. It hasn't reached the heights of King's other works yet, but it is building towards an explosive finale.
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It's a fascinating, twisty first issue that resembles Lost or The Prisoner in some placesbut is grounded in a story of one of the most complex superheroes in the DCU, and the legacy he built. Great first issue.
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This is an incredibly promising issue, and the second great one in a row. It could be the A-list run Green Arrow hasn't had since the heyday of Kevin Smith.
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This book has been bringing some long-forgotten plots, some DC might have even wanted to run away from, back into continuity. Keep an eye on Roy's scenes for a surprising reference. This is easily the best Green Arrow book since Ben Percy's Rebirth run.
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I do think this series has such a high level of ambition that it can be hard to juggle all the characters and timelines, but I think Williamson handles the task as well as he possibly can. It helps that he's one of the few writers in a long time to really capture Ollie's unique chaotic energy, as well as the fact that he's using so many great deep cuts from DC continuity. This title is really one that needed the expansion to twelve issuesand it deserves it too.
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This is probably the most cosmic and epic GA story of all time, and it's a testament to the creative team that it works so well.
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Williamson deserves credit for centering this story so heavily inn two characters who haven't gotten any spotlight in a long time, Connor Hawke and Lian Harper. It's helped to build a great extended-family feel for Green Arrow, similar to the one Superman has going right now. But with Ollie back from space, the pressure is high to have the next act equal this oneand based on the cliffhanger, the odds are looking good.
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This book is doing an amazing job of digging deep into the long lore that has built the Arrow family while also making it an engaging story that can bring in new readers. And if I wasn't already excited, one of my favorite obscure characters is returning soon!
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This series has now been expanded to an ongoing, and it's been so good that it's richly deserved.
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I haven't been the most positive about how Waller is being portrayed nowshe seems to be a one-dimensional villain in many portrayals, rather than the ruthless and nuanced figure that we've seen from writers like John Ostrander in the past. Fortunately, while Williamson is still writing her as (and in many ways set her up as) the biggest villain in the DCU right now, he's also able to peel things back a little and show what hides behind the scenes.
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Great book, but it's leaning into a DC status quo that I'm still not 100% sold on.
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It's fast-paced, incredibly detailed, and in some places grotesque " a floating finger with a Lantern ring attached and a sentient virus with a particularly disgusting method of communication are just two elements going on in this very busy and cosmic story.
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There are a lot of comic creators who love the bizarre, but I think few of them are as good at the craft as Morrison, and he has the perfect partner in crime here. It's the most bizarre book in DC's main line at the moment, but one hell of a ride.
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While I'm sure the status quo will be restored soon, the pure unpredictability of this book makes it one of DC's most exciting reads right now, and the brilliant art by Liam Sharp is the perfect companion to Morrison's gonzo writing.
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I don't think this issue ever quite reaches the chaotic, brilliant highs of the first six issues, but it's a more human turn for the lead character and the best Green Arrow story in a while.
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As they get deeper into this run, Morrison is indulging many of the most bizarre quirks that made them such a distinct writer for decades. But Green Lantern lends itself to bizarre, and so far this continues to be one of the most ambitious and complex series DC is putting out in these last months of the current status quo.
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From the lush fantasy world to the varied characters to the unexpected horror of the villain reveal, this is one book that delivers visuals that stick in your mind long after you've finished reading. A perfect mix of writer and artist.
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Liam Sharp is going solo on art instead of having Steve Oliff color him this issue, and once again the subtle shifts in the art are amazing. This issue has a glossy, almost computer-generated feel that is somehow no less detailed than Sharp's usual stuff.
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Thus far, Grant Morrison's Green Lantern run has been a fascinating, cosmic genre-swapping adventure, but it's been distinctly less bizarre than most of his runs. For those who wanted a little more of Morrison's trademark multiversal madness, wait no more " the first two-part arc of the series has taken the strengths of the series and blended them with the insanity of Morrison's Multiversity.
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In the middle of two months of Future State, this is the only main-line DC book publishing"the first of its final two issues. It seems like an outlier, but in many ways it's not. This issue seems to be Grant Morrison's meta musings on the eventual transformation of the Green Lantern franchise.
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Grant Morrison brings the curtain down on his Green Lantern run"and potentially on Hal Jordan's tenure as the lead Lantern"with an epic final issue where he finally does what we've all been waiting for. Grant Morrison goes full Morrison.
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Reading a Grant Morrison comic, such as The Green Lantern #12, is like taking an unexpected bus ride " you know what it's like to ride a bus, but you have no idea where you're going and it can be more than a little disorienting. But when it goes in the right direction, you get an experience unlike anything else.
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I knew Morrison was great at space stuff, but this issue proves that when he's on, he's great at any genre and I hope he's planning a long stay in the Green Lantern corner of the universe.
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This is probably the largest-scale Green Lantern issue since the Johns days, bringing in the whole gamut of Lantern-aligned characters (including an oddly anthropomorphic Dex-Starr). Even though it packs a lot into this first issue, it feels like the start to something great.
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The first thing that stands out to me about this issue is how it doesn't feel inspired by any of the other recent GL runs. Instead, its DNA feels fully rooted in one of the biggest pop culture hits of the 2020sTop Gun: Maverick.
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Green Lantern has been a cosmic hero for so long, playing on the biggest scale imaginable, that it's hard to remember anymore that he was a normal earth-based hero for much of his history. So Jeremy Adams calling back to that is unexpected, but welcome.
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This continues to be the perfect fusion of superheroes and "Top Gunperfect for Hal Jordan.
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It's a fascinating issue that broadens the story in a big way and sets Hal off on a new adventure that will likely lead him right back to Oa for an epic showdown.
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The highlight this issue, though, has to be the backup written by Adams and drawn by the iconic Kevin Maguire. Focusing on Guy Gardner and Lobo with a guest appearance by Booster Gold, it feels like a tribute to the late, great Keith Giffen as well as a follow-up to one of Adams' most beloved Flash stories the wrestling adventure that introduced us to the wildly funny Omega Bam Man.
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While there's a lot of sci-fi action here, Bechko and Hardman are interested in exploring some pretty weighty topics including isolation and militarization. There are no traditional villains here besides possibly a sinister general on Earth"Sinestro is given a lot more layers than you'd expect for a guy with that name and seems hesitant to cross certain lines.
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From the team of Minh Le and Andie Tong, Green Lantern: Legacy is a cosmic adventure that's equally grounded in a story about Asian-American identity, family legacy, and the ongoing clash between traditional culture and sweeping modernity. In many ways, it works as a modern-day counterpart to the brilliant Superman Smashes the Klan.
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After a controversial previous run and a surprisingly long hiatus, the Green Lantern line is finding some real momentum again. And the interesting thing is, it's being done with a status quo that doesn't actually involve the Corps right now.
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Johnson has pretty close to a 100% hit rate for DC right now.
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This could wind up being one of the character's defining runs.
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This issue doesn't have some of the best parts of the series, like John's mother (who was knocked unconscious in an attack last issue), but it does continue to build up Johnson's vision of the character. Johnson's been hinting he's got something big coming, and I'm hoping it involves both John and Superman. JLA relaunch time?
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John's journey here has been fascinating, and it's great to see this popular Lantern finally get a solo spotlight for the first time since his '90s series.
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With eerie cosmic art, compelling characters, and a fast-brewing mystery in what exactly Ellie is now and what she's capable, this first arc has delivered in every wayand paired with Jeremy Adams' Hal Jordan run, we're probably in the best era for the GL line since Johns' days.
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What Johnson does here is expand on elements from past runs that hinted that John's powers were growing beyond what we've seen from any other Lantern. This wouldn't work nearly as well as if he hadn't done the work to get us invested in John's family.
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We get some clues through the issue, but the real highlight here is the stunning art by Montos. This guy sort of came out of nowhere with this book, but man can he draw the heck out of a cosmic battle. His characters are distinct, his abominations are terrifying, and it's great to see some big-scale sci-fi Lantern action taking over this title for a bit.
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This remains the best Green Lantern book we've had since Johns.
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Tim Seeley's first arc of Green Lanterns was a bit up and down, but now that the heroes are back on Earth for a bit, the title hits its groove in Green Lanterns #40" setting up a twist-filled story with surprising callbacks to not one but two excellent runs from the pre-Rebirth era.
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Its overall irrelevance doesn't matter, because this is actually one of my favorite issues of the Green Lanterns run, featuring pitch-perfect takes on the main characters amid a compelling plot with several surprising twists.
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This is an artist showcase that turns into a surprisingly dialogue-dense book, and it establishes Stepan Sejic as one of the biggest multi-talents in DC's stable.
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The boom in Harley comics has led to a lot of interesting takes " just in the last few months, we've had Harley as a mentally ill doctor here, an obsessed profiler, and a teenage rebel. They all have their strengths and weak points, but this is a gorgeous and highly creepy take on the classic Harley.
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This is the most I've enjoyed Harley's title in a while, and I'm glad Humphries is on for the long haul.
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This is a very funny comic, but there's a real heart behind it at times. Humphries is doing work on the level of his run on Green Lanterns here, and that's definitely not something I expected from a Harley book.
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The violence can get truly grotesque, but almost in a splatterstick way that doesn't count because no one ever stays dead.
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This isn't just a great Harley Quinn run, it's a great character run and the added depth Humphries has given her will help make her a major player in the larger DCU.
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Is there anyone better at fusing genres than Sam Humphries? His Harley Quinn run has somehow managed to elevate Harley into a cosmic player who can go toe-to-toe with the warlords of Apokalips " while also making her a more emotionally grounded character than she's previously been.
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Sam Humphries continues to raise the bar on his Harley Quinn to run, with an arc that confronts Harley's criminal past and has her take a major step towards heroism " by teaming up with the man who used to put her behind bars, Batman.
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he trials of Harley Quinn continue, and Sam Humphries has used the ongoing storyline to switch genres every issue. We've had a detective story, a horror story, and even a bizarre Kafka-inspired transformation tale. Now, Humphries takes us into the world of high fantasy in Harley Quinn #61, one of the funniest and strangest issues he's done in a while.
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The way Humphries manages to switch tones seamlessly in a heartbeat is something impressive, and this continues to catch up on the legendary Palmiotti/Conner run as my favorite Harley run.
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The Year of the Villain tie-in this issue is hilariously meta, as Harley gets an offer from Luthor not in the title, but in the book within a book by Meredith Clatterbuck. Will this have any impact in the main book? We'll see, but this book's balancing act continues to impress.
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Sam Humphries continues to deliver one of the best Harley runs of all time in Harley Quinn #65, as he seamlessly balances real-life pathos with bizarre and surreal comic book events.
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This is unlike any other book on the stands, and the DC lineup is better for it.
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It's the perfect holiday special for a book that's alternatively hilarious and uplifting, but this title is a little hard to place in terms of an overall run. Humphries takes a wide left turn with the ending that seems to come out of nowhere " but I predict it'll somehow come together into something fascinating.
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Grief is all over this issue, as Harley's lost several people important to her in a very short period. That leads to a surprising sequence of events as the issue closes out, and I'm genuinely worried for Harley for the first time in a while.
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While it's Palmiotti and Conner who wrote the defining Harley run, this one might be my favorite.
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And so ends Harley's latest title after a very strong run by Humphries. Whoever follows him has a huge task ahead of them, because this is the second defining Harley run.
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The colorful, slightly surreal art is a great fit, and Harley getting to use her psychologist background is a nice change of pace from the last few runs. It looks pretty good that this run is going to continue the winning streak of longer Harley runs for the last few years.
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It's a comic that has some surprisingly funny moments, but it can also be terrifying and heartbreaking at times, and it does a great job of getting you invested in both the characters we know very well and the ones we're just getting to know.
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Phillips is coming on and establishing a new status quo after several classic runs, but she's got the makings of another all-timer for Harley here.
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With some new supporting players and a strong focus on the two main characters, this is looking like the best arc since the first.
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This is a great series, and whoever takes over after Phillips will have a hard road to hoe. It's been great to see Harley consistently develop over the last few runs.
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This is just a fun, chaotic issue that fits an oversized anniversary story, but it also packs more emotional weight than I would expect from the subject matter in several places.
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It's a fun back-to-basics issue, but also ends with the arrival of another big player in the Gotham crime scene.
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The tone of Harley Quinn and the Birds of Prey #1 is very similar to the movie " Harley at her most charmingly unhinged, a ragtag group of heroines backing her up, a loathsome crime-lord villain, and a distinctly R-rated bent " but it has a light touch that delivers the perfect dose of absurdity.
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In the chaotic final issue of Palmiotti and Conner's miniseries, Harley is put through the wringer"before hitting a highly satisfying conclusion.
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Overall, very strong first issue with no real weak links.
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All in all, another great set of stories without a weak link.
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We've seen an odd number of Old Lady Harley stories lately, but this one doesn't feel like a generic edgy futureit feels very funny and oddly in character for Harley, along with some great surreal visuals.
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This final issue had some odd moments in it, but it was overall a great finish to one of the most entertaining and experimental comics DC has put out recently.
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Comics are inherently a visual medium, but too many times a comic that celebrates the visual rather than the dialogue can often be an overly brief read that leaves you feeling unsatisfied. That is definitely not the case for Robert Venditti and Bryan Hitch's Hawkman #3, one of the best examples of the fusion of an exciting story and bright, vivid art that I've seen in a long time.
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. Shifting from sci-fi to fantasy to the modern day within an issue, every installment is a surprise and I can't wait to see where this series goes next. It's been well over a decade since Hawkman was this compelling.
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Robert Venditti seems to have found the DC character he's meant to write, as his run on Hawkman has far outstripped any of his other comic book work in quality.
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It's a story of a man's fight for redemption against an interdimensional backdrop, and it's easily the best story the character's had since the Johns run in the early 2000s.
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Venditti's usually known as a bombastic, action-based writer, but this and the recent Superman stories he's been writing for DC's digital-first and giants lines show he has a real knack for strong character work. This remains one of DC's most underrated titles.
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It's the end of the road after a two and a half year run that has revolutionized Hawkman mythology, and after the last issue I was wondering if the final threat wouldn't live up to the rest of the run. I shouldn't have worried, because Robert Venditti has always had a solid grasp on the main thrust of this series.
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I can't shake the feeling that as good as this series is, it's taking away more than it gives.
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This is a fascinating book that broadens the scope of the DC OGN line and shows once again why it's where DC's best stories are being told.
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Like most second installments, The Enemy Delusion has the problem of having neither an introduction nor a conclusion, meaning anyone interested should definitely pick up the first volume before starting. Fortunately, this doomed romance set among the complex politics of Krypton's last days is as compelling as ever.
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This title feels real. Amid the compelling cast, there's a real sense of suspense as forces beyond the human cast's understanding circle them, and the end of the issue comes with a fantastic cliffhanger as the two worlds of mythology collide in a way no one saw coming.
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House of Whispers is a book about a new realm of mystery and dreams essentially crash-landing into the one we know. The main characters " Erzulie and Uncle Monday " found themselves pulled out of their realm at the end of the last issue, and this issue splits the narrative between several chaotic stories that come together into a fascinating whole.
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The unpredictability of King's Black Label books is what makes them so compelling.
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It can be a little hard to tell just how this all dovetails into the rest of the story, but it all comes together nicely in the finish as we get a huge clue towards the identity of the culprit"except that we're less than halfway through the story. As always, it's challenging to even hazard a guess of where King is leading us.
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King and Smallwood are not a creative team you'd associate with sci-fi, which is why the segments on Oa are so impressive this issue.
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The first issue of this revival of Dwayne McDuffie's Milestone property was a low-key but compelling affair, introducing us to the two characters who would become Icon and Rocket. This issue blows that world wide open and reveals a much larger universe.
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This feels like it's going to be a tight horror miniseries that will deliver serious scares.
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It's a fascinating ride unlike anything else at DC right now.
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A Jeff Lemire comic is almost impossible to not recognize, even when it's fused with another talented creator like Keith Giffen. Giffen's bringing DCU deep cuts to Inferior 5, but the haunting tone of found family among the post-apocalypse is vintage Lemire.
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I'm hoping we get a second volume down the line to complete the story, because it's hard to imagine this dense and fascinating book closing out its story effectively in only two more issues.
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This book jumps around a lot, but with very few exceptions, but it gives us an amazing look at the future of the DCU. Also, there's a surprise title announcement at the end that makes me VERY happy. DC is kicking off their latest relaunch in style.
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This new miniseries by Williamson and Xermanico isn't a traditional event comic"there's no earth-shattering threat yet"but it feels like the spine of everything that's been going on in the DCU and will feature a huge cast of characters trying to unravel its mysteries.
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I'm liking this Roy, seemingly a combination of the more seasoned hero and father with the more reckless young man from his Outlaws adventures over the last decade. I'm invested in almost all of these stories, which is a testament to how good Williamson is at large-scale stories.
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This is more character-driven than many events, but it still feels every bit like an epic multiversal crossover.
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This event has been a lot of fun since the start, but this final issue puts it all together for a spectacular final battle.
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One of the most interesting things about Injustice 2, and one of the most frustrating things at the same time, is the way the story is so wide-reaching and jumps all over the place at the drop of a hat.
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This current arc in Injustice 2 may be Tom Taylor's finest hour on the title, as Injustice 2 #30 delivers a near-perfect combination of top-tier action with some great moments for the characters.
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A video game tie-in is beating almost every other comic in emotional punch here, and it's something that must be read before it's gone.
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Tom Taylor has done something incredible here " weaving a compelling and human tale out of a video game tie-in.
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This issue was a bit more of a breather than the last two, but it's impressive just how well Adams writes the entire cast despite Judy being essentially a completely new character.
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The entire concept of this book is rather tricky to pull off, because many of the main characters are essentially blank slates, but I think Adams has pulled off the impossible again. He's created a compelling and intimidating adversary who we now know surprisingly well, making him a perfect foe for Jay and Judy's coming showdown with destiny.
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This story has been doing a great job of both fleshing out characters we already know and giving Judy what she needs to be a DCU mainstay going forward. Hopefully this mini and his Flash run continue to feed into what Adams has planned next.
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This has been one of the best Jay Garrick stories I can remember reading, and the first time he's been at the heart of a story in a long time. Even after he's left the main title, Adams continues to be the best Flash writer since Williamson's heyday.
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This is a dense, oversized first issue that feels like a classic old-school Hellblazer story in the best way. This version of the character can be a lot, but it's great to have him back in all his filthy glory.
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This is shaping up to be an all-star Vertigo reunion here, but it also seems like Spurrier has a lot of heavier things on his mind about the state of the two countries crossing over here. It's a fitting successor to his acclaimed first run, but it also seems to be one of the more ambitious Hellblazer runs in a long time.
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This series almost has a bit of an anthology vibe to it at points, even as the main Constantine story continues to evolve.
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This issue requires a big trigger warning for murder, sexual abuse, and small-town justice gone horribly wrong, but it's probably the best issue yet in terms of the hard points Spurrier wants to make.
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Let's get it out of the way firstthis is absolutely the most ridiculous comic DC has put out in a very long time. A lot of comics are ridiculous, but few embrace it the way this Daniel Warren Johnson Elseworlds pastiche does.
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The fact is, this could have easily been a one-joke concept designed to sell toys, much like some of the recent mech-suit comics from the competition. But with Johnson involved, it's anything but that. It genuinely works as a Justice League story and gives these dinosaur heroes character traits that make them feel familiar but new. It reminds me of some of those great Elseworlds from the 1990s, blown up to epic size.
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The penultimate issue of this absolutely ridiculous miniseries is probably the best since the first, as it gets back to what it does bestgiving its three main characters surprisingly strong storyarcs.
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The ending definitely hints that there's more to see here, and this world is so visually inventive and creative that it definitely outshined what people initially expected of it. It's a good example of how DC is a universe where creators are often rewarded for going outside of the norms.
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The action can be chaotic, making the dialogue a tiny bit hard to follow at times. But that's a very minor issue, compared to what's easily the most compelling issue of this series so far. I'm hoping that Priest is on this title for the long haul " this is the most promising start to a Justice League run I can remember.
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So far, this is a fantastic debut arc.
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Shame this run will only be twelve issues " it's one of the all-time best Justice League runs.
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I'm excited for Snyder's run, but damn, will he have to work hard to top this one.
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The subplot with Jessica and Bruce kissing earlier in the arc remains the weak point of the run, but I did like Selina's interaction with Jessica in this issue. The end of the issue has a J'onn J'onnz cameo, setting up No Justice, but the future teams have a battle ahead of themselves to equal Priest on this title.
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This is the kind of Justice League run where it feels like something huge, cosmic, and devastating is coming, and a team like this is truly necessary. It could be too driven by action, but so far Snyder's characterization is top-notch.
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Scott Snyder has been all over the map in terms of genres in his time at DC, covering horror, adventure, coming-of-age, and even philosophical epic. But he's never quite done widescreen comic book action until now, and Justice League #4 is the blockbuster showdown to end all blockbuster showdowns.
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This is how you do a Justice League run " by giving the characters enemies who can push them to the limit.
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Scott Snyder has managed to take the epic vibe of an event comic and distill it to a bi-weekly ongoing. That's exactly what a great team book should be.
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As Drowned Earth hits its third chapter, the second Justice League event in the last two months finds its groove and delivers its most entertaining chapter yet.
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Tynion has been supplementing Snyder's Justice League with some of the best villain-centric stories in recent memory.
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These two issues have gone an enormous way towards making Snyder and Tynion's Luthor a fully fleshed-out antagonist, as compelling as the heroes, and their take on Brainiac is genuinely menacing. There's a lot of plot going on here, but it wouldn't work half as well without how compelling the characters are.
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Scott Snyder continues to impress as he expands the world of the DCU and maps out the post-Metal landscape.
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Snyder and Jimenez are setting up yet another thrilling sequel to Dark Nights: Metal, exploring the worlds of the DC Multiverse and revealing the dark secrets beneath the shining cities. This series has gotten better with every arc so far.
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Some writers do events and normal books, but Scott Snyder appears to have decided that after spinning Justice League out of his last event, he was going to fuse the two and just make this book a never-ending sequence of threats that could easily be an event on their own.
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Scott Snyder and James Tynion IV's Justice League stands out for its big storylines, but it's the small things that really make it sing. I say that figuratively " the little character moments " and also literally because some of my favorite moments of this run have centered around a friendly starfish in a jar, battling imps, and this issue a tiny hissing Barbatos.
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As the 6th Dimension story continues to shake up Justice League, Justice League #23 takes on a tone equal points between an event comic and a character-driven suspense thriller.
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As Scott Snyder's Justice League run approaches its landmark twenty-fifth issue, it's continuing to hit on all cylinders as it delivers one of the largest-scale stories since Grant Morrison's legendary run.
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As the first mega-arc of Scott Snyder's Justice League run comes to a close, he once again proves that there's no one who can do cosmic action like him. Nothing about his past work made me think he was a natural for big stories of the multiverse, but he's surprised me in the best way.
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James Tynion and new artist Javier Fernandez jump on board for an issue, Justice League #26, following the conclusion of the massive 6th dimension storyline, and they don't miss a beat in continuing to increase the stakes in the most epic Justice League run in years.
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As James Tynion continues to handle writing duties on the lead-up to the Justice-Doom War, he proves once again that the bridge storylines can be just as compelling as the main event.
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Jarro is a fun character that easily could have wound up like Dex-Starr " a novelty that's trotted out to applause on occasion " but this issue indicates that Tynion might have much more nuanced plans.
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This issue delivers one thrill after another as all the plot beats Snyder and Tynion have been setting up for a year plus start to pay off. This is how you pay off an event comic's buildup.
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I've talked about how this Justice League run is essentially an event comic in every issue, but that doesn't do justice to how good it is. Most event comics aren't nearly as funny as this book and don't have half the good dialogue beats. Snyder and Tynion manage to keep the stakes sky high while never losing touch with the characters we love " not an easy feat.
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There's no comic on the stands that packs more into each issue than Snyder and Tynion's epic "spine" for the DCU at the moment and Justice League #33 is no exception. Dividing the narrative into three parts and sending the heroes around time and space, it can be a little disorienting but the writing team does a good job of grounding every scene in its location.
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With Justice League #34, the best event book on the stands continues to be this series " even though its "event" is only a standard-sized comic released in the main title, with no tie-ins aside from the loosely connected Year of the Villain branding. That's because writers Snyder and Tyn
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We now know that this is the final arc of this run before Snyder transitions to a bigger project, and it's certainly going out with a bang.
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Spectacular. That's the only way to describe not only Justice League #36 but the scope of the six-month-long storyline that's wrapping up Snyder's run on Justice League.
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It's hard to believe that Snyder is wrapping up in only two issues, but given that he has something bigger coming with Capullo, I can't wait.
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To think that this is just the prologue to whatever wild story Snyder and Capullo have for us next. All prequels should be this good.
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What could have been a filler arc has turned into one of the most interesting Justice League stories in recent memories, as the League's new responsibilities threaten to pit them against each other.
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The real star here, though, is Xermanico and his detailed art, creating a powerful visual scale that makes this feel like a surreal post-apocalyptic hellscape. DC has kept the tie-ins limited, with only one per week for Death Metal, and they're making every one count.
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This tie-in has sort of slipped under the radar compared to the main miniseries and one-shots, but Joshua Williamson has been telling a tense and creepy story that works as a great complement to Dark Nights: Death Metal.
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The tension never really stops, and that's the sign of a great event tie-in.
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Since the beginning, Scott Snyder and James Tynion IV's Justice League run has been big, bold, ambitious, and maybe a little overwhelming. Justice League Annual #1, with guest art from regular Injustice 2 artists Daniel Sampere and Juan Albarran, collects all those strengths into one issue concluding the first act of the series and launching us into a bigger story.
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Overall, this is a top-tier issue that provides a great spotlight for just about every character it focuses on.
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Although Tynion is going to be missed on Detective Comics, this feels like a new hit for DC in the making.
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One of the best things about James Tynion IV's work on Justice League Dark is that he's been building a giant meta-arc out of his DC work for years now, and it's all converging in this fantastic horror extravaganza.
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Justice League Dark continues to pack more suspense and horror into one issue than many event comics do in an entire run, and that doesn't stop with this tense "breather" issue, Justice League Dark #11, taking place after the escape from the new Lords of Order.
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The aftermath of the Chaos-Order War brings a lot of questions now that the Justice League Dark has literally broken magic, and Justice League Dark #13, a breather issue,tackles the biggest question " what to do with Doctor Fate and his near-unimaginable power? Nabu is now locked inside the helmet, waiting for a suitable bearer to harness his power for good.
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It's mostly disconnected from the Year of the Villain events so far, but few books better capture the feel of the bad guys winning and the heroes fighting a losing war.
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Less a traditional superhero comic than a spookhouse horror show with superheroes, Justice League Dark #16 continues the series' tradition of being the most consistently excellent team book in DC's stable.
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James Tynion's final arc on Justice League Dark, a horror-themed superhero book, isn't disappointing, as he pits the Justice League Dark against an army of the deadliest magical villains the universe has to offer.
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James Tynion wraps his solo run with Justice League Dark #19 in an explosive finale that works as an event comic in itself " with several major players getting power-ups and characters forced to make massive sacrifices to save magic.
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Ram V has jumped on to join James Tynion IV on this title, and it barely loses a step in Justice League Dark #20. If anything, the story jumps full-on into the horror themes of this run, and it works very well for a first issue.
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Ram V, taking over on script for James Tynion IV, hasn't missed a beat in this often-disturbing supernatural hero book.
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One of the impressive things about this arc is that the creative team has managed to split up the team to several different dimensions, but they've managed to give everyone an equal role and a major stake in the story. It's the kind of book that feels like an event comic even as it's confined to one title, and that's a big compliment.
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Ram V's arc is just getting started, but all evidence is that he's going to deliver a strong follow-up to Tynion's epic run.
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Following up on James Tynion IV's run was always going to be a tough task, but Ram V is quickly looking to establish his own voice on this title as he goes solo " complete with the same level of high-intensity cosmic horror. It helps that he has Amancay Nahuelpan, one of DC's fastest-rising artists, bringing his visuals to life.
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It's another strong issue in what will hopefully be a long run for the creative team.
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Both Ram V and Amancay Nahuelpan are living up to this series' horror reputation, and it's hard to see how all this can be resolved in only one more issue.
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The main run of Justice League Dark concludes this issue, with an Endless Winter tie-in and a Future State miniseries coming soon. But for those who have been following the battle against the Upside-Down Man since the beginning, this issue delivers a spectacular finish that lets every surviving member of the team shine.
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Ram V joins James Tynion IV on this oversized one-shot ,Justice League Dark Annual #1, and it doesn't miss a beat from the regular Justice League Dark series when it comes to plunging us into the DCU's worst nightmares.
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Ram V always manages to surprise, and it's impressive how much common DNA there is between this DC comic and his metaphysical indie book The Many Deaths of Laila Starr. Both are about understanding the human experience through the perspective of a god"be it a beautiful god of death or a terrifying god of the Green.
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The mini this spins out of had enough plots and surprises to shake a stick at, but somehow this one has gone even bigger and infused the story with a massive dose of Morrison-esque no-holds-barred energy.
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This is one of the best depictions of grief and the search for blame after a tragedy that I've seen in a superhero comic in a long time, another piece of evidence that Zdarsky is one of the best writers in comics at the moment. He's also one of the few whose reach covers just about every major company"and I wouldn't be surprised if after his current DC work, he winds up on an A-list in-continuity title soon enough.
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Top-tier once again.
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Halfway through, and I still have very little idea what's going to happen next"but I have little doubt that it's going to deliver some great twists and turns.
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We've seen a lot of superhero deaths over the years, but few are as affecting as this one"and few deliver the emotional gut punch that has ripped the team apart ever since then.
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This series has always parceled out its answers slowly, and with only a few issues left it's hard to guess how it'll end exactly. But it's one of the best looks at the Justice League at its breaking point that we've ever gotten. Zdarsky continues to be a master at putting the heroes of both universes through their paces.
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We've seen a lot of dystopian DC futures over the years"some might even say too many"but this one stands out because of what's fallen apart. It's not the world, it's the League's trust in each other, and now they have one last chance to fix that.
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The writing on all the core members of the League is fantastic and makes me think Zdarsky could easily take over the main title of any of them if he wanted to. He's only done a few DC books, but he's quickly showing the same skill at deft characterization he did on Spider-Man and Daredevil. It ends on a neat note that doesn't require any sequels, but I would still love to see more stories in this universe as the League rebuilds itself.
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Picking up directly from the ending of Dark Nights: Metal, this weekly miniseries by the writing team of Snyder, Tynion, and Williamson is a high-octane, thrilling old-school book that unites heroes and villains against a much bigger threat.
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Halfway in, this is an exciting, tight event that delivers everything it promises and more.
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This may be a very busy issue, with a little too much going on, but it's a classic JSA issue as he returns to the first franchise he impacted.
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This is an odd series, and it's only made more unpredictable by the shifting art styles.
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This is the best Per Degaton has been used as a villain in a long time, and this series is definitely worth the longer waits.
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This comic has a large cast, and it keeps surprising us.
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I'm hoping this book can get back on schedule, because it's one of the DC comic line's best and it deserves all the attention it gets as the next chapter of Geoff Johns' megastory.
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Due to the launch of Ghost Machine in the coming months, we now know this will be one of the last DC works of Geoff Johnsputting an end to a DC career that dates back to the 1990s with no real interruptions. Given that, it's a little odd that this final chapter comes off as so vignette-esqueor maybe not. Johns is telling a story here that's so spread out and creates countless new narratives for future writers to jump off.
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This is a wildly ambitious comic, sometimes so much so that it's hard to keep track of everything, but it's quintessential Johns in the best way.
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With only three issues left, most likely, Johns is leaving a lot undonebut there's so much potential here to build off for the franchise he helped return to prominence.
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This wild experiment featured some of the top talents in the DCU past and present, and it all comes to a close here with this double-sized epic that brings Kamandi's journey to a satisfying and meta end.
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I may not have anyone to root for in this series, but I am definitely interested to see what happens next.
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Overall, this main event continues to be so strong because it's sticking to its roots grounded in surrealist horror.
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The ending turns this into a bit more of a standard event comic crisis, but the big threat it sets up is definitely going to deliver an epic finale.
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What works really well about this final chapter is that despite the sprawling action, it keeps the core cast relatively tight. While most of the heroes are busy fighting the nightmares, Deadman and Wesley Dodds are left to deal with the cosmic underpinnings of the crisis.
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How good this overall event is will depend on how the tie-ins play out, with around 25 creative teams across the event, but Williamson and Porter have gotten the horrors off to a strong start.
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This part of the issue is one of the best overall Knight Terrors tales.
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While this is overall a very dark story, there are some lighter moments and some genuinely funny bits at the end after she breaks free, and this story does a good job of setting the character up for future adventures.
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This is very much the second issue of the main Knight Terrors story, less stand-alone than the other tie-ins, and it's a fitting journey into the darkest parts of Batman's psyche.
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This is probably the scariest of all the Knight Terrors minis, just because it allows us to be lost in the horror that a normal man is experiencing in all of thisin a city that's already terrifying in the best of times.
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Watters delivered a great, creepy issue with some truly memorable scenes.
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It feels like this series is going to be key to pushing both characters' stories forward before we return to the main narrative.
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We've only begun seeing Adams' vision for this character, but right now it feels like it has the potential to be the best take on Hal since Johns.
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Some of the nightmares are surprisingly affecting, particularly Darla's fear of being surrounded by larger, more powerful people who can overpower her at any time. This is probably the best segment of the issue. On the other hand, many of the others just feel like comic reliefparticularly Pedro's fear of being pantsless in front of an audience or Freddy's fear of having a tiny head?
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You've got some great scares, some great insights into the characters, and the rare Knight Terrors tie-in that may exceed the main mini.
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The story manages to effectively place in all three characters' heads as they encounter the surreal and disturbing, and the way things spiral out of control is highly effective.
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Much like the first issue of this series, the biggest strength here is Juan Ferreyra's art. The man knows his nightmaresmaybe better than any artist in the industryand his labyrinth is far more effective than most of these minis at conveying the surreal horror of the event.
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This is a great example of how to do one of these minis, not by rehashing what we already know but by pulling back the curtain on characters we haven't seen get a focus and introducing us to new stories about them.
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Overall, all four of these are fun stories with a lot of promise for where they go next.
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These four stories are all great, and all make me want to see a lot more from these creative teams.
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Overall, there isn't a single miss in this issue, but I wonder how and when many of these threads will be followed up on.
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Overall, all four of these stories have a lot of promise and do their characters justice despite having wildly different tones.
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The action builds, with a surprising sacrifice along the way, but it delivers some great momentsbefore ending on a cliffhanger again, as the story returns to the finale of Batman vs. Robin for more focused tale. Fun story, just a bit odd.
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Hill and Rodriguez remain one of the best creative teams in comics.
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It's as packed as a dialogue-heavy comic gets, but it's a great start to what's sure to be a classic year of comics.
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Lois Lane makes tension its best tool, and it's almost unrecognizable as a Superman family title. It's very much in the vein of another DC classic Rucka had a hand in, Gotham Central, but with journalism in place of cops and no less danger as a result.
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The pace of this book is sometimes surprisingly slow " I think this entire issue takes place in an hour " but it works, and the final page brings in a character I did not expect to see in this book. Rucka seems interested in exploring all areas of Lois' world, and I can't wait to see the rest of this maxiseries.
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I joke a lot about the "Lobdellverse", but I think many writers maintain their own private continuities and go back to it whenever they have the opportunity. That's definitely what Greg Rucka does in Lois Lane #4, with a story that seamlessly combines current events with plot threads from his runs on Checkmate and 52 back in the early 2000s.
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The classic Lucifer segments are short this issue, which lets Decker and Old Man Lucifer dominate. That may be for the best, as I've consistently found those the most compelling stories. As this series comes further into focus, it's likely to only get better.
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For people mostly familiar with the Lucifer from the TV series, this series' twisty narrative might take them by surprise, but it's a journey well worth taking.
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It's a major divergence from the main story of this title in Lucifer #9, complete with a very distinct guest artist in the form of Kelley Jones. Best known for his instantly recognizable Batman work, Jones is one of the best horror artists in the industry " so it's no surprise that this issue plays to his strengths with a deeply disturbing tale.
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A whole page of Mazikeen's...unique speaking style drags down the end of the book a bit, but it's some of the best writing this series has had and makes me wonder where Dan Watters can take this series now that the first big storyline is over.
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This is shaping up to be the best arc yet.
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Lucifer #18 has some genuinely disturbing visuals, and potentially one of the most evil takes on Lucifer we've ever seen.
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It's impressive that this was written well over a decade ago because this Luthor very much feels like a villain of the moment. But as good as the supporting cast is, this is a story about Clark Kent becoming Superman, and realizing that he can carry these burdens on this back. And on that note, it's a definite win. Wolfman's dogged determination to make sure this sees the light of day has resulted in a great comic.
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While the story is highly compelling, the real star here is Riley Rossmo's brilliantly disturbing art " whether he's depicting Martian sexual congress or the villain's grand reveal, his surreal painted style is what helps to make this series a classic.
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A slow-burn cosmic noir mystery with some of the most haunting art ever published in a DC comic, this Orlando/Rossmo collaboration continues to shed light on the history of Mars in a way few writers have managed.
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This series might not be for everyone, because Orlando and Rossmo do not skimp on the horror, but it's one of the most inventive series in the DC stable right now.
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Despite the tense segments taking place on the mental plane, this issue feels like it's the calm before the storm. The final showdown with Charnn is coming, and it looks like Orlando and Rossmo are going to deliver a modern DC classic.
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This is definitely one of the younger-skewing OGNs in DC's lineup, with only a few moments of peril, and I think it'll hit its mark with that audience.
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Shade the Changing Girl/Wonder Woman Special #1 is easily the most compelling and disturbing one-shot of the "Milk Wars" event so far.
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A fantastic thrill ride, up with the best of the series.
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The action here is fantastic, and Bernard Chang's art seems to get better with every issue. As we pass the halfway point of this story, we're starting to get a bigger picture of the story hereand the cliffhanger throws just about everything for a loop.
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This is an issue with a lot of twists and a much darker tone than the rest of the series. Can't wait to see how this final arc sets Marcus up for the future of the DCU.
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It's impressive how this title manages to emphasize the stakes while still packing it with a lot of Monkey Prince's trademark humor. The end of the issue dovetails into the main Lazarus Planet event, but I'm hoping the last two issues will focus on Marcus' solo adventuresthere are still a lot of subplots to tie up!
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With only one issue left, I'm wondering how many answers we're actually going to get, but this series speeds by on just how likable and entertaining it is. The two henchmen who became Marcus' parents should be unlikable, but Yang manages to make us care about just about everyone. Can't wait to see just how this wraps up.
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This is a genuinely new take on Gotham, and even Joker's backup " written as a letter to an advice columnist " works surprisingly well. It's. looking like an excellent relaunch.
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Unfortunately now announced to be ending after only six issues, Gotham A.D., the reinvention of Mother Panic's core concept continues to be one of the best books in the Young Animal line.
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Overall, this run has become something really special, and the eighteen issues of Mother Panic might be the most consistently entertaining book in the Young Animal brand.
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Mike Norton's art is fantastic, slightly darker than what he normally does but with the same great character work. If I have one complaint, it's the slightly cheap cliffhanger, but so far, this is one of the most enjoyable and unique books DC has put out in a while.
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One of the most ambitious DC Elseworlds projects in a while, this double-sized finale of Mystik U packs a lot into one package and brings the story of this DC magic academy with a sinister twist to a satisfying close.
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This is one of the best comics Bendis has put out since his arrival at DC.
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Naomi #2 deepens the mystery surrounding the title character's origins, but its strength lies in the small, nuanced character interactions.
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One issue into the new direction, this is probably a better Teen Titans book than any actual Teen Titans book we've gotten in years. It's got the appealing characters, a great team dynamic, and a legitimate and unique threat.
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The scope and scale of New Super-Man and the Justice League of China continues to expand with the new rebranding, and issue #21 is one of the series' best.
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As the rebranded New Super-Man and the Justice League of China continues its new arc, it's showing off a wider scope and an interesting focus on geopolitics that merges surprisingly smoothly with a high-fantasy vibe that's served the series well since the beginning.
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This is how you do diversity in comics.
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Sadly, this series will end after this issue, but I'm hoping that doesn't mean the end for either Kenan or Gene Luen Yang at DC. I'd love to see him continue to write these characters, maybe in a team book. It's been one of DC's hidden gems and I hope it finds a second life in collections.
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Overall, this was a lot more engaging than I expected at first, with all 12 of the stories here ranging from good to excellent.
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And that's a wrap, with all but one story being excellent. That makes this an unqualified win and one of the best recent anthologies DC has put out.
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This run is really picking up steam.
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It's looking like a classic Nightwing run in the making.
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So far, this run has hooked me with every issue.
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It's still hard to know what to make of Melinda. When we met her, she was a puppet figure working for Blockbuster. She still has zero problem with crime, it seems, even as she moves to protect her brother. She's an enigma, and she's definitely added some new energy to Bludhaven. This issue is mostly about her, so other players like Barbara and Tim don't get much to do"and there's virtually no Bitewing. But this series hasn't had a miss with this new creative team yet.
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Taylor is setting up something here that isn't like any other superhero book, and I can't wait to see it play out.
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While the stakes are high, this is a really funny issue with a lot of great character beats"which makes it all the more disturbing when Heartless shows up again at the end of the issue, claiming another heart and making clear that Blockbuster is not the scariest thing in Bludhaven. Easily one of the books I look forward to the most each month from DC.
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It's only a two-part crossover, but unlike other tie-ins, it feels like it's going to propel both titles forward in a big way once it's done.
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Taylor is playing on a lot of old themes hereBlockbuster has tried to dismantle Dick's life before many timesbut somehow this feels completely fresh. Nightwing has needed a run like this for a long time.
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Taylor seems to be the first writer taking Dick and Barbara's relationship seriously for a long time, and it seems a big milestone might be coming.
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It's great to see Dick working with Raven and Beast Boy again in particular, and I like seeing those two portrayed as competent adult heroes instead of being constantly reset back to their teen years. But this series continues to deliver, even as it maybe juggles a few too many plots.
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Tom Taylor continues to deliver with this series, even as the story takes some seriously strange turns.
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The ending cliffhanger is a clever twist of Dick's ultimate temptation, and it's a nice tie-in to one of Taylor's other books. Of course, as interesting as this series is, it's also very clearly a backdoor pilot to Taylor's next bookand on that note, this is the first book in a very long time that makes me think this group can still work as a team.
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Neron is a great, oily villainone of the slimiest in the DCU, like a pastiche of a politician and a corporate overlord, but he also has an even darker side. This is the first time we've seen his true form in a very long time, and seeing Raven be the one to deliver the coup de grace was especially enjoyable.
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This story has high stakes, but it's also very funny and fully indulges in all the jokes about Dick's attractiveness and popularity. It's a nice, pulpy break from all the drama and suspense of other arcs.
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This issue is a pure swashbuckling adventure, that actually manages to work in some really excellent dialogue along the way. It's certainly a weird divergence for the titleand one that leaves many of the ongoing subplots behindbut it actually has some fascinating reveals about the way Bludhaven works that promise some interesting fallout.
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This story has been a really unique mix of pure fun with more serious issues, as Nightwing gets to have the pirate adventure of a lifetime.
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This might have been a break from the main story, but it's a really good piece of the Beast World puzzle.
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This is a great breather story that shows off Taylor's skill for character work.
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Tom Taylor is wrapping up his run on Nightwing with the next arc, which will give him one of the longest and most defining runs on the character. So before he delves into the psychological block Dick has been dealing with, he's doing a short, much more character-driven arc that explores the complex bond Bruce and Dick have.
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Overall, all three stories are good, but you can't compete with Taylor on his own book. The first story is a classic.
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While the second issue of Nocterra doesn't have quite the same level of dense worldbuilding as the first issue, it makes up for it with a laser character focus and some brilliant visuals.
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It's one of the most compelling new Image books in a long time.
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There is so much to this story we haven't scratched the surface of yet, but we're off to a very good start.
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The gorgeous art is the main selling point here, but I have to say that the story is more compelling than the event that preceded it and has me very stoked for the upcoming sequel mini.
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This has a more epic feel than the recent Wonder Woman arc, and that's where these two writers excel. This is the kind of story that kicked off their run, and it bodes well for their next act.
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It's a new Mark Russell superhero satire, which means we're probably going to get some absurdity featuring D-listers and maybe something surprisingly profound along the way. This satire of the gig economy seems to have more on its mind than even Russell's usual fare, though, and it sends us into a slightly off-kilter world where B-list to Z-list heroes have started their own company.
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This is definitely not a team book like anything else DC is putting outit's far more cerebral, so much more ambiguous, and it works as both a unique next step for Kate and Luke, and for the larger Wildstorm universe that has been floundering since it was sunset as its own thing. This issue gives us our first look at how the book might work as a regular series, and it's a very promising picture.
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This is the second issue in a row that really shows how much potential this series has, and how ambitious Lanzing and Kelly get when they're given the freedom to explore.
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Everything in this issue will be catnip to horror fans, and it's another great example of how this series can do just about anything. It reminds me of some of the great indie comics in how seamlessly it switches genres.
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Where is it going next? I have no idea, and that's a rarity in comics these days. I hope Lanzing and Kelly keep this gloriously weird book going as long as possible.
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When Kyle Starks has a new comic, you know you're in for something gleefully ridiculous.
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There are so many hilarious bits in this issue, such as Amanda Waller's constant frustration and the monologues of some of the villains. Is there much of a plot here? Not exactly, but it doesn't particularly need one. It's more about the vibes than anything, as we follow Peacemaker on a bizarre day-in-the-life. And it's hilarious.
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The penultimate issue of this series shows why Kyle Starks is so good at what he does. This is bar none the funniest issue of the series yet, as Peacemaker and Red Bee infiltrate the Brain's headquarters.
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The issue is over sooner than expected, due to quite a few pages that are dialogue-free, but the detail in Michael Gaydos' art is something to behold.
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Joe Hill is following the classic haunted house model with this title, and adding a unique new setting that lends itself to some heavy-duty horror. The last book in the Hill House line is turning into one of the best.
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G. Willow Wilson continues to give us a much darker Poison Ivy story than we're used toand one that's relentlessly compelling.
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We get our first hints at a major villain this issue, but just following Ivy's journey is fascinating enough.
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This continues to be one of the darkest Poison Ivy stories ever told, as G. Willow Wilson takes us deep inside the twisted psyche of Pamela Isley like never before.
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Wilson's take on Poison Ivy started as pretty controversial, but it's come full circle in an impressive way and I'm definitely looking forward to seeing this one continue.
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This is the first issue that gave fans any real hope that it would end with Ivy going back to being an antihero, and that in and of itself makes it a win in my eyes. But the passion the creative team clearly has for the Harley/Ivy relationship is what's really going to make it a hit.
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The story is strong, setting Ivy on the path of fighting gentrification by taking down the new high-rise complex for the wealthy being built in Gotham, but potentially coming up against an old enemy in the process. However, the real star here is definitely the art team.
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It's interesting how this series started out as a much darker take on Ivy than we've seen in a while, but since it seems to have found its footing and is giving the character a fascinating new chapter with some darkly mysterious twists.
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It feels like this is what the entire series has been building to, and the final page is genuinely chilling.
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It's impressive that this series has lasted so long, and it's a testament to the character's potential as a solo lead.
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This has been a fascinating read that really brings the whole series full-circle.
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The conclusion of Poison Ivy's origin story sheds some fascinating light on not just Ivy's earliest days, but on her complex relationship with Batman and Gotham.
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This story could have gone bad in so many ways, but instead it's a poignant and powerful tale that actually makes sense as both a start of darkness for Poison Ivy and a humanizing touch for Pamela Isley.
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The dialogue is strong, the plot is intriguingly twisty, and the overall tone is fun, but the real star here is Marguerite Sauvage's guest artwhich not only looks as gorgeous as her usual style, but also shifts to a second, more cartoony style to bring the alternate world to life.
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At about 150 pages, this is a fast read, but has a great "Act one" feel that introduces another promising young hero to the line. Here's hoping for a sequel and a team-up with Hummingbird and Grey Owl down the line!
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The story seems to be brewing into a small-scale noir story of local crime and the residents determined to stop it in its tracksuntil a big, scaly x-factor enters the room.
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It's pretty rare we get to see a superhero story that puts the focus on the people on the ground, and this run definitely seems to have shades of greats like Rucka and Brubaker's Gotham Central in tone. Sanford Greene is stepping in on art for this arc, and what needs to be said about his wildly expressive, stylized art? We've seen how exceptional it is many times, and it's just one reason this story is looking like a sleeper hit.
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This continues to be the best Jason Todd-led series in a very long time.
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This is the book Damian Wayne fans have been asking for, and so far it delivers in spaces.
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Another excellent issue in a book that's been needed for a long time.
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It's surprising to have a breather issue only four issues in, but its take on Damian is so good that it works.
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For what seems on the surface like a straightforward martial arts book, this title holds a lot of mysteries.
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Damian can be a hard character to like at times, but this is the run he's needed for a long time.
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This continues to be one of DC's best books right now.
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While it may not have the high-octane action of the previous arc, it's no less compelling.
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Lasting a full year of issues if you count the annual, the League of Lazarus tournament arc has dominated this series until now"and has also been one of the best executions of this type of arc in years. Now, with the tournament over, this issue both serves as an epilogue and a great character spotlight for everyone involved.
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This book can be hilarious at points, but it can also deliver some massive gut punches.
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With Josh Williamson writing all chapters of this event, I was wondering if it would all start to feel the same and lose the individual touch of his three series. I didn't need to worry, as this is clearly a Robin issue, with a bit of the lighter touch that Williamson brings to the book.
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But where this issue really takes off is the ending, as the fake Deathstroke is finally revealedand it's a completely unexpected reveal that somehow makes total sense.
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From the start, this has been one of the most entertaining books in the DC lineup, and it looks like it's ending with a bang.
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With only one issue left of Williamson's run and no guarantee on where this will all be followed up on, there is a lot left to resolve, but it's amazing just how much good work the writer has done for the character of Damian since he started. The character was in a particularly bad place when the story began, and now he's a likable and compelling lead with a strong supporting cast. This is a Damian I'd love to see leading a new Teen Titans.
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Joshua Williamson's Robin run comes to an end this issue, and what's interesting is that it essentially feels like a prequel even though it's had some massive developments for the lead character and may be the best stand-alone run Damian Wayne has had.
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Joshua Williamson has had one of the longest runs on the Flash ever, and he was as well-known for his villains as for the titular hero. So when it was announced he was returning to the property for a Black Label series focusing on the Rogues, the response was very positive. It should have been, as these characters are perfectly suited for a pitch-black noir thriller exploring the grittier side of these workaday villains.
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There's maybe a bit too much going on and the supporting cast still feels like they could be fleshed out, but the combination of excellent dialogue and great art by Veronica Fish makes this one of the best books to come out of Archie in years.
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This is arguably the best issue of the whole series.
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Scooby-Doo Team-Up has been leveling up over the last year or so, finally feeling free enough to ditch the structure of your average Scooby Doo episode (ghost, chase, unmasking) and get into bigger mysteries with a more epic scale and some great use of DC icons.
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I'm not sure why this series ended, but it's ending on a high and it's a shame that this series won't be around to introduce kids to the history of DC and Hanna-Barbera anymore.
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Not a weak link in this volume. If you like horror, this may be the best DC anthology yet.
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Two issues in, this is a series with a lot on its mind, and some brilliant art to go with it.
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This issue is packed with deep-cut DC lore, including a cameo from a fan-favorite obscure Bat-villain. This story will be playing out in a mostly weekly fashion over the next few months, with Williamson writing the entire thing, and it seems set up to be a top-tier DC crossover.
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Quality-wise, this title gets better with every issue.
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Geoff Johns may be wrapping up his time as a DC comic writer, with him taking a bigger role in the DC TV division. So his Shazam run is turning out to be shorter than many people expected, but this oversized final issue still delivers a great story and a satisfying conclusion.
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So far this is yet another example of just why Waid is so perfectly suited for DC heroes.
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This all sounds like pretty heavy material for a Shazam comicwhich has been an ongoing problem for the franchiseand in some ways it is, but Waid balances it nicely with some of the most joyfully ridiculous stuff I've seen in a DC Comic in a while.
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This book has been doing a good job of combining the best of old-school Shazam with the new-school status quo, but I'm hoping that when this story is wrapped, we get back to the entire Shazam family teaming up again.
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This book is Mark Waid at his most Silver-Age indulgent, and it's perfect.
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This continues to be another example of why Waid has risen so fast and far since his return to DC.
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Waid has done a great job with this run combining the characters of the modern version with the style of the more iconic Silver Age version. I wish he had more time to explore this worldthe ending hints at one more big, wacky adventure before Waid departsbut there's no question that this was the Shazam version that got the most right since well before the New 52.
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This feels like one of those random team-up issues that Waid used to write in Brave and the Bold way back pre-New 52, which is a strength of his that often doesn't get acknowledged. Waid knows DC so well that he can basically throw any two characters into any situation and have a compelling read.
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We have some new villains, a new status quo with a lot of potential, and a tone that feels influenced by classic Shazam in the new status quo. And we even get Hoppy and Talky Tawny cameos! What's not to love about that?
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This is a great concept, one that sets up the second part of this series nicely with a new villain and an escalating threat. Alyssa Wong's script is excellent as always, but Haining's art is what really brings this comic to life. It's amazing how the Spirit World can be this beautiful, and the demons this horrifying and surreal, all within the same pages.
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One of the most impressive things about this series is the way the plot twists dramatically with each issue, revealing another layer of the Spirit World.
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I'm not sure how much work Wong has planned for DC going forwardthey're pretty enmeshed with the competitionbut this has been one of DC's best recent surprises.
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This has been my favorite of the three AAPI-lined titles to launch in recent months, and is an excellent example of just how much of an impact a new character can make in only a few issues.
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Overall, this book has a nice light tone to it and feels like a return to form for Johns and his early DC work before he became the epic long-form writer he is today. As he diversifies his comic output, it's good to see he still remembers how it began.
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There is a lot going on here, and most of it is very good. Courtney's own supporting cast seems to get a bit of short shift this issue, but her friendship with Emiko is a lot of fun. This is a great start and I can't wait to see where the cliffhanger goes.
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This might be the most engaging, new-reader-friendly book to come out of the new Milestone universe yet, which is ironic given that it's a second arc rather than a true debut, but DC might have found a new superstar here.
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It's hard to tell where a Tom King story is going from only one issue, but this issue makes me think there's a fascinating one to be told. Let another year of almost unbearable suspense begin as we likely rocket towards a tragedy.
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Tom King on main-line properties tends to be controversial, but Tom King on his own self-contained miniseries is a thing to marvel at.
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Another effective chapter in what's shaping up as a modern masterpiece.
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Most of King's works these days might not be in continuity, and while this story is brilliant on its own, that might be for the best here.
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Fresh off DCeased: Unkillables, Tom Taylor scores another win with Suicide Squad #3, the grittiest and most compelling Suicide Squad issue in years.
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There are some great fight scenes in this issue, but it wouldn't work half as well without Taylor's always-excellent dialogue and subtly political writing.
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Tom Taylor's unique take on the Suicide Squad has been one of the most surprising books to come out of DC in the last year, and it's not slowling down at all this issue.
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Bad things are coming for Floyd, and Taylor did one very important thing this issue " he made sure that whatever happens, we'll care.
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Although I kind of wish this was Gotham Academy, where we got our first taste of Damian in a school setting, this has the potential to be a blast, and if this series keeps its current quality, we're in for a fun time.
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Some annuals provide major plot advancements, some go back to a different era for the characters, while others just tell stand-alone stories that can be forgettable. And then there's those that just decide to do something completely bonkers, like this one.
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This is a very promising start to a run that may be a better take on the whole Rogol Zaar plot than the main books.
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This has evolved into a great side-story to Bendis' Superman run that I may enjoy more than the main books.
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This new book is great, but I miss Kara's family.
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I'm not sure if this is intentional, but every "Infected" story has been handled differently so far with the character's corruption manifesting in different ways. In Supergirl #37, their first issue as the new creative team, Jody Houser and Rachel Stott easily do the best job yet with their take.
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Every one of the Infected stories has had its own story so far, and this might be the best of them.
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The art by Laura Braga is almost universally strong, but her Batman Who Laughs isn't quite up to the rest of the issue " he looks oddly chunky and cloaked, instead of the horrific angular monster he usually is. But as both a lead in to Kara's new status quo and a strong solo issue, it's one of the best Supergirl issue in a while.
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But even for a King book, this issue is rough. I'm a little surprised it's not under the Black Label line for how stark and brutal it gets in its depiction of interstellar war.
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Tom King's books are almost unfailingly brilliant, but one thing they'll never be accused of is being a feel-good experience. After seven issues with Supergirl and her young companion Ruthye, we've seen a darker version of the DCU's space frontier than ever before.
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A 1970s Soviet version of Metallo? Not exactly what I was expecting, but this actually feels like a story that could have played out in the movies. Very excited for this series' next act.
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The first Superman '78 miniseries introduced Superman's most powerful villain yet in Brainiac, and I was a little skeptical after the first issue here if Metallo could live up to that. This issue makes clear that while Brainiac was a bigger-scale issue, Metallo will be a much more personal oneand he's coming for everything Superman loves in the name of the Soviet Union.
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It's a fascinating look at a world that feels both familiar and new.
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It's another issue proving that Robert Venditti might be the most underrated Superman writer in the last few years.
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The two movie revivals have become some of the best books in DC's stable right now, and the game is raised once again with the third issue of this title.
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One of the most impressive things about Robert Venditti's Superman '78 stories is how much they actually feel like movies in pacing and tone.
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Robert Venditti quietly wrote some of the best Superman stories in recent years for DC's digital line, so it's not a surprise he continues to hit it out of the park in this retro miniseries.
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This is an old-school comic in the best way, capturing Superman at his best in a story with high-stakes and a timeless feel. It might not be quite as ambitious character-wise as its Batman counterpart, but it may be a better tribute to its title character.
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With only one issue to go, there's surely a dramatic final showdown to come, but the creative team has done an amazing job of setting the stakes high and making it easy to invest in this version of Superman.
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The story that's essentially the third Christopher Reeve Superman movie comes to an excellent conclusion this issue, as Superman battles to save Metropolis"and the world"from Brainiac's onslaught.
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This whole run has been a great look into what made the initial Reeve Superman movies so great. I'm not sure if there are future plans for more, but I would love to see this creative team keep bringing in iconic Superman villains.
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It feels like we're seeing real movement here, and the dialogue is Bendis at his best.
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It feels like Bendis' Superman is genuinely different since he unmasked, and that's a sign that Bendis' take on the character is finding its footing. I don't know if this new status quo will stick permanently, but I can't wait to see where Bendis takes it.
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Definitely a more straight-forward narrative than Lewis' previous Superman stories, and it shows he has a great grasp of old-school Metropolis continuity.
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It's a great character-driven comic with an amazing all-star cast of artists bringing it to life.
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This issue is an excellent spotlight on exactly what makes Superman's world tick, and another win in this lineup's column.
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With Event Leviathan launching next month and taking over the DCU as the shadowy spy agency makes their move against the world's heroes, Superman: Leviathan Rising #1, a mega-sized one-shot that has stories from the main Super-books " plus the upcoming solo series for Lois and Jimmy " coming together into a compelling and tense spy thriller that delivers in excitement but has some odd tone issues throughout.
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This is a great Superman title, and continues to be the best Luthor content we've gotten in years.
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With two top artists splitting duties on this issue, it's a Morrison book through and through in the best way.
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The crisp, cartoony art and faithful storytelling that doesn't talk down to its audience are a perfect way to get a new generation of readers into these DC legends.
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It's completely nuts, and maybe the most worthy use of the Black Label brand in a while.
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This is really what Black Label should be about"taking a group of mad genius creators and just letting them cut loose.
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This could be a good story, but the ending is sort of abrupt and the Metropolis segments are the stronger ones. Still, this is unlike anything else in DC's stable right now and I can't recommend it enough.
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Less a straight narrative than a fascinating collection of shorts that are slowly coming together into a greater whole, Matt Fraction and Steve Lieber's Superman's Pal Jimmy Olsen #3, as in issues one and two, takes place over so many different times, places, and characters that it can be hard to keep track at times " but you're always left wanting more.
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For the last few issues, this oddball title has taken a turn for the inscrutable. In Superman's Pal Jimmy Olsen #7, it rerails itself and the brilliant art and comedy is matched again by a compelling story.
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I don't know how he can wrap this up in only two more issues, but I do know I'm excited to see how he tries. More oddball books like this from elite creators, please.
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Matt Fraction and Steve Lieber have taken a character with one of the most absurd histories in the DC Universe " including a Silver Age comic whose covers have become timeless memes " and turned it into a compelling and hilarious mystery that's coming together amazingly as it approaches its last act.
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How is Matt Fraction going to bring the bizarre story of Jimmy Olsen to a close in only 22 more pages? Well, it turns out he has an answer to that " and about ten more twists and turns along the way before he does. His reinvention of the classic 1960s series with Steve Lieber was easily the strangest DC title, but it was almost always a brilliantly bizarre journey.
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Overall, four strong stories that each reflect something key about Superman as he returns for a new era.
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It's a great experiment that follows up on a few other stories lately that have been giving us a much more human, vulnerable take on Superman.
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Priest's comics are always fascinating and filled with geopolitical context, but I don't think he's ever done a cosmic story like this before. It starts with a fascinating conceptwhat if Superman was lost in space for ten years while only hours passed on Earth, putting his very human mind through things that no human body could possibly survive.
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It's one of the most intriguing Superman stories in a long time, finding trauma in Superman experiencing something that only he could possibly survive.
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What do you do when members of your society seem to want to exist in a different reality from everyone else? How far do you go to keep your society together? It's a tricky question to answer, and few writers would tackle it in a story about Superman getting lost in space. That's what makes Priest stand out, and this series continues to build steam as it tells a very different sort of Superman tale.
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It's a smart move to have every issue include some scenes in the present day, where Clark is still trying to process his own trauma after returning. The slow parceling out of the truth of Clark's lost adventures is still being written, but there's no question that Priest is giving us one of the most unique Superman stories in a long time.
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The best scenes here are definitely the brilliantly tense Lex Luthor segments, as the master chess player waits for the other shoe to drop and Superman to find out what he's done, up until a final scene that speaks volumes in its silence.
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Overall, while there's no story here that hits instant-classic level, it's another solid entry in DC's new anthology brand.
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Overall, four of the five stories here are excellent, as this line of books continues its hot streak.
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Overall, another great installment with some all-time classics in here.
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It's five more excellent stories as we close out this run. I'm hoping we get a second volume down the line.
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One of the most controversial decisions of the last few years at DC has been aging up Jon Kent from a sweet ten-year-old to a powerful 17-year-old with a lot of deep-space trauma. I was skeptical"but this new run by Tom Taylor and John Timms may just prove it a winning decision.
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This is the most human Superman book we've had in years"it just happens to not star the Superman we know.
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It's another excellent issue that has packed a lot of story into only three installments so far.
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This might be about to become one of the most important books in the DCU, but long before that it was already one of the best.
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This isn't a big coming-out story, it's just a connection between two LGBT superheroes. My only quibble is with the art in some places"it's very good, but Jon looks a little too old and square-jawed in some places, like his father. Overall, a great issue and a great moment for DC.
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This continues to be unlike any Superman book before, as Jon Kent takes on not just supervillains but the actual threats facing society today.
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Still one of the best Superman books in a generation, Tom Taylor proves with this issue that he can tell the big, epic-scale Superman stories with Jon Kent just as well as anyone could with his father.
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This book was a risk from the start"any replacement hero storyarc is"but this one is knocking it out of the park so far.
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The visuals here are great, but I should say that this issue has several art teams that overall mesh well. However, the shift is pretty obvious at points. It looks good if not flawless, but the story is top-notch as always.
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This entire series has been top-notch, but it feels like we're finally reaching the conclusion of this big arc. We've got a great villain, great supporting cast, and a truly evil villain, making this the perfect second half of this Superman renaissance we're in right now.
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Taylor has built a fantastic foundation here for future stories for Jon Kent and his supporting cast, and I hope he gets to keep telling them.
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It might be tempting to say not too much happens in this issue, because it's well over halfway through the issue before Jon and Luthor even meet. But the buildup to that meeting is fantastic. And once they do, it's clear that this isn't going to be the same-old, same-old.
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I don't know if this is a perfect Superman origin, because it's rough around the edges in a way that we've never really seen before. I do know that it's a version of Superman that many kids might see themselves in, and that in and of itself is a massive win.
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This is one of King's trademark issues where he pushes a character beyond their limits, and the violence in this story can be a bit much for a Walmart comic " how many times can we see Superman bloodied and bruised in one story? " but it does an excellent job of showing us his grit when he has something to believe in.
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This isn't a Swamp Thing like any I've read before, and after several iconic runs for the character by elite creators like Snyder and Lemire, that's what the concept needs.
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Ultimately, this issue leaves both protagonists with more questions than they started, and leaves the reader anxious to see how this disturbing tale will unfold.
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This continues to be one of DC's most unique books, and as we shift to the second half of the story, this issue was a welcome change of pace. But there's enemies back in the United States, and there is a lot of ground to cover in the second half of this series.
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Ram V always manages to surprise, and it's impressive how much common DNA there is between this DC comic and his metaphysical indie book The Many Deaths of Laila Starr. Both are about understanding the human experience through the perspective of a god"be it a beautiful god of death or a terrifying god of the Green.
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This isn't like anything else DC is putting out at the moment, and it's absolutely a must-read.
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This feels like a passion project for the creative team, with gorgeous visuals and so much to say about India, colonialism, and the state of the environment. If you haven't been following it, catch up and jump in on season two when it launches.
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It's a shattering conclusion to this storyarc"but as expected, it's not the end of the story. Thanks to the audience response, we're getting six more issues of this excellent series. That allows Ram V and Mike Perkins to end this run on an ambiguous note, with Levi coming a little closer to understanding what he's become and an old enemy of Alec Holland's re-entering the fray to cause some trouble.
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I won't pretend I understand everything that's going on in this issue just yet, but I'm fine with that. It's yet another strong chapter in a sci-fi/horror epic that looks like it's going to go down as a defining take on the character.
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While Ram V's writing drives this series, Mike Perkins' art is the special sauce that makes it so memorable. In other hands, the new being that emerges at the end could have been nothing unique, but Perkins infuses her with a unique sense of the unknown that makes for the perfect cliffhanger.
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This isn't like any Swamp Thing run we've had before, but it builds on all the previous runs to create something incredible and new.
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All together, a fantastic issue and a great tribute to creators both present and departed.
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Tales from the Dark Multivers: Inifinite Crisis #1, the fourth of these Dark Multiverse one-shots, takes a different approach from the others in the series. Instead of going full-on into end-of-the-world scenarios, James Tynion and Aaron Lopresti stick with the more espionage-themed elements of the early Infinite Crisis stories and deliver a slow-burn story that turns one of the DCU's most unlikely heroes into a far deadlier villain.
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Despite the grim tone, Dark Multiverse: Blackest Night #1 feels a lot like a road-trip odd-couple comedy.
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Who thought that digging up characters from decades ago could have this level of emotional punch?
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Overall, between this and the Crisis on Infinite Earths one, they saved the best for last.
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I'm always amazed by just how clever Sholly Fisch gets when working with the Mystery Machine crew. This mystery may be the best of the series, a Riddler-centric pirate caper as the trickster villain sets out to claim the hidden treasure of a pirate captain.
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This is all rather silly and chaotic, but it worksespecially with the last reveal. I hope Fisch and the rest of this team gets to keep doing these comics as long as they want to.
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It's fun to see Kathya very rare older female crimefighterget back into the fray, and the series does a great job of simplifying some of the continuity beats while leaving more than enough room for some classic silly jokes. The ending in particular is just the right level of ridiculous for this book.
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I feel like as long as the creative teams keep drawing on the rich history of Gotham and beyond, there are an endless array of stories to be told, and this volume is back as an ongoingwhich means we could be in for a run as long as the original.
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There's a very clever twist to this story including obscure knowledge that gives away the culprit's identity, and this issue does well what many missleaving actual clues for the detectives to follow.
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Another great outing for Snyder and Tynion as they add another top-tier villain to the DCU.
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The best issue of the series so far, a fascinating mystery, and one of the most gorgeous comics you'll read this year.
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Liam Sharp is a genuine master of the comic book art form, and he's stated he's heading off to creator-owned work after this series. I, for one, will be following him anywhere he goes.
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DC has a genuinely unique all-star talent in Sharp, and while he says he's heading off to creator-owned work next, I sincerely hope DC is leaving the door open for him to do any project he likes in the future.
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As we enter the second half, there are a lot of unanswered questions " and the answers we get just make things more disturbing in the vein of the best thrillers.
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The most chilling of the Hill House line so far, The Dollhouse Family #4, continues to tighten its grip around the lives of Alice Dealey and her daughter Una.
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The Dollhouse Family #5, the penultimate issue of Carey and Gross' original cross-generational chiller delivers in the answers we're looking for, even if it's at the cost of some of the chills we're used to getting in every issue.
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This is a fascinating, experimental book that has the Sandman Universe line off to a great start. Can't wait to see how future books in the line build on these ideas.
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This is definitely a more conventional, action-packed take on the franchise than Sandman ever was, but it's a fascinating narrative so far.
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I'm not 100% sure if it's a true successor to Sandman, but as a sequel to what Scott Snyder set up in Dark Nights: Metal, this is a great story.
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All the Sandman Universe books have been strong, but this one is the most ambitious of the lot and has been evolving into a fitting successor to the classic run.
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To follow up the world of the Sandman is one of the biggest tasks any writer has ever taken on, akin to what Geoff Johns and Gary Frank did in Doomsday Clock. For a first act, this is an impressive debut, but it'll be interesting to see where Wilson takes it in the coming months. There's a lot to dig into in this universe, and we've barely scratched the surface.
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This is only a tease for the twelve-issue story to come, but it does its job"I am instantly hooked by all the new characters here. It lives up to the legacy of Sandman, switching gears at a moment's notice and surprising us every time.
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This issue can be hard to read at times, but it might be the best of the series.
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Who knew that a Jetsons comic was going to be the savviest sci-fi book DC put out in a long time? Taking chances has been paying off for DC in a big way.
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Fascinating, experimental, and easily one of the best comics at DC right now.
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I would never have expected it, but there are few comics I'm more excited to read in coming months than the conclusion of The Jetsons.
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Tynion continues to hit the main story out of the park.
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This is an old-school detective thriller wrapped up in Gotham vigilante trappings, and I'm loving how it slowly unwraps its mysteries.
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As we get closer to the final arc of James Tynion IV's Joker thriller, Guillem March takes a break and Stefano Raffaele does a game job of keeping the art style similar. That's a good thing because this fast-paced issue needs a skilled artist to keep up with all the twists and turns.
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With the Court of Owls and Vengeance lurking in the background, the final three issues should be tense and bloody. But none of this would work half as well if it didn't have Jim Gordon as its lead, bringing decades of weary awareness of just how deadly Joker is. He's one of the Bat-family's best supporting characters and it's great to see him finally get his spotlight.
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In the end, this was more an old-school detective thriller than anything, and it delivers a strong conclusion.
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I wouldn't want to be anyone doing a high fantasy comic right now, given how spectacular the Jason Aaron Conan the Barbarian run is, but Last God #2, an original tale from Phillip Kennedy Johnson and Riccardo Federici has done enough to distinguish itself in two issues with a fascinating tale of betrayal and monsters.
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Johnson compared this to Lord of the Rings when it was first announced, and I can see why. This world is big, fascinating, often horrific, and so complex we're only seeing a small portion of it. I can't wait to see how it evolves as we head closer to the halfway point.
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This is a book that could have been at any company, with no DC ties, but the unique structure of Black Label books lets the story go "widescreen" and makes it easy for the creative team to add fascinating backmatter to every issue.
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One of the most intense and gripping Dick Grayson stories in a while, The Lost Carnival opens up a fascinating chapter for one of DC's longest-running heroes, and should also hopefully be a breakout for the talented creative team.
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For video game fans, this is essentially a coming-of-age story about growing up in Silent Hill.
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The Low, Low Woods #2, the second issue of this Hill House thriller deepens the mystery and takes us down into the depths of a town where horror has become a way of life. That's the smartest thing Carmen Maria Machado does in this series " she perfectly captures the mundane, dead-eyed approach the residents of this town have to both the otherworldly and the existential nightmares under their town.
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There's a lot of unanswered questions here, but do I like the way Bendis writes Superman? I do. A lot.
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This is a highly ambitious comic, one that's apparently been in the works for a long time, and so far the hard work these creators have put into it is paying off.
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Campbell's characters are still appealingly flawed and the world rich and fascinating. And Shaner's art continues to be some of the best in the business.
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The short length of this series is its main drawback, as while Mary's characterization is top-notch, the story is a little rushed.
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Lemire and Cowan have put together something fascinating here, but it's going to be another issue or two before I'm sure exactly where they're taking it.
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This is a challenging book very much in line with the iconic original run by the late great Denny O'Neill, perfectly updated by Lemire with the original art team as great as ever.
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Tynion also uses this issue to flesh out Thessaly's backstory in a unique waytelling it in story fragments each told through a different medium, starting with ancient texts and building towards a modern e-mail. There's a great sense of ambiguity through this issue, with Tommi never feeling in control so much as just parlaying with something much older and more powerful than any human could comprehend. It leaves us with more questions than answers, as it should be.
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It's a great way to kick off a new series and set the stakes high for our undead detectives.
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Only two issues in, and this series has asked many more questions than it has given us answers. That's not necessarily a problem if the answers stay as compelling as they are now, because this series is off to an extremely strong start.
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This is a slower-burn story than most of the Sandman Universe books, investing in its characters and slowly peeling back the secrets of its world. While there often is a lot of mythology to absorb, it really does come together into one of the most original DC books out right now.
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This has easily been the most disturbing book in DC's lineup at the moment, with Pornsak Pichetshote bringing the world of ghosts to horrifying lifeand showing that things can still touch the undead.
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This mostly seems like it was setup for Thessaly's next move, but the story Pichetshote built around it is packed with genuine, emotional moments that make it another big win for this line.
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More than any other book in the Sandman Universe line, this one feels like it's paying tribute to the original vision.
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In a world filled with supernatural threats, it's hard to create a truly terrifying human villain, and that's where Tynion exceeds with Teague. This guy is so loathsome because he resembles so many real people, and the scene where he explains what he wants to do to Kells is genuinely disturbing.
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This has been a much slower-burn story than Tynion usually writes, but it's clear he loves this mythos and is probably creating the best new story in it since Gaiman.
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It all continues to add up to the best Sandman material since the original Gaiman run.
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This book has kept us guessing from the start, making clear that everyone is up for grabs and no one is safe, and this unique issue only adds to the suspense as we head into act two.
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Unlike Zdarsky's usual books, there really isn't any of his trademark humor. Between this and Stillwater, he's shown a real talent for natural hard-boiled horror.
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This is the kind of story we don't see all that much of anymore, and it's also the only one of these new titles that has a very distinct identity. I can't wait to read more.
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Sixth issue, and The Terrifics is already on its third regular artist. Nothing new for The New Age of DC Heroes, but the good news is that this book has used all three artists to the best possible effect. It also has the best characters and story of the entire line by a mile.
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Combining a team of dynamic characters with an inventive tribute to the weirdness of the DCU, this book has yet to miss a beat.
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The whole series is one of the most pure fun comics DC is putting out, combining great art and fast-paced storytelling with a Silver Age aesthetic where anything can happen.
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Both on an action and character level, this book is a big winner.
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Visually, this is some of the best work of Viktor Bogdanovic's career, and it's likely this whole run will go down as an underrated DC classic to come out of a near-defunct line.
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Jeff Lemire is getting ready to mic-drop on his final work-for-hire project next month, and all the pieces are in place for an epic showdown.
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It's a classic Silver Age-inspired sci-fi adventure, and it'll be seriously missed when it's gone.
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Tim was out of focus for so long post-New 52 that it's hard to remember he had by far the most effective Robin solo run, and this is a strong start to a new one.
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There have been a lot of failed starts for the Titans in the past few years, but this one actually seems to get the big things rightit views the Titans as a family, shows them both having fun and supporting each other, and has some big threats and big mysteries as it kicks off a new era of DC teams.
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There is a lot going on in this series so far, and it feels like Taylor is doing an excellent job of building tension and getting us invested.
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If Taylor has done one thing exceptionally in this run, he's managed to keep us hooked with each and every issue.
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Taylor has given this team a reason to be together for the first time in a long time, and there's so much more to this book than just nostalgia now.
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These characters have been aroundand honestly, pretty staticfor a long time, but Taylor seems to be giving them new life with every issue.
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This has been a great series so far, and this tie-in seems like it'll help keep the focus where it belongson the Titans, in what's the first truly Titans-centric event in DC history.
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A lot of credit goes to Travis Moore, whose guest art manages to make the Necrostar spores truly disgusting.
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We're in a sort of bridge right now between two huge events, as the Titans have saved the world during Beast World, but now the dual threats of Amanda Waller and Trigon are looming.
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It's a fantastic event concept, a fun first issue, and I love the current DC event format that uses the main series and maybe one tie-in for the main story and uses the tie-ins to expand the world of the DCU and maybe set up new series.
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This was a fast-paced issue that set up the main crisis, and this event continues to be a strong one for DC so far.
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Waller is a bit one-note here compared to how the character was originally conceived, but there's no question she's an intimidating villain and somehow makes the spectacle here feel like the secondary threat.
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Taylor and the art team promised big-scale beast action, and so far they're delivering in a big way.
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It's a dark study of just how willing people often are to give away their rights and their very humanity in the middle of a crisis, and it's happening in full view of the worldand the Titans.
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Overall, a great kickoff to this event's anthology portion with three strong stories, but the Jurgens one is definitely my favorite.
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The ending of this book is so strange it feels like a Silver Age fever dream, which I imagine was exactly what Spurrier and co. were going for.
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Overall, this might be the best of the anthologies, and definitely the most character-driven.
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I would love to see much more of Jurgens writing this team, delving a little more into their personal lives and their team dynamic. Let's hope this book gets a second round or Jurgens is given the keys to the franchise for real.
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Overall, these are all brilliant stories, including the main one, but I wish there was more new story here to justify picking this up for regular readers.
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Catwoman is one of DC's most iconic heroines and probably the best example of how a little tweaking can turn a popular villain into a wildly successful superhero. She's been deserving of a true "Year One" story for a long time, and while this book may play fast and loose with some key elements of her origin, it's extremely true to the character's core as a thief driven by compassion rather than greed. Any Catwoman fans should run to this unique take on Selina Kyle's beginnings.
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This whole story is incredibly bizarre, with some really surreal momentsexactly as the Doom Patrol should be. It's not easy to work these characters into the mainstream DCU, but Culver might have the best angle of any creator in a long time.
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Overall, this issue is missing the other characters just a bit, given the last issue's cliffhanger, but these oddball done-in-one adventures are a lot of fun and are giving some unexpected new characters the spotlight in every issue.
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I'm not sure where this is going, or how it'll ultimately intersect with the rest of the DCU. However, I'm a sucker for anything that turns the DCU into more of a global story, and this is an extremely strong start.
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There are some very intriguing supernatural mysteries around the fringes of the series that make me think Ram V is building a potential classic here. It's another win for one of DC's best writers at the moment.
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Overall, this first issue shows a lot of promise, sending Lois into a web of secrets that hints at a dark underbelly to the DCU. I'm not familiar with Spencer Ackerman, but this issue shows the same deft hand with complicated issues that he displayed in the Gilded City tie-in concept in recent months. Another win for Black Label.
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This is a heavy first issue, both in size (almost forty pages) and in the sheer number of development, plot twists, and exposition we get. Much like the recent first arc of Nocterra, this is a wildly ambitious comic and likely to be one of the largest-scale books in the line. I, for one, can't wait to see what comes next both in this book and the line.
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This first issue doesn't give away its secrets too easily, but it does just about everything right. Venditti continues to be one of DC's best old-school writers, and Riley Rossmo's eerie art is as always perfect for a story that feels firmly set in a bygone era not just of DC but of comics itself.
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While he doesn't discover anything shocking this issue, we do get our first glimpse of the main villain at the endand that is a good enough hook to keep this entertaining old-school book high in my regards until next issue.
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This pulpy noir comic maintains a pretty deliberate pace, almost feeling more like a detective thriller than a superhero comic.
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It's a great follow-up to the work Williamson did with the long-dead Dodds in Knight Terrors.
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Venditti and Rossmo have built a slow-burn mystery in this title, as Wesley Dodds operates as an under-the-radar vigilante investigating the theft of his own gas technology in the years between the World Wars and the founding of the JSA.
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With Hill's horrific villains and the art team's dark, moody art and top-notch action set pieces, this is quickly evolving into one of DC's best books and easily the best thing to come out of the Wildstorm line since Steve Orlando reinvented Midnighter.
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Over the last year, Bryan Hill's reinvention of the 90's Wildstorm antihero Deathblow in the Michael Cray series has turned into one of the most inventive series on the stands. Far from being a generic "tough guy" superhero like he was originally, Michael Cray became a complex character " a government agent, a proud black man with the life lessons of a tough-but-loving father, and a man hosting an alien intelligence that was slowly trying to take over.
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Russell's known for his political satire and he's raised some questions here, but it wouldn't work nearly as well without the rock-solid character work.
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It's only been one issue, but Wilson has introduced elements from across Wonder Woman continuity and set up a fascinating mystery. Wonder Woman may have its first great run in years.
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Overall, this is a story that wavers from intriguing to excellent based on which plot it's dealing with, and that's a pretty good endorsement for the run as a whole. Wilson continues to build her own unique mythology and direction for the title.
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The only thing that's sure is that it's great to have an A-level Wonder Woman title again for the first time since Rucka's run.
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The second arc is looking even stronger than the first so far.
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G. Willow Wilson's run on Wonder Woman has veered from very good to excellent, and it seems like every few issues I find a minor problem with the narrative " only for her to immediately dovetail and resolve my issues.
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This issue not only brings in some more elements from Greek myth, but it seems to be tying in Arthurian mythology as well. I'm not sure yet if this run is better than Rucka's, but it's getting up there.
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t's another excellent chapter in what's turning into a long-running epic of Gods and warriors.
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Orlando continues to be one of DC's most underrated writers and it's great to see him back on this book.
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This has easily been my favorite Wonder Woman run in a while.
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So far, Mariko Tamaki is living up to her reputation as a best-selling and award-winning writer who is giving us Diana's next great run.
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Mariko Tamaki has continued to build one of the most interesting Wonder Woman runs in a while, pitting Diana against her own mind.
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The superhero/supervillain team-up is a time-honored tradition in comics and usually annoys both parties, but this is one of the best examples because it does such a good job of reminding us of why Lord is a dangerous villain. He's so charming you almost forget he's a monster, and then he's about to mind-wipe a young woman just for annoying him slightly. I don't know if he's ultimately the big bad of this run, but he's a compelling part of one of the best WW runs in a while.
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Tamaki signing on to one of DC's flagship titles was a huge get for the company, and so far she's proven the acclaim is well justified.
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One of the biggest strengths of Mariko Tamaki's writing is that she perfectly captures the emotions of her characters, and that helps to keep Diana grounded in the compassion that defines her.
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While Diana has been separated from the DCU, she winds up in the unique situation of continuing her adventures after death"and this first issue is setting up a fascinating run.
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Wonder Woman has had a streak of excellent comic book runs since Rebirth, but none has quite gone outside of the box like this bold new status quo.
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Another strong installment.
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A new arc begins, and based on this first issue it might be the best this series has had in a while.
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Sauvage's art is gorgeous, particularly in the chaotic escape segments as Diana and an army of animals make their run from the creepy factory towards the end of the main story. But good art isn't enough to carry a story, so I was pleasantly surprised to find this issue also had some of the most powerful emotional scenes of the run so far.
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It's a great change of pace after so many serialized stories, and shows how much fun this run can be at times.
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The real heart of this issue is in the backup by Josie Campbell and Caitlin Yarsky, which ties up Mary's storyarc since the Campbell mini last year. Mary's story has been fairly short, but Campbell has packed a lot of care into it.
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With only two issues to go in this run and a crossover taking up much of the last few months, Cloonan and Conrad have a lot to wrap up and little time to do it in. So it's no surprise that this penultimate issue is packeda massive jam issue featuring multiple different timelines.
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It's a bit of an abrupt ending, with the main conflict of the run ending a few issues back, but it's a beautiful tribute to the character.
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Spinning directly out of the first arc of Justice League Dark, it's not so much of an event as a way to bring the major arc to a quick and thrilling conclusion rather than dragging it out over six months. It's well appreciated, because the first arc of the parent title has been thrilling and its tone lends itself very well to an event book.
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It's one of the most ambitious Elseworlds DC has ever done, with a concept that seems designed to challenge and art that pulls you in from minute one. I have no clue where it's going, but I'm excited to find out in three months.
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If this series has one problem, it's that the parts involving the Amazons never quite mesh with the parts involving the Gods. The character of Apollo in particular, being set up as the greater-scope villain of the third chapter, comes off as little more like a whiny boy. But between the ambitious storytelling and the brilliant art, this is an unique book that's well worth a read.
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The three issues of this series ultimately feel very separate, and maybe this was intentional given the different art teams, but I am fascinated to see how this beautiful series reads as a completed whole.
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A lot of these recent crossovers have been very good, but this may be the first one to be truly great.
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As Wonder Woman/Conan, one of the best crossovers out of DC in recent years comes to a close, as all the questions we had about Conan and Diana's past are finally answered in Wonder Woman/Conan #6.
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Overall, an offbeat collection of stories, but with some real gems in here as we get off to a very good start.
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Five great stories, but it's the two cartoonists who really win the day here.
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Another great issue all around, with no weak links and some unique talent.
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The stories here are all strong, but it's the last one that really makes this a must-read issue.
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Overall, a strong final collection with one all-timer in Liam Sharp's installment.
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Great visuals and great plot twists make this a must-read Wonder Woman story.
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This is a classic Wonder Woman story that emphasizes both her strength and her compassion, and the setting has limitless possibilities.
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Wonder Woman: Come Back to Me doesn't grapple with the same weighty issues that the best WW runs have, but it doesn't have to " it's a near-perfect introduction to the character, her world, and the joyful ridiculousness of comics.
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One of the best Wonder Woman stories since Rucka.
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It's a very good comic, although it's interesting that all Wonder Woman comics lately seem to veer away from using her as a superhero and instead put her in bigger, more metaphysical stories. Phillips seems to have a great handle on the character so far.
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Much like Diana, we're consistently kept guessing over what's real and what isn't, and the cliffhanger brings into stark relief just how psychologically harrowing that is.
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It's an odd creative pairing on an unlikely series, but sometimes those reap the biggest rewards for daring publishers.
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This series is only halfway in, but there's a good chance that it could become the defining story of Krypton.
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This series has been a surprising gem from the first issue, bringing new life to characters usually portrayed as one-dimensional historical artifacts.
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While Zor-El and Kara's story feels a little unfinished, cutting out before the resolution, this is overall a fantastic mini. It's a great look at what people do when they know the time is running out, how some people allow it to destroy them and others allow it to motivate them. Venditti continues to be one of the most underrated Superman writers of the modern day, and I hope he gets to follow this up somehow.
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This first issue is heavily focused on establishing the team dynamic and where the characters are in their lives right now, but we do get some fun battles brought to creative life by Emanuela Lupacchino, as well as a creepy cliffhanger. This title might not be giving us a new team, but it's certainly reminding us why the franchise was a hit in the first place.
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This continues to be a blast, just like the parent series.
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While it might not quite reach the highs of the parent book, there's no question that this is easily the best Teen Titans book we've gotten in years.
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This incarnation of the team has rarely gotten the spotlight in the modern day, so this could easily wind up being their defining story as a group.
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So why did this run click with people in a way all the current runs struggled to? Likely because Waid is a master of both DC continuity and characterization, and made this flashback story feel totally new.
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Lex Luthor: Year of the Villain #1, written by Marvel and Image Comics mainstay Jason Latour, focusing on mastermind Lex Luthor, may be the best of the lot so far thanks to a twisty multiverse-spanning tale that takes Luthor down the many roads not taken.
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My main question about Harley Quinn: Villain of the Year #1 is, how does DC keep letting Mark Russell get away with this? This comic isn't just a reveal of the winners of DC's month of online voting tying in with Year of the Villain, it's the funniest send-up of their entire line of comics I've seen in a while.
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For an event tie-in, this is a comic with a lot on its mind and some really clever writing, making it a great kick-off to this mini-line of tie-in one-shots.
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The ending twist revealing what's become of Luthor is one of the biggest mind-screws I've seen in a DC book in a while, and the story as a whole seems to build nicely on what Snyder is doing in his core title.
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It's exactly how you do a self-contained mini-event comic that counts.
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While the first issue is not quite perfect, it's the most purely fun book Brian Michael Bendis has written in a while. After years of dour Teen Titans books, it's great to have Young Justice back.
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Two issues in, it's very clear that Young Justice is going to be Brian Michael Bendis' best work out of his short time at DC so far.
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Even though things are chaotic, I feel like this is the best issue we've gotten so far for just focusing on the core cast and getting to see how they operate as a team.
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After a year of stories and the addition of a new cowriter in David Walker, Young Justice #13 feels like it finally achieves its goal and becomes the definitive teen hero book in the DCU.
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After several issues where this comic struggled to find the right pacing, the addition of David Walker as co-writer has kicked it into high gear with Young Justice #14, the second wildly entertaining issue in a row.
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Bendis and Walker return to the only Wonder Comics ongoing after an extended virus break, and this title hasn't lost a step with this jam-packed issue.
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There's another strange but hilarious retcon at the end, and a strong cliffhanger to the next issue. It seems like every character is getting a spotlight towards the end, and twenty issues of an excellent DC teen team book is nothing to sneeze at.
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Overall, another strong anniversary spotlight for one of DC's longest-running characters, with a few stories that are destined to be classics.
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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
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This has definitely firmly established itself as the best Superman book right now.
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As the title marches towards 1000, it hasn't been this good in a long time.
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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.
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Overall, this series remains strong and Bendis' Metropolis is much more interesting than his Krypton.
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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".
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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.
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The title's been largely consumed by the lead-up to Event Leviathan, but the dynamic between Clark and Lois keeps it fresh.
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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.
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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.
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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.
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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.
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While Johnson is down to one Superman book right now, he's packing enough thrills for two into this title.
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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.
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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.
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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.
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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.
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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.
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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.
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The third new Vertigo title to launch, Bryan Hill's American Carnage, is by far the most gritty and down-to-earth.
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This has been an odd series, but I think it brought it home in the end.
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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.
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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.
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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.
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This issue might not have the dense, mythological storytelling of DeConnick's run, but it delivers an entertaining Aquaman story.
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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.
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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.
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All in all, a highly entertaining mini-event that did justice to both the books it tied into. Needed more Jarro, though.
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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.
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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.
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If this series is trying to sell us on Jackson going from Aqualad to Aquaman, it's definitely succeeding.
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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.
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Overall, this series isn't giving away its secrets too easily but I'm very intrigued by where it's taking this plot.
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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.
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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.
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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.
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It's a compelling slow-burn horror mystery that's only getting better.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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).
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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.
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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.
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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.
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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.
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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.
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Overall, this issue nicely builds off what Brisson has been building, and I trust Ghost-Maker and Clownhunter in his hands in particular.
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Even now knowing much about this universe, I'm intrigued to learn more and this one-shot sold me.
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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.
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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.
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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.
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All in all, a fun if truly bizarre event.
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There are a lot of fun fight scenes, but this ultimately is a throwaway comic that serves to explain the Batman Who Laughs' arrival into the rift. Maybe a bit too much exposition, but it's a fun thrill-ride of a comic that gives us a little more of DC's most popular new villain out of continuity.
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The first issue of this strange tie-in miniseries was mostly setup, but the second issue kicks the story into high gear"and delivers a surprisingly strong narrative punch.
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Overall, this is a strong and creepy first issue that may work better as a Batman Who Laughs comic than a Batman and Superman one.
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This is definitely a comic serving a specific purpose in the DCU at the moment, but it does it far better than most tie-ins would.
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This book has been event-driven so far, so a more independent storyline might be what it needs to take it from very good to great.
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I think the strength of this title, why it succeeds where other DC team-up titles have failed, is that it knows how to perfectly fuse the two worlds of the lead characters and take them both off-balance in a way that creates compelling new story possibilities. It also feels like it has more of an impact on their worlds than any similar title " a definite win.
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With a great last act twist that doubles as a callback to Watchmen, it's a gripping and exciting issue that continues to show off how well this book switches genres at the drop of a hat.
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Max Raynor's art is well-suited to the action-heavy story, and this continues to be one of the more entertaining team-up books DC has put out in recent years.
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There is some really clever commentary about the state of fandom in this issue, along with some fun last-act twists where we see just how far the two imps are willing to go to be part of their favorite stories. It's a great change of pace for the series, even if it does feel a bit like a random throwaway story rather than one that fits into the story overall.
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This isn't just a conclusion to this cycle of miniseries, it's a tribute to the entire history of the Ninja Turtles property and gives off the impression that this could be the comic book equivalent of "Turtle-Verse". Great, suitably bizarre start.
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It's a crossover that delivers on its promise right out of the gate, featuring great character moments and action, from a creative team that clearly loves both universes.
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A little too much monologuing from Krang as he rides Anti-Monitor around like a bodysuit. Krang's an acquired taste as a villain, and few writers have made him work beyond a campy cartoon villain. But the joy of a crossover is watching new dynamics form across dimensions, and on that front, this is a major win.
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Between that threat, and the growing tension between the Turtles over Donatello's rash actions, this miniseries is setting to easily equal or even top the highly entertaining original.
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The twists and turns of this series are easily making it the best installment in the trilogy.
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There's some Year of the Villain teases involving Ra's Al Ghul, but overall this first issue works well because of how strong Hill's characterization is and how good it is to have these characters back.
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It's taken until Batman and the Outsiders #6, but Bryan Hill's spin-off Bat-title seems to have found its groove with this excellent issue focused on Duke Thomas and Cassandra Cain " two of the Bat-kids who have been struggling to find their place in DC's lineup.
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Batman and the Outsiders has taken a major turn upwards as it focuses more on its core cast and less on the original 90s-style antiheroes and villains who dominated the first arc. Bryan Hill's character work is always excellent, especially when he's working with characters he clearly feels passionate about.
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This series hit its stride after a strong first arc, although its weak spot remains generic villains Kaliber and Ishmael, who show up near the end of the issue. The Outsiders seem on the verge of a reunion, and it looks like it'll be a hell of a showdown.
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But this is one of the most ruthless takes we've ever seen on Ra's Al Ghul, and he ends Batman and the Outsiders #11 by taking an action that's one of the most evil things he's ever done. There's a lot of story set up here, and I'm excited to see how Hill surprises us next.
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This title took a little while to get going, but over the last arc Hill has turned it into that rarest of unicorns " a truly character-based team book that's at its strongest outside of the big fight scenes.
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Once the 90s-style villains were ditched and the focus restored to the core cast, this has become one of the most entertaining books in DC's lineup.
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While Hill is leaving monthly superhero comics after this title due to his schedule, he's given a great foundation to one of DC's most underrated heroes for future stories.
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This issue is really a series of vignettes more than anything, some more compelling than others.
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It's a packed comic, maybe a bit too packed, but Duke is an appealing lead, and this issue gives us a good look into his world. A worthy addition to the Bat-line.
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Part conspiracy thriller, part action-adventure, part youth drama, Batman and the Signal #2, the second issue in Duke Thomas' first solo series unfolds in exciting fashion, bringing in several intriguing new players to Gotham's superhero scene.
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Given its strong sales and critical reception, I assumed DC would want to get more out of the series, but as it is, Duke Thomas' first solo series turns out to be a tight, clever new take on Gotham City in the daytime.
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Jurgens may be getting bounced from Superman, but his remaining book is as good as it's ever been.
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There's a lot going on in Batman Beyond #18, bringing in new villains, new heroes, and a great twist ending. That all comes together to make this maybe the best issue of the rebooted series.
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Batman Beyond #25 is the best issue yet of this series and I'm surprised as anyone that this is coming from the return of the Joker.
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This is easily the most intriguing this series has been, with a plot that captures the vibe of the beloved original while advancing the plot in exciting ways.
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After a tricky start due to past stories, this book has really found its footing as a great modern reinvention of the cartoon. It's certainly made me want to go back and binge the original.
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I don't know if this series is continuing past #50"there are a lot of shakeups coming"but this run has turned into a great sequel to the TV series.
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It's a highly entertaining old-school adventure tale as the series heads towards the big #50 mark.
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Overall, I'm not the biggest fan of what the last few creative teams have made of Batman Beyondit's become a little too grimbut this new arc has a lot of potential, thanks to its gothic, horror-inspired tone that makes the city a scarier place than it's ever been in this version.
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While the story topside involving Donovan Lumos' gentrification scheme isn't quite as compelling as the things in the underground, this series continues to impress and deliver a compelling vision of a future Gotham.
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This mini definitely feels like a step up from the first Batman Beyond story that Lanzing and Kelly told, adding a hefty dose of gothic horror to the futuristic Gotham.
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It does feel like the book is still heating up, but what it lacks in character work it makes up for in breakneck action and top-tier visuals.
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This is a pretty compelling issue, even with the main plot sort of being in a holding pattern for the issue.
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For those who haven't read these iconic runs, there's also a chapter of the Scott Snyder/Greg Capullo Batman run, the Greg Rucka/J.H. Williams Batwoman run, and Tim Seeley and Fernandez's Nightwing Rebirth tale. It's a strong greatest-hits package that works nicely as a way to introduce new fans to Batman's world.
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It's a strong debut, better than the annual that led up to this, and it's great to see Ghost-Maker not fade away once Tynion left the book.
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This is a tense issue with some great action, and another strong installment as this new team is fleshed out.
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It's a fun way to get kids thinking about deductive reasoning, and portray Batman's work with a little more detail than you'd usually get in an all-ages book.
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The first issue didn't really distinguish itself from the classic Batman Beyond enough for my tastes, but this issue has some unique twists on the mythology. It's a darker world, and one where Terry's journey to be Batman may be even more challenging than in the original.
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There's a lot still to be answered here, but Murphy's art is brilliant from the first page to the last and it seems like this next chapter will be faster to get started and no less brutal.
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Sean Murphy, along with Matt Hollingsworth, is pulling off an impressive feat here " giving us a dark Batman future that doesn't feel like
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The first two issues of this were essentially perfect Batman stories, reinventing the character for the modern day with some clever twists. This one feels more ambitious and less successful at the same time. It's still a strong read and one of the best Earth-One books, but it can't help that it's landing in an absolute golden age for Bat-stories.
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The story's only begun by the end of the issue, and I think it might have benefited from a double-sized start. But it's set up an excellent concept that I am very excited to see play out.
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This out-of-continuity sci-fi thriller has been a little too on-the-nose with its politics at times, but its slightly edgier take on the DCU is surprisingly engaging.
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It's an odd story, but its Luthor is perfectly manipulative, fuzzy Lantern D'ayl is a breakout character, and this is the best material we've gotten out of Emiko Queen in years. I definitely won't mind seeing Whitta do more DC work down the line, but first he's got to stick the landing here.
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This book was hyped up as an alien invasion thriller when it was announced, but it's turned into something completely differentan offbeat Elseworlds that wastes no time making permanent status quo changes to its universe.
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This tie-in to the video game is so far more interesting than the actual game, if reviews are any indication.
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This continues to be far more intriguing than I would expect any video game tie-in to be.
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This series continues to punch above its weight as a video game tie-in, mostly thanks to its most intriguing original characterthe Runaway.
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It's hard to square this version with the one King has spent so much time developing. It's an intriguing start, but I'm not sure it's King's best work with these characters.
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It's a more low-key Batman story than what we normally get, with the battle being joined inside the mind rather than the streets, but it's no less compelling.
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It's a good Catwoman comic, but much like the Two-Face one, it doesn't feel like a defining story in any way.
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Overall, Batman Secret Files comes out a winner, combining a new tale by regular writer Tom King with four stories by up-and-coming and new-to-DC writers.
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In this oversized one-shot, we flash back to the very start of James Tynion IV's run on Batman to look deeper at the five assassins who showed up in Gotham to target Bruce Wayne's new mission. It's an odd concept, not helped by the fact that the book is delayed and the plot has moved on, but DC has assembled an all-star cast of creators.
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Overall, Tynion's set a strong foundation on these original characters including Clownhunter, Punchline, and Ghost-Maker, and this issue is a good indication that they could be Bat-line mainstays for years to come.
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This video game tie-in wraps its run after only six issues, bridging the gap between the Telltale series of Batman video games, but Batman: Sins of the Father proves that this is much more than just a simple tie-in.
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We didn't get too many other players this issueno Batfamily, and only a brief cameo from Commissioner Gordonbut this series continues to expand the world that was built by the original creative team, and I'm excited to see it continue to build.
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For those who have been needing a comic fix in the fallow weeks ahead, DC has you covered with a revival of one of the all-time greats.
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I'm not sure this quite feels like the animated series just yet, but it's definitely a strong all-ages take on the world of Gotham that's growing with every issue.
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It feels exactly like one of the lighter episodes of the old animated series, and that's a big win, although the tonal change from last issue is one of the biggest of the series.
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This arc is a bit of a slow burn, but it continues to be one of the best alternate-universe Batman comics at the moment.
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It's a done-in-one, too, which means the story should get back to bigger-scale stories next month. But it has a clever ending with some moral ambiguity that works really well. I'm glad to see just how many Bat-characters are being brought into this story for team-ups.
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This is maybe not as strong as the first season, but it's another great installment in the series' legacy.
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Probably the weakest foe of the series so far, but this issue feels a lot like an episode of the original series " right down to some clever use of Bruce Wayne's secret identity, and some great snark from Alfred.
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This series has done a good job of pulling in elements from across the DCU, giving this series a broader and sometimes more adult feel than the original animated series could pull off.
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Mayfield seems maybe a bit too inspired by a certain other politician of the modern era, but this story feels both very relevant and highly exciting.
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This storyline maintains the feeling of the original animated series, but it's a little more suspenseful and densely plotted. The original series never had the time or audience to go into Gotham politics too much, and the extended stories in this run are giving the creative team a lot more freedom. I'm just hoping that like the first season, this is just a prelude to even more stories in this universe.
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While this issue doesn't exactly have any huge new plot developments as it sets the stage for the finale, it does drop in on a surprising number of players from the series. You can tell that this creative team loves the original animated series, and is paying tribute to it with a long-form adventure that could never been done on TV.
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This is a decent done-in-one story, but the villain is a little too reminiscent of Zsazs and other brutish Batman villains to feel like he'll be a major player.
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Overall, this was a good issue, but didn't really have any true breakout stories.
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While Taylor's writing for DC has been pretty dark, he's actually one of the funniest writers in the industry"just read his All-New Wolverine run and particularly the Deadpool team-up issue.
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But watching this aged Batman and the young and dynamic Squire battle for survival makes this a compelling alternative Batman and another win in Taylor's column.
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The crime and action segments are beautifully drawn, but the writing is really at its best when it's just Batman and Dr. Thompkins facing off. It reminds me a bit of The Sopranos with capes at times, and it's a highly intriguing start.
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Overall, another solid issue but only the first story feels like a classic.
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Overall, it's a fun story with some great action scenes, and this issue doesn't really have any weak links.
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Overall, another strong installment although only the first two stories are really A-tier.
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Overall, no real weak links as this anthology continues to deliver.
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Overall, a solid package and it'll be interesting to see what two new stories join us next time.
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Overall, a strong installment but not the best this series has had.
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Overall, five solid stories and not a weak link in this one, although the two continuing stories are definitely the superior ones.
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Overall, another four strong stories, although two of them suffer a bit by the strictures of the format.
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Probably the best issue of this series.
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This is ultimately a story of both Harley and Batman letting go of the past " Harley, of her love for Joker; and Batman, coming to terms with the death of his adoptive father. While the world this comic takes place in is strong, it wouldn't be half as effective without the excellent character work.
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Scarecrow gets used a lot, but this is one of my favorite stories using him for a while.
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This title has been consistently strong since issue one, and it's really picking up now.
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While Batwoman's character in Detective had some issues, I think this might be my favorite run on the character, even above the legendary Rucka and JH Williams runs.
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The conclusion of "The Fall of the House of Kane" in Batwoman #16 comes with only two issues left in this series, and Marguerite Bennett undoubtedly packs a lot of emotional power and drama into this final showdown.
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Bennett's run on the Bat-family for now ends with next issue, but she's proved in this run and her other recent work that she's one of the most creative and talented writers working in the DCU right now. I hope the editors have big plans for her.
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This is a gorgeous, character-driven issue that I wish didn't have to end " and will hopefully get a high-profile relaunch next year when the character heads to TV.
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Two issues in, the story has taken multiple left-field terms that leave it feeling completely unpredictable. That makes it a mixed bag, but also one of the most fascinating books in DC's lineup right now.
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This is an experimental comic, one that seems interested in exploring a lot of deeper questions under the surface of Black Adam's story, and I'm definitely interested to see more.
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This is one of the strangest issues of the series yet, but somehow it all fits together into a compelling whole.
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Black Adam faces off against Batman, but Theo Adam is forced to face himself in the mirror, and that's one of the most intriguing fight scenes of the series so far.
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With only four issues left, it's a little odd just how unclear the main central plot of this series is, but despite that it's always compelling. Priest is at his best writing fatally flawed antiheroes, and this is a fascinating follow-up to his massive run on Deathstroke.
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Adam is a more flawed and nuanced villain than Priest's last character study, Deathstroke, but he's also done even worse things. That makes this a fascinating story where we're not sure if we want him to find redemption or not.
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As we head to the final act of this packed miniseries, Priest is doing a good job of combining elements from the present, the recent past, and the remote past.
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The story is so ambitious that it feels sometimes overwhelming, but the story is at its best in the quiet moment's like Adam's conversation with a priest.
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Of all of Priest's genre-bending series, this has definitely been the most challenging.
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The best thing about this story is definitely the art by Jesus Merino, a veteran artist who can draw the hell out of a demon. I doubt any of this story will affect the movie, but I do think it works as a complete tale and also sets Fate up for where he needs to be in order to be the elder statesman of the JSA once more.
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While I thought these would mostly be one-shots, this ends on a cliffhanger that leads into the Cyclone issue. It takes a bit to figure out where all this fits into the world of previous DC movies, but I'm definitely interested in seeing more of these characters.
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Black Lightning: Cold Dead Hands #4 is one of the most action-packed issues of Tony Isabella's revival of his most iconic character, but it also manages to use that action better than most series, fueling a city-wide conflict that brings out both the best and worst in the civilians and law enforcement officials.
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The penultimate issue Black Lightning: Cold Dead Hands, Tony Isabella's revival of his most famous concept, is hitting at the right time, as Black Lightning is now one of the hottest characters on TV. This miniseries features some similarities, to be sure, but it commits to a sci-fi vibe infused with a realism that could only happen in the comics.
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Tony Isabella returning to his groundbreaking creation just as Black Lightning gets his biggest spotlight on the small screen was one of the most unexpected and welcome surprises of 2017, and Black Lightning: Cold, Dead Hands #6 sticks the landing as the miniseries comes to a satisfying close.
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This continues to be one of the strangest books in DC's lineup, but the strangeness is working in its favor this time.
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In lesser hands, I would never think Black Manta would work as a lead, but Brown is pulling it off.
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But while this first issue doesn't blow the doors off, it does feel like a tribute to an era of DC that we all remember fondly.
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The main plot is still a little unclear, but it doesn't really matter. This book is as much about just enjoying watching these two"back in vintage form"playing off each other as they get into ridiculous antics. I feel like it could maybe use a little more straight-up comedy and a little less high stakes, but I'm not complaining about a great revival like this among DC's roster.
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Both Booster and Beetle have been through rough times, but they've rarely been the spotlight of their own books in recent years. That gives Jurgens, who created one and defined the other, the chance to give them their most grown-up story yet.
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This has been one of the most pleasant, offbeat surprises out of DC in a while, as Dan Jurgens gets the band back together for a suitably absurd adventure.
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This series has been a bit of a hodgepodge so far, combining wacky JLI-style comedy with some surprisingly dark beats, but it shows the skill of a writer who has been working on these characters for decades.
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While Jurgens has been writing for DC for a very long time, this book remains an example of how his writing never really gets old.
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It's a tense way to kick off the run, but we've seen this character endangered before. Either way, while the original mini wasn't perfect, it was a great addition to the character's mythos and this looks to build on that.
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While I wish some of the original characters were playing a bigger role hereparticularly Jaime's family membersTrujillo has done a great job of bringing in new players and expanding the mythology of this book, setting us up for what might be the biggest-scale Blue Beetle story ever.
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This is definitely the darkest issue of the series so far, and feels like a clean break in terms of a new status quo from here on out.
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As this villain tries to disrupt Kord Industries' debut, it becomes clear how far Victoria is willing to go to ensure humanity remains in controland how big the threat to all remaining Scarabs is.
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Overall, this is an enjoyable series that takes Jaime into the next phase of his life, although I'm still feeling like this character has lost a stepthe series hasn't quite explained why he lost his ambition and momentum at some point.
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This mini wasn't perfect, but it was a good start for Jaime Reyes' future.
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Bennett is building an alternate universe on her own that's one of the richest we've seen in DC history.
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The rich mythology in this universe expands with every issue, and that makes it one of DC's most consistently entertaining books.
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While it felt like the scene came a bit abruptly, it's well-written and nicely subtle for the time period, and Bennett is to be applauded for including yet another example of her golden touch with representation here.
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The resolution that frees the prisoners (including Felicity, Ollie, and Croc) from the signal calls back to the end of Final Crisis and allows Dinah and Karen to shine in the issue's final pages. Dinah's reunion with Ollie also delivers more genuine romance between these two than we got in Green Arrow. But Apokalips is right around the corner, and the final arc of this series is likely to be its most intense yet.
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This final act may feel a bit overstuffed, but this is such an exciting and engaging world that I'm more than willing to take the ride.
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Of all the books in this line, it feels like the one that's keeping the truest to its original source material. Even if it has reset Tim to an earlier stage in his quest, it's keeping things fresh and classic at the same time.
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The plotting feels a little scattershot at times " Tim is sent to the headmaster's office, but never actually goes and instead wanders out of school " but the mix of normalcy and looming supernatural elements is really appealing.
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This has been a very deliberately-paced series so far, feeling apart from the rest of the universe. That's ending now, as it's clear that even if Tim Hunter was content to stay out of the war, the war is coming for him.
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This is easily the best Tim Hunter material in years.
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This is the most straightforward narrative of the line, but it might have the biggest mysteries and most compelling lead of all of them.
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This is the slowest-moving of the four books in this line, but it might have the best central protagonists.
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Another strong book in the Sandman Universe line.
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The Books of Magic continues to be a compelling alternative take on the world of magic, showing us how these chaotic forces impact ordinary people when they cross the line into our world.
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The Books of Magic #12, the conclusion of the first year of this revival of a less-famous Neil Gaiman property delivers on many of the slow-burning subplots it's had building for the duration of the run, and things move a lot faster than the previous issues.
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This arc is a breather before new horrors come for Tim, no doubt, but it's great to see the creative team can get as much mileage out of the small moments as the big ones.
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It hasn't gotten the hype of some of the other books in the line, but it may be the most compelling.
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Tim's indoctrination into the world of magic has been shown before, but I don't know if it's ever been this disturbing.
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It's the most straightforward of the Sandman Universe books, and one of the most compelling.
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This book is keeping its secrets very close to its chest so far, and so it's hard to pass judgment on it fully, but western horror is an underrated genre I'm excited to see more of.
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Bad things are coming for Selina, but this is easily the strongest issue we've gotten yet as Jones finds her feet on this title.
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Ram V's first regular issue of Catwoman is a pleasant surprise, as free of the status quo of Joelle Jones' run he's able to craft one of the most unique and likable takes on the queen cat of Gotham since Genvieve Valentine's run.
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It's hard to do a good antihero story without choosing one side of the fence for the lead character, but while Selina has been a heroic character for a while, she's clearly well at home in the world of crime. That indicates that Ram V's run has a good chance to be a long-term success.
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Alleytown has turned out to be the perfect setup for Selina to have a renaissance in her solo title, and I'm hoping this book continues past Future State even as Batman/Catwoman kicks off.
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Ram V and Fernando Blanco return to their Catwoman run with the start of Infinite Frontier, and very little has changed. While the status quo is the same and no big story beats are playing out here, it does feel like this issue is a little bigger, a little more exciting than the arc that preceded it"mainly due to the presence of a lot of Gotham villains, both old and new.
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This is the first time in a while that we've seen Selina's status quo directly affect the Bat-line, with her back in Gotham and clashing with some major villains. In only a few issues, Ram V has given her a more interesting supporting cast than we've seen in a long time, and this is another strong issue.
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It's an odd issue, but one that feels like it'll be important to the character's status quo later on as all these subplots converge.
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Tying in with an event is always tricky, especially when it's a title's last arc, but I think V got all the big things right here. The last few pages were genuinely emotional and set up a lot of great elements that I hope the next writer builds on.
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I was a little critical of this run right at the start for jettisoning the entire supporting cast Ram V and Joelle Jones set up in the previous runs, but Howard is slowly coming into her own.
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Watching a well-choreographed revenge plot play out is a thing of beauty. It's easy to forget that in some ways, Selina is the closest thing the DCU has to a Black Widow-like superspy.
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A lot of these stories sort of intersect with other Bat-titles, and the dialogue is great, although Selina's story doesn't seem to be progressing all that much since the end of the first arc of this run.
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It's a fun issue that hints at what this series could be if it hit on all cylinders.
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Howard's run seems to be returning Selina firmly into the role of an antihero instead of a hero, and this issue is a good step towards cementing her as Gotham's queenpin again.
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Will Batman and Catwoman have one more big blowout fight in the final issue? Maybe, but right now it seems like this is more about tearing them both down for future stories.
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This issue is rather brutal and hard to read in places, but has a very unexpected guest appearance in the last pages that brings things together in a surprisingly powerful way.
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What ensues is a high-intensity chase with some surprising magical twists, as Selina's journey to becoming an odd cosmic hero maybe with some common DNA with her Burtonverse version continues apace. However, it suffers from one major issuethis is very much the current version of Waller, without even the slightest sense of honor, which leads to some dark turns towards the very end.
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The fight up there is just okay, but the re-entry segment has some incredible tensionbecause not every death takes only one life.
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The three artists, while all very different, fit perfectly in the tone of the story. I do think this maybe would have been a bit stronger if it didn't try to be both an extended flashback and a regular issue, with the main timeline segments feeling a bit out of place amid the very involved origin story. But this continues to be one of the most underrated runs at DC at the moment and a great step up for Catwoman and her rogues' gallery.
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Greg Pak has written a lot of young heroes over the years, but Cameron has more edge and more pain than many of those lead characters. He's an interesting lead and his powers are genuinely unique, but one issue in his world seems sort of closed off as well.
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This series is a little fast-paced and busy, but it has a lot of promise.
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It's a strong finish to the arc as City Boy heads to a new city.
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While the two titles are very different, this unique Greg Pak mini is taking on one similar trait to Gene Luen Yang's Monkey Princeit's constantly on the move.
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This started out as an intriguing tale of a new metahuman, but developed into one of the most interesting takes on childhood trauma and recovery I've read in a while. It feels a little rushed, because the end of this issue reminds us that there's still a main villain to deal with and only one issue to do it in. But much like its fellow books to debut this month, The Vigil and Spirit World, the only flaw they have is with a little too much ambition. It feels like they're all leaving the DCU a more interesting and more diverse place than it started.
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It's too early to say just how much we'll see of the other filtered worlds and how deep our main character will descend into the world he's tried to avoid. But this is a highly intriguing first issue that paints a disturbingly plausible picture of the future and makes me want to read more.
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Overall, similar to the all-ages take on Constantine "Johnny Constantine and the Mystery of the Meanest Teacher, this story accomplishes what it sets out to do. It's a distinct softening of Constantine's character, one who is lucky enough to learn about his self-destructive tendencies at a younger age and be set on the right path.
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This isn't a totally smooth first issue, but DC and Tamaki deserve praise for breaking the mold with LGBT leads in a similar way as Midnighter.
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At almost halfway through the series, there's been surprisingly little interaction between the leads, but I'm excited to see how it plays out.
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One of the best things about this book is the way it takes us inside Crush's mind as she figures out the right decision"and then makes the wrong decision almost every single time. It's a great look at someone trying to unlearn toxic decision-making skills taught by a corrupt or abusive parent, and what makes it frustrating"in a good way"is that you can see her getting this close to taking a big step and then pulling back.
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It's a good issue, but doesn't quite have the emotional punch of the last few. With only one issue to go, it's interesting that another cliffhanger is thrown at us right on the last page.
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I think this stand-alone mini might become a minor classic for the YA market.
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Aside from the beginning and end, there is relatively little action in this issue. I don't know if that's a great decision sales-wise, but it definitely works out creatively.
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The character of the vlogger who mostly seems to exist to rip on Cyborg and his father is probably the weakest part of the series, having only one real note, but overall this book is a breath of fresh air. It's so much different from any other past Cyborg books, which only seemed to focus on the machine and not the man.
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This issue isn't quite as compelling as the first three, but it does bring in some major Teen Titans characters that longtime fans will appreciate.
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The story here is a slow burn, full of character development punctuated by an occasional burst of horror. Writer Laura Marks effectively immerses you in the eerie world of Victorian London, but the real star here is veteran DC artist Kelley Jones. It would be a crime to do a horror line without using DC's most iconic horror artist, and his twisted visions are as effective as they've ever been.
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Daphne Byrne #4 is not for the faint of heart, and it's even more disturbing when you realize that this is being told through the eyes of a young girl.
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The issue feels like a tribute to the past few decades of stories, and to Barry Allen in particular as he faces his greatest demon one last time and turns the page towards a new future.
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Overall, this is a fun story that has a pretty big impact on the main narrative, but it is a bit lacking in its characterization of Damian. He seems to spend the entire issue snarking and insulting his teammate, losing most of the development he got in his solo series. It's certainly a fun issue, but I'm just a little disappointed with where DC seems to want to take the character.
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Overall, all five of these stories are enjoyable, but really only the first seems like a must-read.
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Just like the main series, the chaotic Dark Knights Rising: The Wild Hunt #1 " the penultimate chapter of Dark Nights: Metal " throws so much at you that it can almost be overwhelming, and it definitely may not be to everyone's tastes.
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Overall, another strong anthology with some real standout stories.
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Overall, it's a strong look into the darkest corners of the multiverse"and some bizarre ones that aren't so much dark as just strange.
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Overall, a solid package with some intriguing stories, although I don't think any of them reach the highs of some past anthologies.
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The ending actually hints that this might have some major impact on the event, but really, it's all about enjoying the silliness. Is it a great comic? No. But is it one I thoroughly enjoyed? Definitely.
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Yes, the writer of Michael Cray and Postal is doing a story about a dog martial artist. Even more strangely, it's fantastic.
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Just a fun issue all around with no weak spots.
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The best of this week's Hanna-Barbera crossovers, Nightwing/Magilla Gorilla Special #1 is an absurdist Hollywood satire with just the right amount of nonsense and good characterization from both its leads.
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It's an oversized, top-notch issue of Harley Quinn that just happens to feature some Looney Tunes characters.
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This first issue is a fast-paced, often funny read that does a great job with setting up its concept and core main characters, although we have yet to see how it'll expand into the main DCU.
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Overall, there isn't a single story in this volume that I didn't enjoy at least somewhat. Another big win for DC as their anthologies continue to be top-tier.
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It's a fun first issue for horror fans.
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It put a fun twist on the classic Easy Company stories, with brilliant art by Eduardo Risso that elevated the whole affair. I could see it easily being a fun R-rated animated movie down the line.
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Does this one feel like a toy commercial? To a degree, in that it's very marketable. But it's also smart, fun, and packed with clever details of how this world has changed.
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This is a slight AU, but a fun one that's rising far above its basic idea thanks to strong execution.
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All of these stories are definitely more teasers than individual stories, but I think all accomplished their goal of getting me excited for these three runs.
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Overall, most of this book is reprints, but if it exposes these stories to a larger audience that's a win, and Fitzmartin continues to prove herself a solid writer for Tim's future. Looking forward to her next project.
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It's pretty clear that this series is hitting some production difficulties, with three artists and some pretty significant delays between issues. But at the same time, it's still maintaining a tense and bloody tone that makes the wait more than worth it.
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Overall, this is really a transition issue, with it ending with three key groups of characters heading into missions that could determine the fate of the war. With only four issues left, I'm wondering if this is just going to be act one.
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This is a bit of a breather issue, but it does feel like the next two issues are going to deliver.
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It's the penultimate issue of both this mini and the side-story this month, and unlike DCeased, it actually does feel like this story is being set up to end with its original mini. Knowing that, this penultimate issue does a good job of setting the stakes while leaving most of the big action to the final issue.
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Its depiction of a world filled with intelligent monsters is compelling, but lacks the x-factor that made DCeased and other alternate universes so great.
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Overall, this is a good start and the horror scenes are effective, although most of the characters feel fairly disposable so far. The story is at its best when it's keeping us in suspense about who can be trusted, and there are several great fight scenes and jump scares in here that remind me of what makes the main series so good.
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I actually think that while the main story was strong, the backup was the best part of this issue.
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It's one of the most fast-paced issues of the series, but that doesn't quite let it develop like the main series does.
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The finale of the main series comes next week, so this final miniseries installment feels like a prelude of sortsbut it's hard to see the actual finale being more explosive than this.
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Overall, a few misfires, but a fun and spooky Halloween anthology with some gems.
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Overall, this is a fun issue, but there's a real quality and theming issue that makes it not quite mesh.
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Overall, it's a funny anthology with some great tales, although quality varies pretty dramatically from story to story.
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Overall, a solid if a bit messy issue, with one all-time classic story in here.
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Overall, eight fairly effective stories with some great ones, but the whole thing only loosely fits together into a theme.
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Tom Taylor's disturbing DC apocalypse thriller gets better with every issue, as we see how the anti-life plague and the ensuing zombie hordes unravel the DCU's reality and claim one major victim after another in DCeased #3.
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I don't have any idea how Taylor can wrap this up in two more issues, or what will be left of the world when he's done, but I'm pretty sure this will go down as one of the best long-form Elseworlds.
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The story here moves fast and can feel a little thin, but it really doesn't matter because this is some of the best work of Howard Porter's career.
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Thus far, this series just seems to be having a blast with throwing Deathstroke into one completely insane situation after another.
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While this title has maintained an unpredictable vibe since the start, it's building towards something big"maybe bigger than we know, given recent announcements. It really feels like Williamson is building the future of the DCU in these titles.
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The first half of the book is excellent, but the second is a little scattered.
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While this issue is the last installment of Deathstroke Inc before Shadow War, it also basically serves as the next issue of Robin. Given that the books share a writer and several characters, it's not a surprise, but anyone who only reads this book won't particularly understand much of what's going on with the mystery character Respawn.
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The first of two chapters of Shadow War out this week, this installment mostly follows the bad guysalthough that's really almost everyone in this series.
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Overall, this is an intriguing chapter, but definitely feels like it's setting the stage for something much bigger in the final two chapters.
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Overall, this is probably the best issue of the arc yet, just because of the sense of non-stop action and tension as Brisson shows exactly how vicious Slade can be.
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There's a little bit of clumsiness in how the tone shifts, but overall Hill is continuing to deliver a highly compelling Batman arc with a terrifying enemy.
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As this arc heads into its final issue in two weeks, it seems clear to me that Hill has a strong enough take on the Bat-family that DC would be lucky to have him on a regular Bat-book.
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This ongoing plot isn't compelling yet, but the unlikely team-up between Batman and Brown is a fun dynamic we haven't seen before, and Doug Mahnke's art here looks the best it has since his Green Lantern heyday. As we count down to Detective Comics #1000 in less than two months, I'm hoping this core mystery develops and we get more issues like this one.
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This really feels like what this title should be " Batman solving weird, short mystery-based stories with guest-stars. Lots of unanswered questions, but a fun start.
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This is a great, short Bat-story that shows Batman using his skills and getting to be the "Good cop" for a change. I'm hoping Tomasi's run goes more in this direction.
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Croc is one of the Batman villains most primed to become an ally, and I hope we see more of him and his odd mutant family in the future based on this debut issue.
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Overall, another compelling issue in a run that's gone in some interesting directions.
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Bruce Wayne may have lost much of his fortune in Joker War, but Mariko Tamaki seems determined to take his situation from bad to worse in this run.
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While it was a strong story overall, the villain never quite meshed with the world of Gotham City.
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I'm not that excited about the return of plot elements relating to Vile, who always felt like a bizarre sci-fi supernatural plot tumor that didn't fit into the title. He was visually creepy but never really fit into Gotham's aesthetic. Still, Tamaki's handling of the characters in this book remains strong as always.
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Grounded in characters like Nanako and Deb Donovan, it's an intriguing run and this feels like the calm before the storm.
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There are some intriguing details in this issue, especially once it's revealed who one of the conspirators is, but overall this take on Riddler just seems a little too schtick-y to be a really compelling threat.
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Could Riddler be becoming some sort of twisted vigilante going after the ones the justice system let get away? It's an interesting turn for him, although he only appears briefly so it's hard to judge his motivation so far. Overall, it's a strong use of the character as he constantly keeps us guessing.
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Designed as a revamped origin story for the reformed villain Clayface, the events of Batman: Detective Comics #973 make Batman: Detective Comics Annual #1 feel less like a spotlight and more like a eulogy.
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Overall, this is a very cute story that pays tribute to the larger Amazon culture in a way we don't see too often. It is very much geared towards kids, lacking the dramatic momentum of the Hales' Young Diana stories, and its Diana can be a little much at times. But its unique take on the nature of oral storytelling and the way one story can be completely different in the hands of different storytellers is easily the best part of the book. Ellis is a wildly talented creator, and I'm particularly excited to see her make her mark at DC.
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This title isn't so much a narrative as it is an experience, but so far it's an experience I want to take again.
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Taking one of the few Jewish heroes at DC and making him a conspiratorial mastermind " not great. But even with quibbles like this, the sheer craft that goes into every issue of this book is staggering. Let's hope the next issue doesn't take another three months.
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As they navigate supervillain attacks, awkward social situations, and a dogged police detective who may be trying to pin Kelly's "murder on David, the issue is always engaging. However, the plot-related stuff, especially the potentially immortal warriors who show up, is never quite as engaging as just watching these two play off each other the mental plane.
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This techno-thriller has taken the basic concept of characters like Firestormtwo characters in one superpowered bodyand infused it with a little more pathos and a lot more suspense.
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Aside from the cliffhanger, I'm not sure how much it fits into the overarching plot, but it's a strong Superman anthology.
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It's a fun main story, although it relies a little too much on in-jokes to be accessible to anyone who's not caught up on the show. It's frantic and has a ton of great character moments, but it moves a little too fast.
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The comparisons to other properties like The Hunger Games are inevitable, but Orlando and Foreman make this book stand out with its complex sci-fi setting in an era of the DCU never explored before. Three issues in and I have no clue where this story is going, but I can't wait to find out.
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Orlando's created a completely original cast of human and alien characters " and that means anything can happen. And that makes this series all the better.
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This series has slid completely under the radar, but like many of Orlando's works, it's a hidden gem that makes great use of DC continuity and history.
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One of the most inventive, unlikely creative hit comics out of DC in a while, Electric Warriors has given us a fully original vision of the future set between the most famous DC future beats " the Great Disaster and the Legion of Super-Heroes.
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Brandon Peterson's art is ideal for this issue, casting Black Adam as a larger-than-life figure with intimidation that can be felt dripping off the page.
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I think a lot of people were expecting this to be a throwaway story in the last month before Future State, but this first issue is really promising and engaging.
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Endless Winter has delivered nine consistent chapters in only a month of stories, and this old-school DC event has been entertaining throughout. While sometimes it felt like the heroes were chasing their own tails, this issue finally puts all the pieces in place for an epic showdown.
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It's definitely one of the oddest Young Animal titles, but where it excels is in finding a bit of emotional truth hidden among the surreal insanity.
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What makes this comic stand out is the way, despite the absurdity of the situation, it takes everything surprisingly seriously.
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Whether a spinoff of a Hanna-Barbera cartoon can really get this dark effectively is up for debate, but I think it works.
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The long wait between issues and the decompressed plot hurts this season's momentum a bit, but overall I think it's a superior final act to the previous finale.
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It's definitely a Young Animal book at its core, and it's a fascinating kick-off.
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Another shakeup for Barry's powers so soon after the Negative Flash arc seems like a bit much, but a great central villain keeps this series at the top of its game.
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The "Perfect Storm" arc continues in The Flash #41 with a strong spotlight for Wally West and the younger members of the Flash family, but is somewhat held back by the fact that Barry Allen continues to make terrible choices that put him and everyone around him in grave danger.
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After several chapters building up to this moment, this issue is almost entirely a showdown between Barry and Grodd.
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The final chapter of "Perfect Storm" in Flash #44 delivers some serious action and a redemption of sorts for Barry Allen (who set much of this arc's chaos in effect with his shortsighted actions), but it also delivers some serious emotional punch thanks to its framing device " which takes a dark turn in the cliffhanger.
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The fact that this has been set up so well, and that the writers have worked to make us care about both sides, means this upcoming event will likely be one to remember.
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Serving as both a done-in-one spotlight on Wally West, and as a prequel to the next big event, the epilogue to Flash War in The Flash #51 delivers a great combination of character moments and suspense.
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This title gets the most attention for its big stories, but I really enjoy what Williamson has done with its core relationship and letting Iris in on the secret. Trickster showing up at the end as the Hulk courtesy of the Strength Force"I dunno. But this title has earned my faith and I'm excited to see where it goes next.
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The series still hasn't quite captured the excitement it had during Flash War, but it remains one of DC's most consistent titles.
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This title continues to unravel a long-game mystery with lots of highs.
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This is a highly effective, suspenseful issue with a great take on a compelling Rogue.
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This has been a compelling arc with some great twists for the mythology, and it seems from the ending that Williamson is just getting started.
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This first issue of "Force Quest" is an enjoyable status quo change that gives some much-needed focus to Barry and Iris.
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Overall, though, this is the strongest installment of the "Force Quest" arc yet and continues to expand the mythology of the Flash universe in a fascinating way. And can we get Fuerza in a team book stat?
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Taking the Flash out of Central City and into this unpredictable world of new superpowers has been a breath of fresh air for the series, exactly what it needed after a series of plot-driven events.
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The conclusion of "Force Quest" in Flash #63 brings the whole world tour full circle as Barry finally discovers the horrible truth lurking behind the three new Forces " and harsh reality comes crashing into his life in a big way.
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It feels like this origin story is going to launch a new direction for the main story, not just kill time, which makes it one of the best origin tales in a while.
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There's a LOT going on in this issue, but it makes for a great start to a new arc filled with familiar heroes and villains.
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Overall, though, Barry's getting the team back together and it's one of the more entertaining arcs of the series.
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It's maybe a bit too busy to explore all its players, but it's doing a great job of injecting some genuine suspense into the Flash's world.
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Few titles are doing better with the Year of the Villain tie-ins than Flash, which has not only given the Rogues new powers, but used the opportunity of Luthor's offer to explore these workaday villains and their complex relationships.
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Flash #80 delves deeper into Hunter's past than any run since Johns introduced the character, and the choice of Scott Kolins as artist " same as he was when Hunter was introduced " is a very smart idea.
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It reminds me a bit of Riddler in Zero Year, in that it's a good storyline, but I'm not sold yet that it's a good storyline for this specific villain.
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The conclusion of Rogues' Reign in Flash #86 delivers what we're looking for in an explosive showdown between Captain Cold and the Flash.
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The addition of Paradox to the Flash's rogues gallery has added a new sense of urgency to this title as it heads towards what might be Josh Williamson's final act in Flash #751.
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One of the most popular DC books and the only one to keep its creative team consistently since Rebirth, The Flash #753 is the biggest book to return since the shutdown and it wastes no time jumping right back into the fray with a chaotic issue with three different speedsters traveling through time.
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So many events in this era of comics rely on a cavalcade of tie-ins, but the tight story here is a great throwback to the mini-events of the '90s.
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It's not clear what the long-term plan for the Flash franchise is right now"DC has been rather coy with who the main Flash is even going to be between Barry Allen and Wally West"but this double-sized premiere issue does a good job of setting up the chaotic tone of Jeremy Adams' run.
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This run seems like a love letter to Wally fans, and so far it's delivering.
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After years of high-octane Flash stories dedicated to the mythology of the Speed Force, this run is a breath of fresh air. In fact, it's probably the most determinedly old-school comic in DC's stable.
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At times, this run feels like it's mostly trying to please fans after such a dry streak, but other times it works on its own as a run that straddles the best of the old and the new.
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Jeremy Adams is continuing to prove himself one of DC's best new talents in a while with his Flash run, which brings Wally West and his family back to the center of the franchise.
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The third chapter of War for Earth-3 might as well be a different world, as Jeremy Adams steps in and gives us what's essentially another installment in his excellent Flash run"with a lot of chaos coming in and out.
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The Flashes have so much more time than any other hero and how they use it is a great depiction of each one's personality. This is also the best use of Wallace in a long time, as he's been in some iffy runs for a while. I'm hoping this isn't the last we see of the two Kid Flashes teaming uptheir family connection is really unexplored, and this issue shows there's a lot of potential there.
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There are a ton of easter eggs here, and the cliffhanger leaves us with a plot development that might be more likely to be played out in Adams' upcoming run. It's not quite up to the last arc's level, but it's a fun one-off story.
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In a lot of ways, this oversized issue does work very well. It sets up how strong Wally is as a potential Flash and how intense his connection to the Speed Force is. It also gives us some great moments with his family, and lets Roy and Ollie have a final moment together (although the impact there is blunted by the fact that Roy is casually running around in another book this week). But at the same time, it feels very much like a story designed to fill a specific purpose"make it so Wally West will be accepted as the Flash again. It works at that, but you can sort of see the puppet strings even as the show entertains.
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This issue is an effective setup for what looks like it could be one of Williamson's defining Flash stories.
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There's no question the craft in this run is top-notch, but it still feels like it's trying to find its footing and the right tone. I don't know how this is going to do at continuing the stories Jeremy Adams set up, but it definitely wants to do something interesting.
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I'm still not sure if this run is going to 100% click, but this issue had some of the best moments in the seriesespecially in the gut-punch of a cliffhanger.
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This continues to be the strangest book at DC right now, taking a concept that was previously light, breezy, and above all FAST and turning it into a melancholy musing on what it takes to be a superhero and a family man and combining it with hard-sci-fi concepts. It's also turning into a pretty good book, or at least a fascinating one.
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There's a reveal here about exactly what secret Jai has been trying to tell his father that's something I can't recall seeing in a long time in superhero comics, but this issue seems to ping-pong wildly between character-driven stories and a high-density sci-fi comic that continues to surprise. I'm wondering what the bigger picture here is, but I'm definitely intrigued enough to stick around.
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This version of Barry has never really clicked with me, feeling far too much like a Spider-man archetype, but Porter takes what little material there is for the character and creates a compelling, fast-paces storyand Ferreyra draws an absolutely hideous villain in the best way.
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I feel like this issue became more of a tribute to the Flashpoint universe as a whole instead of the original Azz/Risso mini, but it's still a compelling read.
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This issue was a step up from the last one, but it still hasn't reached the high of Johns' prequel issue or the original. The key will be bringing this whole story to a satisfying close after so many odd turns for Thomas Wayne since 2011.
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This is a fun, action-packed issue, but what makes it excel is the way Parker keeps the focus on the relationships between the characters.
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How much you enjoy this will have a lot to do with how wedded you are to what a Wonder Woman title traditionally looks like. This has the myths and monsters, but with a bold and very different face at its center.
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Overall, this is maybe a bit busy for a new status quo we've barely been introduced to, but Williamson knows how to write a great Justice League action set piece. This maybe would have been stronger released on the last week of the month when everyone had a spotlight already.
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Overall, this look at a twisted future Gotham is pretty compelling, even if we need to learn a little more about the Magistrate's regime for me to fully judge how strong they are as a villain.
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Up against a Khund invasion seeking to destroy a peaceful planet for resources, this is the closest we've gotten to Saving Private Ryan in a sci-fi comic book, with brutal fight scenes and shocking losses along the way courtesy of Tom Raney's surprisingly gritty art.
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This issue doesn't stop, packing twist and action scene one after another until the last-page swerve that features a shocking status-quo change for a major player.
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The four stories in this super-sized issue conclude"for now"as Superman and his allies battle to liberate Warworld. First up is the main Superman story by Johnson and Janin, and it's just as compelling as the first chapter.
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Overall, this one is a bit predictable"as is the ending, which is set up early on in the story"but it has a lighter touch than most of the Future State stories. I'm still hoping that before this event is over, Harley manages to reunite with her best friend and girlfriend to deal out some punishment to the Magistrate.
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More evidence that Yang remains one of the best superhero writers at DC.
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There are a lot of characters here, some of whom feel like throwaways, but it makes a good case for Thorne as the franchise's next lead writer.
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This was really more of a tease than anything for Phillips' solo run, and I don't think this two-part flash-forward quite showed off 100% of the potential. But this take on Harley is both new and familiar, and I can't wait to see it fleshed out long-term by a talented writer like Phillips.
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While the main plot involving the white martians is strong, what really impresses me about Williamson's story here is the way he changes the team's dynamic in only forty pages.
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With this issue being a wrap for this storyline, it's a case that two issues just isn't enough for many of these stories.
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This issue delivers non-stop action from the first page and doesn't slow down for a second.
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It's exactly the kind of chaotic thrill ride I want from this book.
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It's fascinating, and unrelentingly dark.
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The three main officers didn't turn out to be quite as compelling as I was hoping, at least not in this issue, but this is really Renee's story and this run is a well-done sequel to Gotham Centralsomething fans have been a long time for.
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This is the kind of weird book I want to see more of.
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Steve Orlando and Amancay Nahuelpan's oddball superhero-horror miniseries has been a surprising treat over its run, and the last issue delivers a satisfying conclusion that does justice to all the players.
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Overall, it's a solid anthology with no real bad stories, but quite a few strange ones. Well worth picking up for Gotham villain fans.
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The historic overtones of the story are intriguing, and Phil Hester's art looks as good as it ever has. But this is a comic that takes King's penchant for dark, noir-inspired storytelling and takes it into overdrive. After the more inventive takes he's had in recent books of his, this one isn't entirely clicking for me yet.
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This series has a great ensemble working for it, and Percy seems to be getting stronger with characters every issue. I wouldn't mind if after this mega-arc is over, he got to slow down and let the characters relax a bit.
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It's a shame this title didn't make Lanzing and Kelly the full-time writers earlier, because this is one of the better Green Arrow issues in some time. Whatever comes next for the characters, I hope Lanzing and Kelly are on board.
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Overall, not all of these stories are brilliant, but they all come together to form an excellent portrait of a unique hero.
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It's more of an adventure story than a prequel to a superhero's tale, but I could see it being a good entry point to the character for new readers.
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I'm not sure if it's up there with the first issue, but this continues to be a strong debut to a promising new run. And Liam Sharp's visuals are stunning throughout as always.
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It's visually stunning, but the story doesn't totally come together. And in the last few pages, we get several major twists that upend the concept of the story and what's to come. It's a vintage Morrison head-trip, for those who like that.
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Grant Morrison writes bigger-scale stories than anyone else in the industry, and when he's on his game the result is truly sweeping. When he's not on his game, it can be simply confusing. And then you have times when it's both at the same time, like The Green Lantern #11, a fascinating penultimate issue of the first cycle of his Green Lantern reinvention.
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Two issues in, Geoffrey Thorne's Green Lantern run feels less like a fresh start and more like a nuclear bomb detonating in the middle of the franchise.
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It's a fun story that shows us a different side of John and humanizes him more than many recent stories.
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The best part of this series so far is how it manages to tell a compelling story despite being about as far-flung as it can get.
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What's the future of the Lanterns with the central battery shattered? We may be starting to find out. This segment is fast-paced, but manages to tell a compelling story amid all the chaos and brings in some major players from around the DCU.
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This series seems to be coming to a close for now, with an open-ended cliffhanger, but it's going out with one of the strongest issues of the run.
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This is clearly a short-term status quo, but Morrison has managed to create one of the most compelling and unpredictable GL runs in a long time. I'm sure he'll completely upend the status quo once again by the end of this miniseries.
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Overall, this book stays one of DC's strongest.
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Seeley's done a great job of making us care about the Ungarans and Molites in only a few issues, and I'm excited to see how this complex story unfolds.
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Tim Seeley's run on Green Lanterns continues to prove itself a worthy successor to Sam Humphries, with Green Lanterns #41, an issue that smoothly blends the cosmic with the human.
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Tim Seeley's run on Green Lanterns introduces one of the vilest villains of the entire title's run in Green Lanterns #42, an issue that's action-heavy but contains a few great moments and interesting character twists.
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This issue does a great job of showing off everyone's strengths and giving all the heroes a unique role to play in the final chapter. However, it's Jessica who really shines here.
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One of the things I love about Seeley's run is how he embraces the bizarre nature of DCU space. This techno-organic planet populated entirely by mechanical beings reminds me a lot of things we've seen in Jeff Lemire's Descender, and it's a very different planet than any we've seen in Green Lanterns before.
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This is quickly becoming one of Seeley's best arcs.
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The only regular DC comic of the week, this issue slipped a week into the fifth week. It was worth the wait, though, as this is both a solid character-driven issue and a great kick-off to the next big Green Lantern storyline.
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A fast, rock-solid read that continues this book's climb up the DC ranks in recent months.
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This current arc, pitting the Lanterns against General Zod and his family for the fate of "New Krypton," may be Venditti's best of the series, and would have easily been tops if it wasn't for some odd backsliding when it came to some of the supporting characters.
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We've got arguably the most compelling antagonist of the series as Venditti's run moves into its final act.
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Venditti's been writing Green Lantern for over five years now, and this is his final act. Right now, it definitely looks like one to remember, as everything's on the table.
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These versions of the New Gods still feel rather flat compared to what Tom King is doing in Mister Miracle, but it's still entertaining.
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Starting its tech-hero off with the whole world hunting him down is an intriguing start, but the stakes are high and this first issue is a strong start all-around.
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Sam Humphries has been doing a fantastic job with Harley over in his title, but Houser has a less surreal, character-driven touch that reminds me a lot of Paul Dini's Sirens-era take. A great start for a relationship that's overdue for a spotlight.
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This plot isn't the strongest, but Harley and Ivy are entertaining enough that it makes up for any weaknesses in what's looking like a fun road trip adventure that will give HarlIvy fans the cute moments we want " with a lot of explosions mixed in.
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Let's just say that it doesn't look like Harley's taking the next flight off Apokalips any time soon, and I don't mind " this is the most entertaining the book's been in a long time.
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This continues to be the best Harley run in a while.
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Not my favorite issue of the series, but Humphries continues to deliver great Harley stories.
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It's the kind of plot that could only happen in Harley Quinn, and Humphries' anarchic approach makes me look forward to this book every issue.
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Sam Humphries' increasingly bizarre Harley Quinn run continues to deliver comedy and thrills in equal percentages with the start of the next arc, titled "Minor Disaster," in Harley Quinn #53.
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Equal parts social media satire and a surprisingly deep musing on getting out from under a terrible parental figure, Harley Quinn #54 is another strong installment in Sam Humphries' excellent run.
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While it could be taken in a good direction, it seems to cut off some very interesting plot threads just as they kick off.
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This issue is a little more over the top than Humphries' usual fare, but its best moments are when it slows down for a minute. The segments involving Harley and Booster, and Harley and Alicia's daughter, have some real emotional punch to them that fits this arc neatly in Harley's larger storyarc. Humphries is likely to leave her in a very different place.
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I'm not sure what Harley's next run will be like"every creator on the title has been very different"but they'll have a big task to live up to following Humphries' run.
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This is a very talky issue, with only a few action scenes, and that makes it feel like we're sitting in on Harley's personal therapy session. While that's not necessarily a bad thing, it also makes it a little hard to gauge the overall direction of the run. Still, the talent on both the writing and art side here is very clear.
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The psychological underpinnings of this run continue to be the best parts, with Stephanie Phillips balancing Harley's chaotic vigilante activities with some understanding that makes a lot of sense for her backstory.
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I wish there was a little more of Harley driving her own story rather than responding to provocations from the Peacekeepers and Hugo Strange, but this is a solid first arc to an ongoing series and hopefully a long run.
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This isn't like any of the last few Harley runs, which were pure chaos unleashed. But this is a Harley that feels like she exists in this new Gotham, and for the first time in a long time she feels like she's a real player in the world of Batman and his villains.
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After the plot-heavy first arc which pit Harley against the entire forces of Arkham and the GCPD, this done-in-one side story works nicely to dial down the tension and show how well Phillips writes Harley and her world. Hopefully this is leading to a full Sirens revival down the line once Ivy's status quo is more settled.
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Overall, I am really liking Phillips' more psychologically-driven take on Harley and her world. It lacks the complete chaos of the previous runs, but might leave us a stronger Harley.
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The developments involving Keepsake happen a little too fast and were probably the weakest part of the issue, but the ending was a perfect note for Harley/Ivy fans.
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It's the conclusion of the first year of Harley Quinn, and this issue does a great job of pulling everything together for a chaotic finale.
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Overall, this is a fun issue but until we know more about Verdict it's going to be a little bit of a blank slate. Still, there's something very promising in a story about Harley being targeted by a vigilante gone way too far.
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This may be a bit of a transition issue, but it's one that delivers in action and laughs.
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Phillips is doing a great job pulling from all areas of Harley's status quo here, creating a version that feels stronger and more serious than past ones even while keeping no small about of typical Harley zaniness.
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It's a good storyline, but I'm sort of looking forward to Harley's adventures getting more bizarre as she blasts off into space.
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It's a solid arc, but I'm ready for this book to get a little more wild and wacky in the coming arc.
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It's a promising start to what's sure to be a chaotic month of stories.
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I'm not exactly sure why it was decided to make this series a weeklybesides the fact that it gets us to the next arc of the series faster, which might be essential for pacingbut it's a fun read that keeps the momentum of the series going after the Verdict arc.
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The character development Harley's benefited from under Palmiotti/Conner, Humphries, and now Phillips is one of the biggest level-ups any character's ever done at DC, and this arc is a strong potential finish to Phillips' run.
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While I don't think this run necessarily always reached the heights of other runs, I think it's done the most for Harley's characterization and her status as a DC power player of any in this new era of DC comics.
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There really is no more quintessentially Harley way to end a run than to have the character invade another world in the multiverse to rescue someone else's girlfriend, and it's a lot of fun. But ending the run this way also nicely pays homage to the fact that Harley and Ivy have become one of the truly indispensable couples in the DCU, along with Clark and Lois.
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Howard's script is tighter and funnier this issue, but the real all-star is the kinetic and cartoony art of Sweeney Boo, which shifts perfectly in tone between the various worlds Harley visits.
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This is a suitably absurd story, especially with the twist of what happens when these curious students encounter the knowledge of the far future, but it does drag a little whenever Lady Quark starts talking. Overall, it's a fun take on the character but some bits work a lot better than others.
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I'm not as sold on the larger plot involving Brother Eye, who has a surprising agenda for Harley, but the issue as a whole has some great moments.
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Overall, it's a dizzying blast of unique visuals, even if few of them really get the chance to breathe fully. It seems like we'll be seeing some more Earth-based Harley stories after this arc.
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Many annuals make themselves side stories that don't really affect the main narrative of the story, making it easy to skip. Not so much for Harley Quinn, which is coming only one arc into the main series.
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I wish a little more had been done with Verdict in this comic, as she's the biggest player in Harley's regular title, but overall this run has been a lot of fun and sets up Harley for some future adventures as she heads back to earth.
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So overall, this issue was kind of scatteredbut would we really expect anything else from Harley? Not every story worked, but the ones that did could be brilliant.
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Overall, I don't think any of these stories were quite up to the peak of the earlier issues, but it was a fun finish.
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I don't know if this is my favorite of the line so far, but I do think it's the most essential read for anyone who hasn't seen themselves represented in DC Comics yet.
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This book often takes on a bit of a storybook tone in the narration, but it's packed with characters and maybe a bit overly ambitious. But it's fascinating and I can't wait to see more.
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There probably isn't any DC book right now that packs more into the twenty story pages each issue, so while not everything in this comic hits on all cylinders, I've got to give Axelrod credit for creating a wildly ambitious book that celebrates the DCU's diversity in more ways than one.
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This is definitely one of the most ambitious stories in DC's stable, and while that can sometimes overwhelm the story, it usually works as a fascinating character study.
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This series is doing some impressive stuff with its treatment of the mental health of superheroes, allowing them to actually express the burdens their heroics put on them. With all that, it's no surprise Vulpecula's claws are in deep.
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This series has been an intriguing combination of a deep, introspective, and personal tale and a high-intensity superhero adventure, and that's never clearer than in this issue.
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This was such a unique series and I'm hoping it's just the start for Aexlrod and the DCU.
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I'm more fascinated by Hawkman's story than I have been in a long time, and this is looking like a worthy successor to Venditti's extended Green Lantern run.
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This story of reincarnation and ancient enemies has been a fascinating and unpredictable experiment with some of the best art in DC Comics at the moment.
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It's one of the most purely thrilling books on DC's slate at the moment.
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Will Conrad is stepping on the next issue, a good choice to keep the sweeping scale of this series going, but this run has been the best work Bryan Hitch has done in a while. If you want to capture a truly epic vibe, you need a truly epic artist " and this run delivered on all levels.
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The visuals might not be quite as striking, but Conrad is a strong artist and this title continues to be one of DC's sleeper hits.
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This is the first arc that doesn't really further the plotline of Carter's past lives, but it hasn't lost a step.
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The visuals in this issue, now by Fernando Pasarin replacing Pat Oliffe, are among the best since Bryan Hitch left the series.
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Hawkman #21 is one of the most fast-paced issues of the series in a while, and one of the best since Bryan Hitch's initial run ended.
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Equal part spacefaring adventure and complex story about identity, this title has taken the Year of the Villain tie-in and used it to deepen the character's own storyarc. If the first year of this series was about Carter reckoning with his own evil past, this arc is about the ever-present threat of relapse.
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Venditti has added so many more layers to Hawkman's backstory, but he's also simplified it in a way that makes the character easy to explain to new fans. That's a win in and of itself, and this anniversary issue " while standard sized " feels like a strong turning point in the story as the characters head towards their destiny.
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Not only has this been a compelling Hawkman story, but it's been straightforward enough that I think it's the perfect way to get newbies into the character. Wherever Venditti is headed next, I hope he gets to play with the mythology as much as he did here.
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What we're left with, ultimately, is a compelling Hawkman story with a dramatic twist ending that doesn't quite make us care about Hawkman yet
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I'm hoping this creative team is here for the long haul now.
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The series has taken its time to get here, but the story is moving in a big way and there's a lot of huge twists this issue. It continues the line's impressive four-for-four quality streak.
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I don't know if this issue is quite as good as the last, with its trio of stories illustrated by different guest artists, but it's delivering a compelling chapter in one of the most ambitious books in the Sandman Universe line.
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We've been building a lot of ongoing subplots for a year, and it feels like they're starting to pay off in a big way.
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It's one of the denser books in the line, and the plots are all long-game, but it's a regularly compelling read.
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It's ambitious enough that it's unpredictable every issue, although it's balancing so many narratives that I think it can sometimes get overwhelming. But it's easily one of the most intriguing books in the DC stable.
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It looks great thanks to Travel Foreman's gritty arc, and the story sets up an intriguing conflict that puts Jace in the middle of two groups both out for his blood. Does Gotham need another Batman in present continuity? I guess we'll see, but this is a good start.
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Overall, we're exiting Gotham with a lot of promise.
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Jace still feels a bit like a supporting character in his own bookhe became Batman so quickly that he doesn't feel fully establishedbut there's real potential here.
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Overall, this issue has been better than the last few because it feels like more time is devoted to exploring the falloutwith the story taking a surprising turn for the surreal right before the end.
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This is a rare event tie-in that actually feels like it'll have a lasting impact on the character.
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This issue is mostly setup, and that's its only real problem. It ends as it's beginning, and that's the opposite of my issue with the first issue of Static last month. But it has two likable and compelling lead characters and a fascinating history to build on, and that's more than enough for now.
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It's a great look at an unconventional multigenerational friendship. The ending was a bit more conventional"did we really need to see Raquel's mother threatened for the second time in this series?"but it's a compelling and exciting read.
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This issue doesn't have the hot topics of the previous three, which saw Icon and Rocket literally reshape the world at points, but it doesn't need to. The personal edge keeps us invested in this run no matter what they're doing.
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This might not be my favorite Milestone project yet, but it's definitely the most ambitious.
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It's a very intriguing series, but the frequent art shiftsnow three artists on one issueare distracting and keep the story from feeling as unified as it could be. Still, major points for ambition on this series.
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It's still one of the most inventive books in DC's stable, but it was originally supposed to be twelve issues and it's hard to see how the creative team wraps this all up in one more issue.
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Joshua Williamson's new "spine" event for the Infinite Frontier era is best defined by the phrase "A lot." There's a lot of good stuff going on here"but it's definitely a lot, with an almost overwhelming number of characters and subplots.
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It's a twisty issue that delivers some great shockers and sets up a compelling final battle.
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Six competent, intriguing stories, even if this book often treads a fine line between exposition and original stories.
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The real strength of Taylor's run on Injustice 2 is the way he is able to seamlessly weave together violence and destruction with some great emotional moments.
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Although Wonder Woman and The Flash seek redemption by joining the fight, the only hero who might stand a chance at turning the tide is"The Atom? If you can't go big, go small.
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One of the best things about Tom Taylor's take on the world of Injustice, especially in Injustice 2, is the way he can seamlessly jump genres and themes across the DCU. This current arc is essentially a full-on Green Lantern story, in many ways more in line with the Geoff Johns style than the main Green Lantern books have been in a while.
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Injustice 2 #29 continues this series' streak as one of the most pleasant surprises in the DC lineup of books at the moment. Sometimes it's almost unbearably dark, sometimes it's hilarious, but it always does a surprisingly good job of working in real emotion and development alongside its story twists.
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Tom Taylor continues to deliver one of the most exciting books in the DC stable in Injustice 2 #31.
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This title never slows down, and I wouldn't have it any other way.
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The issue this series has always had is that it's bound to being a prequel series for a story that will play out in a video game. That makes me worry about where the ending will go, but for the story it's telling now, it's been incredibly entertaining and compelling.
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This issue reminds me a lot of the darkly funny Ennis run, and looks to promise great things for the title from here on out.
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This is a very ambitious comic, and one that doesn't always hit the landing but delivers some incredibly fun adventures.
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This is easily the best the Justice League has been in years.
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Hands-down the best League run we've gotten in a while.
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Not a perfect issue, but one that continues to develop the unique picture Priest is creating.
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The issue is very busy, and maybe a bit rambling in points (like Luthor's musing about "Justice" and "Doom"), but it does what it sets out to to " I'm excited on multiple levels to find out where Snyder is going here. Just like in No Justice, I'm sold.
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Scott Snyder's first arc on Justice League has been everything I'd want from a big-scale conventional Justice League title " strong team dynamic, a combination of A-listers and more obscure characters, and an over-the-top explosive threat that delivers thrills and great visuals.
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If Snyder and Tynion are going for blockbuster storytelling, they're definitely succeeding.
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It's a bridge issue before The Drowned Earth begins later this month, and Justice League #8 does a good job of showing off both the strengths and weaknesses of this run.
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I like that Snyder's League is bringing in auxiliary members like Firestorm and Adam Strange (who helps Superman and Flash on a mission involving Volcano Man).
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Anything is up for grabs, and even the most forgotten bits of continuity can be reinvented. This is a highly enjoyable event comic every issue.
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This title does exactly what a Justice League title should " get me excited to come back in two weeks.
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The space politics of Thanagar Prime were a bit vague, but the arc as a whole was a great, high-octane Justice League arc.
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The art this issue is a little wonky, as the shifts between Fernandez and Redondo are incredibly noticeable, but it's overall another strong issue in a great run.
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It's rare that an ongoing series spinning out of a major event is bigger and more epic than the event it comes from, but Snyder and Tynion's Justice League run takes the world of Dark Knights: Metal and spins it out into a saga encompassing, time, space, and alternate realities.
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Snyder and Tynion turned this run into a fascinating spine for the entire DCU as the battle with Perpetua defined the entire DCU for the last year. It's hard to review this run as a conclusion, because it's not one, and the legacy of this story is yet to be determined as it likely spins off into something much bigger.
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It's a very different kind of Justice League story, and that's a win in itself.
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Simon Spurrier's Justice League arc concludes with a double-sized issue, finishing out an unexpected but fascinating story.
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There's maybe a bit too much exposition in this issue, as Luthor explains what's happened to the world, but the action and dialogue are both strong.
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This arc has been a big celebration of Xermanico's art, as the talented artist gets to draw some truly spectacular battles.
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This book seems to be finding its momentum, but the main story is still a little slow.
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As Endless Winter heads towards its final act, it serves as a staging ground for what's essentially the series finale of this book. While Ram V will be continuing it in backups come March, this tie-in is not written by him. Surprisingly, though, the regular event writers do a great job of picking up with the many subplots he left behind.
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Regular writer Ram V has done a good job establishing a complex mythology for these characters and their world, but he's delving into some darker Vertigo territory this issue"which is why he brings in Sandman Universe veteran Dan Watters as his co-writer here.
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While the League proper doesn't get all that much to do this issue, we do get some cool cameos and an idea of where we're going.
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Not only is it a strong follow-up to the original series, but it's introducing new elements"many of which could sustain their own spin-offs in some cases. I'm hoping this book gets a second season just like its Bat-centric sister book.
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It doesn't quite have the fleshed-out world of the Batman animated spin-off, but this series was always a lot more wide-reaching, a lot more chaotic. The creative team has managed to go bigger and better as we head towards the conclusion"hopefully of season one.
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Even with a creative, action-packed battle segment, it's the characters who shine in this series and make Orlando's take on the Justice League easily the best one right now.
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In Justice League of America #25, the Extremists come back into the story in a plot that feels very Kirbyesque, as well as having a stronger narrative than the initial arc did.
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This isn't any sort of essential, groundbreaking story, but it's basically exactly what I'd expect a book with this title to read like.
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There are a lot of guest-stars, including Black Canary and Shazam, and the creative team does a great job of thinking up unique ways that their powers could give the monsters a run for their moneywith an excellent cliffhanger.
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Fun, but halfway through and the big showdown is still to come.
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Amid all of this, there's a ton of explosive monster action to look forward tobut it's impossible to note that it's the final issue next, and most of the characters in the title have barely met.
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It's definitely an event comic, but by sending it off to the fringes of the multiverse, it works better as a stand-alone adventure with the best of DC's weirdest corners.
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Overall, this final issue seems a little hurried at times, likely due to having to do so much to set up the next chapter. But Williamson is probably the top guy for DC lore right now, and he's done more than enough to get me stoked for Dark Crisis.
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Three-fourths of the way through this epic bridge event that sets the stage for the Justice League relaunch, the story flags a little bit in Justice League: No Justice #3 from the first two chapters but remains one of the most consistently entertaining takes on the Justice League in years.
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As Snyder, Tynion, and Williamson wrap up the first act of the big Justice League relaunch in Justice League: No Justice #4, they've managed to deliver what essentially feels like dessert to Dark Nights: Metal " a big, explosive, fun comic book event with a much lighter touch than the prior event " a surprising amount of elder-God cannibalism in the final issue aside.
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Ever since it turned Starfire, Azrael, and maybe Cyborg into agents of Darkseid and stranded Jessica Cruz with a new team of misfits, villains, and murder kitties, this title has really found its groove. That continues with this tense issue that pushes the battle against Darkseid to a crucible.
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Overall, this debut is pretty interestingit's Zod's first solo focus, and this creative team's first DC work in a very long time. But it does suffer a bit from a lack of likable characters in this first issue. It's clear from the beginning that Zod hasn't changed, his circumstances haveand that can only last so long.
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I still think this series suffers a bit from its lack of any lead characters to connect with, but its incredibly brutal battle segments, detailed art, and thrilling tone make it unlike anything else on the stands. This almost feels more like a Black Label book at times.
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This makes a good "spine mini, but this event overall will depend on how compelling the individual stories manage to be.
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This issue works because it seems to have real affection for the two Robins at its core, and uses the plot device to make them stronger.
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Overall, I don't know that this issue told us too much about Angel BreakerRaptor may still be the more fleshed-out character herebut Seeley is one of the DCU's most effective horror writers and he's created a compelling new villain here. Hopefully this is the start of more DC work for him.
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This Adam seems more like the wild card of Dark Crisis on Infinite Earths rather than a villain, and the cliffhanger nicely positions him as a key player in the coming battle.
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The continues the good work of writers like Priest and Josh Williamson in making Black Adam more of a fleshed-out antihero rather than a one-note villain. Dwayne Johnson would no double be pleased.
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This is an intriguing series, thanks to its strong characterization, noir-inspired aesthetic, and strong art. However, it doesn't quite get there in a timely fashionthe ambiguous nature of this story takes a long time to get to its point. However, it's one of the best issues of Howard's run, and might be one of the best in terms of tying the event into the main series and upcoming plots.
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What works here is the fun homages to 1950s comics, but some of the darker stuff isn't as compellingbut it's interesting that while Insomnia is the power here, this has some major ties to the ongoing story in Howard's run as well.
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Most of these stories follow a similar pattern, but what makes the best stand out is that they put us in the shoes of the heroes as they experience their nightmares and make us feel their fearand this issue hits that a few times.
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It's not quite up to the level of some of Wilson's best Poison Ivy stories, but it builds nicely on the character work she's done with Harley and Ivy over the last year.
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Things tie in a little more closely with the Stormwatch story by the end, and it's clear that while every nightmare is a little different, they are going to fit in a pattern for most of the tie-ins.
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Overall, this story doesn't break any new groundBrisson is a very action-driven writer and this feels similar in tone to his other regular DC storiesbut it does give a great character some personal spotlight and ends on a creepy note that indicates that something might have come back from Rose's nightmare with her. Hopefully it'll continue to play out in Stormwatch.
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Overall, it's another strong issue that fits the formula but has a few moments that help it rise above.
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While this is way too dark for what I like out of this franchise, that's kind of being a running issue for years, and it's still good to see Mary get the spotlight.
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It's a unique depiction of events we've seen before, and Barry's slow descent into madness is actually far scarier than the strange creatures we see lurking around the fringes.
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Overall, this didn't really tell us anything we didn't know about the Titans, but it serves as a compelling thrill ride with some great visuals to occupy them during the event.
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Overall, this issue has some great character moments, and it wraps up with a tense cliffhanger that promises a dramatic fight next issue. Like all the Knight Terrors tie-ins so far, it's fun but not really breaking any new ground.
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Overall, this is a good one-shot, but only the Pak story really felt full of potential to me.
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Overall, the first chapter has a lot of promise and shows off a lot of the strengths Wilson showed during her relatively short but acclaimed run on the main book years back.
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It's unfortunate that this issue comes right after the Shazam movie's struggles, but I think this issue captures what makes the character work nicely. He comes off as a true everyman (or boy) in the middle of a larger-than-life story.
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Spinning out of both Lazarus Planet and the ongoing Wonder Woman run, this mini-event has delivered some interesting storytelling while putting the heroes up against some of the most powerful forces in the DCU.
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Overall, this story tried to do a lot and mostly succeeded. It's definitely one of the best WW events in recent memory.
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The Legion has less focus than I would have expected in Legion of Super-Heroes #1, with many getting only a line or two in the first issue, but the key to a great Legion book is an epic scope. That Bendis and Sook absolutely get right in their first issue.
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It's an intriguing issue that works to better establish the characters we're going to be spending most of this run with.
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It's a little too slow-paced at points, but the character work is so good that I'm more than willing to take the ride. And more importantly, this is a take on Lois Lane that makes her work perfectly as a solo hero out of Superman's shadow " for the first time in a while.
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This title has always been a slow-burn mystery, but I don't think Rucka gets nearly enough credit for the acerbic humor in his dialogue.
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Like all things Rucka, this is a strong series, but there's just one problem"I'm not sure it's a Lois Lane series. It's gone so far from its original plot that it's hard to recognize, and much of the plot centers around Renee's long and twisted history as the question. I think it'll read a lot better in collections without the gaps between issues.
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Shifting Lucifer between menacing trickster and addled old man in this series is an intriguing way to keep us on our toes, and the title remains strong. I think it needs to focus a bit more and show us how it fits with the rest of its line before too long, and give us some real answers.
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This has been a dark and twisted first arc, but it feels like this title's potential is just beginning to ramp up. Fans of the TV series will likely be surprised at just how dark this goes " this is vintage Vertigo.
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It looks like next issue is going to take us to a completely new location, as Dan Watters' chilling tour of the DC underworld continues to impress.
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If there was such a thing as a Cozy horror story, it would be this comic. There's talking cats and brutal murders, all against the backdrop of an english seascape. The arrival of John Constantine, making his tour through the Sandman Universe books, adds to the tension, but it's the surprising guest-stars at the end of the book that call back to another classic property in the Neil Gaiman library.
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This series often gets overly dense, but this issue has a strong, horror-focused concept with just the right bursts of supernatural violence to drive home how dangerous these players are. The presence of Constantine, moving from series to series, has given this title a lot of new energy, although it's still too early to tell if this will be as entertaining long-term as Lucifer's war on heaven.
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As always, this is not a comic for the faint of heart, but it's one that pays off when you make it through.
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This feels like a slow-burn noir with some fantastic character work, and I can't wait to see where it goes next.
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The book ends on a hopeful note, but also a very ambiguous one " it seems to almost demand a sequel. Based on the first installment by Paige and Byrne, I hope it gets one " DC Ink is out of the gate with its first win.
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Overall, this is a solid issue, with the first three stories all being standouts.
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Overall, its fusion of history and comics isn't seamless, but this is a worthy comic packed with a lot of fascinating information.
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This is yet more evidence that Jody Houser is one of the best new writers in DC's stable and they should give her a solo mainline book soon.
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It's an odd series at times, but it's one that successfully captures the spirit of past great teen hero books like John Rogers' Blue Beetle.
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This arc has a unique hook to it, with Marcus confronting his greatest fear, and it's another good start for a book that's becoming one of DC's best teen titles in a while.
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It's a fun series, but I'm hoping we get a sequel that might not be as based around dropping Marcus in one new setting after another.
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Overall, this final issue definitely suffers a bit from story compression as it rushes to its conclusion, but it nails the most important thingbringing Marcus' solo arc to a close in a way where it feels like he's actually grown.
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It's a good start, and the issue also includes the original story from the anthology to make sure everyone is caught up. This could be a good blueprint for a potential future TT revival.
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Overall, this is a more character-driven issue than the last few, focusing on a few key players, but it's really creating a likable team and Vecchio's art feels like it was made to draw for these characters.
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One of the biggest projects ever put together at DC by a writer/artist solo, My Video Game Ate My Homework is definitely geared towards younger readers, but its energetic style and positive messages make it another big win for the company's big push into the bookstore market.
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It's an oddball book that isn't likely to have any bearings on the DCU in the future, but it's also a great entry-level comic for DC's magical characters.
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It's one of the best issues of the runthe main problem is that with only one issue to go and no word on a volume three, it's hard to know how this will play out as a larger story. This series might be served better by moving to an OGN format.
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This series hasn't always been perfect, but there's no question it has one of the most original and engaging new lead characters to come out of DC in some time.
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All in all, an effective collection with no bad stories and two genuine gems.
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Overall, a world of difference from last year. These stories were structured far better and allowed these rookie writers to show off their talents and display a clear voice for the characters.
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Tim Seeley's penultimate issue of Nightwing is one of the most exciting of the run, a non-stop action sequence that pairs Nightwing and his historical arch-nemesis Blockbuster against Dick's personal nemesis Raptor " and an army of Blockbusters.
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The issue ends with a good cliffhanger that hints just how far the Judge's tentacles go, and it's overall a strong, solid start to a promising new run.
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Nightwing #36, the second issue of Sam Humphries' Nightwing run drives home what I was feeling in the first issue " this is the closest thing we'll ever get to a DC version of Daredevil.
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With Nightwing #39, A few issues into Humphries' Nightwing arc, I was getting a bit worried about The Judge, who had too many notes of other villains and was dominating the series to an unfortunate degree. However, this issue " taking place in two timelines and finally giving us The Judge's origin " adds some very original and welcome twists, and this run starts to feel like it's coming into its own.
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Continuing from last week's Nightwing annual, Nightwing #48 is another step up for Ben Percy's run.
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Overall, this issue is probably the weakest of the run, but that's a high bar to meet. This run has been exceptional, and pulling it away for an event tie-in detracts"but only a little.
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The flashback segment to the two of them as teenagers sneaking out delivered some fun youthful energy, and there's nothing all that wrong here (except the cliffhanger, which is such an obvious fakeout that it's even acknowledged in the cliffhanger tag), but Taylor has been building a complex, compelling run in Bludhaven, and it's hard to not feel like this is a diversion from that.
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The conclusion of the three-part Fear State tie-in"the last before next month's experimental mega-splash issue"is pretty much like the ones before it. It's a lot of fun, with good dialogue, but it's definitely a break from the main series narrative which I find stronger.
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After a hit-and-miss first arc, Benjamin Percy's Nightwing run may be hitting its groove with a creepy annual that escalates the threat of Wyrm and the Dark Web into Gotham City.
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It's a slightly disjointed first issue, but one that has a lot of good elements. It's great to see an underrated figure from Diana's past get the spotlight.
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It's hard to see exactly where this series will go yet, but this is a very promising start and a worthy expansion of the WW line of books.
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It's pretty impressive just how compelling this series manages to be without ever leaving home.
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It's great to see same-sex relationships front and center in this book, and the internal politics of the island are highly intriguing. It does still seem like it's largely place-setting, but the conclusion sends Nubia off on a solo quest that leads to some spectacular visuals and a strong cliffhanger.
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The last issue to arrive before Trial of the Amazons begins, this story does a great job of spotlighting what sets Nubia"and all the Amazon heroes"apart from their counterparts.
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I was surprised to see DC give Nubia such a push recently, but it's paying off in some great stories so far.
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For a second issue, it's surprising how this issue sort of pulls back on the gas and lets the story breathe.
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Still, despite the huge focus, it has a great take on its two main leads and the scenes between Luke and his silent partner Lucius are really well-done. Lanzing and Kelly are an incredibly talented writing team, and this is a very promising if slightly bumpy launch.
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The issue has some of the funniest bits in a book I've seen in a long time, such as the bizarre collection of helmets that Peacemaker keeps in storage. However, while the issue was a lot of fun, the predictable downer ending knocks it down a little and sort of means the events of this issue were just spinning its wheels.
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This story has shades of John Wick and other "don't mess with a man's dog stories, but with an absurdist edge that could only come from the mind of Kyle Starks. It's a great follow-up to the work Gunn did with Peacemaker.
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There are so many characters in this comic that not all of them get neat tie-ups, but there's at least one that I really hope we see againthe ridiculous Dancestroke, Deathstroke's teenage clone. Just a pure blast.
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Overall, definitely a recommended first issue just to see these masters work.
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What surprised me is that this is a fairly dark book, having more in common with Gail's grittier titles like Deadpool and Secret Six instead of her more lighthearted superhero stuff. But surprisingly, it works, as Plastic Man started out not as a superhero but as a petty crook.
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The first issue surprised me with just how much of a crime drama it was, but Plastic Man #2 embraces the absurdity of the character as Gail Simone cuts loose and has fun with one of DC's most over-the-top characters.
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Gail Simone's reinvention of Plastic Man's origin often feels like a 1980s comedy-noir, and it makes a lot more sense once you realize that she's been planning to do this comic for years.
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The Plunge #1, Joe Hill's second book for the Hill House line and Stuart Immonen's return to monthly comics is also the most traditional horror book in the line, but that's not a criticism. The Plunge is a highly effective thriller that plumbs the depths of the most eldritch location we know " the ocean.
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There's no giant monster from the depths eating people, and the main threat seems to come from the bizarre psychological impact that the lost crew has on the modern-day people. It's much more of a psychological thriller than the other books in the line, and that's surprising given the deep-sea setting. But it's another winner for the line.
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Poison Ivy's slow, terrifying trip through the heartland as she plans the extinction of humanity continues this issue, with a haunting issue that makes the themes of the story a little clearer than the disturbing first issue did.
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Ivy trying to infiltrate a company as a humble farmer is pretty funny, and this issue continues the series' effective strategy of having her move around constantly, surrounding herself with a new supporting cast she never lets herself get attached to. What doesn't work quite as well is the new villain, a powerful "girlboss executive who oddly looks a lot like Punchline.
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This story, featuring a guest artist who excels in the truly bizarre, has largely been a bridge between the first arc of Poison Ivy and the next.
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This issue feels more like a bridge between the last story and the next, and doesn't quite have the intensity of some of Wilson's best issues, but it's still building on some of the great work Wilson's done with the character over the last nine issues.
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This was supposed to be the penultimate issue of the series in the (second) original plan, so the end of the issue nicely sets Ivy up for what would have been the last stage of her journey, but it also sort of feels like Ivy learning the same lesson again. The only real problem with this series is that it has few characters who really connect with the reader outside Ivy herself, so I'm hoping when it begins its main new arc we get to see her interact more with Harley in particular.
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Wilson is doing a great job of establishing just how powerful Ivy is, and the risk this poses to her at times. It feels like this series is fleshing her out, but also giving readers a better perspective of just how complex a plant elemental's powers and life would actually be.
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This is very much a bridge issue as the main threatplant zombies converging on Ivy's locationis established and she has her team.
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After two issues setting up the threat of Blue Earth, Amalak, and a mysterious Kryptonian plague, this issue nicely dials things back for a fairly emotional issue as Paige holes up in the Fortress of Solitude seeking answers.
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It's a cute animal-centric adventure, but there are a few too many scenes of animals in serious peril for it to really feel lighthearted. The art by David Baldeon is great with animals, and it's a fun and experimental done-in-one issue, but doesn't have the timelessness of the classic Krypto one-off.
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This whole issue feels vaguely over-the-top and funny, despite there being some surprisingly high-stakes plots worked in here. There are some great visuals as well, plus some surprisingly good jokes that poke fun at many of the, ahem, tropes about Power Girl.
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It's a compelling and creepy setup, boosted by some great Sauvage visuals.
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I'm not sure what the twelve-issue plan here is, but overall, this miniseries is going in a great direction and I'm hoping it leads to the character being used well throughout the DCU.
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This is the grittiest, most down-to-earth Red Hood run we've seen in a long time, and that's a big compliment. For the first time, Jason seems to have his own world to operate in, with Batman only at the fringes. Martinbrough came out of nowhere, but this is hopefully the start of something big for him.
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This is a strange sort of diversion from the tone of the first few issues, but it works because the creative team has done a great job of making this neighborhood seem realso it makes the divergence feel all the more stark.
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Overall, though, this issue is a treat for Supergirl fans, with a very sweet and affecting last-page twist that I hope is followed up on in a future issue. This is one of the DCU's most underrated titles at the moment.
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Scooby Doo Team-Up #40 continues the all-ages title's pattern of being an incredibly fun love letter to DC continuity and a great entry into the universe for young readers.
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The characters in this book have been used primarily in a mature-readers title in recent years, so creating this alternate version to get younger readers into the work of Kirby is one the book's best feats.
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It's definitely a beta version of the characters involved, and I would have liked to see the Pierce sisters here, but this is a great introduction to Black Lightning for young readers.
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I'm always impressed with this series' internal continuity, as it regularly references past adventures. DC doesn't have all that much all-ages content in single issues, so this title's absence will be felt once it wraps its run.
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Overall, all three stories are quality, but the book gets better as it moves along.
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The more quiet, human moments of the series were always the strongest, and the scenes were River tries to get back to something resembling normalcy were excellent.
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The title's a lot darker than it used to be, but it works.
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As the saga of Shade The Changing Woman enters its final act in Shade the Changing Woman #4, Cecil Castellucci is telling the story of an invasion of Earth unlike any we've ever seen in comics.
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It's good to see Johns embracing the history of this property, and the arrival of one of Johns' best characters going back to his JSA days makes me very happy. But Mary's only scene in this issue being a shot of her chained up and in a literal muzzle " not great. She's one of the most important Shazam characters and she deserves a lot better than she's gotten from DC for the last decade or so.
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The shift from Dale Eaglesham to Scott Kolins in the back half of the issue is pretty glaring, and while both are talented artists, it breaks up the flow of the issue.
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With Shazam #8, this series seems to be back on track after a massive series of delays, and all the better as it's the closest we've gotten to vintage Geoff Johns in a long time. An ambitious, mythology-driven take that still keeps the property's focus on found family, it's approaching the end of its first main arc and has split its team of heroes among multiple worlds.
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This series has essentially been one large story, and as we head to the big conclusion, I'm excited to see what it can do once it hits its schedule and fully explores this creative world.
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As Shazam heads into its second year, it's maybe a bit overstuffed and jumbled at points, but it's clear that this is the closest we've gotten to a vintage Geoff Johns superhero book in a while. I just wish we were getting more of the kids out of combat.
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As Geoff Johns gets ready to wrap up his Shazam run, we get a preview of the next creative team in this one-shot by Jeff Loveness and Brandon Peterson. It's not a full look at their status quo"it takes place before the main run and only features Billy and Freddie in a supporting role. But it's a compelling first look that establishes Loveness' voice for Billy nicely.
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One thing's for sure, it's been great to have this creative team reunited and Eaglesham is the perfect artist for this epic magical finale.
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While most of the run has been a big cosmic story in the classic Geoff Johns fashion, these two done-in-ones have done an excellent job of showing us a day in the life of Shazam. I just hope the Shazam family doesn't stay MIA as long as they did since their last solo series.
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Overall, this series has a lot of potential, but I was hoping for a little more fun and a slightly lighter tone.
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It's clear Waid and Mora are heavily inspired by the characters original fantastical world, and the more they bring that sensibility to the DCU, the better.
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Overall, there is a lot of new talent here, but most of the stories worked very well and added some nice flourishes to the characters.
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Both characters are intriguing rogues, in different ways, but they're also kids who have only had toxic influences in their lives. I could easily see this being the start of a redemption arc for the two of thembut I could also see them making themselves much worse with each other's help.
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The main problem this series has is that neither of these two characters are especially likable, but that doesn't mean they're not engaging in some ways.
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Visually, this is the best issue of the series, with an intense and bizarre landscape.
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Exciting, kinetic art by Daniele Di Nicuolo combines nicely with two likable lead characters to provide a solid foundation, and the plot is fun even if it doesn't have a huge hook so far. I'm just glad to see these two getting to have solo adventures!
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It's a good first issue, although the foundation of Static is very strong and it doesn't feel like this first issue breaks much new ground.
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Overall, it's an intriguing start that has done a great job of getting us inside Virgil's head and world, even if it hasn't really separated itself from the genre yet.
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This issue didn't quite have anything as great as last issue's Ebon reveal, but the action continues to be tense and enjoyable, and the creative team is doing a good job of shaking up the status quo from the previous run.
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Overall, this issue is more setting the stage besides the opening segment, but it's a very strong run as a whole.
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After three issues of hype, the debut of Ebon is finally here, as the most visually intimidating Static villain finally steps onto the scene. But despite this, the character doesn't seem nearly as evil as he did originally.
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This has been a fascinating look at a main villain slowly turning into more of an antihero, and the idea of the two of them ending as not enemies but as unlikely rivals is intriguing.
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The art by Draper-Ivey is just as strong as his writing, a dark and ominous battle for two heroes souls in a surreal landscape.
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Nikolas Draper-Ivey brings down the curtain on his second Static miniseries with an issue that reveals the mastermind behind the Bang Baby hunters who have been torturing Rubber-Band Man and killed Static's young friend Quincyand it's a surprising twist that casts a dark pall on the earlier issues of the series.
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With this only being a standard-sized one-shot, there isn't too much time for the creative team to really develop Anansi, but mystery has always been part of his character. Would love to see more of him.
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I'm just hoping that as this series ramps up, Dorn continues to pull from the character's rich history and uses some of those supporting characters. It's great to see this character get a well-deserved solo spotlight after so long.
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The superhero plot is a little standard, but this series is building on its more original plot threads in some fascinating ways.
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The final issue of this miniseries has the biggest threat yet for our heroesa giant robot Steel armor, remotely controlled by deranged weapons manufacturer Charles Walker II. He's a rather cartoony villain, but secondary villain Silver Mist has a slightly more sympathetic backstoryone that plays a key role when he decides to switch sides at the last minute and assist the floundering super-family against an enemy that seems to have their number in every way.
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Overall, this is a solid anthology that gets better as it goes along"and the last three stories are excellent.
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Overall, it's still far and away the best Suicide Squad comic we've gotten in years.
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It's an effective start to a chiller that calls back to some classic Suicide Squad tales.
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Still, as a continued spotlight for Dreamer and especially as a series debut for Maines, it's a very strong start.
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This series, while strong, feels like a Dreamer series with everyone else in the back seat.
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It's all setup, for sure, but it also seems like Layman is elevating the material in a compelling way.
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Super-Sons is up and down a lot, but when it's on its game, it's one of the most fun titles DC puts out.
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It's a fun book that definitely pays tribute to one of the DCU's best friendships in the last few years. I think what works against it slightly is that both these characters are in the middle of all-timer character runs, but for those who preferred the younger versions, this is a great tribute.
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Overall, it's a fun start that does a good job with a very messy status quo for a cult-favorite hero.
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This is an interesting mini, primarily driven by a relatable question of what to do when you no longer fit into your familybut given a gonzo sci-fi edge that's a lot of fun.
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Another new villain, an alien warrior queen of some kind, doesn't seem to add much so far, but Orlando and Houser's Kara is easily the most compelling version we've gotten in a long time.
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I've been invested in this character for a long time, and this is the first time since the early parts of Sterling Gates' run that I've felt her title was hitting on all cylinders.
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Orlando and Houser's Supergirl run continues to impress with Supergirl #18.
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Two issues in, it's clear that the best title dealing with the status quo of the Bendis takeover of the Superman universe is"the book not written by Bendis.
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Andreyko has a very strong handle on Kara as a character and I'm looking forward to the next chapter.
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This is unmistakably the Christopher Reeve Superman, bringing with him the presence he had on the big screen, and that energy alone is worth the price of admission.
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The art can feel a tiny big jumbled due to three different artists on the same issue, but Brandon Peterson is a good choice to depict the deep-space segments.
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I've complained many times about how Bendis essentially rewrites characters to the way he wants them, but Superman #16 may be the first time that this actually worked in the character's favor.
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There are some spectacular action segments, and a great resolution to how he neutralizes Mongul " not that it lasts, as we saw in Superman: Heroes.
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While the pacing of this run could be off at times, I do think Bendis has a good grasp of Superman's character, and we should be headed for a satisfying finale.
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Even with two Supermen on hand, this issue feels more dangerous for our heroes than usual"the threat is dark, creepy, and even more significant"mysterious.
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Scott Godlewski's art is also particularly strong this issue, combining strong designs for the two Supermen with a dark, creepy, and genuinely alien tone that sets the mood perfectly.
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But this has worked effectively as an independent story and a good introduction to the new status quo.
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The first issue was almost entirely a strong character piece with some great action. This is a much more eclectic issue, but one that still demonstrates Morrison's consistently strong grasp over the entire DCU.
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If this is Morrison's mic-drop at DC, it's a worthy celebration of the writer's eclectic body of work.
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Matt Fraction and Steve Lieber continue to deliver the most offbeat, bizarre comic in DC's stable with Jimmy Olsen,a tale of Jimmy Olsen, the complex Olsen family dynamics, and Silver Age science always entertains but rarely comes together as a cohesive narrative.
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It's a completely absurdist tribute to the Silver Age, and while its narrative is a bit inscrutable at times, it's the most unique comic on the stands. This book is an experience more than a story.
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With Superman's Pal Jimmy Olsen #9, Fraction and Lieber's Jimmy Olsen continues to be the oddest book in DC's stable " in the best way " with this issue that doubles down on the hilarious "Lil' Olsens" gag introduced last issue.
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Overall, this is a solid one-shot. I wish there was more original content, but there's no real weak links here.
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This first issue could be seen as rather slow"the main plot really only starts with a few pages to go, and Levi is barely involved"but Ram V and Mike Perkins are expert storytellers who keep you hooked with every page. It might be a while to get there, but I suspect this is a new DC horror classic in the making.
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This is a slow-burn story with some fantastic visuals, but even after two issues I'm still not sure exactly what's going on here. That's not a complaint per se"it's a fascinating journey"but at the same time, I think the very Vertigo-esque tone of this series might take some people by surprise. It's an interesting experiment that I think will pay off over its twelve-issue run.
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With only ten issues, I'm a little surprised that so much of this book has been devoted to a showdown with the Suicide Squad. But it's a testament to the strength of this creative team that they're able to make the new Swamp Thing's battle against these glorified goons so compelling.
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I do wish this story had a stronger central villain and more ties to the classic Swamp Thing mythology, but it's a fascinating tale of social misfits who find connections based around another world. It's another winner in the DC line with the most promise for the future.
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It's an overall big step up from the anthology story that preceded it.
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Azrael has been around for a very long time, but this is the first time he's gotten a spotlight series in over a decade. It's about time.
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The third issue of Dan Watters' deep dive into the world of Azrael takes the series in a much more horror-driven direction.
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While the evil cult shepherding the whole thing is sort of generic and the plot moves too fast for Raven's new allies and enemies to really develop at all, the story has a great focus on Raven's character development that seems to set her on a new path, and I like its notes of hope for Trilogy, who didn't ask to be born into a family of a monster and seems to slowly be carving his own path. So far, these are two-for-two in terms of strong character development.
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I don't think this story was quite as tightly focused on Donna's character growth as the Starfire issue, it was just a compelling, straight-forward adventure that shows us how Donna views the world and how she fights evil. And that is something the character definitely needed after so long.
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The plot here, much like the Donna Troy and Raven issues, isn't the most compelling, with a villain I doubt I'll remember next week, but it does serve as a great spotlight for the character with an actual compelling explanation for why Beast Boy's eye seemed to reappear between issues at one point.
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There are several surprise new players in this issue, along with a couple of ongoing mysteries like Mr. Bloom's involvement. So far, every issue of this book has been better than the previous one.
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From the start, this book has seemed like a combination of concepts cobbled together into a book designed to match the zeitgeist. But now it's coming together as a lot of things that didn't quite make sense fall into place.
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Thus far, all three DC Ink graphic novels have been nothing short of excellent, adding new wrinkles to the early years of three of DC's greatest heroines.
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This is definitely a lighter issue with younger characters, but it's another example of how no one knows old-school Hanna-Barbera continuity better than Fisch.
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It's a fun issue, if not one of the series' best, and I'm wondering what the characters have in store for us with one more case next issue.
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The final showdown against Ra's Al Ghul kind of shows the limits of this bookit is ultimately a kids' book, and any major Batman villain will have to be scaled down to a certain level to allow the kids of Mystery Inc. to win the day and come out alive. But in terms of what this book wants to accomplish, I think it does it very well. It's a great primer for DC's more obscure heroes with a little mystery to play along with.
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Cody and Owen definitely get the characters they're working with, and it's a fun intro to these creepy Gotham villains for younger readers.
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There isn't much of a mystery here, with no traditional suspects, but it's a lot of fun.
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There are some really clever twists to this story, although kind of an abrupt wrap-up and a great last-page reveal. Very much hoping this comes back for a third season.
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The identity of one culprit is pretty clear, but the other is a bit of a surprise and another bit of evidence about how much this show loves to dig up obscure faces from DC history. There's also a clever little last-act detail that perfectly sums up the Batman-Catwoman relationship.
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Lots of setup in this issue, but what we've seen so far is pretty great. We have a proper Wonder Woman comic again!
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Simon Spurrier's reinvention of the world of The Sandman concludes its first arc in The Dreaming #6 with a game-changing twist that upends the entire concept of the series.
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This title continues to be the biggest mindbender in the DC stables, taking us further down the bunny hole with every issue as the search for Dream gets more complicated and the Dreaming itself starts to unravel.
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This is easily the most ambitious of the line and can be a bit confusing at times, but it delivers when the whole picture comes together.
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This is a wild, deeply cosmic series that manages to deftly combine metaphysical storytelling with cold-blooded horror, and the addition of the new Lord of the Dreaming promises to continue evolving in unexpected ways.
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It's not as epic as some of this series, but it's one of the most intriguing concepts in the story.
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The best thing about the Sandman Universe books is the way they can seamlessly change genre and tone from issue to issue, such as in The Dreaming #14. After several issues taking place in the Dreaming, this issue we shift to Dora's story as she pursues the truth of who she is and what turned her into an amnesiac nomad.
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It often feels like this series is a collection of chess pieces being moved around, but now they've been replaced by a system that doesn't have any use for them. Wan is a villain that has no idea they're a villain, and that might be one of the creepiest kinds. What happens when dreams themselves become obsolete?
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There's probably a bit too much monologuing in the voice of a rather insufferable tech executive, but Dora's storyarc has been one of the most compelling parts of this series and it's great to see an issue spotlighting her again. Spurrier is moving on after only a few issues, making way for G. Willow Wilson, but he's clearly setting up a lot that she'll be able to continue to build on.
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Spurrier has taken on a near-impossible task of following Gaiman and has mostly stuck the landing.
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It's a tense, action-packed ten pages that continue to sell Punchline in her new role as the Queen of Blackgate.
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Jim Gordon not having any lines in this issue is surprising, but by the end of the issue, every major player is in one place for what's sure to be a bloody and explosive conclusion.
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I'm not sure if James Tynion IV's Joker run was supposed to end with #15 all along, but with him departing the company for the most part, this final act has felt a little rushed.
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This is only part one of twelve, so the main job of this issue is to set up the world and dazzle us with the art. At some points it feels derivative of other fantasy works, but it does its job and pulls us in with gorgeous art and creepy, haunting visuals.
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The stunning visuals are still here, but the flashbacks are fascinating in their abstract horror. You can barely make out what's going on at times, and I think that's the point. Our human eyes aren't meant to understand fully, and that makes this a sometimes puzzling but always fascinating read.
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This is one of the slower-paced stories in the Hill House line, but it also feels like the one that'll hold up among the best when completed.
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There are still a few bumps along the way, but I'm very intrigued by what Bendis is building here.
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I still find it a bit of an odd project"after all, the goal of this line is to introduce kids to these characters. And there really is no effective jumping-off point into other Constantine stories with this one without some BIG surprises. But with North and Charm, you know you're going to get a good read.
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It's a very good issue focusing on a great character, but the last two issues haven't reached the heights of the first two.
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If you liked the first issue's tone, expect to be very satisfied with The Question: The Deaths of Vic Sage #2 " but if those elements took away from your enjoyment, the problem is doubled in this issue.
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This is an intriguing story of a character's descent into self-destructive behavior and vigilantism, but there's one thing holding me backthis Edward Nashton feels like a troubled, but ultimately well-meaning guy disturbed by corruption and wanting to make a difference. I'm not sure how we get from there to the sadistic terrorist we saw in the movie. Dano might get us there, given that he knows the character inside out and out, but it'll take some doing.
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This is overall a good comic, with the art being a real highlight, but I'm not sure it's telling us anything we didn't learn from the main character's rambles in the movie.
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With so much mythology to explore, this series can be a little overly dense at times, but it's never less than compelling and incredibly haunting.
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The plot moves fast, takes us to an intriguing area of space, and provides a new reader with a good grounding in all these people all the while making them likable.
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A lot of the New Age of DC Heroes titles feel like a concept in search of a story, but this one has both, and it's being rewarded for it with the best sales of the line.
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I'm just happy that one of DC's best books looks like it's going to stay strong under a new hand.
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Gene Luen Yang continues to settle into Jeff Lemire's old digs comfortably, keeping the main tone of the series intact while adding his own unique flair and talent for dialogue into this oddball superhero team.
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Even though it took way too long to get here, this is easily the best issue of Yang's run and shows some of the same creative spirit he brought to Superman Smashes the Klan.
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A great tribute to classic DC weird science books.
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It's setting up some very interesting plots for the last two issues, and it's a shame that a book this unique and clever can't last indefinitely " although it's done a lot better than the rest of the line and has been a great spotlight for two of DC's more offbeat writers.
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This is a fun old-school comic with great dialogue (except for one gratuitous boomer joke) and as the comic ends next issue, it's been one of the DCU's most pleasant surprises.
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Three stories, three wins, but I don't think any of them are quite up to the level of the main series.
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I don't find the plot all that compelling, as we've seen plenty of stories that involve the hero being framed. However, what Fitzmartin gets right is the various characters and relationships that Tim has weaving in and out of the book.
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This has been a fun series from the start, putting Tim Drake in new and often unpredictable situations as he takes a step into adulthood for the first time. One of the best parts about the series has been the new settingthe Gotham Marina, where Tim has traded his mansion upbringing for a houseboat and a taste of independence.
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This is a good start, although our new villain seems a little too fond of monologuing. With one issue to go, a lot will depend on how this arc sticks the landing, but so far it seems to be off to a strong closing act.
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Overall, this is the first real focus Tim has gotten in years outside the orbit of the larger Bat-family, and while the first arc wasn't perfect, it shows a lot of potential for something great.
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After a densely plotted first arc that put Tim in the middle of a new mystery centering around the Gotham marina, Fitzmartin is able to pull back and give us a character-focused issue that puts Tim and Bernard at the centerjust in time for the series to be canceled with the end of its second arc!
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Overall, this series gets some things very rightthe emotions in this series are genuine, and it leaves Tim in a very good place. However, it also definitely feels rushed towards the end, with only a few pages to wrap things up after the main plot. Tim definitely deserved a longer run, just like the Batgirls.
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Overall, a strong issue but it does feel a bit dragged down by the overall direction of the universe at the moment.
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Still, this is far and away the best Titans run for years, and that mostly falls on the hard work Taylor has done over the years to establish these characters and their bond again.
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The stories in here feel a little slighter than the average, but overall it's a strong, fun anthology that shows Gotham at its craziest.
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Overall, none of these stories are classics, but it's good to see the Aquafam in action again.
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Overall, it gives us a few more intriguing details about the overarching plot, but what it sets up for its many leads is more intriguing for the DCU's future.
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Unlike the first arc, this feels like a Titans story we haven't seen repeatedly, and it's a breath of fresh air compared to the main title.
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I don't think this is quite as strong as Pearl or Cover, but when it's on, it is REALLY on.
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Burnham was a great choice for this title thanks to his comfort with both routine character interactions and disturbing sci-fi visuals, but this book's other big strength is Culver's ability to convey that this book isn't just about a superhero teamit's about a big, messy dysfunctional family with as many issues as good memories. That's the core of the Doom Patrol, and this more superheroic take on the characters never loses sight of that.
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As this miniseries heads to its conclusion after a Knight Terrors break, it opens with a segment that really emphasizes the biggest strength of the run. It's managed to make the misfits of the Doom Patrol feel like both a team and a family, complete with a new generation of heroes and allies.
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Overall, Victor and Nora: A Gotham Love Story lives up to its title. It's an effective, tragic, and romantic tale that manages to give Victor a lot of new layers and let Nora have her own narrative before her tragic end. It also deftly deals with some thorny issues like depression and suicide without coming across like an after-school special. I think this one could easily find its market among fans of other YA novels that deal with heavy topics.
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It takes a while for this issue to reveal its secrets, but when it does, it's fascinating.
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Ram V's look into a complex, ruthless government-sponsored Indian super-team has been fascinating, as it reveals the secrets of its members one by one.
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For this penultimate issue, Ram V finally pulls back the curtain and reveals the formative tragedy that made this team possibleand reveals the threat coming for them.
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This series definitely required more attention to detail than some other DC books, and a re-read might be called for after this issue, but the ending features some fascinating ties to other titles. Hopefully the tease for more at the end comes to pass.
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This series embraces its Wildstorm roots, with Jackson King's secret Stormwatch team being rather unfamiliar to anyone who only followed the many recent reinventions. The first two issues here have mostly been setting up the central conflict, but now both sides have their armies and war is coming. I'm not sure the two parts of this concept quite work together fully, but it has been highly entertaining to watch the creative team try.
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Ultimately, I don't think the Wildstorm characters were as compelling as the writers wanted them to be, but Waller is always a fascinating lead, and after watching her story unfold here, it's very easy to see how she turned into the manipulative master she is today.
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Riley Rossmo is a great choice for the artist here, creating a real sense of tension and making the villain look genuinely intimidating. Still, the plot doesn't advance all that much in this issue, but it does set up a great cliffhanger for next issue as Dodds literally gets a taste of his own medicine.
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There's a lot going on in this issue, and it all serves to push the overall story forward in a big way.
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Thus far, this has taken a universe that wasn't quite working in the main book and turned it into something genuinely unexpected and thrilling.
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While the main Wild Storm title has a lot of pacing issues, this one delivers every single month.
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This is now slated as a twelve-issue maxiseries and it's been really strong so far. I'm hoping that as it enters its final arc, it's got a lot more surprises up its sleeve. I would not have expected a Deathblow miniseries to be one of my favorite DC books this year.
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It's one of DC's best sleeper hits at the moment, and I can't wait to see how Cray is going to take down these villains.
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There are dark powers lurking around every corner of this issue and they're using the characters like toys. With only one issue left, this is pretty clearly the best Wildstorm story I've read in the modern era.
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This first issue has Joelle Jones' signature tone all over it, more than her Catwoman run.
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This book is roughly twenty storylines stuffed in twenty pages, and that makes it both overly ambitious and highly entertaining.
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I don't know exactly where this series is going yet " at times it feels more like a Boom book than a DC Comic due to its sardonic take on high school life and its casual approach to superheroics, but it's unlike anything else DC is putting out. DC seems to be taking a lot of chances with the Wonder Comics line so far, and I'd say they're three for three.
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This continues to be one of the oddest books in DC's stable, but as it enters its second act it's coming together into a very compelling and relevant story.
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Mark Russell's always excelled at fusing the absurd with the human, and this title is a great example of how he can take just about any concept and twist it into something relevant to the world outside our door.
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Mark Russell has been deftly balancing superheroics and social satire in Wonder Twins, and he's not stopping now with Wonder Twins #10, an issue that viciously skewers big tech and intern culture.
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Byrne's art manages to make the villain both a comic relief retro character and a genuine threat. The title characters actually have relatively little to do this issue with one to go, but the series as a whole has turned into an offbeat gem.
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Taking on issues including prison reform, school funding, and class warfare with an absurdist touch, it's been less a superhero story than a series of bizarre events bound together by Zan and Jayna's crash course in Earth as Justice League interns.
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Orlando's going to have a full arc to tell his Wonder Woman story, but this is something else " an issue about criminal justice and reaching out to one's enemies. It has something to say, and at times it's pretty great.
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This issue doesn't cut to the core of Diana's character the way the previous one did, but it delivers a strong, exciting narrative that puts Wonder Woman at the center of her story again. On that note, it's another win for Orlando.
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This is a much more straightforward story than the first arc of his run, and Raul Allen's gritty art is a good fit, but it's no less entertaining than the twisty pyramid adventures of the previous issues. It's good to have a proper Wonder Woman title again.
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All in all, lots of story to be uncovered here, but I am really enjoying what Wilson's setting up.
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Will Wilson actually take Diana back home and bring the Amazons back into the supporting cast? We'll see, but I continue to be consistently intrigued by the ambition of this run.
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Wilson hasn't missed a beat yet on this title.
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Even though the plot is big and cosmic, it's never lost touch with the human side and adding Maggie to the cast as our human POV character has worked out brilliantly so far.
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G. Willow Wilson's run seems determined to grapple with some rather weighty issues and tackle them through the prism of the Greek Gods, and it's off to a very good start.
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The conclusion of the Atlantiades storyline in Wonder Woman #71 emphasizes the great strength of G. Willow Wilson's take on Wonder Woman " she's the first writer in a long time to really get across the concept of Diana as a pacifist hero.
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G. Willow Wilson's fantasy-based run on Diana's flagship title continues to be a compelling adventure that upends its concept every few issues.
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Unlike The Flash, which covers a lot in several different stories, Wonder Woman #75, its; big anniversary issue, is a hyper-focused tale that delivers a massive battle and resolves most of the loose ends of G. Willow Wilson's run so far.
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I'm not sure exactly when Wilson's run ends, but I'm hoping she at least gets to conclude this arc and Orlando picks up on a lot of the beats, because there's some great stuff here.
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Overall, this is another strong volume. Some stories are misfits with the volume's tone, but there are more than enough highlights to make this anthology a must-read for any fans of Wonder Woman.
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It's been nearly impossible to judge Steve Orlando's run until now because he was dealing with subplots from the G. Willow Wilson run, but with Wonder Woman #751, we get our first glimpse at Orlando's vision " and it's a very promising start.
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Steve Orlando seems to have a very good grasp on Diana's character, even as it's still unclear in Wonder Woman #752 what the overall master plan for his run is
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The core of this run, at least at first, is going to be Diana facing off against one of her most personal enemies in Maxwell Lord"and his first appearance in this issue is pitch-perfect. There are a few hiccups in this first issue, but Tamaki gives us a likable version of Diana, some promising new characters, and a deadly villain to start things off.
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Despite some strong action scenes, this arc is very deliberately paced, but the ending of this issue sets up a compelling showdown in the next issue.
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I continue to be highly intrigued by this run, which isn't like any WW run I've read before.
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By eschewing Diana's mythological roots for the most part and paying tribute to her old-school run as a super-spy, Tamaki has given the title a breath of fresh air. I'm not sure every issue lands perfectly, but it's building into something very compelling.
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I'm not sure that this run really told much of a Wonder Woman story"it's been so caught up in Lord family drama"but it did send her on a twisty and compelling adventure featuring one of the DCU's best villains.
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The story is strong, but it's really Travis Moore's stunning and vivid fantasy art that pulls you into this narrative.
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It's a fun, high-fantasy adventure that's one of the more ambitious Wonder Woman runs in recent memories.
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I'm not sure how long Diana's current status quo will last, as there's only so much that can be done with her in the afterlife. But while it lasts, it's a unique and entertaining ride.
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The art by Andy MacDonald gives this story a very surreal and disturbing vibe, with more in common with the world of the Dreaming than a traditional WW comic.
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This series has been a little disjointed at points, but its imagination and visuals are top notch and it's great to see unlikely corners of the DCU creep into this story. I'm hoping it keeps this energy up as Diana makes her way back to earth.
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A strong, subtle issue that leaves Diana in a new place and the reader excited for more.
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This isn't a comic like any other post-hero return I've read, and it's answering some very interesting questions. It's also a complete departure from the run so far, which takes a little getting used to. However, these writers have done a great job getting us to care about this version of Diana, and sending her off on this bizarre new sidequest is an intriguing twist.
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The mystery villain lurking in the background seems to be waiting to make their move, but overall this story is pretty compelling.
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The story is charging ahead in a big way now, and it looks like we're headed for a strong conclusion.
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This run has been fairly chaotic, jumping from setting to setting regularly, but it's been a while since this franchise made such good use of the character's mythological roots.
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Overall, the main story is fun and has some great visuals, particularly on the giant monsters they encounter, but it feels a bit like a side story compared to the main mini.
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The few battle sequences there are in the issue are nicely tense, but this issue is sort of a refreshing change of pace from the plot-heavy, packed issues of the afterlife run. This run continues to surprise.
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Overall, the major parts of this issue hit all the right notes and I'm excited to see where Orlando takes the title.
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This is the kind of crossover we need more of.
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Gail was always a great Wonder Woman writer, but her talent here with the world of Conan is what really stands out in this series.
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A slight mixed bag and some of these stories could have used more pages, but some were stunning.
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Halfway through this story, it's one of the better Wonder Woman stories we've had in a while.
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Black Label is unique in that it can take its heroes to much stranger and darker places than any other line can. Letting its creators cut loose and see how dark they can go has been paying dividends so far.
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Opening with essentially a full-length prologue issue before Diana's big challenge begins is a big risk, but this issue sets up a very strong central character. This Diana feels unique, different from the other heroes with a different moral code. I'm excited to see it get tested in the coming issues.
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A mysterious ancient entity has put Wonder Woman on trial for the fate of all humanity, but one of the most interesting things about this miniseries has been that it's not even clear what the trial is.
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Overall, it's another strong issue as we peel back the layers of Diana's trials a little more.
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This is surprisingly bleak stuff, with Diana being forced to ask if there truly is any hope for humanityand deciding that if there isn't, she'll make some. It's a great characterization of the lead character, and this issue moves fast and is full of some brilliant visuals.
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The huge, cosmic concept of this series seems to have been a feint to some degree, but it's worked very well as a character-driven story for Diana that shows her confronting her demons.
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Now that it's complete, I imagine this story will read even better as a whole.
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This story seems like it's going to jump around in time, which means we'll likely see glimpses of Kara's youth mixed in. For such critical figures in Superman's history, Jor-El and especially Lara have had very few spotlight stories. This is a promising start that looks to change that.
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With only one issue left, I have little doubt that the finale will deliver several more gut punches as the story of the doomed planet reaches its inevitable, tragic end.
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We're seeing some big changes to the origins of the core Titans here, mostly for the better, but I think I'm more interested in the work this series is doing with the lesser-known Titans. It's been so long since they had the spotlight, and this could become a defining run for them.
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This could have been a very depressing story " and maybe would have been if the Joker was portrayed as deadly as he usually is " but there's a surprisingly more optimistic ending than is normal for these one-shots. I don't think this story upgraded Joker like it did Riddler, Sinestro, Black Mask, or even Luthor, but it's a tense and creepy one-shot with a strong horror vibe.
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I don't know if the idea was to make Black Mask a compelling character, and I'm not sure it achieved that, but it definitely made him an effective threat.
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This is a rare Year of the Villain tie-in that has little to do with Lex Luthor's plot, but it moves us closer to Hell Arisen " Jenkins will also be writing Commissioner Gordon's one-shot in a few months. This is the last of the villain one-shots, as next month we start focusing on the Infected, and I feel like all of them have done a great job getting into the minds of the DCU's deadliest rogues and wild cards.
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For a four issue miniseries, I might have wanted the main story to move a little faster in the first issue. But Tynion writes the Batman who Laughs like few others, and it feels like this has been a showdown years in the making. My money's on the bad guy with the Bat-brain.
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For an event comic, this series has been surprisingly low-key at times. But as a slowly building horror story, it makes a great companion piece to the bigger-scale Year of the Villain books and does both its lead rogues justice as they head towards a violent clash.
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This feels like the culmination of a year of stories that upgraded great villains like Captain Cold and Black Manta (and Oracle, who didn't quite land how DC was hoping). This has been a tight series, and it seems likely the conclusion will be a thrill ride.
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Superboy is definitely the most tricky character to work with out of the four, as Bendis not only has to bring him back, he has to reconcile the two versions of the character " the rebellious 90s surfer kid from his 100-issue solo series, and the humble farmboy and protege of Superman's from the Johns run.
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Four issues in, Young Justice is starting to feel like the longest, most-leisurely high school reunion, and it's a testament to Bendis' writing and the enduring interest in the characters that it remains a compelling book despite a pace that seems to slow down by the issue.
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After four issues of scattered but entertaining storytelling, Young Justice #5 finally gives us some major answers about where these characters have been and how Tim Drake found out about the "lost" heroes. Unfortunately, while it delivers some of the best moments of the series, it also reminds us just how fast and loose Bendis plays with continuity.
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Young Justice is consistently the most entertaining of Bendis' ongoing DC titles, but it still has the most common weak spot of his writing " pacing, and that's evident in Young Justice #9.
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It feels like it's been a long strange trip to get here, but this is still the most fun I've had reading a DC teen team book in a long time.
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It's all a bit jumbled, and it seems like we're on another multiversal adventure soon. But the characters are fun enough and the plots are intriguing, so it really doesn't matter. Hopefully this title will stay strong as it gets a full-time co-writer in David Walker in the coming months.
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The plot here is still a little too deliberate for my tastes, but the core characters are highly entertaining and feeling more like their old selves by the day. The addition of Walker to the writing team might have been the special sauce this title needed.
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Pacing-wise, there's still a few kinks to work out, but this is easily the best book starring DC's teen heroes we've gotten in years. Bring in some of the Outsiders crew when that series ends, please.
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This remains easily the best DC teen team book in a decade.
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There's no question that this is easily the most enjoyable take on a teen team in the DCU in a long time, although I wish it had gone on a lot longer and could have sent the team on more missions. It feels like there's a lot of untouched potential in this book that will hopefully be followed up on in a future title. It gives us the most important thing in any team"a group of likable heroes we're interested in rooting for.
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With a theme of twisted love stories and a focus on some of DC's more oddball and monstrous characters, the issue has some top-tier creative teams and overall delivers a strong package.
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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.
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As we rocket towards #1000, Superman's in a genuinely compelling period in his story.
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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.
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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
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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.
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Still the better of the two Superman titles at the moment, but the run as a whole feels unfocused.
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Bendis seems to be building to an elaborate spy-war, as mysterious agencies both good and bad are being targeted by this strange force.
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Overall, good as a setup for Leviathan, but in two books I still have very little idea what Bendis' Superman is like.
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This is probably further from a regular Superman comic than any issue Bendis has done yet, but that's what keeps it interesting.
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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.
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The entire thing is a compelling noir title with great stuff at the Daily Planet, but the many subplots don't quite come together.
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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.
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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. .
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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I'm not sure the pacing of this issue entirely worked, but the series as a whole is a must-read.
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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.
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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.
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Sejic has brought out the best in Abnett here, and I'm hoping that continues once he leaves regular art duties.
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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.
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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.
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This remains a more compelling plot overall than either of the involved books have had in awhile.
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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.
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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.
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There is some VERY good stuff in this book, but right now it's not living up to the early issues.
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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.
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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.
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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.
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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.
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It's an oddball side story to the bigger stories for these two characters, but it's definitely won me over.
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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.
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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.
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Overall, it's a solid read, with three decent stories in service of a movie that seems to be slipping under the radar.
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The characterization is great, but most of the high-octane action of the series is missing this issue.
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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.
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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
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Maybe this would have been a bit better as a two-parter, but it's still a thoroughly enjoyable done-in-one.
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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.
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There are few breakout moments in this issue, but the overall take on Batgirl remains strong.
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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.
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Overall, it's definitely getting better but I'm looking forward to seeing what Castellucci does once she's out from under this storyline.
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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.
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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.
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Lot of questions to be answered, but this issue is a big step up from the last one.
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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.
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While the execution of this comic is excellent, the never-ending bleakness and dark turns make it a little hard to stay invested.
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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.
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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.
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It doesn't break any new ground, but this issue has some interesting twists and creepy visuals that make it worth picking up as more than just a curiosity of an international crossover comic.
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This works as a video game tie-in, but it also works as a straight-up strong Batman comic that emphasizes his greatest skills as a hero.
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It's not flawless, but it's better than a nonsense crossover like this has any right to be.
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It's an interesting concept and one that stands on its own surprisingly well even if you don't know the first thing about Fortnite. It fits into an underrated genre of Batman stories"Batman thrown into bizarre situations where he proceeds to just start hacking it using sheer force of will. And that's always a good read.
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You've got three of the DCU's biggest villains"including one I never expected to see again, meaning that this series is probably out of continuity"as well as a major Fortnite villain who I had to look up on Wikipedia. Well, we'll put it this way"this series isn't lacking for ambition.
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The visual at the end seems familiar " probably because Scott Snyder did it it in his most iconic storyarc " but the suspense and visuals are top-notch as this book continues to serve as a spine for the upcoming Hell Arisen event.
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The conclusion to this latest arc of Josh Williamson's team-up adventure is pretty exciting, although it's bogged down by some ties to a title that isn't nearly as consistently good.
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The final chapter of "Planet Brainiac" delivers explosive actions on both Earth and the moon, as the Composite Superman launches an attack on Metropolis.
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This is definitely a middle chapter with a lot of transitions, but things are looking exciting as we head into the final chapters.
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There's one more issue to go and it looks like we're headed for an epic finale, but this series wouldn't have worked nearly as well if it wasn't for the humor, the family vibe, and the character development that happened alongside the action. A great use of both properties' best characters.
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James Tynion IV has clearly had a lot of fun writing these team-ups with the Bat-family and the Turtles since the first miniseries all the way through Batman/Teenage Mutant Ninja Turtles III #6, the final issue, and it shows.
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The character work in this comic is much more effective than the plotting, and that's enough to keep me hooked for now.
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Batman and the Outsiders is slowly finding its groove, although even in Batman and the Outsiders #5, it's still bogged down by a story heavily rooted in original characters who remind me way too much of the 90s.
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This title tries to do a lot, and it doesn't always succeed, but the ambition is coming together into something pretty compelling. I'm hoping this next arc focused on Duke doubles down on those strengths.
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This series started rough with issues too focused on original villains, but it's found its footing since as one of the better books in the Bat-line.
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As we head towards the finish line on this title, this is more of a bridge issue as we gear up for the final showdown.
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Bruce's creepy Bat-drone is my new favorite thing, and the end of the issue delivers one hell of a cliffhanger while calling back to an iconic Bat-moment.
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The issue is an exciting read and feels much more like classic Batman Beyond than anything in years.
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Overall, this is a fun issue that continues this series' recent resurgence.
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This arc has been one of the series' strongest, but the cast as a whole still has a few kinks to be worked out.
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This issue has a lot of fun twists and turns, including the return of another classic Gotham vigilante.
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Now that the main narrative of the Futures End world is thankfully over with and Terry McGinnis is fully back in the lead in Batman Beyond, the title has been getting more into exploring Gotham's past and bringing back classic Batman villains in new forms.
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There are few better ways to add a touch of excellence to your comic than by having Doc Shaner guest on art for an issue or two. So it's no surprise that Batman Beyond #30 is one of the best of the series " but it helps that Dan Jurgens' story rises to the situation and delivers a strong story set in the aftermath of the Joker's death of a heart attack.
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The issue is tense and feels like a step forward as the title uses more elements of the classic cartoon to build its next arc.
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After a current arc that took a while to get started, the plot in Batman Beyond picks up speed (pun intended) with Batman Beyond #35, a packed issue that reveals the secret origin of Splitt, gives a hero a major new role, and returns a massive player to the world of Batman's future.
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The banter between Barry and Bruce is one of the highlights of the issue.
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Something big is coming, and it took a while to get here but this title is definitely living up to the legacy of the cartoon.
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Dan Jurgens has completely upended Batman Beyond's status quo over the last year in a very effective way, with a storyline that echoes his plot in Nightwing to a degree but also has its own twists and turns and that continues in Batman Beyond #38.
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The best part of this story so far has been its high stakes and fast pace, and with all the players in place, we should be heading to a strong finale.
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Lots going on here and lots of unanswered questions, but a solid read.
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This isn't a perfect series " it took a while to get out from under the previous status quo " but it's an old-school tribute to the original cartoon and to everything Batman represents. Jurgens still has it, almost three decades after his DC debut.
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The plot moves so fast it's a bit dizzying, but I think Batman Beyond is headed for a strong finish.
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I'm hoping DC has big plans for Jurgens come March " he's earned a fourth decade as one of their staple writers.
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This series may be a bit too chaotic at times, but it's definitely an interesting ride.
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Lanzing and Kelly wrap up their second Batman Beyond mini with a bang, as Terry heads to the surface to take on the massive overgrowth caused by none other than an undead John Constantinedesperately holding on to life by doing some horrible things. At some point, a whole magic crossover event broke out in this series, which is definitely not what I was expecting here.
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This is an intriguing first issue, although I'm hoping some more classic Batman Beyond elements will work their way in soon.
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Overall, lots of potential in this issue but it's definitely a breather before the next big showdown.
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s we pass the halfway point of this miniseries, it continues to be a highly entertaining, fast-paced sci-fi thriller.
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What works here is the character development and the unique way he's united basically every element in the city against Neo-Gotham. What doesn't work quite as well is how large-scale the threat isand how quickly it's defeated.
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For good or bad, this is a comic where everyone else is playing a bit role in his story, and few other characters have gotten the chance to break out yet.
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It's a decent issue, but this arc doesn't immediately seem to have the same hook as the first.
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It's an interesting bridge between the two main arcs.
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Overall, still a solid read.
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This is a tense, entertaining issue, but there are so many characters that it often feels like we're just spending a few pages with each of them.
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This has always been an action-driven comic, and it's sticking to its strengths.
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Overall, this was a fun series but I don't think the fusion of this crew with Ghost-Maker quite worked. They never gelled as a team, which may have been the point, and I'm hoping the very intriguing assassin gets more spotlights in the future.
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Right now it seems like a straight-forward Bat-story with a Fable guest-star, but I don't think Willingham signed on for something that conventional. There are a lot of intriguing mysteries to be unraveled here.
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We still don't know what this odd Gotham actually is, and we didn't get much progress on that front yet.
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There is maybe a little too much exposition about the nature of the Fables-verse, but we do get a better perspective of exactly where in this timeline we are and what might be happening back in Fabletown.
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For most of this series, Batman and Bigby have been sniffing around each other while Bookworm plotted in the background. Now it feels like the creative team went "Wait, we're almost at the finish line" and kicked everything into high gear.
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For those comparing this book to Hitch's other recent DC work in Hawkman, you'll find Hitch is showing off some very different strengths here. There's much less bombastic action, instead, many more subtle character moments and detailed crime scenes. It also seems to be very much about the relationship between Batman and Alfred " making it an odd choice timeline-wise, unless it's intended as a tribute to the butler.
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Ellis seems to be building to a slow-burn confrontation between Batman and this new cult of enemies, but when the title does show off its action chops, it delivers some of the best action on the stands.
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Overall, this is a fast-paced first issue that drops a whole lot of twists and sets up some intriguing new directions, but its roots as a dark-and-edgy reboot hold it back a little. The cliffhanger was predictable, but I'm not sure it'll push this story forward. Still, overall intriguing.
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There are some genuinely emotional moments, but the entire subplot of the ghostly/holographic Joker who has been haunting Bruce continues to be a weird vestigial tail for the franchise that takes on another strange element this month.
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This story is very clearly out of continuity, and that allows it to be highly unpredictable. The creative team has done more than enough to keep me hooked.
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Overall, this series has some great visuals and ideas, but its tone is always just a little odd and that keeps it from quite getting to A-tier.
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Robertson's art is an odd fit for this book, looking a bit too photorealistic on some of the characters like Jackson, but when he gets to go big and strange, it's the perfect match for Whitta's writing.
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This version of Batman sort of lives down to all the bad hot takes about him being a mentally ill rich dude who beats up the poor, and the story doesn't quite live up to the brilliant art for me.
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Overall, as a video game tie-in I'm not sure of the link, but this would work just as well if it was just a new evergreen Bat-comic.
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The penultimate issue of this video game tie-in continues to be strong, with the flashback segments delving into an era where Gotham was a waystation for freed and escaped slavesand brutal slave-hunters who didn't care whether a Black person had the right paperwork or not.
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The conclusion to this video game tie-in continues to deliver a compelling story that has more on its mind than the game.
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It's an impressively paced thriller, but it's lacking anything much to connect to at the moment.
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The art drives this series, but the story is pretty strong too. It reminds me a little of Robinson's Two-Face story in Detective Comics, in that it's an intimate spotlight on Batman and one of his long-term villains. Strong art and a compelling story lift this above similar stories.
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Overall, aside from the Orlando story, most of these tales are good but not great. That one, though, is worth the price of admission alone.
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Even as a video game tie-in, it's a highly effective story that makes me want to see this rivalry play out over the coming issues. Much stronger than past Batman video game tie-ins.
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Easily the standout Batman comic that DC has done through its digital-first line, Batman: Sins of the Father, which was designed as only a bridge comic for the next Batman: The Telltale Series game is quickly turning into a very interesting story about revenge, family legacy, and how far Batman will go to protect those he cares about.
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This remains one of the best versions of Batman we've gotten in modern history, a fitting tribute to the animated series. Let's hope it is coming back for a season three so we can continue to explore the world the writers created.
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Another major Bat-villain makes his debut in the cliffhanger, as this series continues to be intrigued. However, the colorful stylings don't exactly match up with the tone of the audio drama to my eye.
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This comic is a little all over the place in terms of plotting, but some of its many subplots really hit well.
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The art style is great and the plot is fast-paced. I think this issue benefited from not having to split its focus nearly as much as the last two did, with two strong central plots.
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All in all, this continues to paint a picture of a Gotham that's just slightly askew from the one we know.
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The visual sense of this world is great, and a lot of plots are converging for a final issueI'm just hoping it doesn't end in a cliffhanger for the podcast.
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There are so many players in this story that it's a little bit of a mess, but it has one big thing going for ita fascinating aesthetic that reminds me a lot of the world of Batman '66 with a darker edge.
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This series has been rather melancholy and cerebral over its run, spending a lot of time in therapy sessions and dark reflection. But when the action picks up, it REALLY picks up. Andrea Sorrentino is a master of comics, and his brutal fight scenes manage to capture every nuance of Gotham's darkness.
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This is a very political comic and seems to have a lot to say. Does it always land? No, but it does some very interesting things while it tries.
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The title's been flagging a bit in the middle, but this last act feels like it'll be as strong as the kickoff.
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This alternate universe hasn't fully won me over yet, but this is one of the most intriguing chapters it's had in a while.
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This first issue is laid back but a little rushed in how quickly Harley gets back into the game, and the last scene feels forced. Still, this Harley has a vintage Dini/Timm-verse feel. She's less crazy and violent than some versions, but prone to obsession and mood swings. I don't think this first issue is quite as polished as the two minis before it, but fans of the universe will enjoy it.
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The penultimate issue of this spin-off from the White Knight verse is one of the best issues yet, with chaotic twists at every turn and the surprising appearance of several fan-favorites.
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A new chapter in the White Knight verse opens, and this one has two new creators on boardco-writer Clay McCormack and artist Simone Di Meo, both of whom bring some interesting edge to Jason Todd's story. While this is a White Knight story, it has relatively little to do with the main narrative.
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I'm not sure how much this will play into future stories of White Knight, but based on it I would like to see McCormack write Jason more in the main universe.
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Black Adam really isn't the focus here, but the impact he had on the world is. While Malik White is a compelling character, I don't think he quite connects in the same way as a lead the way the Deathstroke cast did yet.
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Maxine's recruitment into the Justice Society has some nice moments particularly watching her find her confidence, but it feels a lot like other teen superhero coming-of-age stories we've seen.
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This segment of the story is very action-heavy, as Al gives away his location almost immediately and winds up in a pitched battle between rival gangs. The comic has amped up his powers quite a bit, giving him near-invulnerability when he's powered up and letting him grow to near-Kaiju levels. But with twenty pages or so of him in a warehouse fighting gangsters, there isn't all that much meat here.
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Some writers can step back into a character after decades with ease, and Isabella's return makes it feel like he and his most iconic character never left.
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There is a lot going on here, and much of it is completely original stuff Brown is adding to the character's mythology. Valentine De Landro's gritty art is a highlight, and the story is a little scattered but more than compelling enough for me to want to see where the heck Brown is going with this.
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This issue does a lot of heavy lifting and sets us up for a great finale.
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It's the final issue before this series spins out into Aquamen in two weeks, and the conclusion of Black Manta's adventure is compelling if a bit overstuffed.
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Overall, it's a bit of a slow start, but it has some intriguing lead characters and a fast-paced feel that keeps the sense of danger going strong to the cliffhanger.
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So the stakes are definitely raised this issue, but this story sort of feels disconnected from the Wildstorm universe as a wholemaybe by design.
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Geoffrey Thorne had the challenging job of introducing us to a whole group of reinvented characters in this series, and while the first half of the series was a bit leisurely at times, this fourth issue makes up for it.
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This issue shows that the bones of a great all-ages comic are in this book, but it never quite reached its potential until it was too late.
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After last issue's high-intensity chase through the Egyptian pyramids, everyone is recoveringand Jaime is figuring out how far he's willing to go to take down the Blood Scarab. Along the way, some surprising connections emerge.
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So far, this series has been a slight improvement over the first, thanks to a fuller supporting cast that includes Paco and Brenda, but when this crisis is over, I'm hoping we can pay a visit back to El Paso.
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It's a promising start, but it feels like Jaime is moving backwards in some ways so far.
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Overall, this continues to be a fun series, although one that definitely cuts Jaime down a bit and makes him seem more like a rookie than I would expect. There is also a fair bit of unsubtitled Spanish in the English version, so have a translator nearby if you don't speak it. Any quibbles aside, it is still very good to see this character get the spotlight for the first time since Rebirth.
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This series is a lot of fun, but being half over it feels like a whole lot of plots are converging without really connecting.
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Overall, this issue was sort of an appetizer for what's sure to be a massive showdown with the Horizon next issue.
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It's more of a setup issue, but one that absolutely does its job at getting me excited.
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Overall, I did very much enjoy this issue, but there's a lot to resolve in only forty more pages.
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What stands out about this book compared to the other three books in the line is how quick a read it is. It's a very conventional story, a boy's coming of age as he tries to unlock the mystery around him. Tim Hunter is a compelling lead character, and the story has some great character driven moments. Unlike the other three books, it doesn't feel like there's some grand mystery to be unlocked.
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Overall, Tim's story continues to intrigue me, but I'm not sure the deliberate pace fully works for the series. Still, the line as a whole remains a strong read.
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It's a slow burn of a comic, but one that's kept moving by its compelling main character and its strong ongoing mysteries.
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The satire feels a bit obvious at points, and the villains are maybe a bit too cartoonishly vile, but this is a strong start. This is a comic about a very different kind of border opening, and I'm intrigued so far.
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Strong, if imperfect start.
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This first arc spent a little too much time wallowing in the twisted evil of its villain, but I'm excited to see where it goes next.
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Visually, it's a fantastic issue, and that makes up for the slightly thin story. But I'm hoping that the next issue makes this a little more than a generic Catwoman vs. Penguin story, as Joelle Jones' take on Selina has been very good so far and I'm ready to see it take on some more ambitious storylines.
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Catwoman #10 jumps around nearly as much as a Christopher Nolan movie, starting in the thick of the action with one of Selina's allies in the back of a truck as Selina and one of her allies play their part in a high-end art auction. Jumping back and forth, we're introduced to these two characters before their story actually begins. It's a tricky way to kick off the issue, but I think it works " letting us follow along with their adventures and get to know them through their actions.
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This arc has been a fun return to form for the series after the overcomplicated last arc, and it's good to see Selina in her element as a thief again. But the main villain and pacing need some work.
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Ram V, coming off his highly effective Justice League Dark annual two weeks ago, seems to have become a regular co-writer on this title as Joelle Jones only does half the issues or so. I'm not sure who does a better job, but V's issues are definitely more what long-time readers of the character will expect " high-octane caper action.
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After spinning its wheels for a while, with Catwoman #18 this title feels like it's getting on track with Joelle Jones back at the helm and a ticking clock before Selina dovetails back into the Bat-books for the upcoming Batman/Catwoman.
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Joelle Jones concludes her run on Catwoman this week with Catwoman #21. The title will be playing host to anthology stories over the next few months " and while the final issue has all the problems of the series-long plot that's been dominating, it also has some really great moments that speak to Selina's character and some brilliant art by Fernando Blanco.
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Still, as a down-and-dirty guilty pleasure, this run has potential.
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Tini Howard's writing always had pulpy elements to it, but she's able to embrace them a lot more in this comic than she was in her Marvel work. Not everyone will enjoy it, but I do think it fits a Catwoman book pretty well"although it seems to be making a clean break from the previous run in a very decisive way, both in supporting cast and characterization.
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Overall, it's a fun issue that makes for a good break from the regular noir action.
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The ending hints that Batman will be re-entering the title next issue, and overall this run continues to be a solid return to status quo for Selinaeven if it never approaches the characters' best runs.
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It's a fun run overall, but I'm not quite sure who I'm supposed to be invested in long-term.
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Batman, Eiko Hasigawa, and Valmont all make appearances as Selina puts her team together for the big 50th-issue showdown, and this continues to be an entertaining series overall.
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The big anniversary issue of Tini Howard's Catwoman sends the story into a new era, as every major subplot in the run collides in one epic showdown.
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I'm enjoying the new team-up of Eiko and Dario, although their plot is mostly just skulking around Gotham and arguing with gangsters. The best part of this story is Dario's confrontation with Noah, which is very satisfying.
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The two stories often feel a little disconnected, but there are a few more links in this issuebuilding to a surprise twist in the end that may be bringing an end to Selina's time behind bars.
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This is a fast-paced, pulpy issue that calls back to Selina's classic adventures. While it's a lot faster-paced than the previous arcs, it almost rushes through some events and setup.
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Overall, this is a tense and pulpy issue with a fun last-second twist that keeps the format from getting stale, but Flamingo is a villain I never found all that interesting, similar to Pyg.
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After last month's brutal tale of Selina in a Chernobyl-like nuclear wasteland, this issue almost feels funny and chaotic at points, with her escaping and then going back for the documentary film, annoyed all the way.
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It's an entertaining if a truly bizarre issue that sort of loses the focus on the characters.
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This series has been fantastic with the bizarre, surreal visuals, but it also doesn't seem quite as grounded in the relationship between Cave and his daughter as the previous twelve did.
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This title is a little hard to understand at times, but its metaphors are usually perfect.
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I'm not sure this has the momentum to work as an event, given how long it's been since the first chapter, but the team is talented enough for me to want to see it through.
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Overall, it's an intriguing series, but a third of the way through the story, it feels like it's revealing its secrets very slowly. Not unusual for the creative team.
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The last of the three Asian-American heroes introduced as part of a new initiative for DC, City Boy has flown a little under-the-radar but has a fascinating set of powers and a compelling backstory.
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This series has been doing some very interesting things with the concepts of transhumanism and AI, as Cyborg finds himself up against a villain who comes from the brain patterns of his father's rival Markusall the while Markus is still alive and being hunted by himself.
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DC has been trying to make the character a solo hero and headliner for a while, and this mini was the first where I really feel like they had a good hook for him.
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It's a slower burn than the other Hill House books, but it's a very intriguing one that seems to be building to something special. The Sea Dogs backup, dealing with the aftermath of a murder, continues to slowly chug along but seems no closer to delivering the big scares it promised.
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This probably qualifies less as a horror comic than any other member of the Hill House line, but that doesn't stop it from being a compelling story of a young girl's coming of age in a haunted town filled with dangers.
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A Constantine appearance jazzes things up, and a touching reveal at the end brings things home nicely, but this story does seem like it's mostly about putting pieces of the puzzle into place for the final issue of the main event.
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This is the third of the Dark Crisis tie-ins focusing on the heroes who vanished in the wake of Pariah's attack, and its the first one that really doesn't hit on all cylinders.
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This first issue had some surprising bumps, but it's clear Fitzmartin loves this era and I'm excited to see this story unfold.
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It's hard to judge this comic yet, because it feels like we're being kept at arm's length, but it's highly intriguing.
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This is a much-needed follow-up for the characters, but I'm hoping they can grow from it and spin out into a regular series.
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So why does this issue ultimately work a little better than I had expected? Simplewhen it focuses on the main three boys, Fitzmartin does have a pretty solid handle on them.
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I know the Batman Who Laughs isn't for everyone, and while I love that character, Robin King may be a step too far into splatterpunk for my tastes. The ending has a clever twist and Riley Rossmo's art is perfectly suited for the story, but it's not entirely to my taste.
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Fun, cheery stuff from a book about a talking robot dog, but surprisingly well-written!
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The first half feels almost laid-back, but when the team heads to Arkham Asylum to put down an outbreak of Semblance-empowered villains, things pick up in a big way. It's not a natural fusion, but the creative team has a good handle on everyone involved.
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This issue, much like the last two, has a problem with too much exposition, given how long RWBY has been going. However, its use of fables that reflect not just the characters of RWBY, but the heroes of the DCU, is clever.
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It's all sort of ridiculous, as it should be, but Bruce Campbell has been spending his whole life taking the ridiculous and making it surprisingly creepy and effective. This is a bizarre project, but one that's off to a strong start.
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Campbell continues to surprise in terms of how good he is at writing comic scripts, although I don't know how much story there is in this concept beyond the excellent, gruesome art.
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This is a fun comic, one that never quite feels like horror, but that's something Campbell is familiar with in his most famous franchise.
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It's a fun comic, and judged as Bruce Campbell's first comic work, it's definitely impressive. Now to see how he brings it home next issue.
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Overall, this feels more like a new animated spin-off than an Elseworlds, but maybe that's what it's going forand it's pretty good at the tone it's going for.
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Overall, this book is strong enough to be more than its accessible concept hints at.
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With only six issues, it doesn't quite feel like this had time to set up its world and its characters fully, but it remains a fun side-story for the DCU with a lot of great visuals.
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Overall, Porter has created an appealing alternate universe with shades of Pacific Rim and Japanese series like Gundam. The main thing holding it back is that it's only six issues, and as such can't really fully explore many of its concepts.
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Overall, it's a fun read, but so quick that I wouldn't say it's a must-buy. The art is excellent, though.
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It's never a great sign when a maxiseries starts making creative team changes midway through. Even if everyone involved is highly talented, it never bodes well for consistency. Otto Schmidt is joined this issue by Simone Di Meo, and while both artists are excellent, their style doesn't quite mesh.
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This issue is a pretty major jump from the last installment, which makes me wonder if the main series will pick up from here as well. I don't think it has quite as much depth as DCeased yet, but it's overall strong so far.
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It can be a little hard to follow at times due to the fast pace, but the last page has a shocking cliffhanger.
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Overall, this series feels like a side story to the much bigger one going on in the main title, but it remains fairly compelling with dramatic fight scenes and some creepy jump scares.
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Overall, I'm not sure DC's Crimes of Passion works particularly well as a Valentine's Day special, unless you've been through a bad breakup. The happy endings are few and far between, with Slam Bradley and Wildcat probably having the best outings. But as a noir/crime collection, almost every story hits the mark and leaves you wishing a few of the stories had some more room to breather.
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This is an unapologetically gruesome, horrific story where heroes die quickly and horribly and there are few happy endings.
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Tom Taylor's hard-edged zombie thriller, DCeased, enters its second half as one of the biggest breakout hits DC has had in a while, and it's not hard to see why " if you like pitch-black zombie action, this book fills the gap of the recently departed The Walking Dead while also delivering on Taylor's skill for character-driven emotion and interaction.
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Overall, this is a solid start, although this first issue doesn't exactly give us too much new. Still, it is very interesting to see just how normal Slade was before he became the Terminator, and the odds are this series is going to be a fascinating descent into madness.
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This story has been a lot more muddled than Priest's usual, but the quality of his writing mostly pulls it off.
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It's a mess so far, but it's a highly entertaining mess and one that seems like it's going to make use of a lot of both characters' complex histories.
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This is very much a conspiracy theory with some great action mixed in, and a surprising guest star in the last act took me by surprise. But while the characterization is very solid, there isn't really too much that's new in this.
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The main thing that holds my interest here is his businesslike but deeply enmeshed relationship with Wintergreen, who is quickly becoming his only real connection left, as the two of them rocket towards an explosive confrontation with their target and potentially rival assassins.
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This title wraps up with this issue, although in many ways its main narrative ended with Shadow War and this Deathstroke: Year One story has been a completely different book.
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The final chapter of "Fall of the Batmen", Batman: Detective Comics #973 brings with it some of the series' best action, great star turns for several characters " and a potentially character-destroying moment that will turn many fans against one of DC's best characters.
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I don't think the plot in this issue is all that strong, but the mood is. Moreci's an experienced horror and suspense writer, and it shows.
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I think this story might read better in trade overall.
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There's nothing groundbreaking here, but Robinson is one of the few writers who seems to understand how significant Harvey Dent was to Bruce Wayne's earlier years, and the complex battle between them is far more interesting to me than Joker ever is. Based on that alone, the coin-flip on this arc comes up positive.
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Detective Comics #994 sets up a solid run, bringing the title back to its roots as a detective comic, but it also suffers from its proximity to The Batman Who Laughs #1 " both featuring a very specific story involving a body designed to mimic someone very close to Batman.
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All hell is about to break loose in Gotham in more than one book, so a breather issue pitting Batman against his nemesis is a fun change of pace.
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It's creepy, certainly, and the snow and ice effects in Doug Mahnke's art are excellent, but this Freeze is so far gone it's hard to empathize with him like you can in the best Freeze stories.
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This issue isn't one of Tomasi's best, mainly because the villain seems more of a gruesome placeholder than a genuine threat, but the character work is strong and I'm looking forward to how Tomasi and Tynion work together to evolve Batman's world.
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This run has been stronger when it focuses on stand-alone mysteries and cases rather than big plots involving iconic rogues. I don't think this was one of the strongest stories (unlike the recent Spectre tale), but it delivers spooky action that feels a lot more like a Halloween tale than a Winter Solstice special.
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This is a fast-paced issue that delivers in action, and artist Brad Walker is a great choice to illustrate the various fights. But it's felt like this title has been playing second fiddle to the main narrative in the Bat-verse for a while, and it doesn't seem like that's going to change as it becomes a tie-in for the next few months.
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A fun issue, but as a Joker War tie-in it's really more of a side story that leads into bigger upcoming plots. Still, any comic with Rookie vs. zombies gets my recommendation.
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I'm not sure if this story needs this many tie-ins"so far Tynion has been delivering a tense and effective story in the main book without too many unanswered questions"but most of them have been quality and the chaos of Gotham is guaranteed to deliver some good thrills.
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It's a decent story, but not up to the title's usual standard.
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Twelve issues is a long time to carry a single story through, and the final issue of Shadows of the Bat shows that it's possible to succeed with thatand it's also possible to trip at the last lap.
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Meridian has been a fairly ambiguous character over the course of this run, and this issue definitely takes her in a darker direction. Talia's involvement (which seems to be a guarantee every time Nadia Shammas writes a DC comic) also makes her more morally twisted than she's been in recent comics, and sort of flies in the face of her characterization in the last act of Shadow War.
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This is probably the most compelling issue of Tomasi's run so far, but it's also an issue that suffers from some bad timing.
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DC's quarterly anthologies have become one of their recent highlights, with most of the recent offerings having at least one gem and many being strong through the entire 80-page volume. That's the case again for this offbeat animal-themed anthology, Dog Days of Summer #1, which unites some of the biggest furry and scaly stars in the DCU for adventures in every genre.
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It's a bit hard to read this story now that so much of it has already played out, but it stands on its own decently. I don't know if we'll ever get a volume two, but I'd be intrigued to see where it goes.
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Doom Patrol has always been an experimental title, but it's never gone quite as far down the rabbit hole as Doom Patrol: Weight of the Worlds #3, which has a guest co-writer in Steve Orlando and a guest artist in Doc Shaner.
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I'm not sure how this run is coming together as a whole, but this issue does a good job of celebrating the franchise's fans.
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Overall, while the pacing of this first issue might need a little work, its characters are compelling enough to drive the concept for the rest of the series.
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The villain of this series, the mysterious Dr. Chung, finally takes center-stage this issue and his motivation is revealedand it's not what I expected at all.
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These are some strong characters, and I don't know if six issues was enough for this story.
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Overall, this is more compelling than the Batwoman issue, but doesn't really stand on its own the way the Stargirl or Legends of Tomorrow installments worked if you're not a hardcore CW-verse fan.
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It's a complex series, and not everything lands,but when it does, it's something great.
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Magdalene Visaggio's Young Animal title is best described as Kirby by way of dark character study, and that works a lot better than it sounds in Eternity Girl #3.
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We've got one issue to go and I have no idea how we're getting a satisfying conclusion. It's a bit clumsy, but I can't say it's not a fascinating experimental read. For that alone, I hope DC takes more chances on books like this.
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One of the most oddball Young Animal titles yet and somehow also the most human, Eternity Girl #6 brings Mags Visaggio and Sonny Liew's cosmic story of depression and identity to a satisfying close.
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Coming off the excellent Superman: Leviathan Rising, I was intrigued by how the first issue of Brian Michael Bendis' first official event comic for DC would be. After reading it " well, it's very much a Bendis comic. In fact, it's probably the most Bendis Bendis comic I've read in a long time.
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Exit Stage Left: The Snagglepuss Chronicles #2, the second issue of Hanna-Barbera's politically relevant reinvention of its famous southern cat, brings with it more showdowns, more unfortunate fates for funny animals, and a new backup.
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Exit Stage Left: The Snagglepuss Chronicles is a series with a lot on its mind, and if it doesn't quite land its allegory as brilliantly as Jetsons does, it's still a unique and worthy read.
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As Mark Russell's reinvention of classic gay-coded Hanna-Barbera character Snagglepuss enters its second half with Snagglepuss Chronicles #4, this is a series with a lot on its mind as it takes on some of the ugliest moments in Twentieth Century history.
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It's the conclusion in Exit Stage Left: The Snagglepuss Chronicles #6, Mark Russell's historical, melancholy trip into the history of the Cold War, the red scare, and the gay rights movement as told through obscure Hanna-Barbera characters. If you told me that I would love a comic with that logline, I would laugh at you, but Russell is nothing if not the king of DC political satire at the moment.
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Despite all the chaos this issue, it doesn't feel like we're all that closer to the resolution, which makes me worry that the final issue will be rushed. Of course, given the artist pulling double duty with a huge book at the competition and the writer's actions, who knows when we'll get the conclusion.
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It's much more Gilmore Girls/Northern Exposure than it is a superhero comic, but it started to win me over by the endand Natacha Bustos' art is perfectly suited for it. There are shades of both Maguire and Amanda Conner in it, but it's its own wonderfully colorful thing and really elevates the story.
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The JLI always played more broadly than most superheroes, but I have a hard time even recognizing this version of Fire. The quality is good, but I'm not sure it works as a continuation for the characters.
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I'm not sure about the direction Williamson has been taking Barry, tearing his life down, but there's no question his villains are top-notch.
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The new setting has given this book a new lease on life.
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There's a lot of twists and turns in this issue, and while the story is a little jumbled at times, it's still easily the best run on Flash we've had in a long time. Williamson is finally putting the epic scale back in the Flash's world.
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This issue feels a little scattered at times, combining a lot of plots and jumping back and forth. But it's setting up another strong central plot in a larger narrative. This book is always consistent.
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Nothing bad in this issue, but it definitely is more of a quiet issue before the next big story.
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It's tense, dramatic, and certainly drawn well, but the more character-driven tension earlier in the issue is much more dramatic. Still, Williamson is getting the best potential out of the Heroes in Crisis event so far.
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I'm not sure this sold me entirely on Trickster 1.0 as a serious villain, especially as I grew up with the more sympathetic version. But I'm along for the ride.
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It's not the strongest issue of the series, but it does its job in setting up suspense in spades.
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This was just a teaser for what Shinick has planned for his run and the main plot kicks off next issue, but it's a promising start. I'm just not sure if more is planned beyond the four issues we have announced before Endless Winter.
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This is part one of three before the title shifts to Endless Winter, and the threat here seems to be big enough to justify a whole arc. It's the kind of clever old-school story that shows what a hero does when a new villain (or old villain) sends them firmly out of their depths.
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This is definitely a much more conventional Flash story than the epics Williamson worked with, but I don't think there's anything wrong with that. A hero's strength is often determined by how he handles his villains, especially those lesser villains who he fights repeatedly. Shinick, who has experience with DC characters, seems to have a good voice for Flash and his supporting cast and I wouldn't be surprised to see him on more DC stories once Future State is over.
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This definitely feels like an old-school Flash story, and one that nicely sets up the next chapter of Barry and Iris' relationship. Next up is Endless Winter and then a Future State story, but whoever the next Flash writer is long-term will have a strong foundation to build on.
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Overall, it's a fun comic but I'm still not sure it's fully working as a Flash comic"especially since I'm not sure who our lead actually is.
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Like the rest of this run, it feels like it could have come out of a pre-Infinite Crisis time capsule. Whether that's something that'll actually work for you will depend on just how much you love Wally West.
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The main thrust here seems to be that the Speed Force is a wildly powerful and unpredictable forceand now something horrific might be emerging from it. The final visuals of this issue are deeply disturbing, plunging this issue into the realm of full-on horror. It's clear that's what this creative team wanted to go forI'm just not sure how well it works yet.
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The end of this issue makes a lot of things clearer and gives us our first clear look at the main villain of the run, and the art by Mike Deodato continues to be incredibly surreal and creepy. But ultimately, Spurrier is doing a lot here, and trying to fuse two tastes that go great on their own, but don't always go great together. It's the most experimental DC run I've seen in a while.
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This final issue hit most of the right notes for saying goodbye to the previous version of Wally West. I'm not sure this character really squared with what he became in Heroes in Crisis, but I do think it's a fitting tribute to the pre-Flashpoint version of the character.
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The comic does a good job of showing the potential of Barry's powers, and humanizes the villain nicely with an excellent post-script. It also feels like a very complete one-issue story, which makes me wonder what the plan is for the next two issues. I'm not sure if we'll ever see this movie as planned, but this is a solid prequel.
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The final issue of this prequel to the upcoming moviewhich I'm not sure will ever be released in its current formcontinues to be an entertaining read only held back by its ties to a continuity that doesn't fit with anything else.
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The ending segment, involving the Bruce Wayne Batman and the eccentric child time traveler, continues to be intriguing, but overall this series isn't quite living up to the success of its predecessor yet. Maybe it's the three different writers, but it's not gelling together cohesively as one narrative.
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This isn't a perfect comic, as we don't really get to know either of the two teams in the issue, but it does a very good job of immersing us in its disturbing world. We're immediately invested, and that's a big part of success.
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Birdman started out this arc as the Future Quest character I was least interested in, but Hester and Rude turned that around. This series continues to impress all around.
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Animan is probably the most twisted and dangerous villain this series has had yet, and the issue does a great job of fleshing out the Herculoids. And Lopresti's art continues to be perfect for paying tribute to these classic characters.
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The majority of this issue is a high-speed race to survive, brilliantly illustrated by Aaron Lopresti.
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It's not one of the best Future State tie-ins of the week, but it has its high points especially in the stunning art from Wonder Woman: Tempest Tossed artist Leila Del Duca.
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This issue is maybe a little too one-note gritty at points, but it has a good hook for a solo adventure for Nightwing. The Gotham stories continue to be the most well-thought-out of the line so far.
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Solid start, with a very intriguing last-page twist.
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It's a visual feast, but the story definitely feels like it plunks us into the middle of a story we don't know about yet. I'm intrigued, but not 100% sold yet.
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This is a comic that has a lot going for it, but it goes in some very strange directions too. Writer Brandon Thomas is best known for dark, challenging indie comics. He's never written an Aquaman story here, but he slips into the mythology pretty neatly for a story focusing on an older Jackson Hyde.
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This series doesn't break any new ground, but it really doesn't need to. Of all the Gotham stories of Future State, this is the most "meat and potatoes""an old-school vigilante team-up against the forces of the Magistrate.
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The second half of this Wonder Woman spotlight continues the strengths of the first chapter, but it's a very unconventional story.
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The second chapter of Jon Kent's journey is much stronger than the first.
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There is a lot to like in this gritty tale of a rookie Batman trying to survive in a police-state Gotham, but it feels very leisurely for a four-issue miniseries.
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The conclusion of the first four-part story in Future State really emphasizes the main issue here"this is a character-driven and decompressed story that would work well as the first chapter of an extended run, but not as a stand-alone miniseries.
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The story is relatively straightforward for most of it, and Jason is a little too much of a generic action hero, but it's a pretty solid sequel to the Future State status quo"even if it's barely scratching the surface.
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Overall, there's really nothing wrong here but it doesn't break any new ground either.
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With so many players, the book can feel jumbled at times, but the kinetic black-and-white art is a strong point.
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It's maybe a little too frantic at times, but it works as a fun, no-holds-barred look into Gotham's future.
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No one in this series is particularly likable, but almost everyone has their own honorable agenda to some degreewhich makes this coming family feud all the more tragic.
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With two different evil Batmen facing off at the end of the issue, it's a recipe for tragedyespecially given how close these two were in other timelines. But there's no question it's an entertaining story as we head to the finish line.
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It ultimately turned out to be a bleak but compelling story of just how hard it is to change a corrupt system.
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With only two issues and spaced a few months apart, this doesn't feel like a core part of DC continuity. It feels more like a tribute to the many eras of DC Comics it celebrates before everything gets reshuffled again for Infinite Frontier. And on that front, we can definitely call this story a win.
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I'm not sure what the process that the three writers went through for this script was, but it's turned into a pretty entertaining throwback.
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It's not quite on par with Bombshells or Injustice yet, for me, but it's getting there.
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Where this series has always shined is when it dials back the action a bit and explores these alternate versions of our favorite characters, and that makes this probably the best issue of the series.
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This series keeps on building and is definitely one of the books to watch right now.
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It's a unique twist on the Superman mythology, and while this series may have been short-lived, it comes together into a solid and entertaining whole.
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There's some lost potential in this story, but there's also a real sense of urgency. Combined with Amancay Nahuelpan's vivid art that captures the horror of the events effectively, this series is off to an intriguing start.
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I think Orlando's building to something special here, but it might be largely impenetrable to all but the most hardcore fans.
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Steve Orlando has been riffing off Grant Morrison's work in several of his runs to great effect, and that continues with Gotham City Monsters #4, the fourth issue of this offbeat Gotham-set miniseries. Not only are elements of the supernatural side of Gotham a common refrain in Morrison's Bat-verse, but this book is working as a stealth sequel to one of Morrison's most ambitious works " Seven Soldiers, which introduced us to this version of Constantine.
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Gotham City Monsters #5, the penultimate issue of this horror-themed miniseries has done what few comics are able to " take a group of C-to-Z-listers and make them a compelling team.
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This run has its ups and downs, but as it enters its final act, it's heading there on a high.
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Green Arrow #38 is the conclusion of Ben Percy's run on Green Arrow, and it ends pretty much as it spent the entire run " imperfect, but with a good core and very entertaining.
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As a fill-in, it's not one of the stand-out arcs in the series, but it does deliver a satisfying conclusion, even if it continues to be odd just how many-years-old stories are suddenly being revisited.
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As Green Arrow gets ready to wrap up its current run, returning guest writers Lanzing and Kelly have delivered a tense and exciting penultimate arc lifted a lot by the brilliant art of Javier Fernandez.
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This is a slightly odd issue, as there's a lot of things reminding you that it's a delayed book, but ultimately it's a fun Arrow-family adventure that lets almost everyone have a moment to shine.
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The Benson sisters, recently of Batgirl and the Birds of Prey, are jumping onto Green Arrow in a few months and this annual serves as a preview. It's also a tie-in with Justice League: No Justice " oddly, coming out the week that the main event closes but set during the events of the first issue. It's also, to my eye, a significant level-up over the Bensons' previous work.
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It's the kind of bold experimental storytelling that Morrison is known for, and it's definitely the best Green Lantern run since the heyday of the Johns run.
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It's a fast-paced, tense story that's torn in many different directions so far, but it's definitely holding my interest.
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It's an exciting run, but it's still sort of hard to see how this will lead to a new long-term status quo.
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With allies and potential enemies lurking overhead, it's a high-octane issue with the fate of what's left of the Corps and Oa itself at stake.
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It's rare to see Kaiju-level battles in this title, so the visuals are a ton of fun, although Koyos remains a fairly thin villain.
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Unfortunately, it seems like nuance goes out of the window a little bit when dealing with the Red Tide.
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As this run enters its final act, I don't think it's quite on the level of Humphries' gamechanging run, but it's done a good job of expanding Simon and Jessica's worlds for the future.
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There's a lot going on in this issue, and one of the most unlikely and entertaining dynamics is the team-up between John Constantine and Sara Cruz, as she tries to help the mage make contact with where her sister is trapped.
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Although there's a guest writer on this issue, it actually does feel like a close to Seeley's run, and it's looking like a strong finish.
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This is a really odd turn of events in Green Lanterns #49, as it seems like this current storyline involving the impurity in Jessica Cruz's ring will play out over not two but three writers' runs. Tim Seeley set it up, Aaron Gillespie took over, and it'll continue into Dan Jurgens' run.
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Two issues in, it's very clear that Dan Jurgens' Green Lanterns is much more of a Green Lantern Corps title than the Simon-and-Jessica-centric title that it was for the first forty-nine issues. It's a pretty darn good Green Lantern Corps title so far, filled with high stakes and thrills. However, although Simon and Jessica remain prominent fixtures in the book, it feels like a much less unique title than it used to be.
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This definitely isn't the same book (and we now know that this book is ending in a few months), but it's become a pretty effective tale of the Green Lantern Corps.
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A thrilling installment with a strong twist ending, Dan Jurgens continues to guide Green Lanterns towards the finish line with his trademark style.
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Overall, a decent issue, but this series still lacks the punch of its sister series.
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It's been a while since John and Kyle, in particular, got to shine, so this issue should be a treat for longtime readers.
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The conclusion of the "Twilight of the Guardians" storyline in Hal Jordan and the Green Lantern Corps #36 brings explosive action, as always, but Venditti's really found his groove with the large group of characters he has to play with " especially the core four group of Lanterns.
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I'm intrigued by where Venditti is going to take this in the last act of his run.
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The final arc of Hal Jordan and the Green Lantern Corps has brought in elements from the entire run of the series, as the advent of the Darkstars has left the Green Lanterns fleeing to any corner of the universe where they might find an ally " including among former enemies.
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This title looks like it's heading for one hell of a final act.
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This is ultimately a story about the meaning of justice, and I think it might be a little too action-packed and widescreen to really get that across. There's no question it's an entertaining visual feast, and as the whole Green Lantern line gets ready to close up shop for a big revamp, I expect this series will finish strong.
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Venditti's run had its ups and downs, but it was never less than entertaining, and the finale certainly delivered.
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This series has been no-holds-barred since the first page of the first issue, but that means it's also sacrificed some character beats that Static and Icon's series have done a little better. But it's a strong read with a lot of room to grow.
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The action picks up in a big way, but it's a little surprising just how little we seem to know about Curtis over this series. Unlike Icon and Static, he seems less of a fleshed-out character than a charismatic player in an already ongoing drama.
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It doesn't feel like this book has set up quite as much as Static or Icon & Rocket did in their runs, but it does feel like he's shaping up to be a major player in the universe going forward.
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Overall, I don't think it hooked me quite as much as the recent Icon and Rocket series did, but it seems like all three of these and the new arrivals in wave two are leading up to something bigger.
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Harleen #3, Stepan Sejic's final chapter in the evolution of Harley Quinn is a dark, disturbing dive into madness that shows us the origins of not one but two DC villains. It's a jarring read because it is so different than any Harley comic we've seen recently.
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It's all completely ridiculous, and we could use a little more of that in comics. Archie continues to take a lot of chances lately, and they usually pay off.
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After a few entertaining issues that maybe dragged out the body-swap plotline a bit too much, Harley and Ivy Meet Betty and Veronica #5 speeds up its plot in a big way with this packed issue that brings the two groups of gal pals together again for team-ups and betrayals.
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Really, the plot here isn't great. It never was. It's a fairly standard "scrappy underdogs try to save nature from big business" plot with some colorful villains. But it works surprisingly well because of just how well the four main characters play together.
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The ending is a head-scratcher, a big twist that seems like it might be too big to resolve with only one issue left. But an ambitious final issue is a good sign that DC is ready to build on the success of this series and give us more of these two as a pairing.
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Not exactly what I was hoping for, but a strong finish that leaves the door open for a future reunion.
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This is essentially a road-trip comedy issue, combining a lot of sight gags with some surprisingly emotional moments as Harley, Ivy, Tony, and Queenie head to Florida to meet with Harley's family.
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After an iffy first arc, the last issue of Frank Tieri's run showed some real promise as our big bad was introduced " and Harley Quinn #38 takes that promise and builds on it, delivering a chaotic, villain-themed issue that brings back some oddball old favorites and also promises a twist for one of Gotham's most misused villains.
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The trial story is going on a bit too long, but I like how Humphries uses it as background for Harley's personal struggles. Only the Batman team-up arc has really nailed that dynamic in the last few issues, but the story as a whole remains compelling.
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Even though the execution isn't quite up to Humphries' level, is there a better title to tell ridiculous stories like this?
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This isn't a bad issue by any stretch, but I have a really hard time believing that Phillips would ever kill Kevin off this soon into the run, which takes some of the sting out of the issue. I'm thoroughly enjoying Phillips' take on Harley, but the sooner Keepsake is gone from this series, the sooner it can go back to being great.
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The third part of this monthly event has two artists on board, and that's part of the reason it doesn't work quite as well as it could.
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The penultimate chapter of the Task Force XX storyline and the last to take place in the main book, this installment continues the strengths of the past chapters.
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It's a weird story, maybe too weird, but Sweeney Boo's art somehow perfectly sells it.
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This series is maybe trying to do a little too much, but even if it comes off as overly chaotic, it's a good time every issue.
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Despite the truly bizarre plot in this issue, I did enjoy a lot of the quieter moments, including the reunion between Harley and Ivy even if the crisis is far from over.
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Dini manages to update one of his most iconic creations while not losing what made her a hit in the first place.
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A new Hawkman series was always going to be a hard sell, but Venditti and Hitch give us a first issue that is exciting, intriguing, and easy to understand. That's a good way to start.
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Over the last few issues, this series has become more plot-heavy and improved as a result. This issue feels like a step back, relying more on Bryan Hitch's spectacular visuals and a lot of splash pages as the Deathbringers descend.
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It's impressive that Hitch has drawn every issue of this series, a big change from his aborted Justice League of America run before Rebirth, and his art hasn't suffered at all. Every issue of this series has been epic in its own way. But after the cosmic adventures of the previous issues, the big showdown on Earth this issue doesn't have quite the same dynamic energy.
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From the start the story has ridden high on one factor " just how good Venditti is at differentiating the countless Hawkmen, giving each of them their own personality. As it reaches its grand finale, it seems like that's going to continue even while the main threat remains vague. Still the most compelling Hawkman has been in well over a decade.
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Venditti has done more in these fourteen issues to expand Hawkman's mythology than any writer since Geoff Johns.
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The idea of these heroes being hijacked by the villain of another title has the potential to derail some interesting stories, but this first issue handles it well enough. I don't envy the juggling act the writers will have ahead of them in the coming months, though.
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Venditti continues to prove he can write a strong, large-scale Hawkman title.
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The return of a new Hawkwoman " definitely not Kendra, and it doesn't quite look like the antihero version from Justice League a few months back " ups the stakes as the twisted Hawkman is pitted against one of the most important people in all his lives. It's a clever idea, but the tone in this issue isn't quite sure what it wants to be yet.
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Venditti's stopped trying to simplify the concept of Hawkman and embraced the weird, cosmic legacy element that makes it stand out.
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The addition of Hawkwoman has given it a new lease on life, but it's still rarely as compelling as when it focuses on the diverse past lives of its lead characters and takes us to different worlds and times. No other book like it when it's on its game.
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It's not the best thing to come out of this line of characters (that would be the phenomenal current She-Ra reboot on Netflix), but it's a worthy successor to the last mini and further proof of how much fun Seeley has playing around with these characters.
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This comic is a bit jumbled, like most multiversal team-ups are, and I think it'll be best appreciated by those very versed in the lore of Eternia. The good news is, even for newbies to this '80s franchise, it's full of enough exciting bits and intriguing characters to make it a fun read.
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One of the oddest projects to come out of the DC stable in recent months, He-Man and the Masters of the Multiverse from Tim Seeley has nonetheless turned into a compelling take on the alternate versions of the iconic Hanna-Barbera hero.
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This is an odd comic, combining DC's multiverse theory with a plot heavily reliant on the multiple versions of an 80s cartoon, but it's unlike anything else on the stands.
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Overall, this series has a strong central concept, but may have gone on an issue or two too long. I'm not the most versed in the mythology of He-Man, so I might be missing a few in-jokes, but the world has a rich mythology and this series asks some interesting questions. Just a shame it can't cross over with the best material related to the property in decades, over on Netflix.
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Tim Seeley's return in The Hellblazer #20 is off to a good start, as he brings a more superhero sensibility to Constantine without losing what makes him work " namely, weird, gothic, British horror.
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I'm not sure that any take on Constantine in the DCU has fully worked besides Tynion and Doyle's, but Seeley is much closer than most.
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This is how you do Constantine in the DCU without watering him down.
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I think making Constantine work in the DCU is always a tricky balancing act, but Seeley has probably done a better job than anyone besides Tynion/Doyle. Tynion is taking the character back for Justice League Dark soon, but this is a strong run to go out on.
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Overall, this is a strong finale to the series with one glaring flaw.
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This is overall a very high-quality issue, but I'm not sure King's style works as well with widescreen action as it does with intimate thrillers, and this series will need to become great to justify the senseless death it's built around.
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There's a ton of potential and some great moments here, but right now it feels like an odd fusion of a character-driven King thriller and an event comic, and I'm not sure either part works 100%.
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The ending delivers a massive clue as to the culprit's identity, and to say it's going to be controversial will be putting it lightly. But this issue is definitely a big improvement.
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As Heroes in Crisis reaches the two-thirds mark, I think I consistently feel the same way about it " it's a strong character-driven work with some brilliant moments mixed in, but I have a hard time getting into it because of the sense of endless, pervasive doom.
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Heroes in Crisis continues to be one of the most frustrating series in the DC stable, because even when I disagree massively with the direction it's taking with characters, I still have to admire the quality of storytelling.
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This is a fascinatingly creepy concept, but unlike Border Town, it feels a bit like a slim one. I'm not sure how much mileage this comic can get out of the story before things go to hell and the witches exact their bloody vengeance, but I have a feeling it's going to be a very entertaining ride when it happens.
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The latest Vertigo launch, Rob Sheridan and Barnaby Bagenda's High Level #1 is a sci-fi dystopia filled with enticing visuals that do their best to mask a fairly pedestrian story.
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This third issue is easily the most violent and disturbing of the series yet, and as such, it was my least favorite, but there's clearly a lot of mythology left to unravel here.
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Overall, though, it seems to be slowing down a little and lacks the momentum of the flagship title The Dreaming. But I'm more than intrigued enough to stick with the whole line.
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Everyone in this series " human and supernatural, good and evil " feels real, and that goes a long way towards a compelling series.
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The book doesn't feel quite as good as it did when Hopkinson was writing solo, but it's still a compelling side story to the events in The Dreaming, and I'm hoping the second arc builds on its strengths.
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House of Whispers is the densest of the four Sandman Universe titles, but it's one of the most intriguing so far with some unique stylistic shifts.
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The second of the Sandman Universe books to wrap up their first year's storyarc, House of Whispers #12 brings its current storyline to a close with a series of dramatic horror-filled gut-punches.
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It's another solid issue in the most ambitious book in this line.
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This was a breather between the many battles of gods and monsters in the past arc, but it was an enjoyable one that furthered the series' mythology.
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This isn't one of the best issues of the series, as the two plots don't exactly mesh and can feel disjointed. But the supernatural visuals are top notch and Erzulie continues to be a compelling lead. It almost feels like an anthology, as these human characters move in and out of the orbit of the Gods of the bayou.
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The reveal of Cat-thing's true identity shocks, but the plot veers in a lot of different directions. Maybe too many, but the visuals are stunning and every issue feels like going deeper down a rabbit hole.
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Hopkinson and Watters' script has always been fascinating, but the ambition may be overwhelming it at times. It's a comic full of ideas, both from the mythology of the universe they're playing with and from the darkest parts of history. Overall it works, but at times we see a segment that REALLY works and the difference is noticeable when it goes back to other segments that don't have as much time to breathe.
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The unpredictability of Tom King comics is part of what makes them so great.
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Overall, Ridley's main strength has always been character work, and that continues here. But this series has a lot to balance, taking place in the middle of Fear State and covering a lot of subplots. I'm not sure it has as clear a focus for Jace as the two previous minis yet.
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Overall, it has some strong points but it's not clicking on all cylinders yet.
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It's hard to tell how much of this story has been changed from when Jace Fox was supposed to be the main Batman of Gotham, but John Ridley is doing a good job telling a very different kind of Batman story.
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This issue has some very interesting things to say about the way mental health is dealt with in Gotham, and I'm hoping this subplot is followed up on a little down the line. We're still not at the point where I really know what the mission is for Jace as Batman, but it's a strong ensemble book right now.
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It's not a totally smooth start to a new era, but it's definitely got me intrigued.
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While it hasn't completely found its footing yet, it's giving us a solid new take on a very different Batman.
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This book has some interesting ideas, but it unfortunately suffers from pacing that doesn't let them shine.
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This is the slowest-paced issue of the book yet, but fortunately Ridley's writing is good enough to carry it through.
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I'm not sure what the next big plot here is, especially with a Dark Crisis tie-in coming, but Ridley is doing some good work building his cast.
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It's a solid book, but the Dark Crisis tie-in might step up the plotting and pace a bit.
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The main flaw with this comic is that Jace is often the least interesting character in it, and the rest of his family shines a little more.
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It's an odd issue with a lot going on, but at least it sets up some interesting stuff.
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Overall, I Am Not Starfire is a fun story that I imagine a lot of girls will see themselves in. It's not among the best of the OGNs (or even among Tamaki's OGNs) simply because it makes no apology for its often abrasive lead character. If you like her and want to take this ride with her, this is a book you'll love.
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While the cliffhanger ending was very obvious, Icon's stand on Dakota's largest bridge was one of the best action scenes in this series so far.
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The action is strong and the villains are grotesque, and the team-up element as Static and a lot of other Milestone heroes new and old enter the fray is fun. But the chaotic pace of this final issue doesn't give the characters a lot of room to breathe.
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The current main event in the Milestone universe, this wildly ambitious series is packed with ideasmaybe a few too many ideas. After all, it's not every day you see a comic that has time-travel rewriting the history of race one one hand, and a murder-mystery conspiracy in a Swiss boarding school in the other.
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Kara's journey as a character seems to be leading her towards eventually turning on the corrupting influences that found her, and that's a story I'm looking forward to seeing.
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Taylor's return to this universe has been a world of difference for the franchise.
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Although the issue has great spotlights for a lot of people, and gives Professor Ivo a decent ending to his storyarc as a patsy of Ra's, it's Kara who really gets to show off here, displaying how powerful both her heat vision and freeze breath are as she does what Zod couldn't and finishes Amazo off.
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Dex-Star is usually played for laughs, but this issue portrays him as a thoroughly dangerous Red Lantern. Moving away from the ongoing power struggle on Earth, this is a very compelling Green Lantern comic.
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As a whole, there is no way a video game tie-in should have been this good, and that's a testament to how good Tom Taylor's writing is.
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It feels like there may be a bit too much set up here initially, with Superman, Skeletor, and Darkseid all being set up as major threats. However, it's a fun, fast-paced read that gets me more interested in the Masters of the Universe than I was during any of their solo comics.
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The first of two oddball crossovers out this week from DC, this video game/cartoon team-up from Tim Seeley and Freddie Williams III continues to be a much more effective story than it has any right to be.
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The second of two Injustice books this week, Tim Seeley's bizarre but surprisingly good crossover, Injustice vs. Masters of the Universe, continues to entertain.
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This is a good example of how in the hands of a writer that cares, even the most bizarre concept can become a very good story.
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Melnikov's art is strong as usual, as he can shift environments pretty seamlessly, but the real star is Visaggio's compelling writing of Jinny and her supporting cast. It's very different from her past DC work, but no less strong.
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One thing's for sure, though " this is a darker Constantine than we've seen in years, and he's a perfect fit for the Sandman Universe line.
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The inventive horror in this series drives much of the plot, and the story can be a little murky and grim at points. But there's no question Spurrier knows Constantine inside and out.
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Considering how Constantine seems to be a chaotic agent in the main DCU at the moment, seeing him in this much grimmer, more downcast version can be jarring. But it's a compelling supernatural noir series that seems to have a lot more of a dark and magical London to explore.
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This run had a lot of big ideas, but maybe too big for a GL run set amid a company-wide reshuffling.
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It's a strange comic, but it's also a very good one " both the art and Harley's internal monologue are executed near perfectly, and the creeping sense of tension throughout works very well to get Joker's presence across without him being seen.
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I'm not sure I enjoy reading this book, but for what it's going for, it's doing it very effectively.
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This series has done a good job of building up the confrontation well in advance, showing Joker's impact including a painful segment of Harley interacting with her lost love's parents. The problem that keeps this from being a great comic, for me, is that it still doesn't feel much like a Harley story.
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A reunion with Harley goes in a very different direction than I was expecting, and this issue drives home just what a hard time Joker will have clawing his way back to the top.
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The bedraggled Gotham Joker is out of commission, so this issue is devoted almost entirely to the LA Jokerand that helps kick this issue up a few notches.
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This series continues to be one of the most ridiculous in the DC lineup, but it's slowly winning me over with just how chaotic it is.
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This is a fun comic, but it's one where the concept is carrying a lot of the weight and we still really haven't seen where it's going yet. I'm hoping the finale is as strong as the setup here.
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This crossover was never groundbreaking, but every issue was fun, action-packed, and did the characters it spotlighted justice.
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It was easy to roll my eyes when the main crisis of the issue presented itself " how many times do we see the Watchtower start to fall out of orbit per year? I'm pretty sure it's happened in Trinity, and at least once in Hitch's Justice League run recently. But Priest manages to save this time-worn plot by focusing it entirely on the members of the League stuck on the falling satellite, as they have to make hard decisions about who will live and who will die.
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Justice League #42, the penultimate issue of Priest's run before Snyder, Tynion, and Williamson come in to blow everything up, has a lot to do, and unlike most issues of his run, I'm not sure everything landed.
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As Scott Snyder continues to unfold his epic Justice League run, this is easily the most action-driven issue yet. That's both a plus and a minus " it's spectacular, but it also feels like the fastest read and the least consequential story yet.
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Black Manta's final line feels almost meme-worthy, and I'm not sure all the art shifts work, but this remains an entertaining old-school event comic, even if it's not a patch on Tynion's last event outing.
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Overall, Venditti seems most connected here to the Green Lantern characters, which isn't a big surprise given his extended history on the line. His John Stewart is very strong, although the team is down to a bare five right now (with a sixth member revealed on the cover). It's a back-to-basics run with some interesting subplots, and should keep the title strong while it waits for the next big development.
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Two issues in, it seems clear that Robert Venditti's run is going to be a no-holds-barred action extravaganza, pitting the Justice League against some of their most powerful enemies yet.
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Overall, this back-to-basics run has been entertaining, but my biggest hangup is probably Eradicator being turned SO evil that it's hard to see him ever going back to his original characterization as an antihero.
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The action comes fast and furious in Justice League #43, with characters falling and the armies on both sides shrinking blow by blow. But despite this, Venditti keeps a solid grasp on his core characters, especially Superman.
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Good use of the core characters and some genuinely thrilling monster action.
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We've seen some interesting Spectre stories lately, including a team-up with Batman, but this issue has the scale to show just how scary the character can be when used well.
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This isn't as compelling as the previous arc, which challenged the League with a thorny ethical crisis, but it's another effective fill-in arc.
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Bendis' take on the League is pretty strong so far. His take on the A-listers fits, and he's obviously having a lot of fun writing Green Arrow and Black Canary.
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Overall, it's quintessentially Bendis on a team book"you like all the characters, but you're not sure if they gel as a team.
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Bendis always plays fast and loose with timelines in his comics, and that means sometimes things can feel a little out of whack.
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Synmar, much like Rogol Zaar before him, just doesn't work that well as a villain"he's an all-powerful alien madman without the context of a Darkseid or Thanos. But the story surrounding him is pretty entertaining.
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This continues to be an odd run, with two completely different narratives going on in the main story. The one that seems to have bigger implications for the DCU is the one related to the ongoing mini-event Checkmate.
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Bendis books are instantly recognizable, as he manages to find room for lots of dialogue even in the most action-packed issues.
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Bendis continues to be great at dialogue and not so great at action and plotting, which works for a quirkier Justice League book.
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Brian Michael Bendis' Justice League run is coming to an end in a few months, and it's hard to say what the main thrust of it has been. That continues this issue, as the heroes go up against the Royal Flush Gang, which has managed to steal the Fortress of Solitude. It's caused a lot of problems, but it's also not a real threat"at least not on purpose.
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The balance between the large-scale action and the small-scale character bits is what makes this run work, but with only two issues left it feels like this arc might need a speedrun.
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A decent penultimate issue, but Bendis still has a lot to tie up.
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Brian Michael Bendis wraps up his Justice League run this issue, and it's been an odd one.
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Greene is clearly the big draw here, with fun and kinetic art that's incredibly expressive with a huge cast of characters. The plot is chaotic, more so than Bendis' stories usually are.
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Watching the heroes pushed to their limits is entertaining, although it maybe comes together in a little too easy a way, complete with the heroes talking about all they've learned at the end. It's not a groundbreaking issue by any means, but it is an effective done-in-one spotlight for the five most iconic heroes in the Justice League. Pretty much what an annual is supposed to be.
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We get a lot of action, but there's very little time to slow down and appreciate the mood. It's fun and exciting, but right now it's not much else. I'm hopeful this will turn into a deeper story as it goes on.
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The strangest issue of the series so far is also a testament to its quality, because only a book with a top-tier creative team would have been able to pull this off without being pure cringe.
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It's more than a little overstuffed, especially the back half, but it ties up a lot of subplots including the fate of Overman and leaves the League in an interesting place. J'onn in particular gets a new role that I would love to see more of if the creative team returns for another engagement.
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This team's character-driven focus has given it the distinct edge over the main JL book (although Priest's new run may just change that).
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Stephen Byrne's guest art is strong, and this is a satisfying one-off issue in between major mythology arcs.
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Orlando's tribute tour to the 90s in his various books continues, and I'm loving it.
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Steve Orlando has quickly made a name for himself as the king of 90's DC Comics deep cuts, and they don't get any deeper than the events of Justice League of America #23.
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A strong finale to the "Deadly Fable" arc in Justice League of America #20, as we now know this is the penultimate arc to Orlando's run.
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The final arc brings in a classic Atom and JL villain for an arc that promises to deliver more twists. I'm hoping there's room for an oddball JL book like this in the DC line in the future.
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Chronos is one of those villains that is a compelling adversary, but not exactly a compelling character. Still, as a villain to bring the concept of the run full circle and provide a final trial by fire for Ryan, he works pretty well.
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Overall, with one issue to go, this series may not have been perfect, but it calls back to the classic Justice League runs that featured odd characters playing off the icons. I'm hoping Orlando gets a big new project soon, and that the upcoming titles keep some of this series' spirit.
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Steve Orlando's Justice League of America comes to a satisfying close in Justice League of America #29, as the Justice League line wraps up in preparation for May's "No Justice" event.
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A story about Lobo's love for space dolphins could easily be absurd and pointless, but Orlando uses it to give the ultra-violent 90s icon a bit of nuance that makes this a very entertaining issue. It's certainly not like anything else you'll read this week.
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At the very least, it's delivering some fun, over-the-top adventure.
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Still, it's hard to complain about a comic that involves Superman and Godzilla punching each other with some great artwork, and that's exactly what this book delivers.
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Like the series that preceded it, it's fine, but often gets lost in just how much it's trying to do in a single issue. Hopefully the plot that comes will live up to its highly regarded predecessor of a Legion storyline.
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When Brian Michael Bendis has a big cast to work with, the plot can get a little chaotic. Fortunately, this miniseries has a pretty good hook to set up a crossover"albeit, one that feels more like a setup for a meet-and-greet than a showdown.
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The last run left us with a lot of unanswered questions, and the tone of this first issue is sometimes a bit too jokey. But Williamson seems to be setting himself up as the architect of the future of the DCU, and this is another promising start to a new chapter.
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One of the chaotic books to come out of DC in a long time, this comic has delivered whiplash with every issue. Coming off a multiverse-hopping issue, though, this one is surprisingly laid back"even as it delivers some massive exposition about the future of the DCU.
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This is an intriguing cosmic adventure with a tight cast of misfit characters.
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Justice League Odyssey, Joshua Williamson's ambitious deep-space adventure title isn't so much a Justice League title as the title advertises " it actually has more in common with Guardians of the Galaxy.
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After taking a year and a variety of creative teams to get here, Justice League Odyssey delivers a strong climatic issue to its first major storyline in Justice League Odyssey #12 " but the events that happen within seem so destined to be reversed that it sort of blunts the impact.
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Big reveals about Jessica's new powers round out the issue, which is probably the most entertaining one of the series. It feels more like a Jessica Cruz comic than it has in a while, and the other three leads never quite clicked as protagonists in a space story. I'm hoping refocusing the story around Jess will give it a burst of energy as it enters its second year.
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This is easily the best the series has been.
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Taking most of the heroes off the table has upped the stakes, and this title is continuing to evolve into one of the bigger comeback storiees of the year.
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Changing up the cast has done wonders for this title, including Justice League Odyssey #17. An overly dense narrative transforming Cyborg, Starfire, and Azrael into Gods had been replaced by an entertaining Jessica Cruz underdog story.
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Ever since all the more-established heroes in Justice League Odyssey were sidelined by Darkseid's plot, Dan Abnett's space-faring adventure has come into its own as an underdog sci-fi epic " even as it feels more and more disconnected from the main DCU.
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Justice League Odyssey #18 continues the book's transformation into an unpredictable underdog space adventure, but also reminds us that the bigger plots that kicked this series off are still lurking in the background.
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It's an odd little side story in the DCU, but one that's gotten consistently more entertaining.
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It's definitely setting us up for an intriguing battle, even if neither is particularly worth rooting for right now. And that might be the point.
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Really, what makes this a compelling story is that Tim Seeley is very much in his element hereworking with primal fears and horror movie tropes in an unconventional setting. It calls back to the way he began his career, with indie sensation Hack/Slash, and that gives this series a bit more of an edge that many of the other tie-ins lack.
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If anything, this feels more like a Black Label alternate take on Catwoman than an event tie-in. Still, the art by Leila Leiz has a great noir feel to it, and this first issue is intriguing enough to make me very curious about the second issue.
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The visuals are nice and creepy thanks to Hayden Sherman, but this issue never really picks up a feeling of intensity or horror.
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Overall, it's good but doesn't hit the highs of some of the other tie-ins.
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This issue doesn't have any big reveals about Ivy's character or give her any real catharsis, but it does have her realize some interesting things about what she wants in life. The fact that she has to split the focus of the issue with Janet kind of makes things feel a little incomplete at times, but it sets both of them up for more creepy adventures in the coming arc.
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Rosenberg's Joker series has had some issues until this point, with the split between the two Jokers making it hard to know who we're actually supposed to be following. But this issue tightens the focus and gives us a fun focus on just how disturbing Joker is when he's pretending to be sane.
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We're still relatively new to this version of the Titans, but both Constant and Shannon and Dean Hale have gotten to play in this sandbox already. That everyone's succeeded is a good sign for the title.
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Legion of Super-Heroes: Millennium #2, the second part of Bendis' prelude to his upcoming Legion title, has all the same problems as the first " namely, it's not a Legion comic.
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If there is any property where Bendis' tendency to have characters talk at each other could spiral out of control, it's the one with a cast of thousands, as in Legion of Super-Heroes #2. Despite that, the first two issues of Bendis reinventing the Legion have been a lot of fun " with a few exceptions.
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The previous arc, which dealt with Computo getting Jon up to speed, was a little slow. This one is much more like what a Legion title should be, and the last few pages have a nice twist that shows how the Legion can be a game-changer for a devastated Earth. I don't know if Bendis plans to stay on the Legion after he wraps his Superman run, but he has a good handle on this unique world.
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The Legion is known for a lot of things, but one of their most iconic features"besides new member auditions"is probably their often raucous leadership elections. Bendis gets to show us one of those Bendis-style for the first time this issue, as Cosmic Boy's tenure by acclamation is challenged for the first time.
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Overall, it's a fun issue that's a great spotlight for some of the most brilliant artists working in the industry " Jeff Lemire and David Mack in the same issue! But the script isn't quite up to the level of the murderer's row of talent here.
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The first miniseries felt like a slow-burn detective story that didn't quite click given the stakes. This one feels like a high-octane spy thriller, and it's off to a strong start.
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The scenes between Lois and her sister in the wake have some raw grief to them, but overall this is a break from the more-compelling main story.
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Greg Rucka's Lois Lane #8 continues the pattern of the series " it's a great Greg Rucka comic, but I'm not sure it's a great Lois Lane comic.
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It's tightly plotted and the craft is top-notch, but with only three issues to go it's hard to see how he can tie everything up. I wouldn't be surprised if the ending is as ambiguous and frustrating as real-life often is.
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It's an odd title, but one that serves as a strong spotlight for some of Rucka's best characters.
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As we reach the end of this year-long series, it's safe to say it's a good series " it's just not the good series anyone was expecting. It's less a Lois Lane spotlight than a Greg Rucka spotlight, as he brings together the key characters from every major DC run he's done for the last twenty years.
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I have a feeling we're going to get better Lois Lane stories from the OGN line sooner or later, but as a stand-alone OGN introducing kids to one of the DCU's best characters, this is a another hit from a fast-growing line with a near-perfect reputation for quality.
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Lucifer #1, the third of the Sandman Universe titles debuts, and it's by far the darkest and trickiest outing yet " a complex, mind-bending, time-travelling thriller that follows the devil himself through multiple realities.
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While Watters does a strong job on the script, it's the Fiumaras who excel this issue with their disturbing depiction of Hell. The mythology of this series is strong, and I'm excited to see where Lucifer's crucible takes him next.
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This is a slow burn, but the theological power plays at work here are fascinating.
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A gross cliffhanger is a little hard to figure out, but the story as a whole continues to deliver tension in this great battle between the kingdoms of the afterlife. Caliban in particularly is becoming one of the most compelling antagonists in this line.
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There's a little too much random gore and the earth-bound plots aren't nearly as compelling as the ones in the afterlife, but it feels like this slow-burn thriller has set its major players up for a tragic collision course in the coming issues.
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The first year of Dan Watters' supernatural thriller wraps up in Lucifer #12 with a bang, and possibly kicks off the series' biggest storyline yet in the last minute.
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I was always going to be a hard sell on any horror-based take on Man-Bat, as I love the quirky scientist version from Justice League Dark. But Dave Weilgosz' take is a flashback to before that era, and it's a compelling if conventional take on a Kirk Langstrom gone off the deep end.
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There is something fascinating being built here, a much darker and psychologically driven take on the Martian Manhunter. But I'm expecting this take on J'onn to be massively controversial and I'm not sure I'm on board yet.
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Probably the best issue yet of this series, as after two Ocean Master-centric issues, it finally feels like Mera is taking charge of her own series.
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Abnett has a good handle on Atlantis and its surrounding elements overal, and while the Corum Rath story has gone on way too long for my tastes, this story does have enough good elements to impress me.
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This is easily my favorite Didio-penned comic in recent years.
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The art by Shane Davis is dramatic and vivid as always, making this an enjoyable little side story going on at the fringes of the DCU.
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The event definitely delivers the wonder and joy and craziness of comics. (Something that's largely been missing from the Metal event.)
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But therein lies the main flaw of the book"it takes its time to get there, with ample time for a slow-burn relationship development between Scott and Barda. And that part works, but by the time we get there, the book was almost over. When we get to the last two chapters, the book enters speedrun mode, with major reveals and epic battles taking place over the last thirty pages. But as they rush us forward, major questions are left unanswered and characters make decisions that indicate they may not be that interested in the answers.
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It's been a while since a new character got a major spotlight in a solo book at DC, but you couldn't pick a better team to shepherd that than Gene Luen Yang and Bernard Chang. Spinning out of the Festival of Heroes one-shot from 2021, Monkey Prince #1 introduces us to a new DC hero who has a lot in common with characters like Peter Parker and Jaime Reyes.
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The new DC teen hero adventure by the writer of New Super-man and Superman Smashes the Klan continues to be a refreshing change of pace, swapping out any serious issues for a teen superhero adventure with some surreal mythological vibes.
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Gene Luen Yang is clearly having a lot of fun with this book, as he merges elements of superhero teen drama with a surprisingly deep plot centering around ancient Chinese mythological figures and their enemies.
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While the antagonists weren't as interesting this issue and I think Aquaman may have acted a little out of character at times, the main characters are fun enough that the book gets a lot of rope from me.
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Despite the massive status quo changes, this run feels very consistent with the last one and is recommended for any fans of it. I also enjoyed the oddball backup, dealing with how this new Gotham is marketed " and by who.
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As Mother Panic's final arc (for now) enters its second half, this is easily the darkest issue of the series yet, introducing twisted new versions of both Gotham heroes and villains with Gotham A.D. Yet, even amid this bleak tone it manages to come up with inventive twists and some truly great moments.
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There's a lot happening in this issue, but she never loses sight of the emotional core of the story even as the events happen a mile a minute.
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This is a fast-paced comic with a big cast, so everyone is sort of competing for page time. However, I already like just about every gender-flipped hero in this book, and that goes a long way to getting me invested in a team.
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Overall this plot is fun, although it's hard to take it seriously when one of the main villains is an evil squirrel.
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While there are so many plot elements in this issue that they often feel rushed and some remain unfinished for a second installment, this issue does do a good job of broadening the universe they exist in.
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DC's seasonal anthologies have been a fun, offbeat treat from the company every few months " combining short stories from top talent with a great spotlight for up-and-coming creators. That continues with the eight stories in this sci-fi Valentine's Day special, although it at times feels like a bit more of a shaggy dog than previous volumes.
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Overall, this issue ends almost as soon as it began with a dramatic cliffhanger, but what it lacks in serious plot development it makes up for in a compelling lead character. Following Naomi only six issues at a time may be blunting this story's momentum a little bit, but it's good to have the one survivor of the Wonder Comics line back.
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After a very leisurely first issue, we get some serious plot development this month as Naomi finds out that much of what she knows about her friend Dee is a lie.
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So far, this series has been a fascinating look at a very intimate mystery, but I'm not sure it's entirely coming together so far.
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The biggest complaint about this book is that its plot is very slow-moving, and this issue bears that outaside from a brief action scene involving Cyborg and Naomi trying to escape a hostile portal, this issue is almost all dialogue. The good news is, it doesn't need to be great at action to really work.
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Bendis and Walker obviously have big plans for her in the DCU, but four issues in I couldn't tell you what they were if I tried. I like the series, but with only two issues left and Campbell committed to another series after this, I'm worried about getting a satisfying resolution.
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We're two-thirds of the way through this long-awaited second series, and it feels like the plot is finally getting started.
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The pacing of this series has really held it back from fully exploring its new lead character, with much of her development happening in other series like Justice League. Despite that, this final issue finds its footing even if it has to rush some developments.
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We are promised a sequel, and Naomi's story will likely continue elsewhere, but I'm sorry to see it go " and it still feels like we've just gotten to know Naomi and her world.
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After a first issue that mostly focused on one member of the team and set up a version of the Challengers of the Unknown that was unlike anything we'd seen before, this second issue kicks the concept into high gear and finds its footing as one of the better members of the New Age of DC Heroes line.
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Overall, this remains one of the stronger books in the line. Iit's a wild, twisty " maybe a bit too twisty " callback to a bygone era.
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New Challengers has been a little slow to unfold, but it's turned into a compelling story about life, death, and what people would do with a second chance.
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In contrast to Damage, New Challengers is almost overwhelming with the amount of plot it is trying to pack into a six-issue miniseries.
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It's dipped a little from the first few issues, but it's still a highly compelling read.
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A tense, non-stop showdown with one of the deadliest villains Nightwing has ever faced in Bludhaven, it's a strong opening act " but as an only act, it sort of feels like this run won't leave a lasting stamp on Nightwing once it's done.
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What makes this issue work is that it calls back to what pre-Rebirth writers seemed to remember " Dick is as much a mentor and as much family to Damian as Bruce is, being the one who initially trained him as Robin and looked after him while Bruce was gone in time.
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Percy does a good job with Silencer, although she's far away from her family and status quo.
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What I am invested in is just how Dick is going to get out of this brainwashing plot. The entire story makes a lot more sense when you realize it's not just guided amnesia " it's a plot to break one of the DCU's best heroes.
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It's been a long time coming, but it seems like the Ric Grayson era is finally coming to an end as Dan Jurgens peels back the layers of Nightwing's memories in Nightwing #68.
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As the doors close on the Ric Grayson era, Dan Jurgens has one last adventure up his sleeve starting in Nightwing #69. It's pretty amazing what he's done with this status quo, tying it all into the Court of Owls mythology and closing many of the old holes in the concept.
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Ryan Benjamin, guest-drawing on this issue, draws a suitably creepy Joker. Things seem to be getting back to normal for Nightwing slowly, but that doesn't mean the stakes are any lower.
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It's a fast-paced story that serves as the perfect lead-in to "Joker War" and another indication that the momentum has shifted on this title. Dick will be back where he should be soon, and I hope Jurgens gets to continue his run away from the Ric Grayson era.
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Jurgens has turned this book around pretty significantly from its low point, and the Ric Grayson era will never be a classic but it's been redeemed with the last few twists in a big way.
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Overall good issue, as Jurgens continues to rise above the status quo.
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Jurgens has made this whole era somewhat more compelling, and now it looks like he's going to bring it home with a major story that will hopefully restore the Nightwing we all love.
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This is an enjoyable issue for old-school Nightwing fans who remember his long-running '90s series.
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Wrapping up the recent collection of Nubia one-shots and minis, this two-story oversized anthology is basically an annual but doesn't have a regular title to come out of.
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There's some incredibly intriguing stuff going on here, but this issue doesn't quite let it shine all the time.
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It's a good chapter in a larger story, but it doesn't quite live up to the first miniseries.
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There is a lot of promise in this concept, but it needs to be careful that it keeps the focus on the system"because this issue felt a little too much like we were supposed to be laughing at the heroes.
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Like many of Russell's works, he does a great job of getting his point about the world across. I'm not sure this one quite gets the characters it's using to tell it, though.
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It's overall a solid issue, although it feels more like Russell riffing on tech issues than telling an actual story with these characters.
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Russell is telling a pretty compelling story here about the impact of app-based service websites, but much like some of Tom King's work, it often feels like characters are being used to tell a story rather than the story being about them.
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Russell's satire has felt a little darker, a little more caustic lately, and it doesn't work quite as well as some of his brilliant past work.
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Unlike Cover, Bendis and Gaydos' Pearl is a very conventional comic, exactly the kind you'd expect to get from these creators. That doesn't mean it's not a good comic " it is exceptionally put together, with some of the best art I've seen from Gaydos in quite some time " but it's also not holding many surprises.
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Overall, it's an intriguing start to a rare solo spotlight for one of comics' best supporting cast members.
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Amid the crazy spycraft, there is a strong emotional core that makes it easy for us to relate to Alfred and get invested in his battleeven if he still feels like an odd fit for the sci-fi story about supersoldiers.
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Gail Simone's ability to fuse comedy with tension is on full display in Plastic Man #4, as we get some big reveals and a few old Simone favorites show up to play.
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While Gail Simone is great at comedy, she also has an excellent handle on the dark and creepy. This issue combines the two neatly.
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Fans will not be happy to see where Wilson leaves Harley and Ivy in all of this, but that's really the only way we could get this fascinating, flawed, and incredibly dark story to where it's going.
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It feels like commentary in search of a story, but the overall concept of the series is strong. I'm hoping the addition of Harley to the title will help it get back the momentum of the first arc.
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While the action is okay, there are a lot of interesting things around the fringes of this issue.
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The first arc of this new title wraps up with a bang, as Power Girl's attempt to help a dying Kryptonian lion has ended with her being possessed by a vicious symbiotic beingwho proceeds to hijack her body and immediately use it to attack Superman.
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The normalized LGBT representation and the interaction of the young heroes here make this a very entertaining read, and I'm hoping the last arc keeps the focus on this new dynamic.
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This series started a bit slow, taking way too long to kick off Winters' plot, but now that it's going strong it's the best use of Raven's character in years.
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The first Raven miniseries a few years back had some pacing issues, but this one is heading towards a very strong conclusion.
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Surprisingly, ever since this current arc of Red Hood and the Outlaws has begun, this has been one of DC's most improved books.
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This arc has easily been the most compelling this title has been.
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This series continues to improve, and I'm hopeful it'll stay strong.
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Ever since Lobdell began his overarching arc dealing with Bizarro, Red Hood and the Outlaws has been far stronger than it has in any previous incarnation. Still, there's a few lingering problems that hold it back, particularly most things to do with Artemis.
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This issue goes into those tests a little more, and provides some good characterization for the Robins, but it's hurt by the fact that each of these characters have key, character-defining stories going on in other books right now.
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This book can have an almost chaotic feel at times, and its characters have a harsher edge than they do in other books. But as this issue proves, it always keeps us guessing and the second half of the book will carry a lot of weight if its reveals turn out to be genuine.
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It's an overall strong comic, although it feels rather out of continuity in several ways and the title villain has barely appeared two issues in. Hopefully it finishes strong.
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Tim Seeley has been slowly unwrapping an intriguing mystery over the course of this digital-first series, but he's played with format in some intriguing ways that can compromise the pacing.
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Overall, the best part of this book is simply watching Dick, Jason, Tim, Steph, and Damian interact like the oddball siblings they are.
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Scooby-Doo Team-Up is serving a great purpose by introducing a new generation of readers to some of the less familiar inhabitants of the DCU, and for that alone it's a worthy read.
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I can see this issue being a great way to introduce young readers to the Birds.
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The title overall continues to deliver amusing stories that pay tribute to an era of cartoons that not many people are still watching. And it's one of the DCU's longest-running continuously running comics without a relaunch right now!
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I struggle to see how Castellucci is going to wrap this all up in only one more issue, but it's been a hell of a ride so far.
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I like what Johns is going for here, but it still doesn't match the pure iconic fun of the Jerry Ordway run from the 1990s.
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All writers have "tells" on their runs, and mythology has become one of Geoff Johns' biggest. He never saw a major DC property that he didn't want to take and make much bigger, much more epic.
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There's a lot to like in this series, but the first arc is overall a bit too overstuffed.
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Sideways #1, the third entry in the "New Age of DC Heroes" lineup is my favorite of the three.
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This book is finding its groove, and it just may have some legs to its story.
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I'm not sure about the four-page backup (by the same creative team) that recaps Derek's origin from his perspective, but the issue overall is a win for DC.
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Of the entire line, this is right next to The Terrifics for me as the best.
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There's an overarching mystery involving Derek's mother's employers and their interest in Derek, but I wouldn't be nearly as invested if this title hadn't done a good job of getting us invested in Derek's story in the first place. Aside from The Terrifics, this is probably my favorite of the line.
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Some of the funniest villains from DC history and various cartoons are unitedand the craziest part is, their plan is effective enough that it could be a genuine threat for the next four issues.
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The oddball coalition of villains including Music Meister and Mad Mod is fun, but the story is a little too overwhelmingly fast-paced for the scenes to always land as well as they should.
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This issue is all about teamworkfor good and badas the heroes find their bond fraying.
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Static and his friends head into their most intense battle yet this issue, as the brilliant Nikolas Draper-Ivey takes over on art.
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Ayala has done a great job of setting up the network of family and friends that makes Static's mission possible, the social climate is only getting more tense, and a terrifying page hints at the arrival of Static's deadliest enemy. Bring on season two.
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This book is a little rough at times, maybe due to having a writer new to comics, but it has some great elements that are keeping me interested.
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There's maybe a little too much going on in this series, with it following up on so many plots and old series, but it's a compelling spotlight for one of the DCU's best characters to spin out of Reign of the Supermen thirty years back.
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It's not a patch on the inventive Tom Taylor run, but it's more intriguing than any of the Squad runs from the years before.
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A new Suicide Squad miniseries that focuses on the magical side of the property, this is essentially a combination of two completely different miniseries into one oversized package. It's also, surprisingly, one of the most interesting Suicide Squad stories I've read in a while.
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While the narrative has some hiccups, it's still a compelling read that benefits from having a genuinely terrifying antagonist mostly kept in the shadows.
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The story gets a little wordy as it winds down, grounding itself in the thoughts of one slightly annoying man. It's also really clearly out of continuity towards the end, more so than your average Black Label series. But it's gritty, brutal, and the art is absolutely brilliantultimately turning into a story with shades of classics like Miracleman with a DC/Suicide Squad twist.
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While this take on Joker seems a bit too Leto-inspired, it does seem like this is a quality Red Hood comic that lets the character cut loose.
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This Superboy is a throwback to his 1990s incarnation, complete with leather jacket and a whole lot of sass.
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The action scenes are a lot of fun, with Superboy using some powers and techniques he hasn't in a long time.
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Orlando and Houser's Supergirl has been very good, but their Kara Danvers has been fantastic.
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Overall, Kara's journey through space continues to be a winning plot for this series.
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This issue sometimes flags a little in the main sci-fi plot, but there's always some great character-driven underpinnings that keep it compelling.
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As usual with Supergirl #32, this title is better than the parent title, but it also suffers from a lot of the same problems keeping it from reaching its potential.
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Jody Houser has the challenging task in Supergirl #38 of turning Supergirl into a thrall of the Batman Who Laughs while also maintaining her as the protagonist as her own title " and making us want to read the character in this state. I think she's overall succeeding, although this second issue isn't quite as compelling as the first of this run.
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Diana does a solid job of getting to the core of Kara's vulnerability that has let the villain get into her head " unlike Superman, she never quite feels at home on Earth and always worried Earth sees her as a threat. Karas's inner monologue is strong, and this issue has done the best job yet of getting inside how the Infected minds' work. The only issue is " it doesn't quite end, instead spinning off into an already-concluded miniseries.
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The story this issue will remind a lot of people of classic tales like "The Kid Who Collects Spider-Man" or the fan-favorite "Metropolis Mailbag" issues that Dan Jurgens did yearly back in the day.
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James Robinson's other DC title at the moment has been subject to some very critical words from us here at GeekDad, but surprisingly, his two-issue run on Superman has worked really well for me.
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If this issue makes a case for anything, it's that the Superfamily status quo really works, and hopefully, Bendis will keep it intact.
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No big surprises in this issue, but all three tales are fun, classic Superman with a good 90's vibe right before Bendis upends everything.
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Superman #4 is easily Bendis' best issue of this title, although it still hasn't reached the character-driven heights of his Action Comics run.
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The addition of General Zod to this title has been a breath of fresh air, as the ruthless Kryptonian military man has been the perfect foil to the rambling, incoherent villainy of the sadistic Rogol Zaar.
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This run still doesn't work quite as well as Bendis' other DC titles at the moment, but this is my favorite arc yet.
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Superman #13 is one of the better issues of Bendis' Superman run, and ironically, it involves almost no Superman.
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The problems I have with this issue are two-fold " first, Rogol Zaar is still boring, and two, the eventual decision of Jon to leave with the Legion just feels like the conclusion to Bendis' ongoing trouble with writing Superman as a dad. Still, this is one of the better issues of the run in scope and powerful scenes.
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Very little happens in this issue, but it feels like no scene is wasted. It's a good start to a wildly risky storyline.
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The fusion of the high-stakes space storyline with the journalism story is intriguing, and it's a new wrinkle on how people will react to the identity reveal. But it doesn't quite match up to what Bendis and his co-writers do in Superman: Heroes this week.
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It's interesting that Bendis likes to keep Superman and Lois apart " not separated emotionally, but with their close bond as a married couple constantly tested by physical distance.
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This storyline would be a lot more effective if Xanadoth didn't come off like the ultimate in stock magical bad guys. He talks like an '80s cartoon villain and doesn't look much different. But there's an interesting twist regarding the character that comes into play at the end of the issue.
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There are a lot of double-page spreads in this oversized comic, but too many of them are just static shots without any real action.
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Overall, this issue has some compelling dialogue, but feels more like a preview for things to come. Synmar definitely feels like a stronger villain out of the gate than Rogol Zaar did, at least.
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As Brian Michael Bendis begins his final arc on Superman, the new villain Synmar is headed for Earth with one purpose"to destroy Superman for what the explosion of Krypton did to him and his world. But while Ivan Reis gets to draw some excellent battle sequences at the start and end of the issue, the best parts of the script are the quieter ones as we see more of the fallout of Superman's decision to reveal his secret identity.
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There are some great moments in this issue, but it often feels like the end of an act"not the end of a run as a whole. I'm not sure where Bendis lands after this run, but I hope he gets to continue to place his stamp on the DCU.
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The art by Steve Lieber is easily the highlight of the issue, especially in the double-paged spread of the history of the Luthor and Olsen clans, and it's great to see the artist paired with a writer who knows how to bring out the best in his style.
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This feels like a much better experiment than it does a story at the moment.
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This is a sweet ending to a series that often had a bitter edge, and it feels like an experiment that worked about fifty percent of the time. There were moments of brilliance, and moments that felt completely wrong for a Superman story " especially one geared towards a wide audience of casual new readers.
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As we pass the halfway point of this miniseries, the intensity definitely steps up.
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Overall, this series did a good job of expanding the mythology of Azrael, but there was so much going on that it often felt like he was playing second-fiddle.
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Some of these Dark Multiverse one-shots feel like they could use a lot more, and others felt like they didn't need to exist at all. This is one of the former, and it ends on a good note with a suitably twisted ending, but I can't help but feel like there's a lot more to see.
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A fifty-page delve into the worst-case scenarios of the DCU may not be to everyone's tastes, but if you like your alternate futures with a taste of the macabre, this new anthology series is off to a good start.
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This oversized one-shot is sort of a speedrun through the entire Flashpoint world, as Eobard encounters Thomas, the evil Aquaman and Wonder Woman, and the emaciated Superman who has been held prisoner his whole life.
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It's not up to the level of the other horror title this week, but the chaotic fast pace is a lot of fun.
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As this series goes on, it wavers between being an ultraviolent and edgy series and one that has just a little something extra that makes it enjoyable. This issue steps over the line into the latter, as Jason tries to escape from a close encounter with the secondary Suicide Squad led by KG Beast that was deployed against him.
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Overall, it's a fun and chaotic issue that delivers in action and disturbing visuals, and I think it's picking up as the series goes on.
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It's fast-paced and highly entertaining all the way, with Bloom making a truly hate-able villain and Jason getting to do what he does bestblow things up.
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This chaotic zombie thriller had so many twists and turns that it was hard to keep track at times, but it comes together in a surprisingly solid final issue as Mr. Bloom unleashes his secret weapon and Jason Todd battles to survive.
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This title seems to be making headway in giving itself more of a genuinely young vibe, which is what every TT book needs to succeed.
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This issue has a mostly light touch that benefits it, but while it's one of my favorite issues of the series, I think it accents the fact that this team never really worked as a unit " their best issue is the one where they're barely together.
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Ultimately, this works well as a soft, romantic meeting for the two leads, but the plot elements are rushed. How much this affects things depends on one big question"is this truly the end of the trilogy? A lot is unresolved and it feels set up for a sequel, including a very specific character's introduction. Overall, fans of the first two installments will find another winner here.
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It takes a while for the main plot to get going, as the biggest threat in the first half of the book is a sneering high school bully and the tensest segment involves stealing a giant snake from a nearby college. With a strong animal-rights message, it's a good setup for Gar's future as a superhero animal-lover.
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This does feel a little slight coming after the brilliant Riddler issue last month, and the villain isn't really given much context, but it's another fun issue in one of the most unexpected team-up books at DC in recent years.
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There are some really fun effects this issue, including an attack of a creature right out of Attack of the Killer Tomatoes, but there's also no real mystery here and the issue spends a little too much time focusing on how itchy everyone is.
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The eventual reveal comes a bit out of nowhere and is a little silly, but this continues to be a fun issue.
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Overall, this series knows what its audience is and all the writers hit the right notes.
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Overall, this issue sort of has one joke and its replacement Mystery Machine crew don't make much of an impression, but it has a more unique mystery than many of the recent issues.
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This is a particularly fast-paced issue, with a more serious villain than the usual fare who wastes no time in exposing himself in his plan for revenge. The stakes are a little higher, but the ending has a great dose of karma for our evil clown mastermind.
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There are a few clever little details about how everyone finds out the villain's identity, but this is one of those issues that feels very much like a traditional Scooby Doo mystery just with Batman on board as well. It's fun, but it doesn't quite have the levels of DC mythology this series can hit when it's at its best.
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Fun story introducing the concept of Grundy to young readers, but even Scoob could solve this one!
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It's generally not a good sign when it's a third into the miniseries and the two title characters have barely met, but the combination of Liam Sharp's fantastic art and a compelling mystery that combines the worlds of Batman and Wonder Woman sells me on The Brave and the Bold: Batman and Wonder Woman #2.
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More characters, better action and a richer mythology " it took a while, but this could be catching up to Jordan's other New Age of DC Heroes comic, Sideways.
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The New Age of DC Heroes books have been all over the place with their artists, but I can safely say I was not expecting to see a comic book legend like Denys Cowan stop in for a stint on The Curse of Brimstone. He's done work for DC on the recent Deathstroke Annual, but this is such a random choice. And, as it turns out, a brilliant one for the demonic thriller's most horror-based issue yet.
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Changing the location from the Dreaming to the human world has robbed this arc of some of its brilliant surrealism, but it makes up for it with a human touch and keeps this series going strong.
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There's a lot of unanswered questions here, but unlike some of its sister books, it seems to be in a hurry to answer them and give us some more.
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The Dreaming is a mind-bender of a book, taking place across multiple dimensions with dozens of characters, and at times the very nature of reality is bending.
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Its dense plotting and spectacular visuals are its selling point, but it'll be interesting to see if Wilson's new take can create a stronger personal connection.
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It's one of the odder issues of the series, but seems to set up a lot of intriguing plot threads.
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I wish this wasn't the first major story we've seen Jaime in in years, but it's definitely the strongest of the Infected issues. I hope it's the start of more Jaime Reyes storys by this creative team without him as a bug monster.
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Overall, Gordon doesn't seem as far gone as some of the Infected " really, only Shazam has been turned into a fully converted villain with no hesitation " so watching him slowly fall from grace is intriguing. Overall, these one-shots rarely seem like they're telling their own story, though.
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Of all the Hill House books, it has one of the best senses of place, making the small town almost a character in its own right. It hasn't had a weak issue yet.
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There are some persistent hiccups that need to be ironed out, but I'm still intrigued by everything Bendis is doing here, and I'm excited to see how the final third of this series plays out.
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While this series from John Ridley has been one of DC's best books for its first two issues, this installment loses its footing a bit due to one major sin"too much ambition.
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It's a compelling look at how someone can start out with a good motivation, but become so obsessed that it turns into something far worse.
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The best thing this comic has going for it is the intensely moody art and the writer being very acquainted with the character as he makes his final descent into madness.
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This series' biggest strength has largely been the brilliant art by Stevan Subic, feeling as gritty as this twisted take on Gotham deserves. Aside from that, how much you enjoy this series will likely depend on how much time you want to spend with The Riddler in this version, and even at the end I'm not sure the answer to that question.
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This series started off a bit rocky, but it's reclaiming the quality of the first mini as it enters the second act.
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Five issues in, it feels like The Silencer is finding its groove as one of the most compelling and entertaining of the new characters introduced in the New Age of DC Heroes.
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This issue is so strong because it keeps the contrast between Honor's two lives on display " it's hard to get away from the family life when it's on the same plane, and the assassin life keeps finding her. The best thing this series has going for it is Honor being a unique and compelling character, and I'm hoping this new arc abroad stays as strong as it began.
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It's not one of DC's best books yet " the villains are fairly generic and the plot doesn't advance as fast as I'd like " but a strong lead character goes a long way to making it work.
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The Silencer hops around a lot in terms of genre " sometimes it's a hard-boiled suspense thriller! Sometimes it's a family drama! " but in terms of things I never expected to see in this series, it's a Freaky Friday homage.
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We're getting some major plot advancement, and it's great to see Honor in her element again " if the cliffhanger is any indication, she's got a lot of fighting to do next issue.
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This is probably the best example of the series living up to its potential, so it's a shame it comes right at the end.
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This flashback annual turns back the clock to the beginning of her career, much the way the recent Damage Annual showed us Ethan Avery's first day on the job. This one is much more successful at filling in blanks and humanizing its main character, as always.
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While this isn't as strong as the rest of the series, mainly due to how chaotic the plot gets, it's still one of the most consistent books in DC's stable.
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It can often be hard to balance a cosmic story with a personal one, but Yang has been doing a good job of giving every character in the expanded Terrifics something to do.
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The Bizarro arc may have gone on a little too long, as Bizarro's quest to undo technological progress took one bizarre turn after another and sent the Terrifics on a journey through time. But the stranger it got, the more intriguing it got, and this final arc delivers a suitably bizarre conclusion in the Terrifics #24.
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he Unexpected #5 seems to finally find the series' groove, lightening up on the Morrison-esque lingo for a more accessible high-adventure story that gets the plot moving.
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Orlando is delivering a complex, often convoluted story picking up on a lot of dangling plot threads. I'm not sure it's always the most coherent story, but as it's moved on it's become a highly entertaining read.
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Overall, this series is still strong, particularly in its lead character, but it doesn't feel like it was nearly as much about Tim as it should be. While he's going through some huge changes in this series, it often feels like the story is happening around him rather than to him.
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The cancellation of this series really came out of nowhere, even more so than with Batgirls, and I don't think this final arc feels like it's actually wrapping anything up.
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Overall, this anthology didn't really live up to the quality level of past ones, but had some real high points that make it worth a recommendation.
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The ending brings in more Titans as well as a very unexpected villain, and makes me think this could be a fun, fast-paced comic. I just wish I knew a little better which versions of the characters I was supposed to be following right now, because it doesn't quite sync up with any version.
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The Titans shouldn't be a hard team to write, but the writers have found new and unique ways to mess with the team dynamic for years. No more, as going back to basics works effectively.
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The first arc didn't have a strong point of view, but grounding this one in Beast Boy's dysfunctional family and dark history have made it probably the best Titans run in several years. Jurgens has been writing DC Comics for close to thirty years now, and his old-school style hasn't lost a step. I wouldn't at all be disappointed if this book led into an ongoing for the creative team.
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Its an intriguing start, even if it does feel massively ambitious and battling with itself at times.
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There is a lot to like here, but it does feel rather scattered for an event focusing on an underused corner of the DCU.
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Yara Flor's solo series came to an abrupt end for this event, so this miniseries by Joelle Jones has to pull double duty. Not only does it have to advance Yara's story, but it also has to push the main narrative of the event forward. It does both, but not without some hiccups.
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This event, with three different creative teams, has often felt a little jumbled but it's a welcome spotlight for a corner of the DCU that's often kept in the shadows.
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The story is a bit rushed, with potential major developments just being dropped in the story suddenly, but overall it's one of the most entertaining stories we've gotten so far in this title.
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This series as a whole has lacked direction, but this final arc is probably its best moment. Makes me want to go re-read some Warlord comics.
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The issue is, unlike Cover, this is very much a story we've seen before. It's a good example of that story so far, but I'm not sure that's enough to make it stand out in an era where everyone " Bendis included " is upping the creator-owned game.
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t's a pretty strong hook for the second half of this pitch-black noir series.
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Overall, it's strongthe new characters are interesting, warts and all, while the writing does a good job of showing how the Doom Patrol handles things differently than Batman and co. Burnham's art is note-perfect for this bookjust the right mix of goofy and occasionally horrific.
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It's a very fast-paced story, and this issue has some of the better action scenes of the story so far.
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The Wild Storm is a puzzling book, combining brilliant art and kinetic action with a plot that often goes at the speed of a turtle.
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After what seems like forever, this title is picking up the pace as its large cast of characters starts to converge and the war between IO and Skywatch hits full throttle.
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I'm not sure this series comes together as a whole yet, but over the last few issues it's become a very exciting read.
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As The Wild Storm heads into the final act of a planned twenty-four issue run, it's clear that Warren Ellis isn't writing anything resembling a traditional Wildstorm series. It's much slower-paced that the franchise normally was, and has more to say.
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The Wild Storm is entering the final act of its initial twenty-four issue run and it's been picking up momentum in recent months " partially due to the arrival of two fan-favorite characters, Apollo and Midnighter.
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With only two issues to the end, it's hard to see how this epic two-year-long reinvention of the Wildstorm universe will wrap up in any satisfying way by the end. There are dozens of characters in so many places and many of them have only started to interact. But when Ellis and Davis-Hunt cut loose, their art and the pacing are spectacular.
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The stakes rise yet again when an army of Kheran experiments are unleashed on New York and the battle begins anew. Knowing that this is essentially the end of act one makes this issue read very differently and it's a compelling story overall.
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This series suffered from many narrative issues over the course of its run, but it delivered spectacular visuals and the final arc was among its strongest.
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Michael Cray #7 is one of the slower-paced issues of the series but nonetheless pits the title character against a compelling pair of villains from this twisted version of the DC Universe.
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Given the 90's mishmash of sci-fi tropes this comic is built out of, the fact that it's this compelling is a testament to Hill's skill as a writer.
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All the pieces here are familiar, but this first issue was entertaining enough that I'm looking forward to seeing more.
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This is a chaotic book that raises a lot of questions, but it's still coming together as a fairly compelling narrative.
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The talent on this book is top-notch and Jones manages to get us invested in Yara's decision. But overall, it's still a fun if messy title that seems to be pulling Yara"and us"in different directions.
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It's a fun spin-off Amazon title, just like Nubia's, but its main character almost seems to be a side story in it.
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It's a strong issue, but I wish it wasn't the last.
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As a six-issue miniseries, this comic has a lot of great ideas but I'm not sure it has a clear narrative yet. It's also fun enough that I'm excited to follow it to the end.
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The issue has a nice message about the silliness of the whole "friendzone" line of attack, but it feels overly broad just like Russell's guest-starring issue on Harley Quinn. It's beating the same few points home for the first issue, but the characters are likable enough that I barely noticed.
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Wonder Twins started out as a lighthearted superhero satire focusing on a pair of teen interns to the Justice League, but as usually happens with Mark Russell, it turned out to have a LOT on its mind and this bittersweet final issue of the first arc, Wonder Twins #6, makes clear why it was expanded to a twelve-issue series.
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I'm not sure what the future holds for this title yet, but Orlando has definitely brought some adventure back to Diana's title.
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Steve Orlando's brief run on Wonder Woman has covered a lot of ground in only five issues, dealing with a very personal story involving Diana's friendship with a supervillain, a gonzo sci-fi adventure in an Aztec pyramid, and now a political thriller set in Bana-Mighdall as the battle for independence pits Diana against her sister Artemis in Wonder Woman #55.
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After the big battles of the anniversary issue, this is almost entirely a character-driven epilogue " with the exception of a bloody final act that brings the Year of the Villain story crashing into this title in a harsh way.
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I'm hoping Wilson gets to wrap up her current story before she goes, because she has some fascinating ideas here.
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The big ideas in this run are intriguing, but the little details sometimes need work.
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This issue takes an unusual approach and has minimal dialogue over most of the issue, instead letting Diana's narration dominate the story. It gives it a melancholy feel as everyone grapples with the death of love.
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Ultimately, this was a good run with a lot of intriguing elements, but I think the schedule changes kept it from becoming a truly great one.
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Lots of promise based on this issue and the annual, but I think it'll be the second story arc before we get a firm idea of what Orlando's run will actually look like.
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Steve Orlando's Wonder Woman run is turning into a fascinating experiment now that it's doing its own stories, pulling characters and plot threads from some super-obscure DC books " not all of which are WW-related.
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Overall, entertaining, and hopefully Orlando's remaining issues (whenever they come out) will bring a strong finish to the Four Horsemen story.
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Veteran artist Jesus Merino, who has drawn most of the DCU at some point, does an excellent job with the action scenes and the issue ends with Diana facing an impossible choice. If Orlando's wrapping his run in a hurry, he's certainly going out with a bang.
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It's the kind of story that delivers big superhero action, but with Orlando's run seemingly getting cut short, it hasn't had the time to develop the emotional stakes a climactic battle like this needs.
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Stories that expose the dark truth of beloved icons are always dicey"no one wants to learn that Jonathan Kent or Uncle Ben was a jerk"but this one has some intriguing things to say about who determines what makes it into the history books and why.
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This run has made great use of mythology over its run, and while I don't think this issue reaches the heights of the previous one that took Diana to some of the strangest worlds in the multiverse, it does have some clever twists that bring in the Greek Gods as well as some mysterious new power players.
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The backup was probably a little more satisfying than the main story this issue and has me more interested to follow the narrative.
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While the action is strong, the best part of this issue is probably the long-awaited reunion between Diana and Steve Trevor, although it's odd that it seems to take place after next month's issue of Nubia.
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This arc did feel like it was keeping time until Trial of the Amazons begins and sets up Diana's long-term status quo, but it did enough interesting things that I think it closed things out on a high note.
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It's all a little too on-the-nose, the way Mark Russell's satire sometimes gets, but the end of the issue shows that he has much more sinister plans than just hate speech. Overall, a strong transition issue.
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It's a solid issue and the new team dynamic is a lot of fun.
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It seems like Orlando is teasing a "greater Themyscira" with a last-act reveal that I don't know if he'll ever get to follow up on, but this is a promising finale to a strong run.
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This creative team has been doing good work on Diana in this book and the new Giants. I'm wondering if they could have a run on the main book coming up eventually " they have a strong take.
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This is a pitch-black comic that won't be for everyone, but it's a testament to the quality of Johnson's art and writing that he's able to make it as good as it.
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The quality in this book is top-notch, but adapting a novel into a comic book is always tricky and this one reads like it might be best served in its original format where Bardugo can flesh out her characters more fully.
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More a slow-burn teen romance than a superhero comic, You Brought Me the Ocean by Alex Sanchez and Julie Maroh is a groundbreaker for DC's OGN line in more ways than one.
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This first arc had some flaws " it tried to do so much that it short-changed some of the characters, and its storytelling was rather decompressed " but there's no question it's easily the most entertaining "young DC" book we've had in years. Low bar given the state of Teen Titans, but Bendis cleared it with ease.
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The main pattern of this series continues in Young Justice #12 " characters are great, pacing is a mess.
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Overall, this issue has many of the same strengths and weaknesses as the main series. It's definitely not the series we left before the second time jump.
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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.
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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.
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It's a fairly entertaining run, but there's still little in the way of plots or characters to really connect to.
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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.
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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.
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The issue is action-packed, but the plot is kind of weak overall.
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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.
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It swings for the fences, but I don't think it quite always hits what it's going for.
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Archie Comics' oddball co-production with DC continues to deliver an amusing spy adventure that pays proper tribute to the Batman '66 universe.
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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.
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Larson's Batgirl is very strong, a nice bridge between Burnside Barbara and classic Barbara, and I hope it continues on that path.
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It's a compelling, if somewhat slight final arc, in a run with a lot of interesting elements but without a real central plot.
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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.
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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.
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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.
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This story was ultimately about what I expected, but there were a few moments that hinted it could have been more.
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I only understood half of this, but it was a fast-paced and chaotic comic that had some fun moments. I'm struggling to figure out how it can last six issues, but maybe it'll make a bit more sense to a Bat-fan on future issues.
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Batman/Teenage Mutant Ninja Turtles 2 #5, The penultimate issue of the second Batman/TMNT miniseries brings a lot of elements together in anticipation of a big final showdown next issue, but something still feels like it's missing.
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The issue's best moments are in the quieter moments, such as Raphael and Damian's ongoing snarking and just how Batman got Shredder to cooperate with their plan.
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I feel like this could become a great series, but it'll have to do it in the second arc.
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This issue has a lot of good points, and Black Lightning in particular is a character Hill writes very well. But Katana's surreal supernatural departure is definitely not my favorite element of the series.
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This series has improved, but it still has some characterization kinks to work out.
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I am overall enjoying this series, but there's a pattern of stories that go on a little too long. I'm hoping this ends strong with a new addition to Batman's rogues gallery.
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The plot as a whole has been one of the series' weakest, as I don't think it's really told us anything about Joker we didn't already know, but it had a strong ending that sets up a lot of doubts about Matt's future as Robin. I'm just hoping this series continues the strong characterization but makes better use of the Batman Beyond rogues gallery like the previous arc did.
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This arc of Batman Beyond has been dominated by two storylines, one much more interesting than the other " and, in Batman Beyond #33, it becomes very clear which is taking over the book.
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This is definitely better than the title was during the recent Joker arc, and False Face makes for an amusingly incompetent but still dangerous foe.
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The banter between some of the Bat-family is fun, and new Robin Gan is a blast. It seems like there's so much going on that it's hard to believe the series is wrapping upbecause it's not.
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Batman: Kings of Fear is an odd book, equal parts psychological study of Batman's mission and art showcase for Kelley Jones' unique style. I'm not entirely sure that either half fully works due to being split between the two missions, though.
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There is nothing particularly groundbreaking here, but the double-dose of Birds of Prey members this issue is a fun change of pace for the series.
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The issue is better than the Nightwing or Batgirl ones mainly because it's not as bizarre a main plot and there's a good amount of humor here " Seeley is obviously having fun writing the caustic relationship between Bruce and Jason. However, the closer we get to the big event, the more doubtful I get that the wedding is a status quo change that will stick.
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It's a bit of a mixed bag for the first issue's plots, but there's promise here.
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There's a compelling central conflict, but its execution isn't quite there yet, as it has to exist in between the moments of a video game.
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It has the aesthetic down pat, but with Batman only appearing in a few pages of the first issue, it doesn't feel like it has much of a focus. I wonder if this is part of the transition between mediumsit's very dialogue-heavy so far, and many scenes feel as if they were lifted straight from a podcast.
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It's a decent tie-up to Harley's story, but the universe as a whole feels like it barely scratched the surface and I don't know if it'll stay there.
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There's a great character at the fore, and a great comic here, but it needs to get out of its own way a bit.
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Overall, this title just doesn't have the strong central characters of the first three Milestone series to make it feel like a key part of the universe.
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There's a distinct vibe of an old-school 50's sci-fi TV series here, with a mystery tied to the space age and a twist ending, but I'm not sure the concept is enough to sustain a whole arc, as the solicits seem to indicate.
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DC continues to have trouble with their top-tier art teams, as Joelle Jones' third issue of Catwoman picks up a fill-in artist in Fernando Blanco. He's only on a few pages and does a good job of fitting his style in with the rest of Jones' pages, but it's still a shame that so many books as of late can't keep a consistent art team.
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It's a tense issue, but one that doesn't really advance the plot as much as I'd like. Jones writes and draws the hell out of a fight scene, though.
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Raina Creel is certainly an evil villain, but she's largely one-note. And while Selina is definitely a character who deserves her own title " she was one of only eight characters to take her New 52 series to #52 " this series feels more like it's keeping time for Selina's return to the Batman title.
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It largely feels in line with the regular series " entertaining, but never quite great.
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This Catwoman series tends to waver between moving way too slow and way too fast, and Catwoman #13 " the big finale to the current arc " definitely leans more towards the latter.
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It overall works, but I would have liked a little more time with Eiko and Dario this issue, as everyone seemed to be in a holding pattern waiting for Selina's return.
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It's a chaotic issue, but while its heroes are fun, most of its villains largely come off like stock mob characters who don't make a big impression.
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The hints at her larger plot are intriguing, but overall this run seems to feature a lot of bit characters, few of which have the page time to make an impact.
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The good news about Catwoman Annual #1 is that it's one of the more compelling mysteries Joelle Jones has done in her time on the title. The bad news is that it's built on the bodies of several teenage girls, in a grotesque twist that took the series to a far darker place than it usually goes (even with the sadistic zombie matriarch villain).
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With three different groups of villains"including a Joker who briefly shows up and makes zero impact"and a lot of subplots that don't seem to really resolve themselves, this doesn't land with quite the same impact as Batman: Nightwalker but presents an appealing lead character with an edge that feels like the classic Catwoman.
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Ultimately, this worked as a stand-alone miniseries for Bendis and Maleev to explore the DCU through a spycraft lens, but the pacing was all off for an event.
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Collapser is the first new series from the Young Animal line's second wave, launching alongside a revival of Doom Patrol. Co-written by Mikey Way and Shaun Simon, it's an odd duck of a book " equal parts "unlikely superhero" story in the vein of legacy heroes like Sam Alexander, Jaime Reyes, Robbie Reyes, and Khalid Ben Hassin; and deep, dark exploration of millennial angst and depression.
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Collapser is one of the most bizarre comics in DC's stable at this moment. Collapser #3 pulls it back from the metaphysical elements of the second issue and becomes more of a straight-forward superhero tale " albeit a surreal one with a hero that's still not the most likable.
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It's an intriguing first issue, although still lacking in any real POV characters.
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The Starro invasion has pushed the Earth-3 counterparts to their limit, and this issue delivers several interesting twists as they battle to keep the alien invaders from converting Earth into their personal army. While none of the leads are particularly compelling yet, Andy Schmidt doesn't really let us dwell on that as there's too much going on to slow down.
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Overall, this is one of the most interesting issues of the series, as we finally start getting some answers rather than just smashing everything in sight.
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Does it make sense? Not at all. Was it an entertaining read? In the most bizarre way, yes.
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Overall, it's an effective story, but not a particularly effective crossover.
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This Luthor does seem a bit maniacal for his usual personality, more inspired by his Silver Age version, but he does make an effective threat with the main villain of RWBY lurking around the corneras we head into the last issue cliffhanger.
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The design of the Grimm Batman is nice and creepy, and he makes a compelling final villain for the series as we head into a last issue that has a lot to wrap upand I'm not sure it has enough time to do it smoothly.
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Overall, while this didn't reach the highs of some of the best crossovers, it's likely to be a win for RWBY fans.
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Bruce Campbell has done a surprisingly good job of writing this supernatural WW2 thriller, to the point where I would assume he was an experienced comic book writer. The only problem is, the plotSgt. Rock and his squad go up against an army of resurrected German soldiers as part of a Nazi conspiracyis exciting, but doesn't really feel fleshed out enough to be a full six-issue miniseries.
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As Peter Tomasi introduces us to Batman's deadly new daytime nemesis, the Arkham Knight, he continues to struggle to distinguish this masked villain from all other anti-Batmen.
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The shift from the previous Deadshot/island storyline to the Year of the Villain Mr. Freeze storyline hasn't been great for this title's momentum, as it's shifted the focus away from Bruce's mission and towards a particularly crazy villain, especially in Batman: Detective Comics #1013.
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David and Kelly, the two scientists sharing one body, have been played between two different mad scientists since the start of the issue. However, it feels like the real battle hereand the only really compelling part of the storyis their internal battle.
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Event Leviathan is probably the oddest event comic I've read in a long time, as so far both issues have taken place entirely within one conversation between a few key characters.
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Halfway through the events of Event Leviathan, it's clear that this isn't so much of an event as a discussion of one.
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The pacing of this "Event" in Event Leviathan #4 continues to be the oddest thing out of DC at the moment. It's essentially a superhero comic where all the action happens between issues and we get it recapped through the characters debriefing.
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With Event Leviathan #5, we're one issue away from the finale of the weirdest event in DC memory " if a world-shattering story that's only being reflected in two other titles can be called an event " and we're finally getting close to answers. But as is typical for this series, those answers are being parceled out slowly amid a lot of mostly entertaining dialogue.
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The biggest selling point of this series is Bustos' amazing art, which somehow feels like a perfect hybrid of Amanda Conner and Kevin Maguire. Could do with less of Ambush Bug's crude comments, though.
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The plot this issue seemed a bit muddled, with a lot of infodumping, but Bustos' art continues to be a highlightit's just as expressive and colorful as it needs to be to homage the work of the great Kevin Maguire.
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The all-star here is definitely Bustos' distinctly Kevin Maguire-influenced art.
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The book is in flux until we know how Wally's story plays out, and as such, this plot often feels like filler until the next big twist.
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As this surprisingly dark Trickster arc unfolds, it seems clear to me what the current issue with Josh Williamson's Flash run is " while he's doing as long a run as Tom King on Batman, he doesn't have nearly the control over the franchise that King does.
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But it feels like this story is losing momentum a bit, repeating the same gimmick without doing anything new with it.
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Ramon Perez does a good job capturing the incredibly surreal nature of the world the characters find themselves in, but this entire run continues to feel like a very odd match for the property.
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This title has more in common with Venditti's work on Hal Jordan and the Green Lantern Corps than it does with his spectacular Hawkman so far, but it's an exciting read.
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It's much more of a straight-forward spy comic than the more offbeat Future Quest " kind of likely a surreal, superpowered James Bond " but it's still an entertaining read, even if the writing can be a bit forced in places.
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Thus far, the two Future Quest arcs by guest writers haven't been up to Parker's level, but they both worked nicely as part of the main series.
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Overall, though, while this issue is exciting, it's best described as grim from the start to the finish. Barry is essentially trying to decide if he can still save his surrogate son or if he has to kill him, and the signs aren't looking good. It's a rather depressing topic executed well, and it's odd that so far it's Batman of all the big franchises that seems to have the most hope for its hero's legacy in this event.
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There are so many twists and turns in the second chapter of Robbie Thompson's Suicide Squad story that it can be hard to keep track"not to mention there's more than one Suicide Squad.
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Great chance to see a master at work.
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Major players like Harley Quinn and Hush have their own agendas, and the Magistrate's rule seems to be slowly collapsing. All that comes together to set up a chaotic but intriguing next chapter as Geoffo takes over as the artist with #13.
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Dennis Culver clearly gets what comic he's writing and knows that very little matters here in the big scheme of things. This might not make 100% sense, but I definitely enjoyed the ride.
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Is this a fun issue? Yes, but with only about twenty pages of story, ten or so being original, it's not exactly a great package for the price. I'm hoping DC continues to crank out excellent oversized anthologies that have a lot of stories of this quality.
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I'm still not 100% sold on this series, but I am intrigued the more we find out about it.
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It seems like this series has a lot less to do with motorcycle action than expected, instead being mostly about a resistance to a dystopian cyberpunk future. It's not the smoothest read, but issues like this have a strong core to them that wins over the reader.
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Ending with a life taken, although maybe not the one expected, and a bittersweet resolution, this issue is a strong one. I just wish " and this extends across the Gotham City Garage universe " that we got to know these characters a little bit before their dramatic, defining storylines
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This series is still a bit scattershot at times, but when it's on its game, it's as good as its sister series Bombshells United. Let's hope it continues to refine its story and hits those highs more often.
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With the series in between big stories, Scott takes a minimalist approach to her Green Arrow story, paring back the supporting cast and focusing solely on Ollie in a tense, intimate story that pits him against an army of supervillains.
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There's a lot of promise here, but it ends on ambiguous note " as stories about social injustice have to, I suppose.
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It's a perfectly competent Green Lantern Corps series, but it's not Green Lanterns. Simon and Jessica feel like they're demoted to supporting characters, as John, Guy, and Kyle all migrate over from Hal's book to play major roles.
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The end of the issue may be a bit controversial, as it brings back an element of Simon's character that people were very split on. It could be read as a symbol of his determination to fix the mess he helped cause, or it could be seen as unfortunate implications. Either way, hoping for a strong finish to what might be Jurgens' final say on his most iconic villain.
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Jurgens is delivering an exciting finale to this title before Grant Morrison takes over, but it's a far cry from the unique runs by Humphries and Seeley.
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I have little doubt that this will be a compelling final issue in two weeks as Cyborg Superman descends on the rebuilt Coast City " but shouldn't it have taken place in Hal Jordan and the Green Lantern Corps instead?
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Overall, it's a good arc that's maybe gone on an issue too long.
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This book has been hit by delays since the start, which makes the slow pace somewhat frustrating. We're halfway through the first run, and compared to the other books in this line, it feels like barely anything is happening.
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This book is chaotic, almost frantic at points, but it's fun, and that's more than can be said about the main Harley book at times.
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The idea of a Harley and Ivy road trip is the kind of concept fans have been clamoring for years for, and the best part of Harley Quinn and Poison Ivy #3 is definitely watching the way these two dysfunctional girlfriends look out for each other. I'm not sure that's quite enough to carry a series, though, as three issues in, the obstacles they face are starting to feel less serious.
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It looks to me like Palmiotti and Conner will be going out on a high note.
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This issue is a solid start, although I didn't find the humor to be on the same level as the Palmiotti/Conner run. Still, if you liked that run, you're going to feel right at home with this one. Harley should be fine to stay one of DC's most successful characters.
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This is the quickest read of the four issues so far, but it's also the most entertaining.
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Tieri's run has mostly been enjoyable so far, if not really a standout. He finishes up next issue with "Old Lady Harley", which should be suitably bizarre.
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There's some fun visual gags, and I liked how the book makes clear that a lot of these goons are dudes trying to overcompensate for their own insecurities. They're pitiable cartoons, not the warriors they see themselves as. But while this issue definitely means well, it still lacks the style and depth of Humphries' run. Can you really parody something that's already a sad joke?
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There's still some good stuff in this issue, and Mirand'r is an intriguing addition to the plotline. But overall, this is the thinnest issue of the series and I'm hoping the remaining challenges in Harley's quest have some more interesting subtext to them. This is a rare weak spot in an excellent run.
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The ending to this special was spoiled a long time ago in the first issue of the Rebirth run, but really, how much you enjoy this comic will depend on how much you like this run's brand of humor at its most unhinged. At least one thing's for sure " it's never going to bore you.
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This issue is much more ambitious than Howard's usual crime-influenced Gotham stories, and that's both a positive and a negative. This is a big, crazy, messy issue and while I'm not 100% sold yet, I am intrigued.
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This continues to be the most ridiculous Harley run in a long time, taking Harley and constantly interrupting her everyday life with surreal cosmic adventures.
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The surprising end of the issue brings in a fairly modern character from Batman comics as a new wrinkle between the two of them, and overall this comic is a strong start. But you really need to be in sync with these versions of the characters to vibe with this comic, and it's just a little too much in some places.
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The dialogue here can be a bit much at times, in its over-the-top crudeness, but there's a good-natured streak to it and it's great to see the writer's commitment to representation in little ways over the course of the narrative.
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One of the best parts about this series is the way Tee Franklin is pulling in some real deep cuts from DC history. Not only does this issue include the Gardener, Ivy's ex from college, but it brings in the obscure-but-likable Gail Simone non-binary hero Porcelain.
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It's a funny, chaotic issue that has some good points, but it maybe tries to juggle a few too many subplots. Much like the series it comes from, its brand of humor will always be a bit of an acquired taste.
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The biggest frustration of Heroes in Crisis as it reaches its final issue is that it has occasional flashes of brilliance mixed in with a central plot that doesn't work at all.
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Overall, it's an interesting experiment, but I'm not sure the experiment is working yet, and I don't know how the two stories will converge.
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The subplot involving Rocket and her alliance with Xiomara largely falls flat this issue, but the eventual confrontation between Icon and Hardware is one of the best scenes of the series.
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This is one of those issues where the digital-first format makes the title feel more like an anthology, with the story drastically switching gears midway through and creating a briefly jarring effect.
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This isn't the smoothest issue Taylor has done, but he's going back to the beginning of the series, and the story is the better for it.
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The thing with Injustice is, no matter how good things look, you can be assured tragedy and pain are just around the corner. That can make this book a bit wearying, even when the quality of the writing and art is overall strong.
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It's a chaotic, explosive issue that sets up just how bad things have gotten in this world " but maybe it's the darkest before the dawn. Maybe. In this world, things never tend to go the heroes' way.
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An action-packed fourth issue of this oddball video game/cartoon crossover, Tim Seeley's cosmic adventure continues to deliver chaos and magic, and a surprising amount of humor.
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For a crossover between a video game and an 80's cartoon toy line, it's a lot better than it has any right to be.
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Black Label is known for its unusual takes, but Joker/Harley: Criminal Sanity, with Harley Quinn being the straight woman in a serial killer thriller, is so far afield that it almost feels like a creator-owned comic that was retrofitted into this format.
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This series is pitch black, without an iota of light or hope. Is that something you want to read? That mileage will vary heavily, but those who delve into this bleak world will be rewarded with a pretty effective story.
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Overall, what we've seen so far of this run isn't bad, but it's very scattered and we still don't feel like we actually know this Justice League.
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The Phil Hester art is good, but the plot doesn't advance too much and the cliffhanger comes out of nowhere.
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The Black Adam characterization also continues to be a bright spot for the title, but overall this title continues to have an odd lack of urgency for a Justice League book.
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Where this issue excels in unique visuals from Scott Godlewski, particularly the reveal of one more timeline/world in a double-page spread right at the end. Where it struggles is finding the right pacing to tell that story in a compelling way. The delays on this series also make it feel like it stands on its own in a DCU that's quickly moving on to some crazy new developments.
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It's almost guaranteed that a title with this many characters to juggle will have a little trouble balancing its narrative.
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There are some good moments, such as a major decision for Triplicate Girl, and we get some major plot developments towards the end as the main villain finally reveals himself. The problem is, we're 5/6th down the road in what's likely to be the conclusion of Bendis' mainstream DC run, and it feels like we're so far past this story in the universe already.
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This final chapter feels like a compelling side story but doesn't bring the whole era together. And it ends on some major notes that will likely never be followed up on.
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This issue feels like the end of act one, as the ragtag group of heroes discovers the true nature of the threat they're facing and regroups. It's all a mess, but it's an entertaining mess " and would be more so if it wasn't for the fact that this story will likely be completely retooled again next month.
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I'm not sure about the main narrative of the series, but the individual conflicts between the heroes are intriguing.
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The art is brilliant, there are some compelling scenes of possible DC futures " but halfway through, what this has to do with the Legion and how Rose is tied to them is totally unclear.
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Overall, a Legion title is always going to be somewhat overstuffed. Bendis has some interesting plots going on here, but it feels like he needs to focus the book a little as we head towards a central plot.
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This title is packed with interesting ideas, but I'm not sure the execution does them any favor.
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Mera: Queen of Atlantis, a title spinning out of Abnett's Aquaman run is odd, in that its biggest strength is also its biggest weakness " it's got some intriguing subplots going back years to explore, but unfortunately its leading lady may just be the least interesting thing going on in the issue.
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This isn't a bad series by any stretch " neither is the book it spins out of " but it's not really a Mera series.
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It's a well-written issue, if a bit lacking in dramatic moments, and I think Abnett has actually consistently been better on this title than on the main Aquaman title as of late. And it's good to see her finally take the lead, unlike the first few issues.
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It feels like this series is reaching for something very compelling, but it tends to get bogged down a little too much in action-driven side plots. But there are some very interesting questions still waiting to be answered here.
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A lot of DC books have been unafraid to take on racial issues lately, but this is one of the most explicit. When it works, it really works"but unfortunately, it struggles with making Shiloh Norman a character we want to invest in.
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From the start, this comic has an intensely nostalgic vibe, starting with the return of the extensive supporting cast from that runincluding the Gang of Harleys, Eggsy, and Red Tool. It's great to see the whole gang again, although I will point out that Tieri hilariously forgot that Coach is blind early in the issue.
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Overall, this comic has a pretty funny central concept, but that's really all it isa concept. It says what it is on the cover, and how much you enjoy it will be determined by just how many times you want to see Harley interfere with hero origins.
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There are still some great moments amid the team here, especially anything involving the hilariously twisted Klarienne, but something is missing here compared to the last few issues.
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Little is bad here, but it doesn't feel like the scope of the story is really served well by the format.
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I'm hoping the next five issues give us a little more to connect with because right now the challenger is there, but the Challengers are lacking.
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Scott Snyder and Aaron Gillespie's revamp of the Challengers of the Unknown comes to a close in New Challengers #6, and this series has turned out to be an intriguing, if overstuffed, look at superheroes and mortality.
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The issue does take place early in the run, so it might feel a bit out of step, but this is an interesting sideways detour into one of DC's best books.
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The issue is lacking any critical flaws, but it feels like a missed opportunity on a lot of counts.
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It's not an essential read, but it's a fine fill-in before the new team kicks off and gets back to the big plotlines.
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There's good stuff in this comic, but it still feels like a raw product slowly being refined into something.
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We knew this would be the endgame, but the ending feels rushed. I think we'll all be happy to have Dick Grayson back, because while Jurgens has done his best with the concept this whole era has gone on too long.
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This miniseries continues see-sawing between an out-of-character mess and an intriguing dystopia with just enough interesting elements to make it work.
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It's a good issue, but until we know that these plots are going to be resolved, it's also rather unsatisfying. Hoping for a sequel announcement as soon as possible.
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This isn't a bad comic, but it's one that mostly seems to exist to pick up on loose ends from Catwoman right now. Punchline almost feels ancillary to it.
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Marv Wolfman's new Raven: Daughter of Darkness maxiseries is one of the most ambitious books on the market, and that's both a curse and a blessing.
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The overall plot is still very vague, and Baron Winters only seems to be hanging around as a way for Wolfman to tie two of his favorite creations together. However, as long as Raven remains a compelling lead character and her family dramas remain the focus, I'm going to keep enjoying this series.
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This run has gone bigger than the previous Raven miniseries by Wolfman, and that has the side effect of making the smaller, more intimate moments slip under the radar.
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Raven's title has done a good job of humanizing her instead of making her a stock "Dark creepy girl" character, and although the plotting may be a little jumbled, I'm glad Wolfman gets to continue fleshing out one of his most famous creations.
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Where this issue fails is in that there's a little too much going on at once. The drama feels a bit chaotic, and it works best when we're simply following Raven in her life.
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Red Hood and the Outlaws #18, focusing on Bizarro, is definitely one of the better ones of the run, even as it oddly begins abruptly with Queen Bee " now calling herself the Hive Queen " taunting the heroes.
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DC's displayed a surprising amount of faith in this title over the last seven years, and it may finally be paying off.
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Overall, the best part of this series is the ragtag found-family vibe which seems to be having a good effect on Jason.
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This issue is kind of messy, but in the way a family reunion often is. It has enough good going for it, but it's coming one week after an iconic kickoff to a new Robin origin story. Rough timing for the creators and the fans who voted for it.
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Generally, Scooby-Doo Team-Up is at its best when it's playing around with strange corners of the DCU, but some of its Hanna-Barbera outings are pretty entertaining too, especially the Top Cat one-off. Scooby-Doo Team-Up #35, featuring the cast of Yogi Bear, isn't quite as inventive as that one, but it does a great job of capturing the spirit of the residents of Jellystone Park.
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Fun issue, although the title is usually at its best when focusing on DC characters and that pattern doesn't change.
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This issue isn't quite on the level of the best of this series, including the recent madcap story featuring DC's oddest heroes, but it's definitely a cut above some of the other obscure Hanna-Barbera stores.
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It's one of the most interesting issues of the series, if not one of the most successful.
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For those who are loving The Terrifics and wanting to get younger readers into these characters, this is a suitable tribute. It's a shame that this series only has one issue to go.
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It's all very creepy, but by taking Derek away from his supporting cast, this issue loses a bit of what makes the series work.
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Morrison often writes in a non-linear fashion, and it shows. Although everything is largely explained, it's still a rather jumbled comic that spends more time trying to make sense of its elaborate continuity than letting Derek play off this oddball group of heroes.
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The ending to this issue is pretty funny, but all the action is a little chaotic and I feel like the strong points here would have been stronger with a tighter cast.
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I liked the comparably lower stakes of this series, with it feeling more like a group of friends hanging out at points, but I feel like the two main characters sometimes got a bit lost in all the additional characters.
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Suicide Squad #33 is easily the best issue of this series, as Si Spurrier steps on board for a two-part arc that turns out to be a dark, twisted issue that cuts to the core of just how horrific the Suicide Squad concept actually is.
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The twisted snake cultists are creepy, but the issue isn't very memorable until the second half, which is when Batman shows up and the action kicks into overdrive.
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With a pared down Squad and a clear conflict, I'm intrigued by this new arc.
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Combining Suicide Squad and Aquaman for the "Sink Atlantis" event has delivered a highly entertaining story, even if it gets a little over the top at times.
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This issue is sort of messy, but it never lets you get bored. There's a lot going on, most of it compelling.
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A little too much of this issue is devoted to fighting random ninjas, and the plot feels a bit stretched out, but overall this arc has had one big strength " Damian and Jon feel like friends again.
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This series has been a mixed bag overall, with some suffering from the unpleasant dynamic between the leads, but others bringing a real sense of fun and adventure to the DCU.
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The series was at its best when the friendship between the characters seemed genuine rather than antagonistic. I hope we see more of that in the next run.
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This series has good characterization of its main players, but the narrative and villains still need some work.
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We've largely only seen Gandela as a shadowy background villain until now, but this issue makes clear she's one of the most powerful villains in the universe " her body can shapeshift into massive crystal forms and she can rebuild from being shattered. The battle between her and Supergirl is one of the most impressive scenes in the series " I just wish the plot backed it up better.
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Kara's title has stayed overall strong during this arc, but I am more than ready to see her return to Earth and get a more human story again.
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I didn't think the requisite Year of the Villain tie-in really worked for this comic, though " we kept cutting away from the main story and Kara's emotions to catch up on a Brainiac robot who gets offered universal knowledge from Luthor and winds up evolving into a second Brainiac " despite Luthor working with the genuine article.
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So Supergirl #36 is mostly setting up Kara's arrival at the fortress, then repeating the events from Batman/Superman, and then showing us some immediate aftermath. Based on that, there's only so much he can do with the story but it's overall effective at filling in the blanks.
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It's not a standout issue, but it does hit most of the intended points and I actually enjoyed it more than quite a few of the arcs by the main creators.
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So how is Superman #1? Well, very similar to Man of Steel " some things work very well, but as the issue goes on, there continue to be odd character-based false notes that keep it from entirely clicking with me.
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Zaar continues to be an over-the-top cartoon of a villain, and the dialogue from many of the cameos is off. It looks fantastic, but nothing in the issue is as compelling to read as the one tragicomic scene featuring Adam Strange returning to where Earth should be and coming out very confused.
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The art is great and King seems to have a lot to say about Superman, but this is not something I would choose to give to a first-time reader picking up a comic through Walmart. It's a challenging, often grim comic that begins with murdered children. Lots of story to be told here, but it's much more of a Tom King comic than a Walmart comic.
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Not all the stories are great, but those that are disappear in a flash.
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This issue is a fascinatingly bizarre take on a very different Superman before he heads to Metropolis.
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This series has been strong when it comes to its surreal and creepy visuals, but it's lacking something in terms of characters to root for. As Jean-Paul goes deeper and deeper down the rabbit hole, he starts to feel less like a protagonist and more like a threat himself.
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Overall, there are some good stories and fun characters in this, and it's great to see DC paying tribute to one of the GOATs. But these versions of the characters didn't catch on when they were released, and I can sort of see why.
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While this book has never had the subtle terror of Rosenberg's other DC horror book at the moment, it makes up for that with all the chaos you'd expect.
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It's a fun issue in some places, but it largely feels like a step back for the character.
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It's entertaining, but with only two issues to go it doesn't seem like it'll be all that memorable.
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The cliffhanger is predictable, turning Joran into a one-note villain, and overall solid characterization for Beast Boy is lost in an iffy plot.
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This final story arc, focusing on Beast Boy and his complex dynamic with the rest of the team and with Damian in particular, is perfectly fine but also feels sort of slight. It's a fairly minor in the scheme of things, and this version of the Teen Titans just peters out as a result.
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The first issue has some promise, but it's never a great sign if you like the book less once the actual plot gets going.
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The reunion of the old Demon Knights allies, now bitter rivals, is going to drive a lot of the conflict in the series, although the cliffhanger falls a bit flat because we know it won't stick.
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The issue has a distinct horror vibe, with a strong cliffhanger, but there's a lot of mythology in this first issue, and it's going to be a while before we learn if this title can pull its ideas together into a compelling whole.
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It's a brutal, fast-paced comic, but too much of it is spent watching the title character punch his way through a bunch of bit players.
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Overall, lots of promise here, but a major downgrade from the first issue.
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The first arc of Brian Michael Bendis' new DC run concludes with a mixed bag of an issue that sets the stage for some interesting subplots while also teasing us with what could have been.
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There's promise here, but it's not a home run yet.
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Silencer #2, Dan Abnett's assassin comic, falls into a consistent groove that keeps me interested, but never overly thrilled.
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Overall, this series is mostly a generic assassin thriller, but its main character is compelling and original enough to carry it through.
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Easily the most enjoyable of Dan Abnett's three ongoing series for DC at the moment, Silencer continues to try to balance a mix of high-octane spy action with a grounded, human story of a mother trying to protect her family.
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Did you ever want to read a comic that was a cyberpunk take on Freaky Friday crossed with Jurassic Park? Congratulations! The Silencer #10 is the comic you've been waiting for. A completely insane action-packed absurdity of a comic, it's also surprisingly entertaining.
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The first year of The Silencer wraps up with an issue that delivers a big bang, but also sums up a lot of the series' weak points.
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The Silencer is entering its second year of stories as one of only two books not yet canceled from its line, and it's doing so by completely upending its concept.
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There's a lot of potential in this series and this was one of the better issues, but it always feels about 3/4ths of the way to something great.
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Overall it's a fun issue with some clever visual gimmicks, but the major threat this arc doesn't really click with me " and the return of Boyzarro at the end of the issue makes it look like we're going to get more of the abusive Bizarro that ruined that arc, which is my least favorite take on the usually good-natured character.
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The plot is still significantly scattered, and we wind up barely knowing the characters besides Firebrand so far. It's a mess, but it's an interesting one. Orlando is doing Morrison here, and we know Morrison can be hit and miss " but I'm intrigued enough to take the ride.
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This series might be a bit chaotic and irregular at times, but it's got big ideas, and that's enough to make it one of the more promising books in this line.
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It's pretty impressive just how much Cavan Scott has managed to pack into one miniseries, but ambition doesn't always make for a strong comic.
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This book is fine, but it hasn't really found its footing yet to make us invest in its characters.
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Overall, the general plot of this series remains the samefinding and recruiting various characters from this world by reminding them of who they really arebut there are a few more interesting twists this issue that lift it above the last few.
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The main plot is stronger than the first arc, but the most interesting part of this series is still watching the team interact. It's good to see a Titans team that feels like a family again.
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This is the best Robinson has written Wonder Woman yet, and the appearance of the Warlord at the end of the issue makes me excited for what's to come. Definitely an improvement over the last Trinity arc.
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Ultimately, these creators had a very specific vision for this story, and it's an important one (albeit one that will hopefully feel like a historical relic sooner rather than later). But I'm never convinced that the character in this is the Jessica Cruz who will put on the ring. Rather, it feels more like a story of someone inspired by her"which, if this book accomplishes that goal, it'll have certainly done some good.
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Overall, this story is just an oversized, more explosive version of the story playing out in Suicide Squad, but with the same writers on every upcoming issue, it's likely to at least remain consistent.
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This is a well-written, gorgeously drawn comic that completely lacks any focus.
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Overall, this series is a fun, fast read, but its huge cast of characters is probably the main thing holding it back from being a more ambitious one. It feels like it could have come from 1995.
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While Matt Rosenberg's love for the crew does shine through, it's pretty clear that many of them don't have fleshed-out personalities. The present-day segments are all fairly dull, mostly dealing with characters arguing and interrogating each other. That being said, when the story pulls back to focus on one characterCole Cashit gets MUCH better.
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This isn't a bad series, it's just overstuffed and VERY 90s.
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Honestly, this has some decent stories in it, but so many of them are throwbacks or just clips of what's to come that it doesn't really feel like a cohesive anthology.
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I like what it's going for, but the execution isn't up to some of Orlando's best DC works.
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Steve Orlando's Wonder Woman run comes to a close this issue " aside from an annual epilogue in a few months " and what a long strange trip it's been. He packs months worth of story and twists into one issue, but the execution is a mixed bag.
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A lot is wrapped up in this issue, and while the three different art teams don't help it feel cohesive, there is a cliffhanger that hints at something much bigger coming.
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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.
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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.
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As Bendis' run reaches its final act before the conclusion in December, this book seems to be losing the plot a little bit.
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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.
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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.
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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.
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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.
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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.
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Two issues in, it feels like the comic still moves at a pretty slow pace and the main character is mostly a blank slate.
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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.
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There's very little dramatic momentum beyond the inherent horror of the concept.
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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.
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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.
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A disappointing end to a great run.
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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.
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This is a title with several big ideas that aren't coalescing into a cohesive whole.
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The art by Silvestri is strong and gritty, but the story doesn't live up to it.
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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.
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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.
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This story doesn't so much end as just dovetail into both the final chapter of the event, and the final issue of the Joker series next month. So while it does have its good moments, it ultimately doesn't add much of anything to Red Hood's storyarc in this event and leaves the character still in limbo as the story heads back over to the main creative team.
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The art is great, but this issue suffers from feeling much more like a Spawn issue guest-starring Batman than a DC comicthe writing style is very distinctly McFarlane and can be a little ponderous, and Batman's dialogue sometimes feels distinctly offbeing willing to sacrifice Spawn to the Court at one point, for instance. This works best as a fusion of Greg Capullo's two most famous properties, and a brilliant showcase for his art.
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We're at the halfway point of this miniseries, and while it's still fun, it feels like we don't have the plot or intensity of the first mini just yet.
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Overall, I'm not really sure about the direction this series is taking with the smartest turtle.
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After a very strong arc, the series seems to be backsliding a bit, with very little advancement in many plots and a lot seeming to go in circles. We still don't know what's causing this plague, either.
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Definitely an improvement over last month's issue, but Brett Booth's stint on Batman Beyond is still not really capturing the vibe of the issues that were leading up to it.
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Rick Leonardi does a good job as the new artist on Batman Beyond #32, but overall the plot lacks the punch of the recent Joker arc.
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The art shift, with a different artist doing every segment, is a little surprising as well, but doesn't distract from the story. However, this very much feels like a filler issue packed with fights before the eventual resolution.
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Ellis has always been an offbeat writer, and it feels like this comic is half him spotlighting his writing, half spotlighting Hitch's brilliant art. But I'm not sure they work as a single comic.
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There's a lot of good elements in this book, but they're not quite coming together as a whole so far.
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After last issue's offensive new origin for Derek Powers, combined with the creator's controversial online presence, I was skeptical about this series going forward. Fortunately, it does still have some things going for itparticularly a tense sense of action that leads to great chase segments.
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I don't even really know what this series is supposed to be.
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Overall, the action is great but this is lacking something to make it feel like a truly compelling alternate world.
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The ending is clever, a message about just who Batman's ultimate villain is. But while it's an interesting experiment, it never quite sells me as a comic.
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This first issue's story didn't do too much for me, but I'm looking forward to seeing this creative team do something terrifying with Scarecrow.
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Scott Peterson and Kelley Jones' new Batman miniseries feels more like an art book spotlighting Jones' unique versions of the Gotham villains than anything else, as two issues in the art is incredible but the plot is VERY thin.
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This all-ages Bat-comic spins out of the idea that Batman has created a new social network for citizens of Gotham to give the Bat-family tips on crimes, letting them stay one step ahead of villains. Both stories are fine, but definitely geared towards younger readers.
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The story expands to include various Bat-heroes and villains, and it's a fun little tribute to the art of creating. But the stakes are kind of lacking in this whole series, as I'm still not entirely sure what its larger purpose is in the DCU. It might have worked better as a graphic novel.
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Unfortunately, there's a lot of weird details going on in this issue that pretty much kneecap the story from the start.
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Liam Sharp is a brilliant artist, and I'm looking forward to what disturbing scenes he'll unveil as this story continues, but the story feels like it's barely even a batman story and portrays a version of Bruce Wayne who is both casually cruel and reckless. This reminds me of early books in the Marvel MAX line before it was given a touch of maturity by...Ennis. Ironic.
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Overall, this is mostly a holding-pattern issue, as Bruce fights his way to some answers and eventually realizes he's going to have to go back to the scene of the crime, Arkham Asylum, to find any real answers. I'm hoping this series develops well, but I'm getting the feeling it'll save the real meat for the game's next installment.
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This series continues to be brilliantly drawn and tightly plotted, but there's just one problem"this isn't Batman. At least not any version of Batman we know.
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The issue looks absolutely gorgeous, especially in the action segments, but its take on Batman is lacking.
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There are interesting ideas here, but the series feels stuck in neutral with only three issues left.
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This issue has a few surprising cameos from other government agents besides DianaJohn Stewart and Wally West both make their debutsbut overall, this feels like a diversion from the ongoing story while Murphy gets ahead on the next volume's art.
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However, this issue is plagued by one big problemevery character seems to make the most dramatic decision at any given moment, regardless of how much sense it makes, and that largely leaves us in the same place we previously were, just with a lot more shouting.
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There are some surprisingly affecting scenes as a dying Ivy pleads with her lover to not turn into a monster again, but it's undercut by a final scene that introduces a completely new element to the series that at first glance doesn't make much sense at all. At least this last issue should be interesting.
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It's the finale of this side mini, which sends Jack Napier's kids on a trip with their AI dad against some of the biggest villains in Gotham. And as it hits the end, it's all gotten a little silly.
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Batwoman #11 is a fill-in issue by Superwoman writer K. Perkins that pits Batwoman against my least-favorite Batman villain, but is somewhat saved by a few nice character beats that help to humanize Kate in one of her most brutal stories.
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The opening segment is the strongest, focusing on Sara's strange dream segment complete with some stunning mesoamerican-inspired characters, but by the end of the issue we're mostly in the same place with main villain Holocaust still lurking in the background.
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It has a whole host of heroes, some more famous than others, and the creative team has struggled to establish them all in only six issues. What it does have is a villain who is a bigger personality than any of them in Holocaust, and he dominates this series for good and bad.
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Ram V writes a good Catwoman, but this comic had so much going on that I don't think it landed everything.
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Joelle Jones finally returns in Catwoman #16 as writer/artist, but Catwoman still has all the problems it had at the start " it's a decent take on Selina, but with a dense and confusing narrative that is often hard to follow in a linear fashion.
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Fans of Joelle Jones' art will find a lot to like here, but the problems of pacing that have haunted this run are still here. I don't know if this run will ever escape the fact that its beginning and its end were preordained by Selina's role in a much bigger and more-hyped comic.
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Joelle Jones is wrapping her run on Catwoman in the coming months, so it's no surprise she's building up to a big finale in Catwoman #20. The problem is, I don't think the big finale it's building towards really fits the tone of the run or Selina's character.
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The shift in tone from dark and noir-inspired to comically over the top doesn't quite work.
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So this is a comic that has good writing and good art, but somehow it just doesn't come together into the event comic it's supposed to be. I'm hoping Bendis can pull it together and maybe spin the loose plots out into something in Justice League down the line.
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There's a lot of quality work going on here, especially from the art team, but I'm not sure it's coming together as a story yet.
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The issue is tense and exciting in places, but it's not much more than that.
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Cyborg #22, the second issue of Marv Wolfman's puzzling revival of Cyborg's solo title, turns out to be a modest improvement over the first, as it clarifies a bit about who's the antagonist and what they want. It still suffers from most of the same problems that Cyborg titles have since DC decided at the start of the New 52 that he was a solo hero now " namely, very few people, including his creator, have the big ideas to drive a Cyborg solo title.
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This is the first of the "New Age of DC Heroes" series to debut, and it's an extremely artist-driven issue. I'm not sure if this is the style of comic to expect in coming debuts, but it didn't blow me away so far " the look and action is there, I'm not sure the story is.
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I do enjoy the snarky rivalry between Amanda Waller and Colonel Jonas, but two issues in, the title character is still the least interesting part. The art is great, but with Daniel leaving after one arc, this title's future is iffy.
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It's readable, but not really much else right now " there are shades of an interesting character in Ethan, but it's hard to find amid a sea of battle segments.
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Good art, decent writing, but that's not enough if the title gives us zero reasons to care about its lead character, who remains a blank slate.
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With only one issue left until the grand finale of Damage, I've largely given up on this series giving us any satisfying resolution to Ethan Avery's story and his battle with the monster lurking inside him. There's just no there there, but what surrounds him tends to be fitfully amusing " and in this final arc, more than fitfully.
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This is another issue that's quality overall, but lacking much for us to connect with. It's still an off-brand Hulk type character in the DCU, and it doesn't match up with Venditti's other DC work yet.
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In many ways, this comic feels like a response to a comic that doesn't exist. Much of this final issue is the characters apologizing for their toxic behavior towards each other in the initial run.
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It has its moments and I can see the talent behind the creative decisions made in the comic but " I'm not sure it works in the end.
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It has some intriguing twists near the end, but I'm not sure how much mileage they can get out of these characters.
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It's fun, over-the-top, and sort of slight " exactly what a Looney Tunes comic should be.
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That's where the problem with this issue comes infar too much of it is just Lex monologuing about how he cut a deal with Salem to bring the Grimms and their powers to this world to change the balance of power.
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With only one issue to go, it ends the issue with a much bigger scale than most comics from this line, but it feels like there's a lot of story still to go.
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The main narrative has been strong, but these flash-forwards haven't really grabbed me so far.
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If you like Walking Dead, you'll probably like this, but I don't think it's for me. No light at the end of this tunnel.
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There are some nicely brutal moments in this issue, and some good action scenes, but overall this issue doesn't really advance the story too much. This whole arc has mostly felt like it's covering things we already know.
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This first issue is a very fast-paced story where very little happens, as Batman tries to distract himself from his recent matrimonial disaster by throwing himself into solving a single murder. The references to the wedding trouble feel a bit awkward as if it doesn't really work to have anyone but Tom King write this story. Alfred's dialogue, in particular, feels off in places.
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"Deface the Face", James Robinson's new storyarc on Detective Comics, is a good-looking, flashy comic that unfortunately has very little behind the mask.
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The issue looks good and is a fast, exciting read, but there's just very little substance here. It lacks the nuance of Robinson's last Batman arc.
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Overall, this is a quick, enjoyable read that delivers some great action segments, but I'm not really sure the plot overall needed a five-issue storyline. Hopefully, the final issue has some big twists waiting before this creative team takes their bow.
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Thus far, this arc is raising some interesting questions, but it feels more like a series of strange vignettes than a full story. Given how many characters it's killed off,
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Batman being attacked by an army of armed cosplayers feels a bit cartoonish when in bright light, and as such the issue lacks the intensity it needs. A lot of this story will depend on the identity of the Arkham Knight, and so far it's a big blank slate.
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Reminds me a lot of what Snyder did with Riddler " just because something is a good evil plot doesn't mean it's a good evil plot for every villain.
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That's the problem with this run " Tomasi's take on Batman and his supporting cast is near-excellent, but it consistently surrounds them with adversaries that are lacking in characterization compared to the other books in this line.
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The Mr. Freeze arc concludes in Detective Comics #1016 with many of the same strengths and weaknesses of the arc so far, but it does resolve some of the bigger plot holes nicely.
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There's some real tension in this issue, but the plot doesn't quite come together yet.
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This title has always suffered a bit from the problem that its stories are usually side stories to the main Bat-stories in other titles.
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Make no mistake, this is a gorgeous comic with some fascinating ideas, but it's barely a narrative.
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This is definitely a Morrison-esque book to the nth degree, but that's not always a smooth read.
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It's a massive mixed bag of an issue, and one that doesn't quite come together as a whole.
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It feels like Way's story may be outreaching his grasp here, even with some fascinating storytelling quirks worked in.
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The problem is, this comic crossover is so thick in TV continuity that it's largely inaccessible and this first issue doesn't have much crossover content.
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The cameos are great, and some characters like Superman get fairly profound moments. The cliffhanger is strong, but seems unlikely to ever be followed up on, which leaves us in a weird place as it wraps.
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This run started strong, but ultimately came across feeling rather scattered, and never more so than the final issue, which is essentially just a speedrun recap of what comes next for some characters but not all of them.
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There's a lot going on in this issue, much of it falling back on some pretty hilarious visual gags, but it mostly just serves to deepen the rift between our two favorite BFFS.
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So far, I've been a bigger fan of the spin-off arc "The Price of Justice" than I have been of parent event Heroes in Crisis. That reverses with Flash #65, which brings the story home and doesn't feel like it accomplishes much beyond making the DCU a sadder place.
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The ending of the issue just seems to be a way to set us up for the three-month Flash: Year One story, and promises a shocking secret from Barry's past that he forgot. That's a way to make it more relevant, but it really feels like this title has been spinning its wheels for too long. I'm hoping it comes back from the flashback story with more purpose.
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This is well-done, but it all feels like it's leading towards dragging Wally back into the dark. This mini has done a good job of reminding fans of the Wally they loved prior to Flashpoint, so it would be awful to get him back just to have him stripped away again.
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That's the big problem with this series overall " there's an endless sense of hopelessness that makes it rather hard to read. For a series like this to work, we have to believe that the heroes are going to win. So far the heroes don't feel like they have things together enough for the rebellion to be a compelling opposition, but Black Condor's story is the closest we've gotten.
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Hester does a good job with adding some major stakes for the character, but overall none of the players are quite as compelling as what I'm used to seeing in this book.
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Much like the main series, it feels like Bendis is spending a lot of time exploring the setting but doesn't quite have a firm central narrative to ground it in. I'm not sure if one more issue here will be enough to change that.
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There is some clever social commentary mixed in here, but overall this and the main story don't fully connect. Unlike the other Future State stories, I'm not quite seeing how this feels like Metropolis yet.
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This is a decent horror comic, but it's still not a very good Shazam comic.
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Some good points here, but too compressed"the opposite of what we usually get with a Bendis story.
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It's fast-paced, but unlike the first arc it isn't really providing much to invest in yet.
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This series hasn't always found its groove, but it's genuinely no-holds barred in terms of constant escalation. That's kept it entertaining at least.
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The story often feels like it's testing her, but for most of the issue it does feel like a positive corner is being turned. Then the story takes such a dark, absurd turn out of nowhere that it lost me, as one character who seemed to be beginning a dark turn goes from zero to 99 in five seconds, essentially making them irredeemable out of nowhere, and I'm not sure it means anything good for another character's years of development.
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There are some good things hereparticularly the characterization of Two-Face, continuing the more nuanced portrayal Ram V was giving him. However, Ortega's characterization remains fairly weak, while this story mostly seems to be breaking Renee down and undoing much of the progress she made over the years. It's just so relentlessly bleak it's hard to really enjoy.
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This series is obviously inspired heavily by elements of Bombshells, but while that one has an overall message of hope, this feels designed for a darker world. It's certainly exciting, but it's just not as compelling.
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Ben Percy is always at his best when it comes to high-intensity, disturbing scenes, and this issue is packed with them.
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It's perfectly readable, but it's trying for a lot of the same social commentary as Priest's Justice League and Deathstroke. It's just not nearly as smooth about it.
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There's a lot going on here, and it feels like this arc had to be wrapped up several issues early. I'm not sure what comes next for Ollie, but this wrap-up didn't quite stick the landing. And we still don't know why Emiko left!
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The first major arc of Tim Seeley's run on Green Lanterns, set on Abin Sur's home planet of Ungara, comes to a close in Green Lanterns #39 with a story that delivers a lot of action and some great, quieter moments.
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One of DC's most original books in years, Green Lanterns #57 closes out the series with an arc that was unfortunately all too ordinary.
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Harley and Ivy's odd road trip has passed the halfway point with Harley Quinn & Poison Ivy #4, and while it's great to see the girlfriends get a series devoted to their joint adventures, I wish those adventures were as good as the characters.
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There's a lot of action this issue, and Miranda's depiction of Man-Bats is suitably creepy, but overall it feels very standard, which the last run never did.
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The Penguin's takeover of Coney Island continues in Harley Quinn #39, as villains from around Gotham invade the shore. Unfortunately, it's the most violent issue of Tieri's run yet, with little humor beyond the opening few pages.
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There's some strong elements, some weaker elements, but overall it doesn't quite coalesce into a cohesive whole as a story.
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The issue raises some interesting questions for next issue, but on its own, it didn't really grab me yet.
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The conclusion of Paul Dini's retro take on Harley, Harley Loves Joker #2, winds up turning into a meta look at the character in her various eras, and although it has some fun moments, winds up being a bit too clever by half.
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Overall, the dialogue in much of the issue is a little too busy, but the final pages which have the two leads finally talk things out are the strongest of the run. It does a good job of capturing the feel of the series, even if it's always a bit of an acquired taste.
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Overall, there are some fun stories here, but much like the series itself, it's just a little too much. Most of the characters feel like parodies or caricatures, and eighty pages of that is only for die-hard fans.
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It's not quite as slowly paced as the original Simon Oliver year-long run, but it lacks the wild, violent surrealism that Tim Seeley brought to the title (he returns for another arc next month).
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It's still an overstuffed comic that spends way too much time on exposition, and the new co-writer seems to be permanent now.
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This was a series with a lot of promise, although its pace could be a little deliberate at time, but the move to New York did a lot of good. This is the final issue, without much fanfare, and unfortunately I feel like the last act reveal sort of undid much of the progress.
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Over the last few months in this series, it's been taking on a surprisingly epic tone, but this issue was a step back " more heroes trying to kill each other for little reason, and one angry assassin child of Batman was more than enough to deal with, thank you very much.
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This is a very odd start to a new solo series, with multiple twists and turns that set up a new Joker status quo that I'm not entirely sold on yet.
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Violence is basically an essential part of any Joker book, but how that violence plays out makes the difference between a darkly funny book and one that just feels gratuitous. The first part of this issue toes that line constantly, sometimes with great effect.
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The main story continues to be fairly conventional, even as it twists things around with just who we're supposed to believe is the real Joker.
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This issue is basically a twenty-page fight segment with the two clowns getting their butts kicked.
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I don't really care who wins out of these two, but it was fun watching Jason Todd and Ravager make their escape in a subplot.
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Then, Francesco Francavilla takes over on art to illustrate the origin of the false Joker, and while it looks great as it always does, it's not exactly a huge revealjust another example of Joker being too crazy by half and ultimately being his own worst enemy.
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The problem is, this issue is such a scrum of explosions and fight scenes that it's not easy to keep tabs on who's who, especially since the Gotham Joker now has his trademark suit back again. The last page attempts to throw the entire concept of the series for a loop right before the end, but it doesn't have the impact they're hoping for.
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This series had some good points, but it showed what the previous incarnation side-steppedJoker ultimately does not work as a protagonist.
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Overall, this series hasn't yet convinced me that it can turn this odd mix of characters into a cohesive team.
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Like its sister titles, Justice League Odyssey is a very ambitious title, creating an elaborate mythology that expands on the plot elements introduced by the breaking of the Source Wall. Unlike the other books, I'm not sure that mythology is coming together so far " and it's not likely to, given that Josh Williamson is likely leaving after next issue.
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I like the cast of characters in this book, but unfortunately, both the plot and the villains are lacking anything to make it half as compelling as its supernatural sister book.
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Dan Abnett's run on Justice League Odyssey has expanded on Williamson's concepts while also streamlining the plot into a fairly standard space adventure.
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Under this new creative team, Justice League Odyssey seems to be finding its focus " and it's a lot less ambitious than the original pitch.
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The interdimensional scavenger hunt that Justice League Odyssey has descended into has largely lost my interest, but the character dynamics in this issue are interesting enough that it remains overall compelling.
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It's certainly a high-stakes story, but the problem is that the first half of the issue is devoted to little more than Darkseid monologuing about exactly how this power works.
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It's hard to point out anything particularly wrong with this issue, but it's a story without a compelling lead, and largely comes off just feeling like a generic trip through scary scenes.
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The main focus of this issue is Joker's rapidly deteriorating mental state, as he's started dressing up as Batman and trying to kill criminals. Does this make sense? No, not much of what Joker does here makes sense. That's partially because this is a nightmare and one without much context, but it's also because Joker is not a character with a coherent motivation or reliable personality.
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It doesn't feel like this run is over, because a new subplot is dropped right before the end"maybe it'll be followed up on in next week's Future State spinoff. But if this is the last regular issue, Bendis definitely bit off more than he could chew in only twelve issues. No surprise"Legion is a notoriously tricky property.
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It's an entertaining, if not entirely satisfying, finale.
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It's an intriguing start, but it's not quite sure what comic it wants to be yet. It has ten issues to figure it out, and if it stays on schedule with its artist it should look great while it gets there.
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This is an odd comic that doesn't quite know what it wants to be, but the jumbled mess is pretty fun anyway.
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Combining the most unconventional DC team book at the moment with maybe the most unconventional book DC has ever put out, the premiere chapter of the Milk Wars crossover in the JLA/Doom Patrol Special #1 will either win you over or turn you off, and which of those it does will likely depend heavily on your tolerance for the Doom Patrol comic.
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It's chaotic and violent and has a few good lines, but overall it's really lacking the momentum the first issue had.
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It's a definite improvement over the first issue, but I'm still not fully sold on this new direction.
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I'm not sure about this direction as a whole, but this issue makes me think Percy could have spun something interesting out of it. Sadly, he won't get the chance.
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Jurgens is improving this title a lot, but it's still loaded with cliches and this upcoming storyline has the chance to go down a very bad path.
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This is an exciting and entertaining read, even if the tone is a bit off sometimes.
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This is a pretty broad comic without much subtlety, but it's also fast-paced and delivers some great action. But the Ric Grayson story is set to come to an end in 2020, and it's about time. Jurgens has done his best with the story, but the status quo has hobbled every writer who's worked on it.
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This issue isn't bad, but it feels like an unnecessary waystation on the way to a resolution we've been heading to for a while.
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The final curtain falls on the Ric Grayson era in a story that emphasizes Jurgens' strengths as a writer"but also the overall weakness of the status quo he had to work with.
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The penultimate issue of this dark AU continues to expand the world and has some major reveals, but it still suffers from one major issue that has persisted from the first issue " its version of Dick Grayson makes no sense.
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The problem, once again, is that much of the plot is driven by characters making bad decisions that don't really make sense.
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Alfred works best as a hard-boiled traditional spy, so having him go up against shape-shifting super-soldiers with gun arms doesn't quite work. Still, solid characterization and visuals.
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It's an odd hard-sci-fi take on Alfred, putting him in a plot that would make even Batman feel a little out of place. But aside from that, the characterization is actually pretty solid and it's good to see Alfred take the starring role for a change.
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It made me somewhat interested in the TV series, but more than that it just emphasized what a strong character Alfred Pennyworth isstronger than the story surrounding him in this story.
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Overall, some scenes of this issue have a nice pulpy vibe to them, but what's lacking is any real reason for us to want to follow these characters. There's no one here who's likable, no one here who's relatable, and for me at least, I found it pretty hard to get invested in this issue.
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Punchline is by far the most popular character to come out of DC in recent years, but is she a lead character? This series so far is sending mixed signals.
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This series has had one big problem since the startPunchline is not a protagonist. She's a one-note psycho who has the same challenge of a Joker led series, in that you need a compelling co-lead to drive the series.
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All of Tini Howard's books sort of flow together into a Gotham shared universe of femme-fatale crime stories, but this one doesn't have the hook of Catwoman.
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What ensues is a chaotic scramble for the keys to Gotham and the drug supply, but very little in the way of resolutionit even tells us to look for Punchline in the pages of Catwoman's title, making this whole series feel just like a bonus arc of another book.
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It's kind of a slow start, but there's a good central character and I'm hoping it builds momentum from here.
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The story wasn't perfect and I'm fine with never seeing Baron Winters again, but I'm ready for more Wolfman Raven any time.
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It's a bit of a mess, but there are a select few characters who Lobdell writes surprisingly well here.
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Lobdell's Jason continues to be his strongest suit writing-wise, but I definitely can't say the same about his destructive, rage-driven Batman.
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I feel like Lobdell, despite some plotting missteps in this book, has managed to develop a strong characterization for Jason and the title is looking up now that the full gang is back together. For all his protests, Jason is his father's son.
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This book continues to take place in its own strange continuity where any subplot from five years ago can be pulled up at random.
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This issue does have a lot going for it, but it's held back by obvious foreshadowing and a horrifically abusive version of Batman.
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It's all still a little too absurd to really get into, but points for ambition.
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It's not really my taste, but all put together it works as a tribute to splatterstick horror movies of the '80s.
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As Scooby Apocalypse continues well past when anyone expected this dark-and-gritty Scooby Doo revamp to last, it starts to develop some gems of an interesting idea.
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I've got to say " I don't think Scooby Apocalypse is a particularly good book, but it's definitely one of the more interesting shaggy dogs in the DC line, pun intended.
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Scooby-Doo Team-Up is at its best when it's successfully fusing the title cartoon's traditional mystery with obscure DC continuity. Scooby-Doo Team-Up #42 definitely has the latter, but it's so stuffed with guest stars that it loses sight of the former.
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There's no real mystery in this issue, just a never-ending series of wacky antics, so it's definitely not one of my favorite issues of the series. Still, it's a fun tribute to an old-school comic that's largely been lost to the ages and I'm hoping this series has a lot more bizarre adventures in its future. With its anniversary coming up, it's probably got some big surprises in store.
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So, just like Spider-Man, Derek now has a major guilt complex over the death of a parent figure. This all felt preordained almost from the first issue, and not only is it a disappointing fridging of an interesting parental figure, but it feels like it'll cast a long pall over the fun vibe that made this one of this line's best series.
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With Dan Didio taking over on writing duties full-time, Sideways #7 is both the most ambitious issue of the series, and the most troubled.
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This is a very odd comic, sure, but it's lost the coherent storytelling and character focus that made the original arc stand out.
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Derek's superhero adventure has taken him far and wide and has gone through some crazy twists, but it's never let him establish himself in the way the best teenage heroes did. That's probably why it's ending soon.
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Si Spurrier's blackly funny Suicide Squad series has been the best this series has been since the start, giving the book a new dynamic by adding the fatalistic Juan Soria, a low-powered meta who is fully aware that he's the new guy on the team and as such is a redshirt who is doomed to die.
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Overall, this run has been middling to poor, but this issue is probably one of its best.
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This felt like it should have been more than one issue, because the resolution feels very rushed " and because it's one of the better issues of the series overall thanks to its character focus.
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The brutal finish, and a confrontation between Waller and Swamp Thing, definitely make this worth reading, but it feels like a complete contrast between this and the A-list Williams run. I'm not sure either extreme is the perfect fit.
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There's potential here, but a lot of kinks to be worked out.
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Robbie Thompson has brought the Suicide Squad back to its roots, and that's a mixed bag.
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Overall, the action is good but the status quo still isn't really clicking.
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It's improved from the first few issues, but still isn't really hitting on all cylinders.
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One thing about this series, thoughit never slows down enough to let you get bored, rocketing from one bizarre development to another.
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This one-year anniversary issue has a lot of action, including a stunning reveal of a major player from another world, but it suffers from most of the characters being fairly flat.
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So far, it's just been Suicide Squad without even any guest stars, and the event feel hasn't really kicked in yet.
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A few good moments aside, this whole book feels like a missed opportunity.
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It's a chaotic, fast-paced final issue that potentially hints at a new status quo and a new boss for the Suicide Squad, but who knows if it'll ever be followed up on. This team had a few fun characters, but they never gelled into a teameven a disposable one.
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Both stories are readable, but the former has more hooks to bring me back.
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With both stories, it's far superior to the last few years of the main series but never rises above moderately enjoyable.
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The issue has a parade of intriguing cameos that briefly set up some interesting plot threads, but the ambiguous ending doesn't really deliver and it mostly feels like this is exploring things we've seen done better before.
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This video-game tie-in is dedicated to showing us the inner workings of the new Arkham Asylum as Amanda Waller builds the Suicide Squad, and it's an ugly place.
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The story is fun, chaotic, and completely over the top, but this version of Harley is a one-note throwback who seems like a complete psycho most of the time. Fans of the game may get more out of this book than I did.
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Marc Andreyko's Supergirl run sending her on a quest for justice through space has been a compelling read, but over the last few issues it's taken on a mean streak that has severely blunted my enjoyment. Unfortunately, it doubles down on that tone this issue with an often grotesque plot that pushes Supergirl and the Omega Men to their limits.
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It's a comic that has to juggle way too much, and Kara's solid characterization and some good fight scenes are largely lost. Jody Houser will be returning to the title just in time for Supergirl to be corrupted, but hopefully she gets to stick around long enough to tell her own stories.
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It's a big, explosive sci-fi tale that has a lot of ideas but not quite the execution to pull them off, and some really odd dialogue quirks.
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After last issue's bizarre descent into years-long captivity and occasional torture for Jon Kent, Superman #10 is a definite step up " if still plagued by many of the series' ongoing narrative issues.
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For any narrative flaws this run has had, Ivan Reis' art has never been anything short of spectacular " the scope and scale of the battle segments is something to behold.
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With Event Leviathan ramping up, the main story in the other Superman title starts to feel like a side story " even as it delivers a massive status quo change to the character's mythology.
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Interesting title, but a clumsy execution that lost its way after original writer Phil Jiminez left.
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While some like the Hush issue felt like they were too much story crammed into fifty pages, this one felt like it could have been 35-40 pages instead. Vita Ayala is a great writer, but I don't know that remixing this story gave them enough to work with.
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There are bits and pieces of intriguing story beats through the story, but it feels like a step down after Zdarsky's Jason spotlight in Batman: Urban Legends.
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As we get to the last act of this zombie-fueled thriller, it continues to be a mixed bag of compelling character moments and over-the-top action.
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Crush's confrontation with the drug dealer who killed her parents gets as violent as this series likes to, but it also reveals the moments before their death and settles some of her questions. But this main story wouldn't work nearly as well if it didn't build a genuine, sometimes sweet connection between the two girls.
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This new take on the Titans franchise has some elements going for it, but it continues to be roughly five books stuffed into twenty pages and shook thoroughly.
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It certainly has a better energy than the previous run, but it feels like several good plots are being thrown into a blender to see what sticks.
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As usual, this title is a mix of a lot of plotlines, and some are much better than others.
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It's not terrible, but it just sums up how scattered this latest incarnation of the Teen Titans franchise is.
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Overall, this annual patches some things in the concept, but doesn't quite click as a whole yet.
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I continue to like the two lead characters a lot, but the supernatural plot surrounding them is still somewhat lacking.
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It's a good, creepy issue, but it still feels like there's very little substance to this comic. Joe and Annie wander from town to town, fighting demons, but any progress in terms of story development is slower than molasses.
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This series has been effective at telling creepy horror stories, but the overarching mythology isn't quite coming together yet.
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This series is ending with #12 in March, and while it had some potential as a supernatural DC noir about a new magical powerhouse infecting the DCU, it lacked the compelling characters to make it truly click.
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Legendary artist Denys Cowan returns for the final arc of The Curse of Brimstone, and the series takes a level up thanks to the stunning visuals. Unfortunately, it still suffers from the series' overall problem " a hero who remains pretty vague, and villains who seem more here for generic battle segments than any real menace.
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Of all of the recent DC magic books relaunched, this lacks the compelling plot of Mystik U, but its fast-paced story and strong art make it somewhat enjoyable.
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Unfortunately, so far, Immortal Men is a spectacle but it doesn't feel like much of a story yet.
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All of the New Age of DC Heroes titles have had a vague 90s vibe to them, but I don't think any has embraced it quite as much as Immortal Men. Its team of ancient warriors in an endless war have designs and origins that largely feel straight out of the "xxxtreme" era of comics.
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John Ridley chose an extremely ambitious path with this series, addressing comic book history, real history, and character spotlights all in one go. Sometimes it works. Other times it collapses under its own weight and leaves us with an imperfect shot at a masterpiece.
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Most of this 30-page story doesn't really qualify as a comic at allit's mostly made up of Riddler's hand-written notes, combined with his crudely drawn sketches, with a few pages at the end as he plans his attack on Gotham taking the form of a regular comic. It's a fascinating experiment, but it's more interesting to think about than to read.
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One of the best shows on Netflix " if you can handle it " is Bojack Horseman, a show about a talking horse that is actually a brutally dark Hollywood satire about the price of fading fame. Ruff & Reddy, which reinvents the classic Hanna-Barbera funnymen as Hollywood has-beens, seems to be trying for a similar vibe, but it's not quite willing to commit to the darkness. As such, what we actually get is a screwball comedy that's also a story about middle-age depression.
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Overall, it's an interesting experiment, but it lacks the punch of the social satire in Flintstones or Jetsons.
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At this point, this series works somewhat as a Hollywood satire, but as a stand-alone story it feels way too thin for a six-issue miniseries.
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The Silencer #3, the conclusion of the first arc of The Silencer series, is basically no-holds-barred action brought to life by John Romita Jr., and if you're a fan of Kick-Ass, this series will probably work for you.
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The problem with this series is that the main plot is less interesting than the stuff going on in the fringes. Honor being forced to be a full-time assassin again makes it less likely that we'll get that material regularly, but this issue overall makes me hopeful for the direction of the series.
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We now know The Silencer is wrapping up with issue #18 in June, making this a complete wipeout of the new concepts created by the New Age of DC Heroes line. Silencer may have been the most intriguing character from the lot, but her title was still rather inconsistent, and it seems like the final issues will be used to tie up loose ends and prepare her for a possible role in Event Leviathan.
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The title had one great strength " flipping between Honor's normal life and her assassin life " and it feels like it's lost that.
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This is still a strong book with a great team of leads, but it needs better villains and maybe shorter arcs.
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Orlando clearly has a lot of big ideas here and I want to see where they go, but the first issue " like this line as a whole " feels a bit confused.
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The book feels very dense, almost impenetrable at points, and it doesn't help how fast it throws us into the middle of the events.
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As The Unexpected wraps up its run with this final issue, The Unexpected #8, it's clear what the series' problem was as a whole " I have never actually been sure who the title was about.
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Oddly, it seems like splitting the Titans apart " even if the reason was the dumbest moment of the series " may have been what was needed to make this title compelling for the first time, because, in Titans #20, the majority of the plots are promising enough.
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The dialogue still needs a lot of work, but the plot in this series seems to be leveling up.
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There's still a lot of dangling plot threads here like Raven's soul self that need to be resolved, and the book will need a team we care about to drive those stories.
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Dan Abnett's Titans run comes to a close in Titans Annual #2 " at least this version does, as the team will be combined with members of the Teen Titans and a few new characters in a few months. But while Abnett's writing has always been competent with what he had to work with, the core dynamic of the original Teen Titans reuniting hasn't worked since launch mini Titans Hunt.
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The main plot is pretty solid, escalating low-level villains into major threats, but it's the same problem as this title has had for a while"you can't have a strong Titans team if you don't care about the Titans.
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This series has been an interesting attempt to create an evergreen Titans comic for fans of the TV series, but the characterization has been spotty so far. This issue does a little better with thatmostly because there is absolutely no room for much character work amid the total chaos.
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This is one of the better issues since the first, mostly because it keeps the focus on a smaller group of characters.
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Surprisingly, it's Jason who shows some real character growth and may have the biggest impact. But the larger problem is that Blackfire is still nothing more than a cackling stock villain who seems to be ready to destroy Earth simply to spite her sister
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The art is good, but the characters and world building are fairly thin so far. Still, there are a few strong moments, particularly when Tim and the Batman of this world are finally reunited.
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One interesting element of this series is that many characters are significantly more ruthless than their main counterparts in this worldeven when they're not possessed. It leads to some dramatic twists, but it can also make it hard to really care about anyone in the series. After all, the odds are that everything is going to be reset and the main universe will be returned by the end of this mini.
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Its depiction of a twisted alternate world has some high points, but overall it didn't quite match the first mini.
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This tight team of four does have a fun dynamic, but they're up against some of the blandest villains in the DC stable and it's not letting them live up to their potential. Honestly, I'd have liked to see more of them hanging out at the tower.
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Unlike the other Walmart titles, this one is wrapping up its first story and moving into a new one with Hawk and Dove next " a smart move to explore the whole Titans world and introduce new readers to some of their less-known characters.
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Overall, this event has been sort of a jumbled mess, but has given some charactersMirror Master, Ambush Bug, Power Ringan intriguing spotlight. The problem is, with three competing gangs of villains and very few having any redeeming qualities, it's hard to care about what happens to any of them.
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A slow-burn conspiracy thriller is all well and good, but once we're a year in and key characters have barely met, it's a problem.
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Ultimately, this story is getting all the pieces in place for an epic showdown, but this issue feels more like an extended group therapy session.
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It's an odd comic, given how many characters from the first issue don't really play much of a role in this one, particularly Fairchild.
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The original Wildstorm comics were essentially fight books with some flashy art, so it's not necessarily a bad thing that this book seems to be carrying on in that style. The problem is that it really doesn't earn many of the more emotional scenes it often seems to be going for.
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With each passing issue of this series, it becomes clear that this isn't a series that's going to pull anyone new into the world of Wildstormit's very much a title that plays to those who love the extreme '90s antiheroes already.
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There are some interesting threads here, but the problem is the WildCATS just aren't very interesting characters and don't make great anchors for a book. Rosenberg isn't telling a bad story here, but he's struggling to create any connection with the main characters.
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While the 1990s Wildstorm comics often had relatively little going on beyond action, this one seems determined to play as a highly ambitious spy comic. On one hand, that works to add a few more layers, but it also requires a lot more wordinesssomething I'm not sure the comic can carry.
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The plot is a lot, as we build to a battle of factions that includes a guest appearance by the trio of Black Canary, Roy Harper, and Batman, but there are a few interesting bits including a surprising role for Caitlin Fairchild. I'm hoping that this VERY '90s comic is setup for something else featuring these characters, particularly if it involves the return of the other Gen 13 characters. We'll see how it wraps up next month.
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This series wraps up largely as it beganwith a massive jumble of over-the-top 90s-inspired superhero action.
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This title gets its third main artist in Laila Del Duca this issue, and she's brilliant as always. The series, though, mainly seems to put its heroine through trials without her ever really feeling like the lead character. The
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The original series was trying to do so much that it barely gave Yara a supporting cast, and this annual is just as wildly ambitious, with four different artists all telling different stories though space and time. The best part of the issue is probably Emi Lenox's opening focusing on the origin of Jerry the Pegasuswhich turns out to be surprisingly tragic.
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Mark Russell has taken some of the diciest issues of the modern day and put them in a surrealist blender to turn a superhero mirror on the real world, but the broad satire tone doesn't work nearly as well on issues as grim as the ones Wonder Twins #5 grapples with.
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The one thing Orlando definitely gets right is his characterization of Diana " she's having a good week overall " but she's stuck in a story that doesn't quite live up to her potential. The cliffhanger introduces a major new player, so I'm hoping this run picks up as Orlando gets more into his own storyarc.
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In the aftermath of Trial of the Amazons, Diana's story shifts back to Man's Worldand I'm not sure about it right now.
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Coming off a series of very strong arcs, this title continues to lose momentum with an arc that pits Diana against several of her arch-enemiesincluding MRAs.
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There's relatively little that's bad in this issue, but this is overall a pretty basic plot that feels like it shouldn't have taken three issues to get here.
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It's never a good sign when your lead character is the least interesting thing about your series, but that's exactly what's going on with Damage #5.
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It would have been a mostly forgettable issue if it wasn't for the final page " which brings back some characters that fans have been anticipating since DC Rebirth, and promises to elevate the emotional aspects of Wally's quest to a new level.
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Not sold on this run yet.
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It's not that this series is overtly bad so far, but this initial storyline isn't really working for me and I don't think the tone meshes well with Nightwing's character.
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There's still a bit too much generic monster action and shooting, but there are some nicely tense action segments along the way.
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Thirty issues in, more than double the length of any other Hanna-Barbera series, it still feels like Scooby Apocalypse doesn't know what kind of book it wants to be. Sometimes it's broadly comic, sometimes it's so unrelentingly grim that it almost feels like The Walking Dead, and sometimes those two tones are crammed together in one issue.
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The series does have some good points, but it's just too scattered and inconsistent.
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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.
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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.
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Halfway through, it doesn't feel like Adventures of the Super-Sons really has a strong central plot yet.
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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.
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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.
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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.
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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.
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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.
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It's a serviceable issue without much obviously wrong with it, but that's the best that can be said.
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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.
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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.
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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.
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It's a deeply disturbing issue, yes, but not one that passes the smell test.
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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.
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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.
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I really wanted to like Batman and the Outsiders, given that it features several of my favorite characters and is written by one of my favorite recent DC writers, Bryan Hill. The first issue was highly promising, spotlighting a unique team dynamic and giving multiple characters intriguing subplots. The problem is " this isn't that comic.
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Batman Beyond rebounded from its rough early arcs that were too tied into the Futures End continuity with the new status quo, but unfortunately the return of the Joker seems to have taken it too far round the bend into the old status quo.
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This series largely feels like Willingham taking old toys out of the toybox and seeing how they still work, and on that note it certainly feels fun watching Bigby and Batman go head to head. But what it's lacking is any real sense of advancement for either of the two leads. It's a throwback in every way, and given how rough the last few years of Fables were, I wonder if this is a franchise whose time has passed.
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I like the ideas at play in this series so far, but the execution is highly irregular and it's not coming together as a cohesive story yet. It's a stunning showcase for Hitch's art, but I'm not sure what else it is yet.
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The reveals come fast and furious in these last few pages, but the series doesn't so much end as stop " leaving us with many questions about who even survived this story. It's brilliantly drawn and delivers some haunting visuals, but it doesn't remotely work as a coherent story.
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It's not overtly bad, but the tone is so different from the Bats we know that it doesn't quite work.
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The Batman Prelude to the Wedding issues hit the midway point, and thus far the one thing they have in common is that they're all very weird.
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Just a lackluster mini-event that didn't really add much to the coming wedding story.
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Overall, if Birds of Prey #1 was going for a grindhouse action-movie vibe, it achieved it. Its story is competent and the art is excellent. But as a Birds of Prey team, it doesn't remotely live up to the Palmiotti/Conner miniseries it's competing with. The Birds always had some fun energy, and this take just feels like a dirge.
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The penultimate issue of this series' final major storyline (it'll have a done-in-one story to finish out the run in February) is unfortunately the most disappointing issue of the new run.
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I'm not sure what Sebela has planned for the last issue, but consistently this series has had potential that it never quite lived up to.
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Joelle Jones has had some highlights in this run, but overall it hasn't quite lived up to the promise of her past work with a lot of fill-ins and a plot that tends to drag.
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The addition of a major new villain with one issue to go seems to promise a chaotic finale, but it's a puzzle to me how this book can be wrapped up in only twenty-something pages.
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Overall, like most of the Young Animal line this feels like an interesting experiment that doesn't quite come together into a full story.
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We're left with yet another run that doesn't feel like it's going to kick-start a successful solo run for the character, and it might be time to call it a day on DC trying to make it happen.
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There are certainly worse books in the DC stable than Damage at the moment, but there are few things more frustrating to read than a book where decent ideas are executed poorly.
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The great irony of Damage #7 is the same as the rest of the series " writer Robert Venditti seems more interested in everything surrounding Ethan Avery than he does in the main character himself.
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Damage rampages from one fight to another and punches some generic enemies, then disappears into the crowd to emerge again when Damage is needed to wreck things. There's virtually no forward motion in this series, and it doesn't work.
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It's a year in, and I still feel like we know about as much about Ethan and Damage as we did in the first issue. Oh, well, at least the fight scenes look pretty thanks to Aaron Lopresti's art.
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Review " Damage #14: Welcome to Monster IslandPosted on February 20, 2019 by Ray Goldfield " 0 CommentsReading Time: 2 minutesDamage #14 cover, via DC Comics.Damage #14 " Robert Venditti, Writer; Aaron Lopresti, Penciller; Matt Ryan, Inker; Hi-Fi, ColoristRatings:Ray " 6/10How good can a comic be when it barely has a plot? That seems to be the question Damage wants to answer, because we're two issues away from the end and it still barely feels like we know Ethan Avery and his monster alter ego at all.
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I doubt Damage will ever appear again in a major role besides maybe as background cannon fodder in a big event, but it's worth noting that he ends the sixteenth issue in exactly the same place he was in the first. He's still a loner, still mostly a blank slate, and Damage is still largely out of his control and serves as a "Dark side" to the meek civilian. Just bland and forgettable.
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Frank Miller comics are more an experience than a coherent reading experience at this point, but there's some interesting elements in this tale. I just wish they came together into a story that knew what it wanted to be " a political satire, a cosmic epic, or a gritty crime thriller. It tries to combine all three and comes out as a gorgeous mess.
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In the end, it just doesn't click as a coherent narrative, even if it is a lot better than Wacky Raceland ever was.
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There's a fun, silly vibe to the whole thing, but it's a very thin story that doesn't leave much of an impact.
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This book started out as a dark religious satire, taking us inside a corrupt corporation that claimed to be able to suck demons and corruption out of the human soul. After that first issue, though, it seems content to just be an over-the-top gross-out comedy in which a pimply idiot gapes in horror as bodies get ripped apart.
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The creators behind this strange book are podcast veterans on what I believe is their first comic, and it showsit had a lot on its mind, and I think it only hit about fifty percent of those points.
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Tomasi's run is definitely ambitious so far, but I'm not sure it's worth what it's costing the Bat-family as a whole.
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After reaching the penultimate issue before Detective Comics #1000, I'm not sure if I'm relieved or frustrated.
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Ultimately, it feels like Bruce and Damian are fighting an edgelord teenager, not a serious supervillain. Compared to the Jason Todd version in the video games, she feels like a lightweight villain. Definitely not the anti-Batman villain she was hyped up as.
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Detective Comics #1004 is best described as a very well-executed comic that doesn't work at all. Tomasi is a veteran writer who knows his pacing, and Brad Walker does some really interesting art shifts this issue. The problem is, the central plot and its villain don't click.
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This issue, unlike some past issues, feels more like a random collection of clever visuals and sight gags than it does like an actual comic.
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The concept of Leviathan isn't bad, but this miniseries barely scratched the surface and the odd formatting led to an unsatisfying read.
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It seems like this issue spends a lot of time dropping buses on interesting characters, and as such a lot of promise gets lost in the shuffle.
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Flash Forward #1, the first issue of a spin-off from Heroes in Crisis is an odd duck " it's essentially two comics in one, and neither is particularly bad " although there are some glaring logical issues in one " but they go together like oil and water.
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Overman, the Nazi Superman, is name-dropped this issue and a third, even more insane Hitler family member makes his debut, but overall this story just isn't developing how it needs to. It feels like a generic action comic that has nothing to say about the threat of Nazism.
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This continues to be a series that tries for epic scale and delivers in gorgeous art and splash pages " but lacks the compelling foes and characters needed to make it click.
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This series has felt like it's treading water since the start, mainly due to how one-note the villains have been and the fact that its take on Nazism has been " to put it lightly " not subtle.
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A comic pitting heroes against Nazis in this time period should probably have more on its mind than a generic year-long superhero battle.
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What does work is the stunning artwork by Eduardo Pansica, especially in the Hell segments. But coming after the excellent Johns run and the Jeff Loveness stand-alones, something big is missing here.
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Rafa Sandoval's art is strong, but this doesn't feel like it's gotten as far away from the troubled history of the Teen Titans as it needs to for a fresh start.
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It feels like yet another attempt at revolutionizing the Teen Titans without actually dialing back on the grim-and-gritty that's plagued the franchise for so long.
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It's just an odd duck of a book, and it ends in a particularly weird way that doesn't quite fit the tone of the series until now.
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Overall, this arc isn't likely to stick in my mind once Sam Humphries jumps on board to take Harley to space, but it's an amusing diversion that serves its purpose to give Harley fans a quick, chaotic arc in between big runs.
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Seeley is back on the book after this arc, and it feels like his over-the-top horror is better suited to this book.
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Heroes in Crisis is probably the most frustrating series on the stands right now, balancing brilliant character-based moments with a narrative that rarely makes much sense and constantly zig-zags away from the most compelling parts of the story.
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There's no going back here, and that's a damn shame, and it makes this entire series feel rather sadistic and ultimately pointless.
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This is an odd series that doesn't really seem to fit anywhere else in the DCU at the moment.
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The issue's action-packed, sure, but it lacks the charm or thrills of past issues, and feels more like it's cover-banding Kirby than anything else.
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I think DC just rushed this character a bit, turning a compelling supporting villain into a less-compelling headliner, and the result is a lot of creators trying to fill in the blanks where there's very little substance to mixed results.
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There's potential here, but the issue is bogged down in coarse dialogue and so far undistinguished characters.
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This comic is definitely indulging the worst instincts of Harley's character, and the only other subplot involves the Starro-possessed heroes stalking her.
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There's a lot of interesting ideas in this run, but I'm not sure they add up to a good Nightwing run.
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It's definitely a marked improvement over the previous creative teams, and Hutch is the best of the Nightwings but there's only so much to do with this status quo.
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Dan Jurgens has been writing DC comics for close to thirty years now, and in that time he's rarely written a bad comic. The current "Ric Grayson" status quo seems determined to test that, but he's still managed to elevate this title above the dumpster fire it's become, at least in Nightwing #60.
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Dan Jurgens is really trying his best on this title, but there just isn't all that much to work with in a book that no longer features its main character in any recognizable way and tries to get us invested in a bunch of Scott Lobdell's OCs.
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Spinning out of the one-off future-set issue that wrapped Frank Tieri's run, Old Lady Harley #1 is a chaotic, action-packed alternate universe take that throws Harley Quinn and her supporting cast into a post-apocalyptic future. The problem is that it feels like a product of the past, not a story of the future.
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Overall, this last act isn't looking as strong as the rest of the series.
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Red Hood and the Outlaws #24 is the final chapter of a long story that set up a smarter Bizarro and a Jason Todd who seemed to be going straight, but both of those plots come to a tragic end here. Unfortunately, at least in one case, it feels like a massive waste of potential and brings up flashbacks to another, far worse recent DC Comic.
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The second issue this week tying in with Heroes in Crisis, this second issue of the new direction is definitely a step up from last issue's Punisher-lite comic. It's still not a very good comic, owing to some seriously wonky characterization from everyone involved. It's okay to not nail every bit of continuity " but actively contradicting your own comic from months ago, less so.
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Red Hood: Outlaw #29 could have gone VERY badly if Scott Lobdell had them bonding over their willingness to kill, but thankfully it handles it better than that. This still isn't anywhere near a good comic, and that's mainly due to the main plot.
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There are times that Scott Lobdell's long-running take on Jason Todd's various misadventures almost finds its footing and does something interesting with the character, but it always seems to pull back and throw him into some dumb plot that doesn't work.
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This is better than most recent issues, but it feels like a tease for a better series at points.
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Some of these plots actually feel like they could have been interesting long-term, but alas, there's event comics to be told.
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This idea of training a team of supervillains has promise, but the see-sawing of Jason's characterization and the constant reboots continues to be a problem for this series.
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It's odd that in a series named after Red Hood, he's no longer the most intriguing part of this title.
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It's one of the better recent issues and does a decent job of tying up this long and complicated run.
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If you like chaotic gore, this might be the comic for you, but to me, it largely just felt like relentless ugliness without much internal logic.
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The larger mythology about these Norse artifacts has potential, but without anyone to really invest in, it's not a particularly compelling story so far.
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The thing about this comic is that it's weird. It's really weird, and that's not entirely a criticism. Its splatterpunk style of absurdist horror has been part of the picture since the beginning, but I don't think it ever fully embraced it until this issue.
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Twenty-two issues into Scooby Apocalypse, it's clear that the whole Scooby-Doo trappings are essentially just a minor element of what's become a more absurdist, more colorful Walking Dead with a more protected central cast of characters.
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Probably should have skipped an issue and let the main plot have the sole spotlight for a month.
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This title just doesn't have the subtlety for the topics it tackles.
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There's some decent material in this subplot, but unfortunately the dialogue doesn't really live up to the potential.
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Not all that much going on here, and the same goes for Daisy and Cliffy. Their bonding is a nice touch in a very grim issue, but that's it.
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The biggest problem this series has is that it seems to go around in circles.
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Overall, it was a failed experiment but one that put way more effort in than I expected based on the first few issues.
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Probably only for Hanna-Barbera completists.
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This issue, while displaying the book's overall genius at times, feels more like a sad reminder of what it could have been if more people bought it.
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Overall, this isn't bad as an expansion of the Teen Titans Academy world. It sets up a decent conflict. But it feels like it's ripped apart the world of Shazam and replaced it with things that don't do the character or the legacy justice.
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I still think Derek's story as a child of interracial adoption had a lot of potential, but that's not what this series turned out to be.
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A mixed bag, but definitely an improvement for the series.
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Suicide Squad has taken quite a significant jump in quality over the last arc, following the Si Spurrier guest arc, but it's still not quite coming together as a compelling whole, even in Suicide Squad #36.
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Suicide Squad has taken an upward swing, with a compelling antagonist and a plot that relies less on complex and often boring mythology.
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Overall, the series still suffers from an overly villainous Amanda Waller, as she tries to hunt down Batman and Deadshot, and lack of any real development for its main characters. You know, the same issues over the last forty-odd issues.
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Suicide Squad #43 continues Batman and Deadshot's road trip, and at times it feels like it's three comics in one " and they're vastly different in terms of interest.
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This storyline has had quite a few intriguing characters teased, but it doesn't really give them enough time or development. Potential, but the execution isn't quite there yet.
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It has some interesting ideas, but unfortunately it feels like it's just too in love with being able to do mature content and kneecaps itself.
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This feels like a strange superhero soap"which I guess it is, given the less-than six month lag time between volumes. A third installment is already previewed in the back of the book, meaning this story is likely to continue indefinitely. An odd choice to be DC Zoom's only ongoing series.
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The sidelining of Lois and the replacement of characters like Alfred with originals don't make this a good transition into the DC comics stories waiting for young fans, so while it's a passable story, I'd instead recommend all-ages classics like Superman Smashes the Klan and Batman: Overdrive as starter books from this line.
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There are some clever things in this part, but overall, this storyline just didn't work as a whole.
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After a while, this series starts to feel like a series of very attractive non-sequiters that do little but let King express his vision of what Superman means to him. They make for intriguing essays on the character, but two thirds of the way through the story and I still don't really feel a cohesive story here.
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The penultimate issue of Lana Lang's solo series tries to pack a lot into twenty pages, and as with the rest of the series, it's only intermittently successful.
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There's some potential, but the story ultimately falls flat.
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This issue has far and away the best plot of the three issues so far, but it's still a long way from being a good book. A team book can't succeed if only a few members of the team are remotely likable or interesting.
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As an issue, this is well-paced and executed, but the team dynamic remains a glaring flaw in the series.
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A crossover like this needs two books on the same level, and this doesn't have it.
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That's part of the problem here"Teen Titans should be a fun book, yet somehow it's always one of the darkest in the DC stable. I'm hopeful that the characters here, especially Wallace, Crush, and Emiko, will build on their story arc here and wind up in a better title that lets them reach their full potential in the future.
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Existing characters like Bunker, Red Arrow, Vulcan, and even Shazam are lurking around the fringes, but are lucky to get a line or two. My personal favorites are probably a trio of mutated Bat-kids from Gotham. But this first issue throws so much at the page it feels more like a cliffs-notes preview of what's to come, rather than a proper first issue.
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The bigger problem this issue is the characterization of the older Titans, with Nightwing being oddly willing to commit murder and Roy coming off as an insensitive jerkeven casually misgendering Stitch at some point. The ending delivers a very grim twist to what might be the last arc before a crossover, but it's still hard to get invested in the larger plot.
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The resolution there essentially neatly takes both Billy and Dane off the table for the foreseeable future, but it doesn't really answer many questions about this book's core conceptbesides, of course, the explosion that ends this issue.
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This book continues to have a few interesting beats and good pieces of dialogue, but it struggles to find a larger direction or work as a Teen Titans book.
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This is a final issue with a lot going ontoo much, as several plotlines are left completely unresolved.
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Three issues in, The Curse of Brimstone is a gorgeous, haunting comic that is unfortunately devoid of anything resembling forward motion or characters to care about.
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The big showdown will have to wait for next issue, and it could deliver, but this first installment didn't really sell me on this arc.
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As we enter the last act of this series, it's not that the ideas here are bad, it's that " like a lot of other titles in the line " the follow-through just isn't there.
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Too many encounters with masters of body horror and twisted foot soldiers without any real answers. Now, in this final issue, Brimstone is finally confronted by the mastermind of his fight " and we still know virtually nothing about them.
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It has a lot of interesting ideas, but the execution never quite carries them through to a fully formed narrative.
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The series ends with the status quo largely restored and both Jason and Etrigan getting what they want " a decent conclusion, but about as memorable as the rest of this series.
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The concept here was good, and the writer certainly is one of DC's best, but the execution just wasn't there on this title.
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Much like the title it spins out of, this comic leaves very little impression and lacks the scares of the other infected.
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Man of Steel #5 is easily the weakest chapter of Bendis' weekly Superman debut, and the problem is both the writing style and the direction of the story at different points.
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A Hollywood parody through the filter of cartoons is an intriguing idea, but when you look at how Snagglepuss is executing it compared to this series, there really isn't much of a competition.
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Trying to parse backwards speak for a whole issue is irksome and overall this plot just doesn't let Yang shine with the dialogue like he usually does.
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If you're interested in watching obscure Morrison characters do battle, this comic might intrigue you, but as it turns into a full-on fight comic it's starting to lose me.
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The penultimate issue of Titans, Titans #21, is essentially two comics in one, and the one that's much better...doesn't actually feature the Titans.
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The 25th anniversary issue of Titans comes only a few issues into the title's new direction, which makes it feel like less of an event. It feels more like this just combines the two next issues of the series into one oversized package, and as a result there's a lot going on here.
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The book as a whole has a lot of mood whiplash, and the team dynamic isn't strong enough to make up for it.
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Taking a break from its own plots to tie into Drowned Earth, Titans #28 feels like it's drowning in subplots.
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The plot is a mess, but the team dynamic here isn't bad and Kyle is an interesting addition to the cast " he definitely wasn't a classic Titan, but he has ties to the cast especially Donna. It's a slight improvement, but this series still has a way to go before it's a good series overall.
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Bruno Redondo's art is excellent, but it's all largely in service of some pretty generic fantasy tropes. Still, visually this is probably the most engaging issue of the series.
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It's not an overtly bad comic, but it's one that never did justice to its characters.
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It's a fast read, but isn't coming together yet for me.
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It's a definite improvement over the previous arc, but it's still lacking quite a few elements to make it fully work " including closure, which is kind of a problem for a done-in-one.
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It's a fast read with some exciting battles against monsters, but unlike the previous arc, there's very little substance here and it loses most of the Skartaris mythology that was set up previously.
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The series is coming to a close next issue with a final showdown with Deimos, and it's hard a lot of ups and downs. These last two issues don't make a good case for a revival, unfortunately.
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This series was very up and down, aside from Manapul's spectacular art in the early issues. Its cancellation isn't a big surprise.
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This comic seems to constantly tease us with great concepts and characters, but never focuses enough to really give them the treatment they deserve.
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The big showdown between IO and Skywatch finally plays out in The Wild Storm #12, and it's"well, about as dramatic as you'd expect for this series, unfortunately.
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There are a few interesting ideas in this issue, but the execution is still lacking overall.
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This is definitely an improvement over the rest of the run, mostly for the lack of Jason, but even in a story that's all about her, it still feels like this run has very little to do with Wonder Woman.
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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.
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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.
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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.
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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?
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The comic plays fast and loose with continuity, as it references both No Man's Land and has Nightwing and two Robins appear without identifying them. It takes place amid a power crisis in Gotham that's caused mass riots " spearheaded by the mysterious remote-controlled evil robot Khaos.
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The art continues to be strong, but unfortunately this issue is deeply compromised by its new origin for Derek Powersmaking him an explicitly Jewish arms dealer who became so powerful by blackmailing Bruce with knowledge of his secret identity and is obsessed with creating weapons of war. Do I even need to detail just how many dog whistles there are in that?
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Damage is a perfect example of a title that on the surface does everything right, and underneath the surface has nothing going for it.
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Damage #11 may be one of the most basic comics I have ever read. It's not aggressively bad, but it's so predictable that it feels like a computer could have spit it out of a generator.
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The problem is that there's very little suspense and very little in the way of anyone to root for. It's just two of the most unpleasant characters in either universe going nuts around each other.
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The first issue of Pete Tomasi's return to the world of Gotham was a competent, effective mystery that wasn't really going to get anyone talking. The second issue is definitely going to get people talking from early on, but that's not necessarily a good thing.
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Coming off the Reaper-focused annual just two weeks ago, the conclusion of the Arkham Knight story in Detective Comics #1005 suffers by comparison " the scale is bigger, but Astrid Arkham's evil plot is so over the top and lacks any internal logic that it doesn't work at all.
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Wally West's grand tour through the multiverse continues, and Flash Forward #3 shows the biggest problem of Scott Lobdell's writing " he doesn't know what we're actually interested in.
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The bigger issue is that this series is still essentially a blank slate character wise. There's no one here to get invested in yet and while the Nazis are vile, they're also so one-note to provoke no real reaction.
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The book goes out of its way to make us hate the Nazis " Hitler's grandson tortures two heroes in sadistic ways in the start of the issue, for instance " but it does little to establish the heroes as worth following.
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If you like Eddy Barrows art, and I definitely do, this book is a feast for the eyes " but that's largely all it is, as the massive splash pages can't cover up the fact that a story and cast of characters never really developed here.
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For a series with a lot of political themes on its mind, it never really goes beyond the surface level on its concept.
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This one sadly didn't work for me at all.
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Ultimately, the biggest problem of Gotham High is its plot. While the art by Thomas Pitulli is effective, in a gritty way that makes the characters feel more like participants in a noir film than in a teen drama, it mires them in a dull love triangle plotline that never quite goes anywhere.
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Despite the complete disaster of a villain, who gets the embarrassing end he deserves, this issue actually works a little better than the previous ones in the arc. That's because the Benson sisters (in their finale on the title) put the focus back on Black Canary and her relationship with Green Arrow.
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This is the conclusion of stories going back almost five years now, so it's disappointing to see the entire thing come down to a hastily arranged haze of carnage and explosions.
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Too much Red Tool and a rushed conclusion make this finale one to forget.
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This issue is so busy that it's hard to guess how things will play out, but it doesn't leave the best impression.
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An annual focusing on two of the most prominent female characters in the Injusticeverse, this issue could have had a lot of promise, but instead reverts back to the violence and nihilism of this series at its weakest points.
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Really, every character involved in this story deserves much better.
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A segment involving Bre and Barbara Gordon bonding was surprisingly well done, but the issue as a whole is still full of flaws.
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This is just a one-shot that doesn't tie into anything, and that might be for the best"this Peacemaker doesn't feel like he belongs in the DCU.
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Jason's new status quo as teacher to Lex Luthor's gang of underage villains-in-training is an amusing concept, but it rarely lives up to its potential due to the lack of compelling characters in the students and Red Hood: Outlaw #40 is no exception. They bicker, they do occasional disturbing body-horror things, but they never really feel like anything but future cannon fodder.
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This book has gone on so long that I'm sort of excited to see how Lobdell pulls it all together, but he'll need more focus than Red Hood: Outlaw #45 shows.
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It's definitely expanding on the mythology of the original, and brings back a major threat from the first series, but it doesn't feel deeperjust bigger and grosser.
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When the title critters actually show up, the story is a bit of fun, but it's been dragging on way too long.
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Part of the problem with Scooby Apocalypse as a series is that it wavers between having no sense of forward motion, and putting its forward motion into fast forward. That's the issue with Scooby Apocalypse #29.
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It's the final arc of Scooby Apocalypse, and all the enemy forces are converging on the post-apocalyptic mall where the Mystery Machine crew has made their home in Scooby Apocalypse #34.
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There were some interesting ideas here, but ultimately this series turned into a mess.
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This is actually one of the better issues of the series in a bit, as it has a decent horror aesthetic and strong art by Barnaby Bagenda, but the story and the characters are still rather lacking.
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This issue shows that the title can take advantage of its unpredictable nature once in a while, and the foundations of a good issue are there " only to be completely undone by a nasty last-act plot twist that continues to destroy the legacy of a well-liked character.
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This book has just created a band of nasty people fighting other nasty people, and that's not particularly entertaining to read.
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Overall, this story largely felt too thin for an extended arc, and by the end just about everything is back to status quo.
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It's a tense issue, yeah, but a lot of the story feels built around the overly villainized characterization of Waller that's been a problem for this series since the first issue.
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Percy's take on the Teen Titans is fairly dysfunctional itself, but this version barely feels like a team at all.
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So...kind of a disaster out of the gate.
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The art is excellent, but the writing style is all wrong for an evergreen Superman story.
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This series is a confusing mess, but it's also a fascinating one that raises a lot more questions than it answers.
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Are these one-shots building towards a new army of evil for The Batman Who Laughs? I'm not sure, but this one did not do justice to the character or storyline it focuses on.
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Maybe the final chapter will bring some major developments that will give this crossover a real impact, but right now it's a major disappointment.
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The weird crossing-of-the-streams between one of DC's best books and one of its worst continues to have predictably strange effects. Deathstroke hasn't missed a beat, spinning this bizarre tale of Deathstroke being locked up in Damian Wayne's My First Black Site-Prison Playset into something fantastic. Teen Titans, less so although Teen Titans #29 feels less aggressively bad than previous issues.
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This is definitely a slight improvement from the run overall, but so many elements of this issue feel like they're taken from stock comics.
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Teen Titans #38 is the last issue of this run before Djinn War kicks off to close it out, and the title seems to have improved a bit " but it's still bogged down by massive characterization issues.
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Robbie Thompson has jumped on script duties in Teen Titans for the final act of Adam Glass' run, and the title does seem to have ticked up a bit in quality. Unfortunately, Thompson is still stuck with the same major problem " a weak team that mostly seems like a group project crew forced to work together rather than an actual team.
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Teen Titans #14, part of the final arc of Adam Glass' run, literally takes the Teen Titans to hell and back, sending each member of a dark night of the soul " but it really only emphasizes just how skin-deep most of these characters are.
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The concept here is pretty excellent, but it's trying to be three books in one and none of them work.
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Teen Titans has been floundering for a long time, the Ben Percy run aside, and this series had a good central concept but lacked the execution to make it work.
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The Demon: Hell Is Earth #5, the penultimate issue of DC's big magic revival pretty much devolves into a series of random battles with monsters and demons that come out of nowhere.
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Probably not the worst book in the New Age of DC Heroes line but definitely the most disappointing, The Immortal Men #4 doubles down on all the series' mistakes to this point and results in a thoroughly unsatisfying read.
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The Immortal Men comes to an abrupt end with Immortal Men #6, and so what we're left with is a series that never got off the ground and still can't quite stick the landing.
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A conclusion to the big Troia arc delivers a lot of action, but very little substance as Donna Troy goes up against her evil self.
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Most of the characters aren't likable, and those who are have been changed or hobbled somehow to make them more unpleasant to read about. Ever since the revamp, this team just hasn't worked at all.
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Titans #35 has some more high points than previous issues, but largely strands them in a mediocre plot with a lot of senseless action and a weak antagonist.
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Another uninspired issue in a struggling run, but at least James Robinson isn't keeping us hanging for extended periods for plot developments.
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This run has a lot of problems, but one of the biggest is that it makes what should be spectacular feel small and boring. That's never clearer than with this issue, which features the return of two of the biggest figures in the DCU.
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Wonder Woman #41 is a mostly inoffensive and forgettable issue compared to the last few, but when that's the best that can be said, this is a book in serious trouble.
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. This is actually the least aggressively bad issue of Wonder Woman in a while, but that's faint praise " there very little that's good here, but there's also nothing that's actively insulting to the character.
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Certainly better than the fatally flawed Superman: Earth One series, but lacking the feel of a bold new universe that the Batman or Green Lantern books had, Wonder Woman: Earth One is ultimately little more than a strange Grant Morrison musing on just how odd Wonder Woman's long comic book history is.
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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.
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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.
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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.
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Political comics aren't necessarily a bad thing, but they are when they devolve into this.
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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.
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The plot makes more sense than some previous minis, but it's just a bizarre sideshow of a comic where everyone spends most of the issue yelling at each other and neither the heroes or the villains seem smart enough to be in this line of work.
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Batman Vs. Ra's Al Ghul #4 is the continuation of a strange series of Batman comics by Neal Adams going back almost a decade, meaning this entire series was guaranteed to be bizarre. But I wasn't quite prepared for just how bizarre.
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I think this comic is trying to do something interesting about rejecting the toxic influences of corrupt parents, through the story of Liam's father, but it's bogged down in so much other stuff that it doesn't really come across and what we get is a jumbled mess of a story that is lifted by its art " but not enough to make a compelling narrative.
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Cyborg #20 is the final issue and it finally addresses some of the complaints I've had with the character in-story, but does it in a rushed, heavy-handed way that blunts the impact in this final issue.
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Damage as a series has never come together because it's never given us any reason to care about Ethan Avery or his ongoing conflict with Damage. But the bigger problem is that the series keeps on bringing in guest stars, and gets them wrong too.
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It feels like a Garth Ennis comic, partially due to the two artists being frequent collaborators of his, but it feels like one of his lesser efforts where body humor replaces storytelling.
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Neal Adams' absurdist Deadman miniseries approaches its conclusion in Deadman #5, and one would assume that there are major plot developments in this penultimate issue with all the new concepts and characters that Adams has introduced. Nope!
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Unlike the other three Young Animal books, this one never quite found its narrative.
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If the series maintains this tone going forward, it could very well find its groove. But right now, it doesn't quite work.
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Female Furies #5 is probably the best issue of the series, just because it traffics far less in the torture of the title characters and instead has them turn the tables for the first time. The problem is, it's still just not very good " a confused satire of current-day misogyny and sexual abuse as filtered through a society that's always been monstrous, but never in such a base and human way.
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Good art can only carry a series so far, and while Eddy Barrows' art on Freedom Fighters continues to be dramatic and epic, it's feeling more and more like the series is a massive waste of time.
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It's a great looking comic, but it's also an empty one. A comic by a first-time comic writer is always a toss-up, and this one did nothing for me.
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Based on this first issue, this run wants to deal with heavy issues, but it's bitten off a lot more than it can chew.
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As the mystery of Citizen's attack on Seattle continues in Green Arrow #44, writers Julie and Shawna Benson uncover a shocking secret from Green Arrow's past " so shocking, in fact, that it may essentially destroy the character.
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It's just an odd, confusing issue that doesn't really feel like Nightwing at all, and I'm hoping it's just a bump in the road and Percy finds his footing the way he did on Green Arrow: Rebirth.
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So this new Nightwing run continues to be a trainwreck, balancing a ridiculous status quo with a pair of lead characters that barely seem to be in the same comic.
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As this ridiculous new Nightwing run unfolds, the slapped-together nature of the story shows more and more.
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Dan Jurgens had one of the toughest jobs in comics over the last year-plus, and he mostly stuck the landing. But I have more faith in his writing once he actually gets to write Nightwing again.
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This isn't a very good comic on its own, but it looks so much worse when compared to the excellent Sam Humphries run that's going on right now. Old Man Logan, this is not. We're not likely to be seeing any spinoffs here.
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Like most of this series, there's a lot of noise but not much actually going on.
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It completely failed as an attempt to create a compelling alternate universe, and the last-page cliffhanger did nothing to make me want a sequel.
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This issue throws away every bit of character development Jason went through and portrays him as an angry Punisher ripoff.
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Overall, the series continues to not really work.
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Scott Lobdell's comics often feel like they take place in a parallel version of the DCU where nothing makes sense, and that's definitely the case with this bizarre issue.
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Just an odd curiosity of a book with no real direction.
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Red Hood: Outlaw #35 is not the worst issue of the series, but it continues to be an odd run with no real defining ideas.
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Lobdell likes to dig deep into his runs to find characters, but I can safely say I never expected to see the lead character from Doomed again until the end of this issue. Lobdell's certainly ambitious, but unfortunately the ambition fails to come together into a compelling read.
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The guest art by Adam Pollina is serviceable, but lacks the smoothness of the regular artist and some of the fight scenes are unclear. There's a few interesting ideas here, but ultimately " Forget it, Jake, it's Lobdelltown.
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Scooby Apocalypse #24 is basically a slow march to doom, which is a lot less effective because previews already spoiled what's coming next in this title.
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The introduction of Fred's reanimated corpse as the new big bad of the series has given the series a burst of intensity, but the series has done very little to make us care about the humans in this series so far.
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Sideways is ending with Sideways #13, an odd number that gives it one issue more than the typical twelve. It needed much more to make sense of the hash that this series has become. It juggles countless plots and tries to rush them to a conclusion, but few of them land.
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The fourth chapter of "The Secret History of Task Force X" delivers a lot of widescreen action in the service of a plot that is unfortunately completely incoherent.
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The final issue of the overly long "Secret History of Task Force X" storyline delivers pretty much what the rest of the arc has " a lot of action, some of it impressive, but very little in the way of compelling character development.
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With only one issue to go before the series ends and is rumored to get a reboot with a major creator, this series never really lived up to its potential. A relaunch will need to change things up if DC wants to capitalize on the success of the movie.
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Now, for this final issue, Suicide Squad #50, the Squad is up against a threat dating back to the early issues of the series " The Tuskanga virus, a sentient alien intelligence that possesses humans and turns them into giant lava monsters. And it's gotten ahold of Amanda Waller and turned her into a hulking monster with a fang-filled mouth on her stomach. It makes about as much sense in context as you'd expect, and the team seems to be having fun making jokes at their former handler's expense. But that's really the only amusing thing here.
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The second chapter of "Super-Sons of Tomorrow" takes all the problems of the first chapter and compounds them, adding in some disturbing dynamics that really emphasize that this series as a whole may not fully work due to the characters involved.
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Unfortunately, I have to say this particular story has been an unmitigated failure. From the first issue, when the story began with multiple pages of Bizarro complaining about his family in Bizarro-speak, it was hard to read and unpleasant.
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The previous two issues won me over because Jon still seemed mostly the same. This issue casts a dark pall over that in a way that will be hard to fix.
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The troubled new run of Teen Titans moves forward in Teen Titans #22, packing a lot of development into only a few issues " but that's not necessarily a good thing.
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The title's improving, but it's improving from the absolute bottom. It doesn't work as a Teen Titans team. But hey, Young Justice is only a few months away.
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oming off the disastrous annual, Teen Titans #27 is a marked improvement. But one-third of a good comic doesn't make for a good comic, and the story overall still suffers from bad plotting and some very unlikable characters.
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Twenty issues in, there's still no sense of teamwork or friendship. We'll see what Robbie Thompson does when he goes solo, but this book desperately needs a new dynamic.
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There are still three issues to go, but this annual feels like the series finale in a lot of ways. That's because it's the conclusion to the long-running subplot of Damian Wayne's self-destruction " and if you're expecting a happy ending, you haven't been reading this book.
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Titans #22 is technically the final issue of this version of Titans, although the story will conclude in an annual later this month before relaunching with the same writer but a new team and concept. That may be for the best " Abnett's a capable writer, but this particular title never took off.
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Unfortunately, just like most of the rest of this title, it's not that interesting " more a series of ideas in search of a plotline.
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Dan Abnett's Titans is ending in April, one of a wave of cancellations likely in advance of a new launch wave. After the way it's gone downhill since the Justice League line was retooled, I can't say I'll miss it.
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There's a lot of weird plot developments in this issue that come out of nowhere, none more so than the whole setup " which seems oddly ripped off from Marvel's recent failed Inhumans hard-sell.
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The best thing about this issue is the lush Lupacchino art, which does a great job showing off the hidden world of the Amazons. Unfortunately, it's all in service of a script that's probably the weakest of the entire series.
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This massively disappointing Wonder Woman run continues to limp along on its overarching storyline, with little in the way of intriguing developments and several more major red flags in its depiction of its title character.
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Wonder Woman #43 is another issue of Robinson's run that not only completely lacks a compelling plotline, but shows a complete lack of understanding of its main character.
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This run will be concluding with Wonder Woman #50, and it can't come soon enough. None of the ideas here have served Diana well at all.
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Nothing much new here. This run just doesn't work.
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This experiment didn't work at all.
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Robinson tries to do something interesting, almost reminiscent of the four-panel grids in The Terrifics, with scenes showing the Dark Gods' effect in four countries around the world. These scenes are undeniably horrific, yes, but what they're lacking is any context.
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The story is fitfully amusing, but completely fails as any sort of coherent narrative. Adams is a legend, and I'm glad he's having fun.
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Mature Readers lines can go two ways, and right now this first Black Label book, unfortunately, seems to be going in the worst way possible " a dark-and-edgy cartoon of a story with little point but to be as shocking as possible. Far from this brilliant creative team's best work.
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The second issue of Neal Adams' latest writer-artist outing has more of a story than the dreadful first issue, but it suffers from a serious execution problem.
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Neal Adams' latest exercise in absurdity continues in Deadman #4, with an issue that doesn't deliver anything resembling a coherent narrative but does deliver so many strange creatures and visuals that it's almost worth reading. Almost.
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Neal Adams' bizarre fever dream into the world of Deadman concludes in Deadman #6 " or does it? Not really, as it turns out, because Neal Adams is apparently always guaranteed a sequel.
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Heading into its second act after last issue's mindlessly sadistic death of original Female Fury Aurelie, this title continues its bizarre exploration of sexism on Apokalips with a strange mix of extreme sexual violence, overly broad satire, and extremely topical references.
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I've been puzzled since the start by where exactly this bizarre comic falls into DC continuity, and this final issue makes it clear " it doesn't. It's not a lost story of Apokalips that reveals secret truths from the history of one of DC's biggest villains. It's an alternate reality that takes a completely bizarre direction in the final issue that makes it make both more and less sense in context.
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The end of the issue has a few good moments where Ollie meets a fellow addict who Roy helped and reflects on his own failings, but it feels like too little, too late.
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Chris Mooneyham returns to Nightwing in Nightwing #52, but it's a very different Nightwing than the one he left. This issue isn't quite as aggressively bad as the first issue of Scott Lobdell's "Ric Grayson" run, but it's still a complete mess of a concept.
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There's nothing in this story that we haven't seen many times before and nothing that stands out as a good Harley story.
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This isn't the total dud that Deadman's new series is, but it's the most forgettable.
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My issues with this take on Ragman have been well known by now, but Ragman #5, the penultimate issue, drives home the overarching problem with the structure " it's just too busy.
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Ragman under previous writers, most famously Bill Willingham, was a complex character whose powers came from a rich mythology and served a harsh but benevolent justice. This series hollows that character out, turning him into a generic antihero covered in a cursed object.
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This series has been up and down for years now, and this arc is definitely "down".
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Too much of the issue seems like a monologue, not a story, and Scarlet herself is a bizarrely narcissistic lead character whose revolution began out of personal pain and seems oddly disconnected from the reality on the ground.
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This issue (and series as a whole) seem to be going for a Walking Dead vibe, but that's not a selling point for me.
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The main Super-Sons book can be frustratingly irregular, but there's a sense of genuine fun to that one. Here, I don't see anything that will bring kids back for a second volume a year from now.
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The problem is, Higgins and Groom largely dispense with all the work done with the character of Terra over the last few decades.
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It may be a slight step up from last month's special, but it's still one hell of a mess.
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This is just not a good book on any level, and it's doing serious damage to Damian as a character.
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Crush is more consistent and remains probably the most engaging character in the run, but the issue as a whole seems to be an unpleasant group therapy session until Crush loses her temper " just in time for dear old dad to show up for a brawl.
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We're left with more questions about Djinn, more arguments between team members, and nothing closer to a coherent team after this issue.
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Teen Titans continues to be the most frustrating in the DC stable, because it has a team of characters with a lot of potential, but seems to use them in the most bizarre ways.
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There's virtually no resemblance here to any sort of Teen Titans team, and the biggest problem is that I have no idea why any of these characters are putting up with each other. There's no team dynamic, because there's no real team.
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By the end of Teen Titans #36, it seems we're about to see the reveal of the identity of Goth Leviathan, aka The Other, but he's been such a side note to this story that it barely matters. We're not invested in the plot, we're not invested in likable character, so what's driving this book?
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There's always been a mean-spirited tone to the series, but never quite as pronounced as in this final issue " and the issue is not the better for it.
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Overall, this picks up on the very flawed annual and makes the League look like ridiculous heels " and Dick's decision to go along with this and shut down the team, for now, is even more ridiculous.
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Titans #27 is an issue drowned in tragedy in which almost nothing connects with the reader, due to the poor work done with these characters previously.
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This isn't a good book, and it's barely even a Wonder Woman book. I will say the art is the best it's been in a while, but it's 100% wasted on this story.
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This run continues to be a disaster.
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As the awful Silver Swan arc wraps up, Wonder Woman #40 once again emphasizes just how wrong everything about this run has been.
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This final issue does one thing right " it slams the door on the whole run in such a way that it can mostly be ignored forever.
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It's been several years since the last issue of this Neal Adams miniseries, and it returns with nothing resembling a recap page or anything else to help us remember the incredibly bizarre series of events within. But I'm not sure it would make any more sense if it did.
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Well, they can't all be winners. Spinning out of the obscure talking-car cartoon and written by the man behind such brilliant (not) New 52 characters as Bar Tor and H'el, Flash/Speed Buggy Special #1 is easily the weakest of the entire wave of cartoon crossovers
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This is very much in the spirit of the insane Batman: Odyssey, but it lacks the hilariously bizarre events of that one, and instead just comes off as grim.
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The second issue of Female Furies takes all the problems of the first issue and doubles down on them, removing the few elements of hope that made me think the series could improve.
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As this bizarre, disturbing miniseries reaches its halfway point, it finally establishes its main character and a strange and upsetting theme emerges " this is essentially a textbook fridging story, only the person the fridging is intended to motivate is another woman. I don't think that makes it any better, as Female Furies #3 once again takes us from a brief moment of hope to a never-ending wallow in horror.
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Given how good the previous Green Arrow run was, this arc has been deeply disappointing and I'm hoping the character can find his feet again soon.
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Not the worst issue of this new Nightwing run, but pretty close, Nightwing #56 is stunning for just how disjointed it feels.
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A 60-page jumbo comic with art by John Romita Jr., it looks exactly like what a Superman book should look like " but that's the only good thing I can say about this complete mess of a comic.
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Maybe the worst thing about this misbegotten run is the way it takes good characters from other books and hollows them out, leaving crass and unlikable versions that make it harder for other writers to build on a strong foundation.
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With Titans #23, it feels like we're caught in some sort of spiral of the Titans books actively competing to one-up each other in just how bad they can be.
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Ennis has written some brilliant superhero stories over the years, but he's not at home on a character like Batman whose moral code defines him.
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Nightwing #51 feels very clearly slapped together at the last second, with two writers, two artists, and two colorists " and it shows. It's also probably the most half-assed comic I've read in quite some time.
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The issue ends with a mildly creepy visual (albeit one that feels copied from every horror movie out there). But nothing can save a comic that so grossly misses the central point of its lead character.
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Why was the team getting on Emiko's case for assassinating a mass-murdering supervillain? These kids seem to be racking up the body counts and war crimes by the issue, and not only is there no one to root for, it's getting harder to see Damian in other titles without being reminded of what a monster he is here.
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This title is a complete mess on every possible level, and all the characters involved deserve much better.
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Dark-and-edgy tone? Check. Young original outlaw heroes as half the team? Check. No one acting in character? Check. The question is, why would anyone want this? I certainly don't.
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