This is like thepilot episode for the comic series, so there's a lot of talky bits and out-loudexplanations of characters' relationships to one another, but between Bengal'ssuperbly fun artwork and Sterling Gates' practiced pacing, it turns out to be apretty fun read. It's worth saying that the Supergirl here is the one from theCBS television show, so whether that appeals to you or not"proceed accordingly.Myself, I'm glad to see a promising Supergirlbook, and as long as her characterization is consistent then I'll keep gobblingit up!

We get lots morecharacterization in this chapter, and really get a sense for how close Kara andAlex's are as sisters"more than I did on the television show, for what that'sworth. We also get the non-introduction of a character acting as plotconvenience and some questionable choices in facial composition, but overallthis is book is a lot of fun and is definitely worth a buck and ten minutes ofyour time. Give it a look, whether you watch the show or not!

The firstAdventures of Supergirlarc ends sort of flat, but looks really good doing it. We learn the secret origin of Rampage, and it is pretty unexpected. There's also some sweet interaction between the Danvers sisters, and in this chapter we really see what kind of person Kara is. I would have liked a more definitive ending, is all, especially for the opening arc for a series. Perhaps this will read better if it is ever stitched into a printed issue.

The very firstpanel of this comic lets us know that this is a cumulative story with its owncontinuity, which isn't always true of DC's digital comics. So there is apayoff to stick with it if you're enjoying it enough to spend two bucks amonth. This chapter pits Kara against alien computer nerdery, which is a goodmatch-up because her nerdliness is very strong when she puts on a sweater set. Andshe's an alien, to boot. Jonboy Meyers and John Rauch take over art duties forthis chapter and do an absolutely bang-up job with it. If you can't enjoy thiscomic, then you suck.

This chapter answers the question, "Does Supergirl dream of electric sheep?" Not when some unseen villain is in charge, she doesn't. Story is okay but the art vacillates between very good and not very good, and never really fits the tone of the book as I've come to know it. We're probably going to see Supergirl kick major butt next issue, so if you want to see that, you should probably get this chapter so you're all prepared. And besides, it's the only way you'll find out if Supergirl sleeps in the nude!

Supergirl continues to flex her expert-level dreaming skills and finds out who has been manipulating her night-nights recently--former Fort Rozz employee, Psi! This chapter is a lot of fun because we get to see a few variations on Supergirl that are both cool as heck and reference different versions of Supergirl from days of yore. Was there ever actually a "day of yore?" Like, were two guys standing atop a hill, watching townsfolk below going about their business, and one said to the other, "Yep, these are the days of yore"? I wonder...and I'd further like to know if the other guy turned to him and replied, "Nope, these days are your'n." And then they probably killed and ate each other, as was the custom in those days.

The sisters Danvers engage on a quest for Psi and visit one of her old haunts, from before she went all ghost-like. Sterling Gates is writing fairly pitch-perfect versions of the characters from the CBS TV show, and if you're jonesin' for Supergirl since the first season ended last week, well you can spend a buck and get another taste. C'maan, one taste won't hurt. What are you, chicken? I'm gonna tell everyone that you're a little baby that won't take their Adventures of Supergirl digital comic because you're a poo-poo head. No you. No, you. I don't want to get into this anymore, I'm telling mom.

Sister power is in full effect as Kara and Alex stand side-by-side, blasting robots. Ultimately, Kara has to save the day because, you know, Alex is merely human. The mysterious Facet, who beset Psi on Kara's dreams two issues ago, reveals themselves--and proves to be nothing you'd expect! Unless you expected a chrome-plated lady, that is. Then they're exactly what you expected. This is a pretty thin chapter in the series, but still has some good moments including pretty awesome close combat scenes. I think we'll get some resolution next chapter that should help wrap this story arc into a nice, tidy package.

This chapter is all set-up for future events, and as such it turns out to be twenty digital pages of Kara and Alex talking to a hologram. And it's not even a hologram of 2Pac! The artwork is really nice, but there's not much action to speak of and the reveals are less staggering and more intriguing. This has been a good digital series, and I am sure stuff gleaned from this chapter will have ramifications in the near future, but if you jumped on here for some reason then you might wonderwhat the hype is all about.

An overdue confession leads to some big character developments and the resolution of a hanging thread from the very first arc in the series. Fans that have read every chapter of this series will appreciate this one, but I wouldn't recommend jumping on at any point in the middle. This is the culmination of the entire series and I think preconceived information will be more important going forward. I's a very rewarding series that plays out tonally and at a similar pace to the television show.

We have reached the end of this Supergirl experiment, and if you ask me it has been a success. I'd take Supergirl stories of this caliber endlessly, if provided, but I guess DC has other plans with the print book or something. I don't mean to make this sound like Evil DC Comics hates fun and teddy bears, perhaps Sterling Gates had another opportunity, or maybe there would be some conflict with the new season of Supergirl on the CW. It just seems truncated, that's all. But even if it has been shortened prematurely, this has been a really fun series for fans of the character and the television show.

If you feel like thecomics you're reading don't make you pleasantly nauseous enough, then you should definitelycheck this out. It's rude, it's crude, and it's got a rapping fallen angeldude. You'll get more insight into Six Pack and his motivations for re-formingSection Eight in this issue, but you'll also laugh your ass off and even have asurprise or two. If you're so inclined to such humor, that is. If you preferyour humor a little drier, then go read PuppetMaster.

Fans of the series arerewarded with an ending that is more silly than touching, which is just what wewant. Superman acts as Six Pack's guide through his emergence as a hero, whichinvolves probably a lot more vomiting than most rebirths. I mean, I bet HalJordan puked a little when he got rid of Parallax, but do you think it wasenough barf to stand on? Ennis and McCrea have done a great, crass thing withthis book. It's not for everyone, but it's for me and other deplorable humanswith no moral compass like myself.

Overall, unless you're severely investedin what Kaine has been up to and why he's back in the pages of Spider-Man again this really feels likea book you can skip in regards to this event. The dialogue and art are fine,but the story would have been better served as back-up material in an issue of Clone Conspiracy.  

Despite the planet's contentious political climate at the moment, Aquaman yet seeks an accord with we, the land-dwelling folk of the world. This is an engaging and charming story backed up by some dynamite artwork that should really be seen and appreciated. If you walked away from Aquaman for whatever reason, then you might want to take a few tentative steps back, because this issue is certainly worth reading.

An issue consisting of a single fight, no matter how nicely drawn, is still a rip-off. If you're brand new to Aquaman, it will fill in a few plot points, but it's doubtful that this issue will draw in to explore the character further. But if you've got a thing for lots of splashing, then you have found your comic book! Things are exploding and splashing all the time!

An uneven story and mediocre artwork result in a middle-of-the-road score. I really hope this book gets going, because here at the third issue I feel like we've gotten almost nowhere. There's a scene with Black Manta that's pretty cool, so there's some potential for a good story here. But the "fish out of water" shtick is beyond stale at this point.

This run of Aquaman is a lot like the television sitcom the Big Bang Theory in that it sucks. It's going nowhere anyone is interested in going, and it's doing it at a very slow pace. The art in this issue is nothing great, but isn't the reason the stay away from it. The reason you should stay away from it is because it may cause drowsiness and irritability.

Last issue depicted Mera breaking out of prison, this one consists primarily of them escaping. Next issue will be Arthur preparing an omelet, and the issue after that will be him eating it. You'll have to stay tuned to find out whether or not he washes his dishes in the next story arc! Though the overall yarn is moving incredibly slow, this issue picks up the pace a bit, and slides some components into place that look to hopefully bring it all to a merciful conclusion. Or maybe like four more issues of running. That could be something.

The pointless conclusion to a meaningless, meandering story. Some great artwork is all that saves this book's score from being a vertical line. Superman's in it, but you won't like his inclusion. Tune in next week when we have an entire issue of Aquaman making a pot of coffee.

Some dangling threads are sewn up, others are pulled, and the stage is set for an interesting mystery tale, despite the fact that we already know the culprit. Though there's a lot of dialogue, much of it fleshes out the world of Atlantis and explains some of the thinking behind those for and those against collusion with the surface dwellers. Would have been nice to see some more action, but Scot Eaton renders some terrific undersea landscapes that definitely kept me more tranquil and calm. Maybe Aquaman can be my personal therapeutic fish tank.

A great issue of Aquaman full of underwater action, heroism, and a surprise character revealed at the end! And this character is awesome! Mera is presented with a conflict that could have dire consequences, but probably won't because Aquaman is completely smitten with her. The art was never a problem in this series, and looks really nice here. Put it all together, and you're looking at a dang good comic book, I tell you what!

A nice wrap up to a story primarily about the destruction of public property. There's some character development, we learn a little more about the mysterious Widowhood that are training Mera to be a Queen, and...Shaggy Man! Do I really need to say more? Shaggy Man throws an oil truck! I don't usually put spoilers in here but you should know that's like the least of the damage he causes! I had a great time with this two-part story and I encourage more comics to take this lead.

A very Mera-centric issue that provides some answers and serves to humanize those Mean Girls at the Tower of the Widowhood. The return of a not-disliked character is pleasant, if inconsequential, and this issue directly continues the story from previous issues--but can be read as a standalone! It's a one-off! This doesn't look like it will be some bloated tale, padded out for the trade collection! It's the dawn of a new day, my fellow comics enthusiasts! The 5-7 issue story arc is defeated!

The final preparations are made for what looks to be a real humdinger of a city-destroyin' slugfest! This issue reads a little slow, but we learn some important information, and more importantly characters learn things we already knew. I've enjoyed this lull before the storm, now it's time for some good ol' over-the-top comic book action!

We were promised a war, and a war we shall get! Some bombastic scenes and lots of intriguing avenues make for an exciting, compelling issue that's just what the doctor ordered after the meticulous set-up. The artwork looks better to me than usual, and it's never bad, so that's probably a function of how much I enjoyed this comic book. This issue was worth the wait!

The pacing and quality remains high, but somehow the stakes seem low in this continuation of Arthur Curry's wartime hijinks. For long time readers, this explosion-fest packs a lot of payoff, and even new readers will get engaged. In the explosions. Come on, it's not rocket surgery. People like explosions, eviscerated bodies drenched in blood, and butts. In that order. There are other things, but if you hit those three then you don't need to look any further.

So we see the Aquamarines in action, and it's a little underwhelming. In the context of this story arc, this issue is decent, but alone it would read like the insane rantings of a madman. Which may be the point. All I'm saying that is if you decided 2017 is the year you start reading Aquaman, go a couple of issues back so you can understand the import of a Lion Fish/human hybrid.

"The Deluge" comes to a satisfying, if not altogether entertaining, conclusion. Despite my relatively low score, I would say that this story arc that picked up from issue #8 has been a dependably fun time, and I would recommend it to a fan of Arthur Curry or even someone looking for a casual beach read.

This issue acts as an epilogue to "The Deluge," and it's quite welcome. Aquaman is affable, funny, and helpful in the way that I like to see my superheroes behave once in a while. There's also a tease for an imminent conflict facing Arthur, but that's for a later issue. Today, let's celebrate Aquaman and why he's one of the great DC Comics characters!

Our beloved Aquaman basks in the glory of adulation and the annoyance of Warhead sending telepathic hallucinations his way. A slow burn of an issue that unfolds well and keeps the reader interested throughout. Looks pretty sweet, too. Aquaman, I think you and I could be friends!

You'll go from neophyte to expert where Warhead is concerned in this issue, but it's a pretty engaging story that deals with a very current topic. There's some great characterization of a compassionate Aquaman, as well as another diplomatic wrinkle that I'm sure will turn up in the future. The pacing and action of this series is very satisfying and consistent. You should give it a look.

This issue continues a story line left over from the end of the New 52. Not having read those issues, I still found it perfectly easy to follow along and enjoyed the story to boot. Some good dialogue and a crazy-looking monster makes for some decent comic booking. Aquaman has been one of the most consistent titles of Rebirth (after the first arc) and those looking for a steady smile should give it a look.

This story is to be continued for at least another issue, which may its biggest crime. Not a wholly bad comic book, just not a lot more than what we got last issue. Maybe I shouldn't have so many expectations, but what can I say? I had a very entitled childhood.

Some interesting developments with Strange Water and an incremental passage of time still left me a little disappointed in this underwater horror tale that's just going on too long. The arc should be shorter or the story should be better. I like the basic conceit, but it ain't jaw-dropping.

A pretty unsatisfying conclusion to this story arc includes a bit of pushback by Mera against Aquaman, probably the issue's main redeeming scene. Despite this yarn having gone for four or five issues, the ending sees half-finished. Maybe the rest comes after the next DC Comics reboot.

If you're not getting enough politics in your waking life, well here's an extra-heapin' helpin' in your comic books. Art is phenomenal, but while the story's concept is intriguing, this bloated take is probably not integral to the arc. Save your three bucks, unless you're a completest (you're a completest, you know it and I know it.)

The Council of Elder Jerks makes their decision on Aquaman's kinghood, and if you check the cover you'll see how it goes. Turns out Corum Rath's leadership style isn't all "compassionate conservative" at all, he's more of a "constantly yelling stuff" type. The ending will make you sad, partly because it seems like we have more to go on this Atlantean politics stuff.

This beautifully-rendered book is a worthwhile buy based on the art alone. The story is a little flaccid, but does advance the story somewhat from last issue when Corum Rath took the Atlantean crown. Plus, Aquaman grows his hair and beard out as will be necessary for this crossover with Metal this Summer. So that's a thing.

A cool story about Aquaman slumming in the mean shoals of Atlantis is made more spectacular by the terrific drawing and coloring by Stjepan Sejic. When I saw this comic was going monthly and gaining a buck, I thought it was on a death march. Now, I think we're seeing another Rebirth for Aquaman, and it's one you should take a look at.

The plot thickens, and perhaps gets more murky as the waters are ever-muddied...okay, forget this terrible water metaphor. This is a pretty solid issue that looks cool, but doesn't have any great moments. The mystery of how Aquaman yet lives persists, and we get some new questions and developments besides. Hopefully this all comes to a head next issue.

There's a lot going on in this issue, but there's really one thread that feels active, and it ain't about Aquaman. There are worse things, however, and I'll be glad to see how these different parts converge for what I hope will be a satisfying ending. We can enjoy the pretty pictures along the way.

The three plots running in the last issue conclude in a satisfactory, if somewhat flat manner. Vulko and Ondine engage in some spectral comedy hijinks that help to break up the monotony. Elsewhere in the issue: monotony.

Here, at what was intended to be the conclusion of this story arc, some new elements are introduced that render previous parts to the story pointless. So if you've been waiting to hop on the book, now's your time! But if you've been reading it regularly, you got hosed.

Strong line work and coloring go a long way to make this status advisory issue something to appreciate. If you've been looking to hop on the Aquaman train, now's your chance. Faithful readers will feel less enthused.

On the very last page of this issue, it's the moment we've all been waiting for. Otherwise, this book is mired in circular conversation and the same conundrums that have persisted for the last ten issues. This new art team is absolutely terrific and I hope to see a lot more from them to come. As for this plodding story arc, I hope it wraps up next issue.

There's finally some payoff for a very long build-up in this series, and this issue is a sight to behold. The art team did a beautiful job that might be worth the cover price by itself. Throw in some fast-paced action and palpable stakes, and you've won my embittered heart.

A little diversion from an already-bloated story might not be warranted, but it can be welcomed when it's handled by Jones and Madsen. Some rare insight into a character barely developed, but who should be central to this story. Better late than never.

All of the disparate elements from the last dozen or so issues...almost come to bear here. They're about to. I can just taste it. Something is going to happen in this comic book series soon, and when it does, you'll be laughing out of the other side of your neck, jack!

This title jogs in place for yet another issue, as the Most Sustained and Boring Revolution continues. By this point, I'd expect anyone displeased with Atlantis would have left by now. I know I would have left this comic, were I not reviewing it. Continued reading of this series is an exercise in being ripped-off.

The Atlantean revolution against King Corum Rath continues and continues and continues and continues and continues and continues and continues and continues and continues and continues and continues and continues and continues and continues and continues and continues and continues and continues and continues and continues and continues.

It all comes to a rapid conclusion, thanks to the events detailed in Mera #6. Oh, you haven't been reading that miniseries? Sucks to be you, bud. That's the underwater series that's actually had some stakes and forward movement.

This crossover event plods on incrementally as we wait for the climax to happen. I figure it's got to be just around the bend, by rights.

If you've been reading "Sink Atlantis" all along, then this issue likely ends exactly as you'd expected. If you haven't been reading "Sink Atlantis," then this would be a weird issue to have jumped on, huh?5.5/10

This issue is a rollicking, fun read with lots of peril and hopelessness--just the way we like our comics! The story within is a little short on content, but the impressive visuals more than make up for that: you'll want to linger over these panels again and again.

An inoffensive but very dry story that could probably be skipped, with no damage to the integrity of this "Drowned Earth" event. Do not pass "Go," head directly to Justice League #12 for actual story momentum.

A new creative team brings a new status quo for Aquaman, and one that fits neatly within current continuity. A few new characters are introduced, but not so many that it's tough to keep their names straight. An intriguing beginning to a story yet to be told.

We learn some more about the people inhabiting the mysterious village where Aquaman is being held--including the name of the village, from the solicit's copy--but precious little happens in this story to advance it or create any compelling moments. Nice-looking book, for sure.

An epic tale of the world's beginning, told a bit too late in this story arc. Perhaps its the story arc that should be truncated. PERHAPS EVERY STORY DOESN'T NEED TO BE SIX @#$%! ISSUES LONG.

Things fall into place as Aquaman and Caillie confront Namma, revealing a secret that I'm pretty sure we already knew. Now that all the characters introduced feel relevant, the story has become more compelling, which I guess is a pretty neat trick in comics today.

This creative team's opening arc ends rather neatly and abruptly, but it is still pretty satisfying for those who have been keeping up. Fans hoping for a total restoration of the character might be disappointed, but the issue ends on a familiar note that bodes good things.

Aquaman regains some of his memories, and fans ofthis series can gain some more footing in terms of what is in continuity andwhat is not. The new art team does a great job, both maintaining the designs ofnew characters and making this somewhat quiet story a joy to read. Well done.

Things stall out foran issue while this “Year of the Villain” business gets shoehorned in, but it'snot an altogether offensive little pause. It's also not terribly exciting.

A sliver of story slicedthinner, this issue will prove to be without great meaning later on when biggerstories have usurped it. Or when Year of the Villain concludes, whichever comes first.

If you're new to Aquaman, this is a good issue tojump on…and so are the most recent five issues, because they've all been recap.There's less forward progression in this story than the Mary Worth comic strip.

A by-the-numbers doling out of story elements accruedin the last four issues, to create a very contrived cliffhanger that you couldprobably guess in three tries. Give it a shot! Save yourself the four bucks forthis visually impressive comic book.

Every T is crossed, every I is dotted, and it highlights how much extra baggage this story  has been dragging along. A satisfying conclusion to a bloated arc with a pretty cool development that's run into the ground in the same issue that it's introduced. Forget it, Jake. That's comics.

We see a future as it might be, if Aquaman had his druthers, but of course it turns out looks are deceiving. Loyal readers of DC Comics will know what's coming by the fifth page. Some cool-looking artwork goes a long way to make this issue interesting.

A Year of the Villain tie-in that doesn't feel like a Year ofthe  Villain tie-in. And it's a prettyenjoyable read. How about that?

At the conclusion of "Drowned Earth," things get complex and then are summarily dispatched. You might not be afraid to go into the water after reading this book, but it might put you off calamari for a while.

Are there any questions you have about Aquaman but were afraid to ask? Well this issue will probably answer them all. Like most of the Rebirth titles, this one establishes the status quo and provides some background for stories going forward. There's a Bad Guy reveal at the end, and you've probably guessed who that is already. The art is great, and the undersea scenes look especially good. It's a nice story that won't light the world on fire, but if Aquaman picks up and turns out to be a whirlwind of a book, you'll wish you had read this issue.

Fans of thetelevision series Arrow would do wellto check this book out, it's well-written and the characterization of MalcolmMerlyn is spot-on. Whether or not this will give us any insight into stuffhappening on the show, I can't say, but even by itself Dark Archer is a fun read and the first issue left a lot oftantalizing threads for us to follow. I'd say that if you're not watching Arrow, then you can skip this book,unless you're Eric Shea in which case 99 cents is a small price to pay for sucha riveting cover photo.

This chapterreally threw out some wild concepts, and tied Arrow's Malcolm Merlyn to the DC Comics universe in a satisfyingway, at least to this old codger. It was well-paced, nicely written, and I dothink the art in this chapter was slightly better than the last one"or maybe Ijust grew more accustomed to it. Regardless, there's lots of intrigue andaction in this chapter, so if you're a fan of Arrow"and ONLY if you're a fan of Arrow"you should definitely give it a look.

Chapter threeplayed out differently than the previous two, and it wasn't to this issue'sfavor. We learn R'as Al Ghul's ex-wife's name, and get a better impression ofSaracon as a douchebag, but basically all that happens is Merlyn descends aflight of stairs. Some of the art in this is a little rough, but not reallyterrible at all. Except on a few flying rodents.

I was initially very excited tolearn more about Malcolm's sordid past, but it turns out to be barely moreinteresting than my own life. Some strange connections are made, and there's alittle fan service for adherents to the television show, but overall it's a lotof pages with nothing happening. Too bad. The art is nice, but certainly notnice enough to warrant checking this out on that alone.

The artwork seems really polished this chapter, moreso than in the last couple of chapters. Too bad the story is as dull as drying paint. You don't even learn anything new about Malcolm this chapter, just that he likes standing around on mountainsides. And really, who doesn't? This book better pick up or resolve quick, because it's starting to ramble on like one of grandpa's stories. And by "grandpa," I do mean Jim.

Can anyone still reading this series please leave a comment below explaining why? No judgment here, I genuinely want to know why you've kept up with this comic book. I am compelled by the laws of this website, but are you otherwise enslaved? Do you come from a country with a prohibitive internet and this is literally the only thing you can get? I really want to understand what other people see in this book, because all I see is space that could have been better used as an IKEA assembly instructions or a pamphlet about venereal disease.

Some pretty funny scenes, but not a lot of story define this ending of what was a fairly exciting arc in the series. Not really the place to jump on the Astonishing Ant-Man, but still a worthwhile series, particularly if you like humor and blue-collar sensibilities in your comic books.

Conditions are established for what is sure to be the Trial of the Century, excepting future trials whose greatness cannot be predicted. Characters are moved into place, and motives re-established, while Darren Cross gets some new duds. An intriguing enough start to a story arc, I'll be watching to see if it ramps up to an interesting story by itself.

We say goodbye to Scott Lang, and hello to a new superhero team that is sure to have an overlooked miniseries sometime in the next ten years. The ending of this series isn't as laugh-out-loud funny as it was early on, but it does get a little bit sappy and touching, which is almost as good as a guffaw for a comic book. Any kind of emotional register will do. God, anything to get people to interact with these things, we need to sell more comics!

Thisis really a comic you can take or leave, depending on how you feel likespending your three bucks. You can feel free to pick up this issue or any issueof Bat-Mite at random because theymore or less tread the same bland territory, with some nice artwork and a coupleof smirk-worthy gags. There is a story developing behind all of the hijinx, butso little space is given to these events and they seem so immediatelyinconsequential that I didn't even mention it in my review. I wouldn't callthis comic a must-read, but if you were stranded on a desert island with onlythis issue of Bat-Mite, things couldbe worse.

Barbara Gordon has traded in her ironic t-shirt collection for fine silk kimonos and relocated to Japan, and it looks like this might be the first leg of an East Asian tour that is going to make me super hungry for dumplings. There's a lot more story to develop here, but so far it has the feeling of a Shaw Bros. kung-fu epic that will hopefully end with a super brawl at some remote monastery and the destruction of an evil despot's castle. Albuquerque and McCaig execute a specific mood and style perfectly, one that may not resonate with every reader. But then, nothing about Batgirl ever seems to, anyway.

Born in Gotham some years ago/ A red-headed smarty named Barbara/ She loves to read, but what she loves more/ is fightin' 'round the world! She fights her friends and she fights her foes/ with feet and knees, fists and elbows/ If there's one thing that Barbara Gordon knows/ it's fightin' 'round the world! Learning moves and pummeling crooks and fightin' 'round the world!

Batgirl recoups from her butt-whuppin' by getting down to the mystery at hand: what is specifically happening in this book. The story seems told in broad strokes, with incidental stuff like character names dropped unceremoniously in some thought balloon. The art and motion in this comic book has been phenomenal, which is little surprise considering Rafael Albuquerque is at the board. This issue has good doses of story and action, but I am beginning to lose a little faith in this series.

There are too many convenient plot holes and unanswered questions in this story, and some of the answers given in this issue are incredibly stupid. I don't really mind the ideas behind this story, but the execution seems ham-fisted and sloppy. Rafael Albuquerque's art on the book is phenomenal, however, and lends a lot of drama to otherwise head-scratching scenes.

The "Beyond Burnside" arc comes to a close, and I can't say I will miss it. What looked like a promising story with new locales and traditions turned into a bizarre and badly-planned conspiracy to cheat on a country-wide standardized test, and this last issue that was supposed to tie up all the loose ends was very flat and underwhelming. The relationship between Babs and Kai never came across as anything meaningful to me, and Barbara's unlikely cluelessness is boring by now. If I want to read stories about someone who doesn't know what the hell they're doing, I'd check out the police reports filed against me.

A filler issue on a monthly book makes for a waste of time and money. Rafael Albuquerque's skills are wasted on a directionless series featuring an annoying character. I'd like to say that Barbara's return to Burnside is a good portent, but I've lost faith in this book under the direction of Hope Larson. Perhaps I will be proven wrong with issue #7. I was wrong once before.

Well, that was a bunch of bunk. Penguin's son being in the mix is intriguing, but if the issues going forward are of this caliber, I doubt I'll care. This was almost antagonistic in its poor storytelling.

The budding love between Ethan Cobblepot and Barbara Gordon blossoms...into a stink rose...or some crummy metaphor like that. This was a well-paced, terrifically-drawn issue that clicked a few story lines forward one notch, which is always appreciated. More like this, please.

The basics of Barbara Gordon's world are reinforced and some more smart phone apps revealed in this pleasantly mundane issue of Batgirl. Some nice storytelling choices and an enticing confrontation with the Penguin save this book from a direct comparison to Young Romance. But it could be, still!

Turns out the Internet is a dangerous thing, and I don't just mean the YouTube comments. The story creeps forward incrementally, but there are some nice character moments, and the debut of a new supervillain. There's also the debut of a new skill exhibited by an old supervillain, about which I am dubious.

Batgirl bumbles through another fine mess and comes out fine and sippin' wine at the end. This concludes a low stakes arc that ultimately has few consequences. I sure wish Batgirl would be smart again. Anyway, it looks pretty cool, though the art is uneven in places.

Batgirl solves a mystery, in a roundabout way, and it feels sort of nice. There are some problems with the story but if you can look past them, you might have a decent time with this. The artwork is nothing spectacular but the storytelling works just fine. How much is this? $3.99 now? That might be a bit much, but for a buck less it would be alright.

This comic book is just silly. The story is contrived, the situations unbelievable, and the main character is a simpleton. But the artwork is really something to see in this issue. So if you've got an inclination towards the visuals, or if you like laughing at silly comics, then maybe you could give it a peek.

The sparks don't exactly fly when Barbara and Nightwing meet for the first time in this post-Rebirth continuity, but there are some sweet interactions and nice combo action scenes that make for a pretty satisfying read. The usual status quo where Barbara is serious while Dick is a goofball is sort of flipped here, so long-time readers might find the new dynamic interesting to observe.

A tantalizing smooch on the cover deserves a full-on make out session in the interior--but you'll have to get the issue to find out! And beyond the alleged kiss, it's a pretty nice story with some tasty clues to the mystery at hand and a lot of prequel information doled out liberally in flashback scenes. It reads slightly clunky, but that only contributes to the effect of Batgirl and Nightwing's pairing.

This issue feels like a placeholder that doesn't do a lot to advance this mystery. There's some Babs and Dick smooching, but that was supposed to be the bombshell two issues ago. Now I'd just like to wrap this up with the usual stumbles and bumbles we've come to expect from Batgirl.

Batgirl is in checkmate and the Red Queen holds all the cards! Dick rolls the dice and the devil's bones come up boxcars! Will our heroes pass "Go?" Will they collect two-hundred dollars?? In the end, it won't really matter, so proceed with resignation.

Batgirl finds herself in another fine mess and Oliver Hardy isn't even the cause of it. Some old names, including a certain clean energy business that hasn't been mentioned in months, make cameos. And hey, Harley Quinn makes a cameo too! Still not enough to make this tale of bumbling a worthwhile read.

That's our Batgirl! Tusslin' with hipsters and rubbing elbows with the Penguin and just gettin' herself into a whole mess of trouble. If you've gone this long in the series still looking for the genius Barbara Gordon of yesteryear, I feel sorry for you. Because that Babs, she doesn't live in this series.

Batgirl be Batgirlin'. Even within that context, this is a pretty flat issue that offers a few gags and no real thrills. There are a few stupid contrivances and eye-rolling conveniences that are now the hallmarks of this series. So if you're coming for those, sidle up to the buffet.

A Gotham City connection that should be exciting falls flat when the content of the story proves stale. The new art team handles their duties superbly, but somehow the usual chuckle-worthy situation isn't here. Maybe it will be back in the next issue.

Here's a little trip down memory lane for those that have been reading Batgirl since the Rebirth issue(s). We should probably set up some kind of support group. A common, yet unforeseen twist at the end of this issue piques my interest to give #23 a look. I mean, I review the title, so I was going to read it anyway. But the end of this issue genuinely intrigued me.

The tale begun last issue continues into this one, and it's way sillier and will make you more incredulous than before. Ultimately, Batgirl is saved by a trite bit of misogyny, which would be unlike the character except as written by Hope Larson. I think the hallmark of this run on the character is that she makes bad decisions where dudes are concerned.

A one-off story about Batgirl fighting crime and bumbling a bit while righting wrongs. If I didn't know any better, I'd think this was the character I remember from the Before Time–the Long, Long Ago.

A suprise four-story anthology yields some tantalizing threads for future issues of Batgirl, and a couple of stories that don't do a whole lot else but fill pages. It could be worse. Fans hoping for a return of the more familiar Batgirl from her pre-Burnside days could be enticed by this issue.

Continuing right from where the story in the last issue left off, this one offers no great details about the new baddie, but plenty of potential for Batgirl to go in a new direction...including a new costume? The story offered here isn't complete, but it does make me anxious for the next issue, and that's a pretty good sign.

Batgirl behaves heroically as the mystery of Grotesque's grisly murders deepens, and I am enjoying the feeling of not knowing exactly where this story is going to wind up. Curious folks and lapsed Batgirl fans should take a look, this is gearing up to be a pretty intriguing series.

We meet the new Grotesque and some of the scope of their plot, but not enough to hang our hats on. Barbara's character continues to be elevated in subtle but lasting ways, and this issue has a much-needed talk between Babs and her dad, though it ran a little long. This has been a pretty cool story arc, I think I'm ready for its conclusion now.

Barbara arrives in plenty of time to save the day and make the conclusion more complicated than necessary. Some nice character moments, but the story arc itself sort of fizzles out instead of finishing in a satisfying way. Plenty of satisfaction to be found, however, in the visuals.

A flat, uninspired story that is offensive only in its tedium. Sensitive, bigoted types need not apply.  

A slow, but methodically-paced issue that seems to be building around the story, instead of towards an immediate conclusion. I can't complain about that; if we must have six-issue story arcs to satisfy trade collecting, then let's make the padding palatable. Despite some other personal grievances, I think this is a solid issue and worth your time.

Batgirl almost saves the day! If you knew how close she came, you'd be very proud. Why not pick up the issue and check it out? Comics could certainly come a lot worse than this one--and they do!

Barbara's brother is on the loose, and it's time he got what's coming to him: a stern lecture! And there's more where that came from for the Commissioner, too! When Batgirl scolds, you know you've messed up.

Adecent story, mindful of recent events, that drags a little bit in the thirdact. It's very cool to see one member of the Bat-Family doing detective work,and not just stumbling around like a clod. The issue ends on a good cliffhanger,so I'm hoping the next issue is more explosive.

Barbara recovers from getting beaten dowm by KillerMoth and prepares for revenge. Elsewhere, Oracle is back as an independententity and she's already downloading mainframes or whatever. A middling issue ofsowing seeds that will pay off later.

Some good storytelling and downright goofy exposition is ruined by uneven artwork. Long-time Batgirl fans will be rewarded here.

TheTerrible Trio play comic relief in this otherwise meandering story. It iscertainly cool to look at.

A couple of decent but milquetoast stories make for a fairly limp Annual. The team-up we've all been waiting for winds up a bit disappointing, but is still promising. Or maybe my self-delusion is as strong as ever. In any case, there are better ways to burn through five bucks in this world.

A very creepy horror story that reintroduces a fan-favorite member of the Gordon family. While some scenes evoke other popular media, the issue as a whole reads very well, and perhaps rarest of all, the reader should be surprised by some of the happenings. I'm looking forward to what's going to happen in Batgirl going forward, which is a relatively new feeling.

What you've gothere is a fairly cool scene from a movie, translated to the comic format. Mostof it takes place in one room and there's a lot of back-and-forth chatter, butthe characterization and dialogue are nicely developed and enjoyable to read.The whole comic is pretty well-executed, to be fair, it's just not exactlychock full of action. We do learn quite a bit about the world post-Man of Steel, but a lot of it isrevealed in the other chapters as well. At least the price is right.

This comic was weird. I liked the basic idea"that we learn about Superman through the observations of others"but the execution was a little off. A little more of the post-Man of Steel world is revealed,but I'm not sure that it tells us a whole lot of value. Superman clumsily saves a bunch of people from disaster, so I guess he's doing that now. I dunno. It's tough to complain about a free comic book. But then it's also tough to read a comic solely about a conversation. My Dinner With Andre, this is not.

Ifyou've read Neal Adams most recent work, then you know the deal. Prepare to bedelighted and confused.

Atotal mess of a comic book that should be observed more as a disaster inprogress than it should be read. Masochists and dyed-in-the-wool cultists needonly apply.

This is asolid comic that details the Arkham Knight's motivations and personal fears inways that really support his characterization in the game. The art isphenomenal, and there are lots of really cool scenes, but it's not so vital orgreat that I would beat down a door to get at it. I will suggest giving thisseries a try in general, and this could be an okay place to hop on. This is a goodBatman book and I suggest you take alook.

TimDrake comes across as wooden and one-dimensional in the video games, and Tomasidoes his job to bring that dullness to the comic book page. I imagine Drake isa vapid, douchebag Jersey Shore-typecharacter that fights for justice because fuckin' A dude, someone's got to bethe hero. What the fuck, Killer Croc, you lookin' at my girl?! I'll flex mytribal tattoo and knock yer ass into next week, brah! You're lucky Batman'sholding me back because I would wreck you, dude, so don't try it. Tim Drake,never fake, your face will break hahahaha nah jus' playing bro pass me a Coors Light.

Here we get someadventures of Barbara Gordon as Batgirl and the origin of Harley Quinn asdefined by the Rocksteady video games, and it's fairly well a dud. There aresome really creative storytelling choices made by Matthew Clark, but they aren'treally worth the price of admission despite it being only ninety-nine cents.The sad thing is, if someone does a search for this comic online, they'relikely to turn up this shitty review since DC Comics didn't say word one aboutthe issue coming out. So while I have your attention, have you pledged to WeirdScience DC Comics Blog this year? Thirty dollars gets you a free tote bag.

Its ties to the Batman: Arkham Knight video game aretenuous, and the story is ho-hum and inconsequential, but this isn't the worstthing you can get for a buck these days. I'd say a can of that "Mountain DewBerry Booyah" shit is worse. Whatever it's called, I don't know. The shit theygive kids today is deplorable. I saw a kid eating a slice of pizza and drinkinga 16 oz. "Red Bull" as a drink on the side, I almost called the police. Thatboy's heart is going to give out before he turns twenty. And don't get mestarted on the smart phones! Which, incidentally, you could use to download andread this book, if you were so inclined.

This is a really solid comicby some great talent, took me back to Tomasi's classic run on Detective Comics some years ago. It'sstraightforward Batman stuff with alot of the familiar trappings tweaked just enough to pique your interest. Theart is top-notch and the colors and executed nicely. If you're a fan of thevideo game or you're just looking for a classic Batman story, you should checkthis out.

There's nothing specificallywrong with this comic, the art and plotting are done with expertise. I just wouldn'texpect this issue to grab anybody's attention without prior interest in theArkhamverse. We do get some more insight into Jason Todd's motivations andlearn about his time as Robin, to find that he really is a selfish littlewhiner. I think that was the point: the murderous Arkham Knight is, in fact, adejected little boy. But damn, dude. That's what they made beer for.

Peter Tomasi continues toweave an interesting origin story for the Arkham Knight, blending it seamlesslywith what we know from the video game while paying some homage to the original Death In the Family comic book story.This issue reads a little thin since so much of it is given over to starkdepictions of violence and torture, which to be fair isn't something you reallywant to cover with a "Meanwhile" caption box. It was just a surprise; eventhough there has been violence in the first two issues of this comic, this wasa little over-the-top. Still a good issue, and it definitely makes you feel alittle more sympathy for that shrill asshole that plagues you forthree-quarters of the video game.

We learn some more about how Jason Todd becameArkham Knight, and it turns out that it wasn't quite a considered choice. Thisis a really violent comic book and is not for children, though the video gameupon which it is based isn't for children either, so technically no kids shouldeven be aware of either's contents. So since we're all adults here, I wouldlike to sell you on purchasing some insurance from the American Association ofRetired Partners. Superheroes may not have a retirement plan, but we should.

Now we aregetting to the Arkham Knight portion of this origin story, when Jason Toddamasses the money and technology that would eventually allow him to dominateGotham City. This is just a nicely-executed comic book and it was fun to read,even if it was over sort of quickly. But that's how it goes in Gotham City,baby, one minute you're Batman's sidekick and the next minute you're an angrydouchebag with ludicrously elaborate revenge fantasies. Do you think this ishow Pizza Rat started, first the butt of internet jokes and humiliating memes,and now one of the frontrunners for the GOP presidential nomination? The mindreels.

I had a lot oftrouble scoring this issue of Batman: Arkham Knight " Genesis. It is a prettytalky comic book. But if you've been following the story all along, and know alittle something about the Arkhamverse as presented in the Rocksteady videogames, then you will definitely enjoy the dialogue. It's been a goodminiseries"not the greatest, but thoroughly enjoyable and consistent in the waymonthly comic books should be. Hats off to Tomasi and Soy!

The Dread Pirate Batwoman has her spiteful retribution on Earth-0, and it is very...wet. A great character design and perfectly atmospheric art go a long way to propel a story that is otherwise scant. Fans of Abnett's Aquaman will get a little service, but probably not enough to warrant the cover price.

After four issues of not alot happening, we get a fifth issue infodump that sounds exactly asentertaining as it reads. The conspiracy against Dinah, and the mystery behindDitto and those who would kidnap her is detailed through dialogue, but withoutanything resembling a conclusion. Odd, I would have expected the first arc toconclude with this issue due to the regular practice of writing for tradecollections, yet here we are headed into issue six and we still barely knowwhat's going on. The more important question should be: do we still care?

Bits and PiecesPoor pacing and lame plotcontrivances make this story somewhat of a dud, but the artwork by Annie Wu andLee Loughridge is really creative and should be celebrated. Though I don't hearany music while reading this book, some of these panels surely did sing. Thereis a big reveal at the end, which only opens another host of questions, and theway the series has been unfolding thus far I don't know if I care to know theanswers. If you can flip through this book at your local comic shop withoutgetting your knuckles rapped by the owner, I'd say it's worth that much of apeek.

The first half of the book is given over to many wordballoons as we get the infodump to end all infodumps: virtually the entire plotis revealed and most mysteries revealed in about nine pages. I find thisannoying because it seems like we spent six issues dicking around for noreason. The second half of this issue is a sonic battle that is rendered sowell by Annie Wu that I couldn't get enough of it. So this issue is a tough oneto rate. Overall, despite my snit over getting so much exposition in one spot,at least there's some payoff and it wraps up to be a pretty entertaining issue.So you could give or take a half a point here, depending on your personalcrankiness.

This is a pretty dense issue that reveals some ofDinah Lance's background as well as introducing a new story arc. The pacing isa little clunky, but it does the job and there are some really well-drawnaction scenes. Mea culpa, Sandy Jarrell! I will no longer consider this comicbook an Annie Wu-only production! If you've been enjoying the comic so far,then you can keep on picking it up. For new readers, I suppose this is as goodan entry point as any, but prepare to take careful notes.

We take a little break here for a one-off story and I'm okay with it. Moritat does an expert job on art, as one might expect, and relative newcomer Matthew Rosenberg whips up a fun little prequel story that is a joy to read. Since the new story arc in Black Canary just began last issue, this comic didn't jostle the proceedings too much, and its high quality has kept the momentum high. This is one of those inventory issues that is like having an ace up your sleeve, and I don't think many fans of the book will mind it having been dealt.

The Dynamic Duo of a bat and a bird is back in action, but this time it's Batgirl and Black Canary, and they spend half the issue talking about Black Canary's family tree. Some good action scenes in this issue, but also a huge info dump of which I could not make heads or tails. The art shift from Moritat to Jarrell is a little jarring, but it's really the extended yammering that made it more of a drag. Only two issues left to figure out whatever the hell it is we're supposed to care about involving Dinah's mother and maybe some weird Swedish dude that may or may not play an important role at the end of this series.

A clunky first half of the book gives way to some ooky spooky action in the second half, that might be worth the initial ride to a lot of people. The artwork looks a bit rough, but does the job okay in a punk rock book like Black Canary. Though if Black Canary was really punk rock, it wouldn't be published by a subsidiary of Warner Bros. It would be a Xeroxed mini zine, sold in boutique shops and via mail-order. And most of it would just be collages of people's faces clipped from the newspaper with an Anarchy symbol drawn over it in magic marker. And then years down the line, you would find yourself barred from employment at the investment firm of your choice because your name popped up as being on a counterculture mailing list during a routine background search.

This issue's concept was cool and handled fairly well, despite a clunky story about Dinah's mother and some demons that need to form like Voltron. Well, a two-piece Voltron, anyway. Maybe they form more like Firestorm. Annie Wu's return this issue is felt in the creative captioning, expressed as handwritten notes in the header margin, but it doesn't make this superfluous arc seem necessary. Some interesting artistic choices throughout this run will probably never be seen due to its relative banality.

A character primer for the new and a familiar tale for long-time fans, Tony Isabella does a great job writing a Black Lightning that feels relevant in the twenty-first century. Now when this Black Lightning does something substantive, we could see some great comics.

A placid issue that packs a subtle punch, the portrayal of Jefferson Pierce is one of true heroism, even as he does relatively mundane things. Which is not to say that you don't get plenty of high-zapping action, but it's the character moments that will stick with you.

A neat, emotional story that does very little to advance the encompassing plot of this miniseries. It feels like this isn't a miniseries at all, but the opening salvo to a longer run that I suppose might happen. I'd welcome it if it achieved the consistent quality of this book so far.

An exciting issue in and of itself that does little for the overall miniseries. Very readable, but not remarkable. Might serve best for instructive purposes in today's comic book climate.

A too-quick read with not much advancing the overall plot. This has been a beautiful-looking miniseries with some interesting bits, but thus far it could have been done in one issue. Here's hoping the final issue wraps things up in some amazing way that makes spending the previous twenty bucks worth it.

This series ends pretty much how we'd have guessed, and then it finds itself in the position of having several pages to fill. This is simply one or two issues worth of story expanded into six issues. In other words: a rip-off.

This is a pretty good issue. Itwrapped up a sub-par arc, and set up something awesome. T'Challa is back tobeing a smart cookie, and Tony Stark plays a role. I hope the next arc andissue can start delivering on the seeds it has sown. 

This issue I actually enjoyed. The whole dream sequence and the history lesson was good, though I am a sucker for history lessons. This was a nice departure from the revolution story line, and now that Shuri is back maybe she can bitch slap T'challa so he stops making stupid mistakes. The art in this issue is still really good. 

This issue was really good. At least the beginning part, the backup was pretty lackluster. Which I see as proof that Coates shouldn't be on Black Panther since he did write the backup. The art however could have been better. Zola looks like a dude sometimes and a ugly chick at others. It is really weird. Anyway, if you are reading normal Black Panther than I would suggest picking this up, otherwise the issue isn't strong enough to warrant picking up on its own.

An unexpected but very welcome great story by Reginald Hudlin about two characters that I don't think would land on many people's list of Kirby favorites. If it were selling for a buck less, I'd probably give this a 9. You should consider checking this one out, even if you're only reasonably familiar with Jack Kirby's Fourth World.

This comic is an absolute pleasure to read from front to back. My only misgiving is that it doesn't have a lot of the high-flying action I associate with Black Widow, but since this is the beginning of an arc about Natasha getting revenge, I expect we'll see enough fighting soon. Waid and Samnee are a great creative pair, and I would probably follow their combined efforts anywhere.

Here's a well-written, expertly-drawn, self-contained story in a comic book, and it's both fun and compelling to read. Behold, ladies and gentlemen! A comic like this from the Big Two is the choicest plum, and seem increasingly rare. I can't wait to read the next issue of this series, and I'd follow this creative team anywhere.

Some great storytelling and plotting goes on a bit too long, but the surprise introduction of a familiar character and s nice cliffhanger is enough to keep my interest piqued. And let's face it, Waid and Samnee have generated enough goodwill that I would probably read three straight issues of all-black panels and no words before I figured out I'd been duped.

So this is a horror comic. I'm not sure what I or anyone else expected, but that's what it is. And if you're a fan of the genre, then you're probably going to dig this. The storytelling is excellent, makes great use visual cues as well as well-paced dialogue. You could do a lot worse than giving this comic book a look, unless you're flat out turned off by the horror genre. I still think they could have juiced another couple of bucks out of this if they stamped holographic foil over the title. 

There are a lot of cool scenes, but not a ton of forward motion in the story as this issue plays out like a redux of the first issue, with different maimings and eviscerations. There's a particularly disturbing scene that could have been more disturbing, but V. Ken Marion went a more tasteful route and the book is better for it. I did enjoy the issue, and I think if you enjoyed the first issue then you should follow suit with this. The fact that it was so similar to the first issue, at least in pacing and theme, however, did affect my appreciation for this comic.

Here at the halfway mark, if you haven't realized this is a bit of a love letter to eXtreme 1990s comics, then you've missed the point. The art style, the character convenience, the gratuitous splatter...it all makes me want to slam a Mountain Dew and go see Rage Against the Machine! What's that? They're touring again? With Chuck D from Public Enemy and B-Real from Cypress Hill? That sounds awesome! What are they calling themselves? The Traveling Wilburys??? I'm so old.

Do you like campy slasher films and with extra gory scenes? No? Well you are in the wrong place. The rest of us enlightened folk can continue to enjoy this series, which is consistently delivering the goods by the gut-filled bucketful. There's a development with the core characters that promises to change the direction of this series, that direction specifically being a ramp up to the cataclysmic and goopy finale, since there's only two issues left to go.

If this miniseries has been working for you to this point, then there's no reason to stop the Bloodlines train, just keep on a-chugging along. For those that dropped this after the first issue, why are you even reading this blurb? Take a hike! Go read your Scouts manual or blow some bubbles or do whatever pleasant pursuit you think is more worthwhile than reading a messed-up comic book. I love this book, it's like every page is another shredding guitar solo and every panel is an obscene tongue-wagging or crotch-grabbing. Back in the 1990s, we'd say "this isn't your father's comic book!" But considering we're nearly thirty years out from the 90s, Bloodlines probably does resemble your father's comic book. So get outta here kid, scram. Leave us old folks our gore.

Someone told the creative team of Bloodlines that there wasn't enough gore in it, and they were like, "Really? Okay," and made the next issue much bloodier. Then they heard there still wasn't enough gore, and they said, "Are you sure? If you say so," and made the next issue that much bloodier. Then the creative team overheard someone say that even now, there still wasn't enough gore, so the team figured that's it, we have one more issue, let's spray veins everywhere. And that's when they learned that what they'd overheard all along was Dan Didio complaining about his pus-filled canker sore.

This issue delves into the subconscious of Bug, and there's a lot more than building hives on his mind! Do bugs think of building hives? They don't really "think" about them at all, do they? It sort of happens on instinct. In fact, that's what "hive mind" is all about! They don't have individual impulses or wants. So that was a bad metaphor, but this isn't a bad comic. Check it out.

Bug travels through time and space to pay more tribute to the work of Jack Kirby, before skedaddling off to the next setting. It's a fun issue, but Kirby aficionados only need apply. Indeed, Kirby aficionados should apply, liberally and regularly! Soak in every issue of Bug!

More traipsing through what feels like Bug's fever dream, orchestrated by a stuffed animal, abetted by Jack Kirby comic books. I love looking at this thing, but this shtick is wearing a little thin. While the book's story certainly moves with gusto, I don't sense that it's moving forward.

We return to the complicated adventures of Bug after two-month hiatus, and it doesn't feel welcoming. This series is increasingly difficult to grasp as the Allreds pull more minutae from the weathered longboxes of their childhood. They could have published a list of hard-to-find comic books and saved everyone the trouble of reading this.

You will love this book if you grew up with Mike or Lee Allred, or are Mike or Lee Allred. For everyone else, it's like watching someone else's home movies. Great looking book, though.

A series already thick with pretension and heady philosophizing at the end, which skids into a soggy conclusion that is neither revealing or satisfying. As my grandma used to say: "What a load of old crap."

Ever wonder what a Genndy Tartakovsky-produced Power Man cartoon would look like? Well, here's your answer.

Only buy this comic if you're a big fan of Genndy Tartakovsky's art, because there isn't much of a story to speak of. And frankly, the art isn't even that great. This is your basic comic book rip-off.

I had no history with this character going into the book, and I find I didn't need to. It was pretty intriguing and, at times, emotional enough to make me interested to know more. The artwork is highly stylized and has a very 1960s advertising aesthetic, though it straddles several styles that work more often than not. Very curious, Mr. Cave Carson. You drew me in with your cybernetic eye, but I think the organ we might learn more about is his heart.

There's a solid story emerging in this series, which may end up reading better in one sitting rather than parceled out in single issues. Still, this issue answers a few floating questions and provides some much-needed background that makes future installments compelling. The whole style of this book is fantastic, and it could easily be appreciated on its visual impact alone. I look forward to further adventures.

In order to get to the bottom of this subterranean mystery, Cave Carson and company...will have to go deeper! The plot thickens a bit, but the characterization thickens more and the story is well served for it. This is an action-heavy book with a strange sensibility that probably has a broader appeal than I give it credit for. So prove me wrong! Check out this comic book, love it, and then tell me where to stick it!

Cave and the gang fend off successive threats in turn, and there's a dangling plot point on the last two pages of the issue, but otherwise I'd say this is the most "normal" issue of the series. Which is not necessarily a bad thing, mind you, the scenes were appropriately cool and the action was wacky enough that one might think this concept could support a more conventional comic book series. But who would want that?

The extent of EBX's nefarious scheme is revealed and drugs are consumed, and not in that order. Oeming's usual ever-changing style looks even more dynamic in this issue, a by-product of either the substances consumed in-story or Oeming growing more comfortable with the series, or both. Whatever the case, I welcome it. This is one of the most unique books around and it seems to draw me deeper with every issue.

Things come to a head, but not quite a conclusion in the sixth issue of Cave Carson Has a Cybernetic Eye. But what a wild ride! I find this book more engaging with each issue, and by now I am absolutely riveted. Not a lot of new developments in this issue, but everything we've learned and everyone we've met to this point come into play in a most satisfying way. And the most satisfying thing of all is that I can't wait to read issue number seven!

This story pulls a few switcheroos on the reader, which will be most welcome to fans of the series and the psychedellically-inclined. I suppose it's not giving anything away to say that Superman appears in this issue, except to say that he doesn't. Or does he? You gotta read it, I don't know what else to tell you! If you don't like this series, drink a bottle of Robitussin DM and try again.

A highly mind-bending issue that might frazzle even the most cybernetic eyeballs, there's a development here that kicks this story up to "berzonkers." The comic book has the best problem, in that it leaves you annoyed for wanting more immediately. Much like Cave Carson's eye socked is wanting for a cybernetic eye! See what I did there? Not if you're missing your eyes!

Things come to a pus-filled head on the grody surface of Whisper, as it/he/they continue their campaign of inter-dimensional psychedelic devastation. If you've been following the series to this point, you'll be glad to see this issue. If this is your first issue...well, drink some milk and lie down in a dark room. The visions should dissipate within a few hours.

This comic takes a much-needed left turn, and we're treated to some good ol' strange adventures and weird encounters that comprised much of the first arc. We meet some new characters, some that will raise an eyebrow, others that will make you feel giddy as hell! I want to give it away so badly, but I try to avoid that in these blurbs. Just go read this issue!

This comic has rounded the last corner of its final lap, and it looks like we might finish strong. While we have spent too many single issues on a specific story, this will make a solid couple of trade collections...which may have been the intention all along. Not to dismiss the fun of it! This comic is a good time but trade-waiters may feel even more for it.

A thoroughly satisfying ending to a series that kept my interest even as it tried my patience. Things wrap up the way you might have expected, through means you likely did not expect, and the stage is set for further awesome adventures, whenever they might arise. The big winner of this issue is the outrageous art and coloring by Michael Avon Oeming, who has lent such a distinctive look to this series that I dare say that it should not be attempted by others.

Things are less interstellar than they are interdimensional, but let's not mince words. The fun and flash of the original series are back, so if you liked it before, you should like this now. Folks that never bothered to read the original series can also hop on here, with the understanding that you're about to read something weird.

Some good, by-the-numbers comic book storytelling, with the requisite psychedelia that is the hallmark of this series. Cave Carson and co.'s adventures continue, and we're more than along for the ride--it's like we're sitting in the Mighty Mole for the experience. I just hope Cave isn't driving. That guy is a maniac.

Cave gets to the bottom of what's ailing the Lazer Monks and Nejire, clears their Thetans and has a real bug-out besides. Here's an issue perfectly suited to Michael Oeming's unique talents, and it's a pleasure to read. I'm glad there's a hero solving psychedelic problems out there, often with the use of psychedelics.

A one-off adventure of Cave and company is more than welcome, being that there's only three issues left to the series. There's a nice father-daughter moment, but you know we all come to look at the colorful psychedelics, and you get plenty of 'em here.

An old character we barely met returns, and an even older character we never met also returns, and we're left wondering if we're supposed to care. I'm betting we are. The stakes feel low in this volume of the series, but it's a lot more wacky fun, and I think that's a reasonable trade-off.

Cave Carson gets his redemption, and he doesn't need to sacrifice anything for it. The final issue of this already low-stakes series is almost totally devoid or intrigue or suspense. But Wild Dog makes a cameo appearance at the end, so that's nice.

Some horrors are easy todescribe, but the kind of horror we see in CleanRoom is more visceral. Though many of the characters have a pugnaciousquality about them, the art is very strong and detailed and effective where itneeds to be. Perhaps you were feeling like you were sleeping too well and coulduse a few mild nightmares? Well say no more, pick up this series and wonderabout those spaced-out people pushing reflective stickers and flowers down atthe airport.

The mystery deepens and even gets a little grosser aswe learn about the Clean Room and of what it is capable. The artwork is verysolid and storytelling straightforward, for the most part, and the dialogue isgreat even when it's about icky things. How do you think Gail Simone got sogood at writing dialogue when she doesn't even watch television? Do you thinkit's the real life people she talks to? Seems to contradict everything I knowabout comic creators!

Things get no more normaland a lot more spooky in the third issue of CleanRoom. The story felt, at times, a bit burdensome, but the cuts happened atthe right times to keep me wanting to find out more. Jon Davis-Hunt seems to bein a good groove here, and renders some noteworthy panels that you're gonnahave to look at the comic book to see. Having enjoyed the series thus far, thisinstallment served only to whet my appetite for more, but if you were to hop onto the series with this particular issue I'd expect you'd be fairly well lost.And grossed out. But in a good way.

What a pleasure it was toread a comic book about two lying magicians hanging out at an evil clubfilledwith torture and gore. The story is good, the characterizations were better,and the art runs away with everything in the ad hoc awards show taking place inmy head. And for best animal used to menace captives: the rooster-headedpython! For strongest thighs and calves: John Constantine! Thank you, ladiesand gentlemen, drive safely. And thank you, creators of this particular comicbook. It is really picking up steam now.

The characterization of John Constantine is fantasticand his Lethal Weapon routine withPapa Midnite is wonderful. This is a really enjoyable, well-paced comic bookthat should have fans of DC's creepier side flocking. The artwork alone"oh theartwork! Minstrels should be singing its praises o'er the countryside, wavinglinen prints of the splash pages like fluttering flags,beckoning children, squealing with laughter and grasping reflexively with their pudgy little fingers, to run behind and follow this art where it may go.

Despite Travel Forman filling in on art for the worshipful Riley Rossmo, I was able to get into his style as the book went along and very much appreciated his clean lines in Fairy Land. Unfortunately, Fairy Land turned out to be more of a waylay, John got all sulky and resolute, and then he and Oliver fight about who is more self-sacrificing for like four pages. Eh. Still interested in seeing Papa Midnite take his club back from Neron, though.

Like Ice Cube said, "L.A. ain't all surfing, son," and John Constantine knows that all too well as he is rebuked by those he solicits for help. Of course, his being a prick and apparently covered in sewer much doesn't ingratiate him to anyone, either. Deadman makes a cool cameo in this book that is really funny, but I get the feeling this whole story has been cut a bit, almost as if the comic book were going to end and then be rebirthed in a few months as something else. Just a funny feeling I have!

We're back in New York City with John Constantine as he tries to undo the damage wreaked by douchebag demon Neron, and it feels good to get back to the main story. The contents were a little thin, unfortunately, and the art was serviceable but not great. I'm interested to see how this all turns out, but with the stark changes in interior artists coupled with a few issues that seem like unnecessary padding, I don't know that I would recommend this run to a prospective Constantine fan. I guess we'll find out after the last issue!

You may need to consult with your satanic accountant to comprehend this issue to its fullest, but it is a good story and a nice conclusion to the series. The characterization of John Constantine as a hapless dickhead was conveyed well, and despite what seemed like unnecessary padding over the last few issues, it's been a good read. Ever stop to think that Constantine is sort of the Ziggy of the magic world? A lovable loser who always mucks things up despite his best intentions. I want to see one-panel comics of John Constantine getting peeved off at a department store's Returns counter or being mocked by God. Get on that, DC!

Fans of old school horror comics rejoice! Dark Horse is here to scratch that itch with this high-quality, reasonably-priced anthology series in the vein of the original Creepy and Eerie titles of yesteryear. I suppose if you're lame and don't like horror comics, then this will hold no fascination for you. But if you're a normal, gore-loving closeted sadist with an unspeakable blood lust, then yeah, sure, you should check it out.

Another mixed bag of stories, with a couple that are pretty good, a couple that are pretty bad, and the majority of them are shrug-worthy. Too much investment for too little return overall, me thinks.

A gripping tale of high-stakes poker, and I'm not being sarcastic! The pacing and potting of this issue take center stage to tell some engrossing mysteries, some for the Matt Murdock to solve and some for the reader to solve alone. The art serves the story well, but I think the muted color palette made the action a little less than it could have been. Still, a very good issue worth picking up if you like good storytelling.

You won't find a ton of progression in this five-part story, but it is a lot of fun and features Spider-Man, who only increases that fun. Goran Suduka's art steals this show in this issue, as he renders cityscapes and interiors and compressed musculature with equal aplomb and a unique style. I'll definitely be keeping my eye out for his work in the future, and considering how unique and lively it is, I should have no trouble spotting it going forward.

Two fairly tepid stories that seem unlinked to the prevailing narrative make for a pretty disappointing issue of Daredevil. This iteration of the character seems burdened by past versions and pays a lot of service to the Daredevil fanboy, but provides little in the way of interesting stories or characterization. I mean here, Matt Murdock is District Attorney of New York, yet the last time we saw him in his civilian garb was three issues ago--and then he was in a Chinese casino, not litigating at all! The whole thing seems like a missed opportunity, and as we head into another renumbering I wonder if I should bother being attached to this book at all. 

I will gladly eat my share of crow for having doubted this series, because I must say I am enjoying it quite a bit. One should put on their Frank Miller hat before reading, but once applied I think you'll find this is tonally in lockstep with Dark Knight Returns. The story itself is okay, perhaps not worth the cover price, but not an abominable rip-off either. And Kubert does a bang-up impression of Miller's artwork while he was in his prime. I still say you should check this out in trade if you just want to read a fun story, but that is more than I might have recommended when this was first announced.

Some interesting developments with Batman, Gotham City, and Kara make for a reasonably interesting, if all too fast read. This is the direct sequel we should have gotten from Dark Knight Returns, and it will probably read a lot better in a trade collection. So if you can wait until 2024 when that comes out, then it might be for the best.

Paul Dini's story of the time he got mugged turns out to be a self-revealing tale about finding one's confidence, and the ongoing struggle to maintain it. Eduardo Risso's watercolors are lively and convey the many disparate intellectual properties withefficiency, even a particular IP that isn't part of the Warner Bros. collective! I'd have expected to recommend this to fans of Paul Dini's work or to comic book fans in general, but having read it I think I recommend it to everyone. The feelings described in this book are, I think, fairly universal, and not often discussed in even the most emotional novel.

A pretty solid Darkseid story and a fairly middling OMAC story do not really make for a good five-dollar value (though the Burnham/Fairbairn cover helps.) Yet Jack Kirby fanatics might find it indispensable. Meh. What else are you gonna spend five dollars on, a Happy Meal? Maybe check this out, then, if your kid is acting like a jerk.

A reasonably touching story and some unbelievably great artwork makes for one solid issue of a comic book. This one, specifically. Don't know if I want too much more of it, but I liked what we got. Howard Chaykin does a story in the back which will probably make you want to smoke cigarettes. This is a weird comic book and only bonafide weirdos need apply.

If you read Paul Levitz's run on the Legion of Super-Heroes, then you might enjoy this comic. Otherwise, I imagine you'd find it pointless. Essentially the same story is repeated twice, though the second one is closer to the Silver Age style than the other. Eh. It's better than Space Jam.

Harken ye to the sad tale of a mutated coyote's unrequited desire to catch and eat a road runner. Leave with heavy hearts but enlightened minds...or lightened minds. This story is pretty boring to be starring the Main Man and the Fast and the Furious of the Looney Tunes set. The back-up is nominally better.

If you've got a Jonah Hex itch, then this might be the comic book to scratch it. If you've got a Yosemite Sam itch...well, that's sort of weird, but yeah, this might fit the bill, too. Any other itches we should know about? I hope none of them are contagious. This issue was decent fun and should please fans of Jimmy Palmiotti's work in DC Comics' Wild West.

As expected, it's a mixed bag of mostly fun stories that should have little effect. Ten bucks is a bit much for this; I would have liked it a bit more at eight dollars. Nice batch of visuals, though, for your money.

A lot ofreal-world history mingled with phony locations and personnel are what great comics are made of, and this one is stuffed to the seams. The story is really interesting, and might be of particular interest to history buffs, though it is really wordy and not exactly full of the punching and kicking we've come to expect from comic books. The art is great, very tight and yet lively, and I sure would like to see more of it in the future.This is a cool comic book, worth checking out for the dollar!

A pretty action-packed chapter that reveals some more of the tortured history of the Bombshells, as well as a weirdability of Batwoman's (that might be new only to me.) Though this is a three-part story, the conclusion isn't very...conclusive, and this will probably make a very cogent print issue. As digitals, though, it's a little disappointing. The art is solid, and I did think this chapter was good fun. Just didn't seem like the ending to anything.

A little more intrigue, some friendly interactions, and spooky ancient blood gods make for a pretty cool chapter. This is sort of like Scooby-Doo crossed with H.P. Lovecraft. Except a lot of the characters have boobs. Also I didn't detect any overt racism. The artwork is spectacular in this chapter, and well worth the purchase price alone. Come on, ya cheapskate!

This score constitutes an average of the scores fromeach story in this anthology, but overall I'd say this is a worthwhile purchasefor your favorite junior high schooler that bends towards horror orsuperheroes. Or both.

A strange collection of stories, most related to the holiday season only tangentially. Some of the tales are downright morbid. Which, come to think of it, reflects Christmas at my house pretty well. The price point is prohibitive.

As you might expect of an anthology series: a mixed bag of stories. More on the lame side than not. The post-apocalyptic setting is interesting but makes some of the stories that allude to its causes a little confusing. Not a bad stocking stuffer, for a few dollars less.

This foray into superhero zombification is interesting, and uses some entrenched DC lore in a satisfying way that makes sense. In comic book terms, that is. It's not like they've created the formula for a real zombie outbreak here…or have they???

Only those hep to the jive of a Neal Adams solo jam will enjoy this, but BOY will you enjoy it! The art seems tighter than usual, but best of all is the mind-bending story that neatly contains a full history of Deadman. Now to get all that into one comic book is a feat in and of itself.

Some intense spectral battles and a devastating beatdown on the grounds of a circus gives way to a meeting of some of the DCU's most famous folks from the afterlife. The emotion is keyed really high in this comic, which might turn some people off. But if you can stand the dizzying effect of these high-flying feelings, then you might find this trapeze act to your liking.

More rubber-faced goodness from the mind of Neal Adams. I can't, in good conscience, give this a high score because I think it takes a certain sensibility to get into it. But if you are of that sensibility, then you'll have great fun with this comic book. Do you enjoy Godzilla vs. Hedorah? The Butthole Surfers' music? That's the kind of sensibility I mean.

I know you think I've given this comic book a low score, but I want you know that I know that you think I've given this a low score, so give that a think, hm?

The cover says this is a search for Ra's Al Ghul, but instead it turns into a big magic brawl against monsters and robots. Same difference, really.

This issue is the biggest rip-off of the series thus far--that's right, thus far--but if you've come along to this point, I suppose we can keep strolling along this insane road together. Because it turns out that this six-issue miniseries was actually the first book of (at least) two. I'd like to say all will be revealed in a subsequent miniseries, but we know it won't.

A spooky location and a sensitive medium seem like great components for a Deadman story, but it hasn't taken off yet. Indeed, this Deadman doesn't seem familiar, and I wonder if this might have been served better as a prose novel. I suppose that's something we can assess once this short series is concluded.

The plot thickens as Berenice learns more about Adelia's sordid past and why ghosts get stuck at Glencourt Manor. Perhaps it thickens, however, a bit too slowly. Could have stood this losing a buck off its cover price, while we're on the subject.

This story took a little too long to come around the bend, and by the time we get to the conclusion it's a wonder we made the trip at all. Deadman is an afterthought in this series, but even on its own it's a fairly paltry horror tale. Sort of a mediocre romance tale. But that Dark Mansion! That's an architect's dream!

Learning just enough about the Hero Dial to definitively say we know nothing, this issue is all about possibilities. The setting in place, it is now up to the players to perform, and the readers to read. And to buy. The readers have to do that, too.

Themystery of the H-Dial and the Thunderbolt deepens, and we get to see a couple moregoofy, stylized superheroes. If you were expecting something else from thisseries, you were barking up the wrong telephone pole. But if you're disposed tothis sort of thing then you'll probably enjoy the latest iteration.

If you love comic books in general, then you shouldbe touched by this Superman-centric love letter to the medium, Other folkswould probably be confused by it.

If you ever get the call from an ethereal beacon to trek to a monastery in the Himalayas, here's a tip: don't heed it! It's freezing cold up there and you'll probably have wasted your time. Doctor Strange continues to gather artifacts in preparation for his final conflict, in this story arc that looks to be about two issues too long, yet somehow each issue is a freakishly quick read. You get a lot of bang for your buck, however, poring over the exquisite artwork and layouts.

The finale of "The Last Days of Magic" ends less like an awesome Doug Henning spectacle of fireworks and bejeweled albino beasts, and more like a creepy David Blaine card trick on the street that makes you feel cheated. There really are no great developments in this issue that required a four-issue build-up, and the conclusion casts Doctor Strange in a less sympathetic light than before. This comic's saving grace is its artwork, which is sort of like an ethereal graffiti that is rich in texture. That alone is not worth the cover price.

Dr. Stephen Strange is on the skids, and I think that includes his tighty whities. After some failed shortcut attempts to restore the world's magic, seems like there's only one thing to do: start from scratch and rebuild it one spell at a time! The art looks great in this book and really works great with the story. I especially liked how the "magic world" is expressed. Plus, a throwback to Doctor Strange's origin! Which actually happens quite a lot. But still! I dug it!

Some nice, chunky artwork and some appearances by Ditko-era characters doesn't absolve me of the feeling that we've been cheated. Looks like the two Doctor Strange comics that came out in the month of September were meaningless, since the post-Imperikul story begins here. There are some cool elements of Doctor Strange's new unmagical condition, but not enough to mask my distaste. Maybe the rest of this arc will prove my annoyance to be unfounded.

Here's a filler issue to expand this story arc into a neat five- or six-issue trade paperback collection. This is the second time the series has clearly done it. I've about had it, this book is an absolute rip-off since you need read only two-thirds of the issues that are released. This comic book deserves a FU 5 because it always seems to be biding its time and I'm growing less interested in the potential payoff by the issue.

A fun little romp through a conceptual stylish Hell that reads a bit too quickly for my liking. You will want to pore over the lushly and grossly illustrated pages, however, and there are lots of funny moments to hold your interest. This was perhaps the singularly most entertaining issue in the entire series, even if it didn't bring us demonstrably closer to the end game face-off with Baron Mordo.

A cute throwback story for long-time Doctor Strange fans, that seems primarily to set up some future story and reinforce the fact that Stephen Strange is a jerk. The art is really nice, reminiscent of David Aja, and this looks to be the visual trend of the last issue or two. There's a backup that provides some back story for the forthcoming Doctor Strange and the Sorcerers Supreme series, and it's a nice enough story but not entirely worth paying another buck for. The first story is good enough.

Sort of a lot to throw at the reader for a first issue, but you won't come away feeling ripped off. Fans currently reading Doctor Strange will probably appreciate this the most, though I wouldn't call it a requirement. Some really solid art and good use of whatever nightmarish visions plague Javier Rodriguez's waking hours made this a real worthwhile read--but if you don't liken to horror or magic-based heroes, then you might want to steer clear.

Some talk-laden meandering and a rather flat ending are the low points that keep this book from being the exciting mystical romp it could be. The assembled team is pretty interesting, however, and each has their own back story that I will be curious to learn about. There are certainly less-deserving comic books out there that get more notice, but I'd say that only serious fans of Doctor Strange need apply here.

Most of this book is a long and winding conversation, but there are a few scenes of action and intrigue that make it worth a look. The storytelling and plotting is fairly straightforward, so anyone worried about offbeat comic book layouts can read without compunction. This issue makes me want to read more issues, which is fairly well the point of comic books, I think. That, and giving us something to write about.

This issue tells us a little more about another member of the Sorcerers Supreme, this time the Conjuror, whose character is still somewhat enigmatic but whose whole style and weaponry is terrific. When they're betrayed by one of their own, the Sorcerers find themselves on the metered end of poetic justice, and Doctor Strange wonders if he'll still have a future when this is all over! I imagine he will, I mean even if his powers are diminished, fortune tellers can make some pretty good tax-free coin in the right location.

Bits andPieces:  This comic book sort of came out of nowhere, but it's not a bad read. Without critiquing the classic Lee/Ditko stories included in the issue (it wouldn't be fair), the new story is enjoyable enough, introduces some new characters, and is reasonably well-plotted. I'm just not sure if we'll be seeing more issues of this series, or if this ties into one of the other Doctor Strange properties floating around at the moment. I guess we'll find out soon enough!

A pretty surreal comic that may be impenetrable to readers that are brand new to the team, Doom Patrol #1 is packed with stuff to dazzle your eye and fry your brain in the grand tradition of the series. Our new hero Casey Brinke is really intriguing and all of the new concepts introduced in this comic are highly strange. The art was perfect, like a psychedelic TinTin. Buy this book if you think your workaday life has gotten stale.

The reintroduction of some favorite characters brings the usual chaos and confusion that seems to surround Casey Brinke's life, but the team is coming together, piece by piece. The artwork is absolutely wonderful throughout and there are lots of intriguing moments that might be meaningless to a brand-new reader. I have a solution! Read every single Doom Patrol comic book from 1963 to 2011 and then come back to this series! You might get a lot more out of it.

Some questions are answered and some answers are questioned and all things come to pass in the magical realm of Dannyland! New fans of the Doom Patrol will find some backstory within that will probably be relevant, and all the plots seem to be moving along at a good pace that just makes me want more and more. But the clincher is these awesome comic book parodies that need to be seen to be appreciated. And you should be seeing them. So get on that.

Though the time gap between the last issue and this one diminished some of the momentum, this is a great issue that answers a ton of nagging questions without introducing too many more. There's funny moments, gross moments, confusing moments...not a ton of action, but there's a bunch of heavy metal band names based on DC Comics properties. So that'll keep you busy for a couple of minutes.

A lot happens in this issue, though we wind up more or less in the same place we start. Plenty of high weirdness to satisfy your DP longing, but it's been a pretty long wait for the story to move incrementally. Luckily, in a book like this that can mean progress in several dimensions.

There's some cool concepts, and the return of a fan-favorite character, but it all happens so quickly that I found it a bit unsettling. I think the overall story of this first arc has been good fun, but the last two issues have seemed a little over packed when taken individually. I know, I'm usually the guy saying stories are too decompressed in comics these days, but I guess with the Doom Patrol I want to luxuriate in the weirdness a little longer.

Even though it's been a long time since the last issue, and we've got a guest artist on this one, it fell right in step with the series and felt just like coming home...if you live in a day-glo, psychedelic funhouse in another dimension, that is. Would that we could! Danny, come pick me up, I'm ready to commit! Doom Patrol forever.

This issue picks up from the storylines left in issue #6, back in May. As a result, there's a lot of exposition to remind the reader of all the goings-on. There's some implied interspecies sex, and a new status for the Negative Entity, but it feels a little like we're in the tutorial stage of this Doom Patrol: The Second Arc video game. I hope the first level proper is coming next issue.

A familiar villain's appearance is cool, but a bit unearned before a series has even gone into double digits. How each character recursively fits into this story is always fascinating, and artistically this title extremely strong. But the constant delays make it difficult to sustain enthusiasm for the book over an extended period.

This issue is trying to be a little too cute for a series that comes out so irregularly. Next issue's solicit has been pulled already, so like I tell you every time an issue of Doom Patrol comes out, wait for the trade collection. Though the way this issue seemed tossed together like a large salad, that collection may not be worth your time, either.

This issue could be titled "Everything You Wanted to Know About Young Animal's Doom Patrol, But Were Afraid to Ask." Many loose ends are tied up, in rushed and unsatisfying ways that should please only the most sycophantic reader. The rest of us will know we've been hoodwinked when we see the final panel's suggestion that we pick up the "Milk Wars" trade collection. That's the unkindest cut of all.

Delays notwithstanding, this book is a rip-off. Even fans of the Reynolds clan from this series–all six of you–will feel cheated by this crap. I've no specific beef with the art team, except for their involvement here. Choose better projects.

This comic is about a woman facing her own obsolescence late in life. To make matters more complicated, she's also omnipotent. Is anyone looking to hire a goddess for their burgeoning society?

A kind of clunky issue that manages to bump against some comic book themes that will be familiar to the seasoned reader. Caroline Sharp's malaise is warranted, but wearing thin. The reader isn't supposed to be as morosely bored as the character they're reading about.

Some new information is revealed about Caroline, and she gains a new sense of purpose, just in time for Armageddon. Isn't that always the way? As this story congeals, it begins to taste like marmalade...laced with psychedelics. My favorite flavor!

This issue is the most fun of the series, since it shows several contextual scenes taking place in various Caroline-derived realities. But the overall storytelling is lacking, and some of the characters feel forgettable, which makes for a somewhat frustrating read in single issues.

This issue serves well to re-establish the somewhat confusing events leading up to it, but provides very little forward movement. We are positioned for a grand finale, so I suppose it has done what a penultimate issue in a series should do. Some great storytelling by Sonny Liew, but the story might be too obtuse for normal comic book layouts. Or perhaps my drugs have worn off.

The impending End to All Things doesn't happen, which you might have guessed since you are still in existence and reading this blurb. This was a nice-looking series, but the ending fell pretty flat. I guess when the only things that can happen are either every dimension  collapsing into nothing, or not that, then the former is the logical recourse.

A nice-looking and interesting comic that feelsa little bloated with exposition. GreenLantern fans should definitely check it out.

Turns out it's not just the creepy men that subject the Female Furies to rigorous, unspoken expectations—other women do it, too! If you can accept that these characters resemble the originals in an only visual manner, then you're still left with a pretty dull story. Of course, the whole miniseries should conclude before we truly evaluate it.

The story moves along, with a few permissible hiccups, but fails to capture the reader's attention. Despite the issue being weak visually, there are some cool scenes of Apokoliptan interiors that should interest any fanatics for the anti-life equation.

The gripping story of professional sexual harassment against the backdrop of Apokolips and the Female Furies has become the boring story of professional sexual harassment. Why the effort to make this an illustrated and colored comic book was made is beyond me.

A couple of cute stories,and also: Damien Wayne! Do you think he likes Maps? I mean, does he “like” likeMaps? Because I think Maps “like” likes him! Oooooh Maps has a boyyyyfrieeend!Ken Niimura does the second story in this book, and it is going to melt yourcold, unfeeling heart. If it doesn't then you are probably clinically dead.Everyone did a good job for this issue, but Niimura really stole the show.

Some nice stories and some great artwork equals a really worthwhile comic book. The connecting thread of this clip show is a little thin, but it doesn't have to be anything too dramatic for what is basically a light-hearted romp through the spooky side of Gotham City and the DCU. Frankly, if this was the format for Gotham Academy going forward, I'd probably be okay with it. But if it isn't, then it's still a good time, well worth checking out (from the beginning of this arc) if you're curious about the students of Gotham City's third-creepiest institute of learning.

"Yearbook" has concluded, and you know what? I liked it a lot. I don't know that you could sustain a book indefinitely in this format, but luckily the publisher doesn't intend to. Gotham Academy will be back next September with the "second semester," and will crossover with Lumberjanes this summer which is a series I WILL be reviewing. This last arc in Gotham Academy before Rebirth has been entertaining and mostly of a high quality, and I think the editorial staff in particular should probably take a bow here. 

Here's a solid, entertaining story, rich in Gotham lore of the past...and future! Instead of centering on Olive and Maps as usual, this issue focuses instead on the secondary cast of the book, and to good effect. Various artists contribute a wide range of styles to this issue, and the way the tale is structured allows for it. A great showing from the old Gotham Academy writing team that bodes well for the new issues coming in September!

Folks that read and enjoyed the first semester will find a lot of payoff in the second semester, though the story is a little different than the madcap antics we're used to. New characters are introduced, new information is learned, and kids skulk around in the passageways between walls, which is what this book is all about. The art is fabulous, and retains the "painted animated cel" style of the previous volume. All that, and Professor Macpherson's fresh cranberries!

This issue is very Maps Mizoguchi-centered, which is a relief after the previous issue that barely featured her at all! While there are lots of cute moments and some groundwork is laid for future stories, the whole thing is rather dull. The shocking conclusion isn't shocking at all, and the perceived threat to the school's integrity doesn't translate. I guess there are worse comics out there: ones that don't feature Maps Mizoguchi at all.

The mysterious head of the Witch Club is revealed, and I'm not sure if I've seen her before in this book, or if I even care. The whole thing was sort of bland and contrived, and felt more like a Scooby-Doo? Where Are You? cartoon than a comic book. There are some tantalizing seeds sown for future issues, though, and I do appreciate the fact that this was a two-part story instead of some written-for-trade monster. Fans of the series will want to check it out.

Here's a meandering, out-of-continuity story that is better executed than conceived. As always, a very pretty-looking book, but it's gone a bit off the rails lately, focusing more on the Scooby-Doo hallway hijinks than the characters that made this series interesting. Also, there's been much less Maps involvement lately! Look, Gotham Academy Second Semester team, you know what side of the bread your butter is on! Make with more Maps!

This episode picks up from the cliffhanger two issues ago, and it's about as exciting as you'd expect a school expulsion to be. Lots of disjointed scene jumping between meaningless moments make for an unsatisfying and confusing read. It's as pretty look at as it ever was.

Last issue Pomeline and Tristan were investigating an ancient Gotham Academy mystery. And they continue to do so! Also featured in this issue: not much else. Eric has a symbol-related freak out, but you can tell that from the cover.

We finally get to the bottom of Olive's mysterious roommate Amy...and it's cool enough, I guess. I think this story has just gone on for too long, and Colton's expulsion feels like a red herring for the actual story, which is in this issue. That's a good thing. Here's hoping my interest can be rekindled going forward.

The pacing has been way off for this whole series, but now we come to the payoff. And it's pretty mediocre. I think it's time some children got left behind.

The explosive last arc of Gotham Academy Second Semester begins with a weak "baf!," as some familiar characters are reintroduced to virtually no effect, and most of the cast talks a lot. I hope this flickering flame will eventually burn bright and hot--and briefly.

Another day, another issue of Gotham Academy Second Semester that brings us virtually no closer to a satisfying conclusion to this school year. I mean, I suppose we'll be satisfied because it's finished, but that's like an actual school year. And I definitely failed this time.

This book should be coming to its ultimate point, but it's still fumbling around in the dark. Maps and Damian make a cute couple, but most of this issue is snoozers. One more shot, fellow Academites! (That's what Gotham Academy fans are called, right?)

This issue ended in a way that was very respective of the series: it was just more prep school dopes fumbling around for books in the dark while a cool fire rages elsewhere entirely. Do the creators not know that people like fire more than looking for moldy books? I'd say it's probably 50:1, fire versus books. I wish I could say the ending was satisfying, but the only satisfaction I feel is not having to read it next month. A missed opportunity for a concept that could have led to some cool stuff.

A fairly interesting if slightlyperplexing team of monsters is assembled through clunky storytelling andcontrivances. It all works, story-wise. But you have to want it to.

A wacky team of inhuman beasts killsother creatures. This whole thing feels like a joke without a punchline. So it'snot unlike the Archie comic strip, ina way.

A much needed reintroduction to the trappings of the Green Lantern Corps is welcome, if not altogether thrilling. We see space cops in action, and Hal Jordan whipping up constructs. It's too early to get overly jazzed for this series, but all signs look positive.

The series begins proper with a couple of crimes to solve and the dispensing of a Silver Age character. No hints on which one! This issue is highly readable and offers some pretty compelling moments that should pique your interest for the next issue. But if Hill Street Blues was never your thing, then this issue might run cold for you.

The fate of the Earth is sealed! And most of its inhabitants seem cool with it. Hal Jordan's by-the-books police technique might not jibe with every sleep-n-eat and ne'er-do-well, but by gum there's going to be law and order in this galaxy, if he has to arrest bug-eyed slacker to do it!

Can Hal Jordan and some weird-looking members of the Green Lantern Corps stop a world's sun from being consumed? Probably. I mean, that's like his "thing,' right? All "save the planet" and whatnot. Me, I'd want to know what the sun thinks about it. Has anyone considered that the sun might want to be eaten?

Hal goes through the application process to be a Blackstar, and after retaking the test with an sharpened #2 pencil. Some nice scenery in this issue, but it's really a place holder for that sixth issue huzzah.

There's a stylistic gimmick happening here that somewhat supersedes actual Green Lantern characters or continuity. If you enjoy the gimmick, like I do, then you could enjoy this book. If you're Eric, then this series will leave you furious.

This issue's story is told in a unique, copy-heavy style that should be familiar to fans of illustrated fantasy tales. Folks looking for a Green Lantern story respective of recent continuity, however, get hosed.

Some silly fun is reason enough to enjoy this otherwise threadbare plot.Kudos for not putting Green Lantern Batman right on the cover.

A decent sci-fi storythat fumbles a little at the end by advertising other comics. Not that I won'tbe reading those comics, I'm just saying. It seems cheap.

A well-drawn opener revealing the scope ofController Mu's plan. Hint: it's not to distribute boysenberries. If you liked The Green Lantern, you'll keep readingthis series.

An overly-wordy look at how Belzebeth went fromspace-Lady Dracula to second in command of the Blackstars. Plus, a littlesarcastic commentary on current-day comic books! You gotta love that.

Things shift in the Sinestro Corps this issue, despite last issue's introduction of new concepts and and factors. Maybe things will change every issue? Like, in issue #2 Sinestro operates an ice cream truck and Arkillo has to wear a little paper hat? That would be hilarious. I can just picture him all crammed into a Good Humor truck, handing Astro Pops to the kiddies. This Sinestro-heavy issue has some great-looking scenes, but not a ton of action. But there is the promise of action, which is the next best thrill.

A few plot developments and some daddy-daughter time that results in the traditional Korugarian Slapping of the Father, and you've got a pretty good issue of Hal Jordan and the Green Lantern Corps that promises some fun times in the future. Let's hope it's the near future, rather than some far-flung time beyond the next title change. Also: yes to more Guy Gardner.

Summer is almost over, but we're still in re-runs where this comic book is concerned. If you liked the last issue, this one follows its formula almost exactly. There's a development with the Sinestro Corps rings, and a revelation concerning Sinestro that largely falls flat, but it's still basically the same issue. The awesome artwork by Sandoval and team may be all that saves this comic book from being birdcage liner.

After three issues of running in place, this book takes off like Shaggy and Scooby-Doo to find a Scooby Snack. Wait, that's a terrible analogy. What I mean to say is that this issue has more interactions between core characters, and I believe it makes all the difference. You get a good look at Sinestro's style of rule, and it's not very cool. If you weren't sold on the art to begin with, then get your eyes checked. I hope this good time Green Lantern Corps train can keep rollin'!

The final tumblers are in place to make this story a lock...hopefully. It took a little longer to get to this point than I'd have liked, but now that we're about to see a crazy conflict I'm getting pretty excited. Hal Jordan really acts over the top on his narcissism this issue, and I love to see him cast as a one-dimensional blowhard. If that bothers you, however, be forewarned. This book has heated up and is worth your time and hard-earned money! Or even your stolen money, I don't judge how you get it!

Are you ready for some Green Lantern Corps action??? Well, keep waiting. This issue reads like a placeholder, for some reason, despite being issue #6 and therefore the conclusion of a swell trade paperback. So people that get the trade collection of this won't even get a complete story? Great. This seems really well thought out.

The culmination of this opening story arc reads just like every other issue. Great art, disappointing story, no payoff. Entire arc should have been three issues as most. If not for the superior artwork, I'd consider this book a total rip-off. As it is, I'd say you can afford to avoid it and luxuriate in the bi-weekly preview pages.

It's the beginning of a new story arc, and it's already starting to smell a little ripe. Maybe I'm a little gun-shy after the previous yarn, and some fantastic art does make this potential pill easier to swallow. If you didn't read the prior seven issues, you're in luck because there's a pretty extensive recap in this one. Save yourself the time and the twenty-one bucks.

A fairly mediocre issue that moves some puzzle pieces incrementally closer to completing a full picture. But as it is, we're still getting a fractured story where protagonists aren't even aware of one another's existences--protagonists who are named in the title of the series, mind you. The art is great, and Rot Lop Fan is in this issue, so that's something to celebrate. But the story is just plodding along, and I fear we may be staring down the barrel of another bloated seven-issue story arc. I hope I am wrong!

A lot of this book is taken up by a well-padded scene of Lantern struggle, but it's still a reasonably fun time. The art is fantastic, some classic characters make cameos, and a last page reveal that was given away in the solicit makes this what we in the industry call a good comic book. A buck more, I might think differently about it. But it isn't a buck more, it's three bucks, and I'd say you get a decent return on that investment.

A little bit of forward motion in the story peppered with some goofy antics and incredible artwork makes for a pretty good comic book. This issue is definitely a good sign of things to come, but I should point out that I have never correctly picked the teams that will be in the World Series, even after the first round of playoffs.

A contrived ending and some classic hard light construct smashy smashy results in a fairly underwhelming comic book, save for a new minion for Larfleeze and a change in the status of Green Lantern/Sinestro Corps relations. It's a lot more exciting than C-Span, I promise. And with Van Sciver at the pencil it looks a lot better than that, too.

We take a break in the action for some unearned teasing and boredom. Nice visuals, irritating tale. This story should have been moved to the title Meandering Tales About the Green Lantern Corps. Hopefully due out never.

The details of the Green Lantern/Sinestro Corps alliance we saw a couple of issues ago gets hammered out, and some old characters are reintroduced to the series. Plus: dragons. You could do worse for three bucks.

There isn't enough story development in this issue, but there is some. And my momma always told me, "You can't look a gift narrative in the story's pacing." There's a great scene with Guy Gardner, and some other stuff that should be satisfying to long-time Green Lantern fans. So yeah. Better than a poke in the eye with a sharp stick, as my momma also told me.

There's some good character development for Guy Gardner in this issue, handled expertly in terms of plotting and art. This was my favorite issue of Hal Jordan and the Green Lantern Corps in recent memory, and I think it had to do with it not pulling my attention to other plots the whole time. Keep it up, we could use some more development for our otherwise one-dimensional Lantern crew.

This issue serves as a bit of a break in the action, which may have been needed. It's a pretty good place for new readers to hop on, if they're so inclined. The big development, revealed on the cover, is a bit of fan-service to a certain segment of readers, but I don't mind. I'm a fan, and sometimes I like a little service.

There's tension between the Sinestro and Green Lantern Corps, but they seem to be getting along okay in this issue of mostly characterization and banter. The pacing and plotting was great, and I do enjoy smiling while I read my comics. I'm hoping more Green/Yellow partnerships will yield more yuks and camaraderie in the future.

A deepening mystery and some brisk pacing makes for a good read. There's more talking than action in this issue, but the dynamic artwork serves up the appropriate dazzle. The dialogue is snappy and everyone's behaving in character. Nice job, creative team.

The Prism continue to attack Mogo, and the combined Lantern Corps continue to fight back. We learn the source of their woes, but that doesn't seem to do them a lot of immediate good. The story moves along a little, the crazy constructs look great, there's nothing wrong with the nuts and bolts of this Green Lantern comic book.

The conclusion to this arc is satisfying and predictable, like a warm glass of milk. There are worse things for a periodical to be than dependable, and I like how this series has been going lately. This book has been doing a good job of scratching my Green Lantern itch. Though the doctor did say to come back if it persisted for longer than a week.

A pretty entertaining issue that's the opening salvo to a new story arc. Not a whole lot more to say without giving it away, except that with Ethan Van Sciver at the lead, it all looks correct. Might be a good time to jump on the series, if you're so inclined.

When John Stewart finds out about the secret Bolphunga's threatening to reveal...well, he looks a little miffed. Certainly not stunned to his core. This issue also contains some friendship action between Guy Gardner and Arkillo, and it is terrific. With Ethan Van Sciver drawing, you'll say, "Yep. Looks like a Green Lantern comic for sure."

John Stewart has all the facts about this peace-shattering murder that Bolphunga tried to lord over him, and...well, it's unclear that justice is served. Something is served, but it may well be a Green Lantern's head on a platter before all is said and done. Another enjoyable issue about the office politics of the Sinestro and Green Lantern Corps, but I swear if we spend the next twelve issues on Mogo in some trial or something, I'm going to grab Volthoom from the Green Lanterns comic and lay waste to the whole thing.

Here's a fairly predictable but not altogether unlikable issue of Hal Jordan and the Green Lantern Corps. The story moves along, but I think the arc could have ended here instead of continuing, though not knowing what the continuation entails I could be quite wrong. It's good enough to stick around and keep getting read.

This opening issue to a new story arc is pretty great, and makes me really excited for what's to come. Much of the good feeling can be attributed to the fantastic artwork, which sets a perfect tone for what looks to be a pretty bombastic story. Let's see what will happen together!

As the picture sharpens, we learn that the stakes are at a peak--and honed enough to pierce the very breast of truth itself! Here's a selfless Orion you could learn to like, and a foolhardy Hal Jordan that you already know and love. Plus: terrific artwork. Here's what comic book ought to look like.

What if they threw a superhero race and nobody showed up? The whole issue is a race between Hal Jordan and Black Racer. If that strikes your fancy, you're in luck. Visuals are a definite treat.

An unexplained reference and the equivalent of a "self-destruct button" make for a very neat and rapid conclusion to this story arc featuring the New Gods. Not a satisfying ending for those of us that followed along, but I still say the artwork alone is worth the cover price. This Sandoval/Tarrgona/Morey team produces some really nice stuff.

A visually-thrilling issue whose best qualities are contained in the character work, especially between Hal Jordan and Superman. Ah well. Talking heads can still be visually-thrilling.

A fairly pithy story is enhanced by some nice visuals and strong character work. I like it when superheroes get along, so sue me. Not a bad couple of issues, a neat little story that expands Hal beyond the gung-ho jackass we normally get.

A pretty entertaining issue that has very little impact on the Metal story on a whole. There's something to be said for that. The pencils and color are spectacular, even if much of the book takes place in darkness.

This issue should refresh the reader about the comic's status quo, after we had that two-parter with Superman and the one-off tie-in with Metal. Unfortunately, where we are in the world of the Green Lantern Corps seems really boring. Hopefully the thing advertised on the front cover will spice things up.

Some late backstory and upfront Green Lantern hijinks make for an entertaining issue. The stellar art takes this book into another level. No stunted cover reveals this time, the interior pages really are a treat to see.

This issue runs in place as our four Earth-born Green Lanterns stall for time while the Controllers figure out how to work their doohickeys. There's some phenomenal art and plotting in this issue, that might be worth the cover price alone. It's probably not worth the time spent reading it, however. You can pick up the next issue and have missed practically nothing.

This issue is almost identical to the previous one, except for the very end, where the Guardians assume responsibility for the Green Lantern Corps again. Did I just spoil the ending to the book? Now you can skip it.

This issue is a pretty quick read but it begins with a resolution to a dangling thread from last issue and ends with a thrilling slobber knocker that looks amazing. This feels like great comics. Here's a place to hop on if you've been waiting in the wings.

Kyle and Hal remain battered on Zod's stolen planet, but Hal's got a little trick...down his sleeve. This issue moves at a good clip, but advances the story incrementally and has a lot of chit-chat. I could probably read transcripts of Zod's pompous orating all day, but I don't know that I'd pay three bucks for the opportunity.

There's a break in the action, while the Green Lantern Corps acts all blustery and gives Zod time to prepare for their arrival. That will be next issue, which you just as well may wait for, unless you don't want to miss another amazing installment of Sandoval, Tarragona and Morey. I know I wouldn't.

Here's an issue that exists so that there could be six chapters to this story, justifying a neat trade collection. As such, it's a total rip-off. Visuals are absolutely gorgeous, but if you could use three bucks for better things than a staged conflict that leaves things more or less as we found them at the end of the previous issue, then I suggest you do so.

The big to-do on Jekku comes to a close, and with all the satisfaction of having watched six consecutive hours of C-Span. This concludes more or less how we expected it to conclude, though there are some incredible panels to keep us juiced along the way. This should have been a two-issue story, period.

Those Darkstars we saw seven issues ago are back, and now they're actually doing stuff. The stuff they're doing picks up a loose story thread from even further back. I'd applaud this, but there are so many other dropped lines in this series, it's a little too late to play "continuity-minded" now. On the plus side, Ethan Van Sciver pulls out all artistic stops for this issue.

Tomar-Tu and Hal Jordan have a heart-to-heart that reiterates much of what we learned last issue. Then Hal Jordan tells John, Kyle and Guy about his conversation with Tomar-Tu. I expect the information will get passed along several more people, until someone's like, "Tomar-Tu wants a purple monkey dishwasher???" With artwork like what we see in this issue, I can overlook some redundancies.

Our Core Four go on their bad guy recruitment drive, and you might be surprised by the folks they've picked for the team! Biggest star of this show is the artwork, which is spectacular. This series really does have some of the best rotating art squads in the business.

Some nice interactions and a smattering of intrigue save this issue from being a complete wash, as this story continues to move at a glacial pace. The mandatory six-issue story arc is killing comic book enthusiasm. It's impossible to build momentum in a story that happens in such small increments.

Guy's dad gets his comeuppance, but good! Beyond that, everyone sort of stands around, shifting from foot to foot, waiting for the director to call the scene so they can head back to their trailers. There's some nice-looking pages here, but I think you can put a pin in it and pick things up in the next issue; the closing caption promises some actual action.

Threads dangled over the last couple of issues are resolved, leaving the story precisely where it should have been in the first place. Perhaps someday, we'll actually see conflict between the Green Lantern Corps and the Darkstars. Not in this issue, though.

After four or five issues of set-up, the Green Lantern Corps and the Darkstars finally face off. Perhaps in another dozen or so issues, there will be a resolution. That is, unless someone has to take a minute to deal with their elementary school bully or something. The merciful thing would be to finish this series and move on. Preferably with this exact art team, thank you very much.

All of the stuff set up four issues ago comes to bear here, highlighting the pointlessness of the last three issues. Gorgeous artwork and brash epithets do not an interesting story make. This is a tale hobbled by superfluous moments and completely bereft of any palpable consequences. The series will go out with a whimper.

The big conclusion turns out to be a dud, as nothing of import happens except for concluding the final arc. An Absolute edition of this series might be worthwhile for the artwork alone. But in terms of narrative, this issue was a microcosm for the title as a whole: no real stakes, and a convenient conclusion that is unearned. What a shame.

If you need a refresher on what's been happening with Hal Jordan and the world of the many colored Lanterns, then this is the issue for you. If you feel knowledgable enough to pass a pop quiz, then you can probably skip it. No real problems with this issue, aside from it treading familiar ground. The art is phenomenal and there are a couple of story developments, but nothing so relevant that you couldn't figure it out later on.

Turns out that the mediocrity of Archie comics trumps the zany homicide of Harley Quinn and Poison Ivy. For this round, at least. Most disappointing was the art, which was really uneven and distracting, especially towards the end. But there were problematic panels throughout the book.

Up front, welearn that this is an epilogue to Heroes in Crisis and a vehicle for Year ofthe Villain. Split the difference and you've got a miniseries no one asked for.Now that it's here, I'd like to ask for less.

Astory where not much happens, told over several pages. Colorful.

I will save you the cost of the cover price and reveal that Poison Ivy can now regrow herself a la Swamp Thing. Spoilers for a thing that no one cares about.

I guess we can call this Harley Quinn pilot episode, take two, because this book is more or less an epilogue to the previous arc that re-establishes the silly, murderous status quo of the titular character. The art is great, but the comic is a little wordy for my tastes. If you've been looking for an entry point to the series, this is as good issue for it. But really, unless you're unnaturally confused  by concepts like taxidermied talking beavers and sentient egg-people, then you could probably pick any old issue and jump on whenever.

In this issue, we learn the Secret Origin of Red Tool, and as Harley points out, it ain't much. Some decent jokes and nice scenes of bludgeoning and skull-cracking are ruined by really bad color work. A forced conversation with Red Tool brings out some nice Harley Quinn character moments as well as opportunities for silly, and if you're a fan of that wacky homicidal imp then you'll enjoy this issue plenty!

Conner and Palmiotti pull a dirty trick on the reader and make a throwaway, parody goofball like Red Tool into a likable character with whom we can empathize. There are some new developments at the police department that spell a new status quo for Harley Quinn, but she is able to take it in stride due to her very high-cut booty shorts. They allow her to stride, you see? Get maximum extension of her legs? Ah, jokes are lost on you. The art is great, which you've already guessed if you read Harley Quinn. So pick it up if the mention of "booty shorts" is enticing to you.

Here's a one-shot issue of Harley Quinn that is really entertaining and very well-drawn and nicely plotted. What gives, anyway? It's almost as if this comic book has achieved a consistent level of quality by being apart from the general DC Universe and being allowed to do its own thing. I really appreciate this one-and-done story, too many comics write in long five- or six-issue arcs to fill trade collections, when they could be writing two- and three-issue stories and use single issue plots to fill the gaps. This probably would be a good issue to jump on the series if you're so inclined, because it provides a lot of backstory and will let you know up front whether this is something you might enjoy, or something you think is unbearably stupid. Me, I think it's joyously stupid and I look forward to next month, when a new arc begins!

DC, why don't you have Elsa Charretier drawing allthe things? Why aren't you sending gift baskets of cash to her house until sheagrees to draw two back-ups a month, at exorbitant rates that you are compelledto pay? Why aren't you fanning her with palm fronds and having a trained helpermonkey feed her succulent, ripened grapes off the stem? Is there a visionproblem at your offices, DC? Perhaps you need to do company-wide eye exams? Let'sset something up. In the meantime, please forward the appropriate chests ofrare gems and silks that Ms. Charretier needs to become exclusive at yourcompany. Thank you.

Despite the renumbering, this issue makes it perfectly clear that nothing has changed in Harley Quinn and things have picked up directly from the previous issue. Pretty much everyone makes a cameo in this issue, but the actual story is mainly dedicated to three members of Harley's massive cast of characters. Due to a big explanatory section at the beginning, this is the perfect spot to jump on the series. Longtime fans won't have to feel cheated because the story is classic Harley Quinn fun. A win-win for everyone!

The plot thickens into a viscous paste as zombies continue to run willy-nilly all over Coney Island. An attempt to capture one lands Harley in the middle of the fray, but a surprise by an old friend might just turn the tables! Or it might result in Zombie Harley, we'll have to see next issue. John Timms picks up art duties for the second half of the issue, and provides some incredible, dynamic splash pages that are practically worth the cover price alone. It's the poop jokes that give it full value.

A ridiculous ending to a pretty silly story makes for good Harley Quinn fun. There are lots of little tidbits dropped in this issue that are sure to pay off down the line, but the real star of the issue is the dynamic between Poison Ivy and Harley, which is so succinct in its complexity. This might not sit well with certain Leagues, but I liked it a lot and would love to see more!

It's a one-off issue after an opening story arc! Do my eyes deceive me? You mean this won't be unnecessarily padded with meaningless scenes and overwrought dialogue? Hooray! And I'll tell you, this issue is chock-full of stuff, all done in the name of justice! And sometimes hot dogs. This is a real solid issue in the series, and I do hope we see more single-story issues to break up the formula a little. If ever there were a book to do that, it's Harley Quinn.

The opening issue to Harley Quinn's punk rock adventure is a lot of fun with some really hilarious jokes...and not a lot of punk rock. Still, the reinforcement of a previously-made arrangement with the City of New York and a solo Red Tool scene counts as character development in my book. I really love when John Timms draws Harley and the crew, he's got a style that is sexy without being pornographic, and it looks really fluid. I am really excited for the rest of this story, though admittedly I have a bit of that New Yawk bias. So sue me.

This story arc continues to be a lot of fun, and I'm enjoying the punk rock stylings of the Skull Bags. There aren't any shocking reveals or crazy twists that turn everything you believed to be true on its ear, but the jokes land and the art is great and it's terrific to see team Harley Quinn on such a tight focus. Now if someone wants to put some punk rock music to G.G. Harlin's lyrics about curdled milk, I'd be glad to give it a listen!

This three-part arc was a lot of fun, despite ending a little flatly. The immediate situation is wrapped up in a neat, drunken package, and a familiar figure from Harley Quinn's past is introduced to the proceedings. You think it's the Joker, right? I bet you think it's the Joker. Well I'm not telling. You have to read the comic to find out for yourself!

Not the best issue in the series, but it does contain a lot of nudity. So on second thought, it is the best issue in the series.

This is a Harley Quinn comic book. You see some characters that haven't been around in a little while, and there's some fantastic artwork as always, but nothing of special consequence happens and there are no action-packed moments. Actually, knowing Palmiotti and Conner, the most innocuous thing in this issue will prove to be important later on. I have no great complaints nor any huge praise for this issue. If you've liked Harley Quinn up to this point, then I suspect you'll enjoy this one as well.

Harley Quinn would like to wish you all a Happy Holidays! And she does that by going through several dreams-turned-nightmares and showing off her butt a lot. Eh. Could be worse, I suppose.

Not quite the "Joker's Back" story we might have expected, but he is in this issue and the actual story we do get is serviceable. The art looks terrific, which is expected on this title. A lot of the dialogue is pretty funny, too. This isn't the issue to jump on, despite the inclusion of Joker, but it's an okay read and appropriately weird for the series.

Harley finally tells the Joker what-for! And it's surprisingly gory. The issue lacks in story, but it's got some pretty good character moments and the usual peppering of gags that make it worthwhile. And hey, art by John Timms and Chad Hardin! Could be worse.

The heavily-teased return of the Joker ends with a plop instead of a bang. I think this arc could have easily fit into two issues, though I don't know that it would have made the story more worthwhile. Frank Cho's variant cover pretty much gives away the whole book, so just look at that and keep it moving.

While the Deputy Mayor does one thing, and Harley Sinn does another thing, Harley Quinn does this other thing that ends up involving a favorite character from the underworld society of Strata. The issue is sort of aimless, and is probably impenetrable to new readers. But for those of us on the Harley trolley, it should read nicely enough.

An aimless, uneven story that holds some future promise, but no immediate gratification. Nice boobs n' butts, though, if you're in the market for that.

A pretty dull resolution tempered by copious cleavage makes for a fairly middling issue of Harley Quinn. The things being seeded for future stories wind up being more interesting than the main tale. Ah well, at least we have Paul Dini coming on to write some backups in two weeks. I think that might be the assist the creative teams needs to get this book back into order.

We finally get down to the nitty gritty on that gross-out cannibalism story we were sort of avoiding, and there is some good development. The back-up is nice enough for nostalgia's sake, and takes the place of what would probably be a superfluous dream sequence or drug-induced hallucination in a previous issue of this series.

So don't be fooled by solicits: this story continues the cannibals-related tale from last issue and contains no Harley Sinn at all. But it's not a terrible issue. With a prologue teasing what might be a long-running story line, and a pretty entertaining back-up co-written by Paul Dini, this series may have found its stride. It's no masterpiece, but this issue read nicely.

The cannibal story wraps up here, and it's pretty satisfying in terms of character moments. in terms of hideous flesh-eaters getting their comeuppance it's also pretty sweet. The back-up story is pretty flat, but its inclusion has really been helping the main story in the past few issues. If Harley Quinn keeps up this kind of pacing and comedy, then this book will be back on track for Harley lovers.

This begins an arc I've been waiting for, and maybe the anticipation was too great on my end. All the nuts and bolts of comic bookery are in place, it was just a slow starter. I think this story could go places, and I hope it gets there sooner rather than nine dollars from now.

Red Tool fans like myself will get an infodump about the one-time parody-turned-real character, but it's a pretty mediocre, chatty story overall. The back-up bring nostalgic feelings to diminishing degrees. On the plus side, this recent arc appears to be two issues flat, so I have to applaud that.

It turns out that a visit from Harley Quinn's parents is a lot like a visit from my parents, except less critical of my hygiene. This issue felt disjointed and like it didn't know what it wanted to be about. There's a few good gags, but not enough cohesive story.

Sometimes Jim Werner of Weird Science DC Comics Dot Com says an issue is "all set-up," and this one really fits the bill. There are four incomplete stories here, all in keeping with long-standing continuity but still ends up being unsatisfying to veteran readers. In firework terms, this comic book is an irregular Sparkler.

Things move along predictably and ploddingly, as we're given more about what's to come in this series than anything happening in the moment. The main story now reflects the back-up in that it's a look at something that might become interesting later. My advice is to wait for the trade collection.

We don't get the rundown of dangling storylines in this issue, as we had in the last few, but this issue is still a non-starter. It could be a set up for some really funny dialogue, but precious little is to be found. Someone stick a fork in this series already. It's done.

Using a classic storytelling device, we learn about Harley Quinn's escape from the Unconquerable 25 and who hired them simultaneously. Still, the story has lots of room to breathe with the back-up having graduated to a full-size comic book, and the time is used to gather a couple of open-ended plots and move them towards their conclusions. It's a good trend, if this series can keep up the momentum.

It's a fill-in issue, and a particularly poor one, at that. We might have done better to get a prequel issue, because pausing several extant storylines for this feels like an affront. If you're following this series, I suggest you avoid this issue because it is meaningless.

After an issue's journey into the mind of Frank Tieri, and a 25th Anniversary issue that had nothing to do with the current plot, we return to our regularly-scheduled programming for Harley Quinn, and it feels pretty good. The narrative stays on task while Harley ties up a few loose ends before she enters a public life. How she ties up those loose ends is pure Harley Quinn.

A nice issue that creates enough drama to keep me interested. What else do you want in a comic book? How about Tom Derenick drawing psychedelic tormentors and villains? Okay yes, I want that. I want Tom Derenick drawing psychedelic tormentors and villains.

A dropped ball from last issue and a fumble in this leads to multiple field goals from the opposing quarterback. Or something like that. Very little of consequence happens in this issue, but you'll get a whiff of what's to come when Frank Tieri takes over in five issues. So that's something.

Now we can no longer "Vote 4 Harley," I wonder what this story is supposed to be about? Harley faces a grave tragedy that will probably result in some comical ultra-violence next issue, but this one falls very flat.

A contrived but exceedingly violent final act is good enough for this lovable psychotic jester comic book. Despite the story line running a bit off the rails, readers should be satisfied with the conclusion. And it looks spectacular, as is nearly always true for this book.

Perhaps my expectations were high for this issue by Palmiotti and Conner, but this thing did not deliver much. The first part is poorly-rendered and meandering, the second looks cool but seems like another comic book entirely, and the third part is by Moritat, so it looks adorable. There's an attempt to set up Harley's Florida-based digs for the next writer, but it's a miss. We still have the final issue in two weeks, but this one just didn't hit like I hoped it would.

Now at their final issue, Palmiotti and Conner take Harley Quinn to places she's never been before...after she visits a few with which she's very friendly. You really might never know this was the last issue by two writers that have become synonymous with this series, and that is probably the point. Their parting gift to loyal readers is a funny issue of Harley Quinn.

Unusual for this series, the worst part of this issue is the artwork. It seems unfinished and out of proportion at times. The story is some good fun, with genuinely funny moments that might make you smirk. Laughing out loud would be too much for current times. Folks these days can barely muster an "lol."

A light, well-paced story that is dragged down by some unfortunately muddied visuals. Those interested in seeing Harley in Man-Bat action will not be left disappointed. Those who want to see Harley's support system acting in concert to save the day will also be satisfied. Those who want to see the author of this issue working at a Coney Island tchotchkes stand...what the hell is wrong with you? Well, you'll be happy, too.

We ask the question "Where's Harley Quinn?" And we get answers! Pieces are slid into place for a bigger moment that will take place later--sooner, rather than, if I had my druthers. Not a bad bit of Harley yarn for those inclined to such pleasures. Lots of goofery and chicanery abound.

Now that the Penguin's let loose some of Gotham City's more...colorful supervillains on lower Brooklyn, everything's going to heck in a handbasket--and Harley isn't even aware! This is a fun issue with a lot of cool cameos that should tickle long-time Bat-fans and Harley Quinn exclusionists alike. Nice to be having fun with this series again.

As Coney Island slides into a gritty, urban, supervillain-infested ghetto, Harley Quinn faces her secret benefactor and tells him to buzz off. The mastermind behind all of this chaos is revealed, and it's not someone I'd have expected! If the art was a little better, I'd be clanging bells for this series.

When the author of a comic book writes himself as the lamest character, you're dealing in MAD magazine sensibilities and that's right in my wheelhouse. Fun has returned to Harley Quinn, rejoice ye juggalo masses. Some of you other serious types might want to take a look as well.

An unsatisfying ending wraps up this muddled story arc, whose main result seems to be a changing of hot dog purveyors on Coney Island. The quips are still there, and might be worth a read for the Harley Quinn fanatic.

Old Lady Harley is even more bad-ass than Young Woman Harley, though it's not entirely clear as to how we get to the situation presented in this issue. When it comes to Harley Quinn, it's best not too look that closely; just add up the fart jokes and divide them by testicle kicks and you've got your requisite reviewer's score.

Modern Harley Quinn is back in the saddle, and she's out of her gourd. Just the way we like it. Unfortunately, that alone doesn't make for a very compelling story, and this feels like a paceholder for the actual story that commences next issue. Ah well, that's what you get when you double-ship a comic book.

Everything wraps up neatly in this low-stakes story about Harley Quinn's tendency to rush to judgment. Long-time fans of Gotham City might enjoy seeing some of its key players operating in New York, though in a very minor way. But that Bilquis Evely cover, though! Whew!

Harley is on Apokolips, and she's fartin' up the fire pits! OK, not really...this is a pretty funny issue that should tickle fans of Jack Kirby's Fourth World especially. Others may be turned off by these Bronze Age trappings, but that's their problem. This definitely feels more like the familiar Harley Quinn of a few months ago.

Harley's struggling with her first day at Female Fury school, and the results are hilarious. Giving Harley this Fourth World hammer is the best thing to happen to the character since she got that taxidermied beaver that she talks to all the time. Granny Goodness may have met her match.

Harley Quinn reverts to form and saves the day, but not without a lot of silliness and violence along the way. This story, which sounded ridiculous when first solicited, wound up being a lot of fun. This just goes to show, you can't judge a comic book by its solicit. Strangely, you can judge a comic book by its cover.

Harley Quinn is on the case to save her Coney Island building from the wrecking ball, and it involves her return to a live of crime! I mean purposefully-committed crimes, not the ones she does accidentally why trying to be heroic. This issue is enjoyable, but is more a series of silly incidences than it is a story. Still, you can have a lot of fun with silly incidences.

Harley saves the day, and technically she had to commit only one murder to do it! The voices and characterizations are okay, but this isn't enough for a story for the cover price being asked. I expect antics like this in some kind of anthology, or an Annual.

Comedy opportunities abound, yet nary a laugh to be had. This comic book is a waste of time and resources with a few semi-precious moments.

Nonsense from the previous issue (that we'd rather forget) spills over into this one, and it feels like overtime at the dentist. Once a veritable font of silly good times, this book has become an absolute bore. Avoid.

Even if you're a big Captain Triumph fan for some reason, you can pass this issue up. Heck, if you're a big Captain Triumph fan, this issue just might piss you off. Overpriced, even if it were one dollar.

Harley Quinn takes to YouTube in order to drum up some funds, but her attempts are thwarted by someone that wants to usurp her fame. Huh. That was surprisingly easy to recap.

Humor-wise, it's about on the level of an episode of Family Matters from season one. Stakes-wise, it has the ramifications of an episode of Family Matters from season six. You know: where Urkel would become a Bruce Lee robot or whatever. The art in this issue is great, though.

A half-formed commentary on ComicsGate masquerading as a complete story.

There's the introduction to one story and the start of another story featuring Batman for your sloppy seconds. The firsts were sloppy enough. Have mercy and end this series.

Batman and Harley Quinn team up to clear Harley of a murder charge.

Harley takes on a new form, and she doesn't even need to change her outfit. Ultimately, she learns a lesson about the bugs within us that show the world our truest selves. Mine is a June bug!

Harley comes to grips with her sensitivity in order to endure another Trial. There is no joy to be had by reading this comic.

A reasonably pleasant story from Harley Quinn's pre-Suicide Squad (The Movie!) days, with a nice roster of artists and some appropriate hijinks. It's just a little superfluous, being that Conner and Palmiotti are leaving the book and the asking price is five bucks. It ends up being a pretty good value, though.

A well-constructed anthology book of various Harley Quinn stories that should titillate any level of Quinn-phile. That's a thing, right? There's some great creators on this book, so it might be worth getting just to have this work in one place. Or maybe you want to read about Harley hitting on Poison Ivy some more. Either way, you're good.

The pilot episode of Harley Quinn and Her Gang of Harleys gets off to a pretty solid start, with some good gags and great artwork throughout. We're introduced to a fairly large crew, but thanks to many of their names being related to their ethnicities, it's easier to keep 'em all straight. I think I can hang around on this for another five issues, but it will remain to be seen if I want to follow the pathological antics of angsty killer clowns much longer than that.

There should be a warning label on the cover of this book: DO NOT READ UNLESS YOU ALREADY LIKE THE MAIN BOOK. I wouldn't expect people to just pick up the miniseries, but it takes all types in this world. If you are a fan of Harley Quinn, then I think you will enjoy this book quite a lot, because it's not short on the main Quinn herself, and has enough thrills and laughs to act as a good supplement to Harley's expanding continuity. This issue could have done with less talky and more punchy, but I enjoyed it enough and look forward to see what's in store for the Gang next issue!

I don't want to spoil too much here, but the Gang of Harleys might not be as diminished as was implied at the end of the last issue. We learn more about Coach and a few of the members, through their dialogue and relationships with their family. Things do take a twist in this issue; whether it's interesting or not will depend on how much you like this Gang of Harleys. Me, I like 'em just fine, though I'd probably like 'em better if they were called Harley's Heroes.

The tale of Harleys continues on, and the team leaves New York for a more exotic locale. Did I write "exotic locale?" I meant "likely spot for violent death and murder." We learn more about Harley Sinn's past and finally find out what's up with Hannukah Quinn...and it ain't pretty. All that and a subtle dig at Donald Trump! Not a bad outing when the usual high-quality art and colors are considered. A worthwhile read for Harley Quinn fans.

Some madcap antics and zany hijinks aren't enough to carry the fairly uninteresting story of Harley Sinn: who she is and how she came to be! We do see the Gang use some smarts and a semblance of teamwork, which implies that they can carry their own stories, but of course this issue ain't it because it's all about the Sinnster. The art is uneven, though when it's good, it's great. I enjoyed this comic enough, but I am about ready for the series to end.

Harley Quinn and her Gang of Harleys comes to a conclusion, and possibly not quite the conclusion you might have expected. What had been a loosely-organized clique of Harley Quinn wannabes, most of whom were presumed dead after the first issue, has become a cohesive group of supportive friends who happen to have no compunctions against murdering with their bare hands. What are friends for, if not to wring the last gasps of life from our mutual enemies? And that's the best lesson to be learned from this series: the value of friendship. And the value of money. That Harley Sinn was living pretty well on her daddy's blackmail dough.

When I expose myself inpublic, I get arrested, meanwhile Vartox of Valeron can whip his junk out andit causes world peace. Is that justice? This meandering story of littleconsequence has its cute moments, but not enough to justify the time spentreading the majority of fluff. No complaints about the art or colors, but theydon't supersede the pointlessness of the story. Wait for the trade or avoidentirely is my advice.

What many thought would becomic bookery's Thelma & Louisehas turned out to be more like Jack Kirby's FourthWorld: nice to look at, but incomprehensible to most. If you were alreadydigging these characters' antics in previous issues, then you'll get more ofthe same here. If you're a little bored of watching Power Girl fume whileHarley Quinn burps on her, then you can probably pass. I'd say there are worseways you could spend your four bucks.

We've reached theconclusion of Harley Quinn and Power Girl's wacky romp through space, and it isfairly well a dud. This issue employs the literary device called Making Shit UpAs You Go Along and frankly it's insulting to anyone that's spent the time andmoney to read the series to this point. The saving grace is the artwork, that"despitebeing done by three separate pencilers"is really good throughout. But it's notworth the story, which changes gears several times during the issue and rendersmeaningless what came before. The whole thing reads like a forgettable issue ofPower Girl with a Harley Quinn cameothat does nothing for the book. I was more tickled to see Cluemaster and ClockKing for a couple of panels.

Here's a sneak peek at the new Suicide Squad (not to be confused with the New Suicide Squad) that will be coming with DC's Rebirth in June. Looks pretty good so far. The story is a little weird, even by Rob Williams' standards, and the art by Jim Lee and Sean "Cheeks" Galloway is superb. You just never want to say it any other way. Sean "Cheeks" Galloway. I'm sure his friends call him "Cheeks," but if I ever met him I would say "Hello Mr. Sean 'Cheeks' Galloway, I am a big fan of your art and an even bigger fan of your name." And then he would say "Would you be quiet? We're at a funeral." And I'd stand up all indignant and yell like, "Well! Look who's too fancy to talk to fans! Look who's so big and famous now!" And then I could collect the corpse from the coffin and storm off in a huff.

This comic continues the series of back-ups by Dini and Blevins that ran in Harley Quinn around this time last year. It has nothing to do with Batman & Catwoman's forthcoming wedding, as has been implied in publicity copy. A huge Batman: The Animated Series junkie may like this, but regular readers of this series have been cheated.

This two-part-plus-six-backups length story concludes and...that's nice, I suppose? I still don't get why this was part of the regular Harley Quinn run, or why it was commissioned in the first place. Fans of The Animated Series might enjoy this "lost episode," but fans of the modern Harley Quinn will be left scratching their heads. And even those that remember the cartoon fondly won't be thrilled here.

There's a little more tothis book than meets the eye, but even on the surface it's just a bunch offunny vignettes and silly jokes. The price point puts expectations higher, butif you can let go of the idea of comics always "counting" and enjoy it for whatit is, you might like it and you'll probably live longer. The art is solidthroughout, even during the short rotation that takes place during Harley andPamela's hallucination, and everything is pretty easy to understand if you knowthe basics conceits of each character. Not a bad place to peek in on the seriesif you're so inclined!

Harley Quinn goes toLondon and fails to save Wonder Woman from a middling threat. That's about thehalf of it. The art is great, but for five bucks it's really got a lot offluff. There's pages of exposition so dense that you'll wonder if the scripterswere paid by the word. If you like Harley Quinn's antics, well you'll see someof them here, but you can also see them every month in her regular solo title.So far, what this title has to offer is a fairly thin team-up and somecheesecake shots of Wonder Woman. Which, incidentally, are no extra charge.

I am as surprised as you, my loyal tens of billionsof readers: I really enjoyed this issue. And I don't mean that as a slight againstthe comic, but more owning up to a personal epiphany about the character.Harley Quinn is a goof. She fights against and then teams up with Hal Jordan togreat comedic effect. Plus, you get to see a new Lantern ring, possibly themost dangerous one of all! I enjoyed the heck out of this silly comic.

Harley Quinn and Zatanna team up and take on the forces of Hell, and they are not prepared for Harley Quinn! Fans of the main Harley Quinn book will ease right into this story, which draws heavily from the character's Coney Island continuity. People that hate Harley Quinn...well why would you even be reading this review? Are you some kind of masochist or something? The art by Joseph Michael Linsner is wonderful (and pretty cheesecakey to boot), but I've come to expect excellence from Palmiotti and Conner and act like a real smug prick about it.

A densely-layered story full of intrigue anddownright hilarious moments that suffers from uneven artwork. The extantBombshell Harley Quinn being in the same space as, uh, our Harley Quinn createsa temporal problem that I'm sure will have repercussions in future comics.Palmiotti and Conner never throw anything away, they're like pack rats. HarleyQuinn will be eating an ice cream cone in one issue, and then half a year laterit will turn out that she ate Proty II by accident. I'm telling you. You gottawatch everything with these guys.

This homage to Superman vs. Muhammad Ali has sufficient Harley Quinn silliness to make it an enjoyable read throughout. Indeed, don't feel like you must have read the earlier work to make sense of this--nothing will help you to make sense of this comic book! And since it's a Harley Quinn quarterly, that ends up being okay. Some masterful work by Neal Adams and really funny scenes make this title well worth the wait. Check it out.

If you don't like potty humor and sexual innuendo in your comic books, then you probably stopped reading anything Harley Quinn-related a long time ago. The rest of us enjoy this comic and its nastiness, though the story itself is recursive. The art will take you back to the Main Man Lobo of yore, and fits the bill for this kind of gross-out butt-fest. Turns out Harley Quinn and that other pasty white dude with a broad grin make for the best couple in the DC Universe!

Now that John is safely in London, he's in debt (as usual) to the Swamp Thing (as usual.) To make good on a promise, John connects his old Swampy pal with another frenemy that we met in the Rebirth issue. Plus: an alternate take on world history. All that, and it's rendered expertly by Moritat and colored divinely by Andre Szymanowicz. Now who could ask for more?

Though much of this book is John Constantine making the rounds, the dialogue and character moments are enough to keep you engaged. I just wish I could say more about this issue than "John chatted with some people, and then ran away." The opening scene with Mercury and Swamp Thing was a little bit enlightening, but not enough considering the page count. The art is spectacular and could never be denied, at once cartoonish and horrifying, like Johnny Craig, but looser and with a heavier line. Keep your eye on this series, I have the feeling it's about to go all warbly (that's British for wibbly.)

Juggling a few plots simultaneously is no easy feat, as evidenced by this issue. I'd like to say it worked more often than not, but truthfully each story came across like a pile of bricks rolling down a cobblestone hill; we get the point by the end, but there's a lot of tossing off before we get there. That's the proper Britishism, isn't it? "Tossing off?" Like s story throbbing in jerky spasms before gushing to the inevitable payoff. A totally legitimate literary term.

John gets Chas into hot water, again, and gets out of it by hook or by crook, again. Meanwhile, whatever the hell is happening with Swamp Thing and Mercury continues to happen. It's a strange thing when the protagonist seems involved in a comic book's B-plot, while ancillary guest stars seem to be the only ones propelling the story forward. My enthusiasm for this book has lessened with every issue, and if something really cool doesn't happen next issue then I'll definitely call this story arc, if not this series, a bust.

This book is boring as hell. Even the inclusion of Swamp Thing can't bring any life to this book. Did I make a pun? That must have been fun. I've been sucked dry of emotion by this series so I can no longer purposefully experience fun or pleasure. Learn from my experience! Avoid this book like it was on fire.

Another dull, plodding issue of the Hellblazer that answers few questions and acts as a placeholder for actual story. I've about had it with this book. It looks like a herpes pamphlet from the 70s and it reads like a court transcript. What a disappointment.

Some really interesting, though series incongruentartwork can't cover up the fact that this series is like something stumbling in the dark. And I don't mean anything spooky, either; I mean me at 3 AM in ten year-old underwear feeling my way for the bathroom and hoping I don't grasp a cockroach. I suppose if this was the only issue of the Hellblazer you'd ever read, you might enjoy it. But if you've been following the series as I have, then you're likely wondering if the comic book is secretly slipping you drugs.

Regular readers of this series will get jerked around once again as the story careens into utter confusion. I'll admit I came into this with high expectations, but what can I say? I'm a regular optimist.