It's a shame to say that I didn't find much to like about this book. If you look at the raw components of the book, there's nothing actually bad about it, but whenseeinghow everything fits together, though, the cracks start to show. Bothteams of MAKIN' THE GHOST OF IT work well together, but the first just doesn't feel like it should be telling this particular story. Clearly, they are very talented, but like so many times in the comic book industry, it was just a classic case of mismatched match-making.

At the end of the day, SLAB is definitely one of Double Take's funnier books, and it makes for a good read. Even if it does not scream “unique” next to the other Double Take titles, it is still worth the read, if for nothing else than some good, clever laughs.

It's difficult to review Z-MEN #4 without feeling a twinge of sadness at knowing the potential of this book were it allowed to express itself a bit more. There are all-too-brief moments of fun that break through the steely reserve every now and again. The biggest problem this book faces is that it refuses to allow itself to relax and have a good time instead forging on full-steam ahead towards telling its story. Z-MEN is so eager to take us from point A to point B that it forgets to establish any foundational elements to make us care about going there in the first place.

At the very least, it seems that we're getting a cocky and confident Hal Jordan back. He tells his brother to have no fear before leaving Earth to zoom off and find the Grey Agents. It will be interesting to see how Robert Venditti and Co. wrap up this storyline or tie it into DC's upcoming Rebirth event. We still don't know a great deal about Rebirth, what will be kept or scrapped, or really anything besides some titles and their creative teams. This could very well be setting up for a conclusion to start the Green Lantern title anew at Rebirth in the summer or be an effort to tie the DCYou to Rebirth for some continuity. Who knows! At the very least, if they can find a way to bring back the rest of the Corps and reunite them, there looks to be a Green Lantern worth reading on the horizon.

It's unfortunate that GREEN LANTERN #52 doesn't stand much on its own. As an ending, it doesn't feel all that satisfying and unfortunately reads like a set-up for the Rebirth relaunch of the title. It's not terrible, but it isn't great either. It feels slightly rushed and corporate when all is said and done, which is a shame given the talent behind this book. Even if Rebirth can redeem this ending with context, though, it will just result in the whole book lacking any real pay-off.

There are some encouraging teases about where the DC Universe can go as they move into this relaunch, but on its own, DC UNIVERSE REBIRTH #1 is a largely confusing mess that doesn't actually have a story to tell. Where other books lack purpose, this book is all about purpose, but lacks an actual story vehicle in which to tell it. What we're left with is a PSA from DC alerting all new readers that they are most certainly not welcome in the new DC Universe. This is a rebirth, a universe born again, and if it has to shove out the old one in the process, then it is all the better for it.

Not perfect, but not terrible, IMPERIUM #14 continues the story and expands it. Sometimes it works, other times it doesn't. The effort and care put into this book can be felt in each panel. Even if you don't like this IMPERIUM, at least you can say that Dysart and Khari tried. Not every issue's a winner.

In totality, TEEN TITANS ANNUAL is not the best example of a TEEN TITANS book, nor is it the worst. It could best be likened to an over-inflated monthly. In some cases, it works, but in this situation, the added elements don't feel necessary to the story and muddle its punch. At the end of the day, despite its strengths in art and characterization, TEEN TITANS ANNUAL is largely a forgettable endeavor.

Assisting them on this is artist Phillippe Briones, whose art does a great job at capturing the same frenetic pop of the story. Someone like Alex Ross would feel out of place on this book, where highly detailed paintings would bog down the reader as they pause to admire his work. Instead, we have Briones and company, whose strong lines, bright colors, and conservativeshading brings a sort of buoyant levity to the book that lets us bounce from one panel to the next. It's vibrant, emotive, and alwaysrelentlessly fun to look at.

But with Mother's army of sleeper agents all around, they can't trust anyone"even each other! Collects BATMAN AND ROBIN ETERNAL #1-12.New From:$19.40 USD In StockThis title will be released on March 15, 2016.

Delivering another strong issue, Tynion IV and Scott Snyder have shown that they have a pretty great understanding of the dynamics of the Bat Family, something that I don't feel is as prevalent in Snyder's flagship BATMAN book. BATMAN AND ROBIN ETERNAL #23 gives you a good idea of what DC should be looking for in their stories. There's drama, but it's not overwhelming. There's humor, but it's not without due context. Most importantly, though, there's a strong element of fun to this book. BATMAN AND ROBIN ETERNAL #23, like every other BATMAN AND ROBIN ETERNAL that Tynion IV has written, never stops being a fun action-adventure. That's something to keep in mindas DC brings about its new Rebirth changes in the coming months.

Does the good outweigh the not-so-good? I would say it's a wash. BATMAN AND ROBIN ETERNAL #24 definitely had potential to be a great issue, but it faces the same page problem that the entire series faces. It isn't that the concept of BATMAN AND ROBIN ETERNAL is stale or anything, the book just needs to be rethought to tell different kinds of stories. Instead of making yet another large, expansive Bat-book, DC would probably be better off using this book to tell smaller, tighter, more isolated stories. It could be a great opportunity to focus on developing each Robin more by cutting out some of the noise that BATMAN AND ROBIN ETERNAL currently has. Tynion IV and Co. are doing great with what they have, but they need to be given something else if DC wants a book that can really stand out.

It isn't that BATMAN AND ROBIN ETERNAL #25 is bad, per se; it's that the series is capable of so much more. Many of the elements, good and bad, get short-changed here due to the book's weeklyrelease schedule. It's a shame to see some great ideas suffer poor execution due to editorial deadlines. Though it won't happen, this book would make a great addition to DC's animated television series. The interaction of the Robins, the expansive scope of the story"it all begs for better attention in animation. The problem is that there's so much to juggle here that the art format and release schedule aren't able to do proper justice to the story. There's always next week.

BATMAN AND ROBIN ETERNAL doesn't exactly give us an analysis of the Robin title so much as it provides a stepping stone for other writers in future books to do so. It would have been a monumental task for the team to not only separate the idea of Robin from Batman, but also give a deeper examination of the mantle. Instead, by opening the door to new explorations of what it means to be Robin, BATMAN AND ROBIN ETERNAL expands the possibilities of a rolethat many had thought was already figured out and gives it new stories worth telling.

These critiques aside, what WONDER WOMAN #50 does a great job at is keeping true to Diana's character for both first-time and long-time readers without sacrificing the story. Where it falls short is in the plot development, editing and art departments. Looking past these concerns, though, WONDER WOMAN #50 gives you a good snapshot of where Wonder Woman is at right now in the comics. She's strong and tenacious, but also caring and yearning for peaceful resolution even if she knows it can never come. Is it a great issue? No, but it does well enough to make you see the potential in both Wonder Woman and the team writing her.

So, if you're up for a strange, but ultimately rewarding book, give HOME #3 a read. That's what you'll be getting.

As a first issue, it's pretty solid. The real test for SUICIDERS will be to see where it goes from here. There's a lot going for it, but if it can avoid a lot of the pitfalls and cliches that run rampant in dystopian content, there may be a great book in the making. At the very least, I'm sticking around to find out.

If you're like me and have yet to find a book to hold your attention in 2016, pick up A&A: THE ADVENTURES OF ARCHER AND ARMSTRONG #1. It doesn't grab your attention. It commands it.

It's not perfect. Despite this issue leaning a little more on the drama side of things and not standing entirely on its own, it's still worth reading. It alludes to a great big climax in the next issue that will surely be more true to form for the book. Don't read this just to get to the next issue, though. ARCHER AND ARMSTRONG #3 may not be the best of the bunch, but even at its worst, it's still a book worth investing in.

If you're looking for a Justice League of subtlety, this is certainly not the book to satiate that desire. If however, you need to crack open a cold one and relax for an undeniably fun read, this is it. It's a little like what BATMAN V SUPERMAN: DAWN OF JUSTICE wanted to be, but without the pretext of importance stifling the story. JUSTICE LEAGUE #49 is the first part of the gigantic action finale preceding the launch of Rebirth next month. With only one issue left, it's clear that this is the action-packed book DC wants it to be and despite its incoherencies, it works very well.

Much of the success of AQUAMAN #1 relies on its ability to distill the best qualities of the character and apply them to the fresh direction of the New 52. It feels familiar at times but not tired, and even at its most derivative, AQUAMAN #1 promises for another fantastic run for Arthur Curry.

All this to say, WONDER WOMAN #1 is a promising reboot to the Wonder Woman character. Even if it does feel a little tired having yet another reboot for the character, at the very least DC got the best talent for the job. If you're going to go back and revamp your character again because you're unhappy or uncertain of what to do with them, pick a writer that knows the character intimately, and then an artist to match. The result is a good, solid foundation that re-establishes some of Wonder Woman's lore while moving the story forward into foreign territory and testing our hero in ways we haven't seen before. If other DC titles follow suit, this will be a very positive rebirth indeed.

There's a lot to love about THE FLASH #2. Williamson and Giandomenico are a great team that not only have a good understanding of where Barry Allen has been but also of where they want to take him. Great writing paired with original art direction give new life to an old character like The Flash, and it's exciting to see where things will go from here.

AQUAMAN #50 is a fun ride that plays true to much of who Aquaman is. There'stension, action, and enough humor to start its own Wednesday night stand-up. Does it always work? No, but what comic does? The important thing to take away from AQUAMAN #50 is that, strangely enough, DC seems to have a better grasp on how to handle a fish-talking mer-man than it does its oldest and strongest icon. I won't take potshots, but give AQUAMAN a read, even if its just for the skin tease.

AQUAMAN #52 is a satisfying conclusion to the Aquaman that Geoff Johns started in 2011 with the New 52. He is all at once proud and fiercely loyal to those equal and below him. By the end, though, you don't feel like this Arthur Curry is going anywhere. Somehow, someway, he will be incorporated into the fold of DC's Rebirth reboot because while this arc may be over, the story of this Aquaman certainly is not.

That aside, ARCHER AND ARMSTRONG #2 is even better than the debut with many more laughs and a story that finally gets off the ground. If you were hooked on #1, you'll love this one. If you weren't sold, give #2 a read anyway. It's great fun and worth every minute.

That's why THE FLASH REBIRTH works. It isn't the story that makes this book so compelling, since it is nearly non-existent. It's that Williamson, di Giandomenico, and the rest of the team have such a firm grasp on both how and why The Flash is so different from other characters. Sure, it's great to see the Watchmen mystery incrementally move forward, but like any great Flash issue, THE FLASH REBIRTH's strength lies in its ability to convey the infallible heart of The Flash. He may be surrounded by trauma, but there is an infectious quality to Barry Allen's goodness that has made him a favorite for decades. THE FLASH REBIRTH works because before any of the super powers and grand storytelling, which are all there, mind you, Barry Allen is still an endearing character that we can unashamedly love to read.

LUMBERJANES#25 reaffirms all of these points with great intensity, making this issue worth reading. Behind the off-the-wall ideas and crazed, expressive drawing is a story that moves to the beat of loyalty, heart, and friendship to the max.

What sets AMAZING FOREST apart from other comics is that it is paving its own distinct path. Instead of falling into many of the industry's usual tropes, this book repossesses and explodes them to create a delightfully strange structural mosaicwhere nothing about these stories seems like they should fit together, yet all dowhen put side-by-side. The true strength of of AMAZING FOREST is that it doesn't feel like it's trying to be anything more than what it is, and that's something that ought to be celebrated. Its diverse range of artistic and storytelling styles displays the true might of the Freitas-Farinas creative team, giving a newlease on life to the comic medium when it often feels tired and trodden. If you skip a book this week, don't let it be this one.

At the end of the day, even at its most mild, AMAZING FOREST is still a great read that can be appreciated for its ambitiousness. AMAZING FOREST may not always work, but that isthe territory that comes with experimenting. The imperfections here can be appreciated with the knowledge that at least Freitas and Farinas are willing to try something different which is something not every book can boast nowadays. We can critique the content but honor the effort because AMAZING FOREST is still a hilarious beast of its own design.

More than many other books, when you read HARLEY QUINN, you know that this is exactly what it needs to be for the character at its center. This is not a side-Batman or Joker story. This is all Harley, and thankfully DC has corralled a strongly inventive team that understands how to make it all work, when it could be just another smut book of corsets and sex puns.

The biggest triumph of POISON IVY thus far has been that Chu has been able to explain all of the facetsof Poison Ivy cohesively without dismissing any of them. If this book achieves nothing else (which is entirely untrue), it will be that it creates asuccessful feminist rendering of one of DC's premiere villains. She's not a villainous harpy or victim of her emotions this time around. No, Poison Ivy is a hero for unabashedly passionate love, and that's something worth celebrating.

It will be interesting to see whether or not BRUTAL NATURE can keep up with the weight of its own storytelling. It has the challenge of juggling an intense plot of genocide and colonization with very heavy character themes that demand a great deal of attention in order to be executed well. Still, issues 1 and 2 have done a good job of assuring us that Saracino, Olivetti, and the rest of the team are confident not only in their respective crafts but also in their ability to tell this story as well. Here's hoping it stays this great!

SPIDERMAN/DEADPOOL works because it is a crossover that feels very closed. It doesn't have to waste time addressing the broader implications of the Marvel universe. It has the luxury of being able to tell its story removed from the main action and that freedom is what lets its two co-headliners shine as well as they do next to each other. Like so many crossovers, this could have been a disaster. Thankfully, Joe Kelly and crew have got things under control and SPIDERMAN/DEADPOOL is a hilariously fun read.

Maybe BITCH PLANET #7 isn't packed to the gills with explicit action and political furor, but where it succeeds is in articulating where these characters are at now and how the events up until now have shaped them. It doesn't hit as hard as other issues, but like any great story, not every chapter should. This issue is filled with enough misogyny and mystery to make you want to pick up the next issue to find out what comes next, and that's just A-OK. After all, these ladies don't owe you a damn thing.

If there is to be a thing to remember from REGULAR SHOW it is that it excelled at telling stories that not only emulated its TV show parent, but expanded on its storytelling potential in the comics medium. Both “Apocalypse Benson” and “On The Hook” are shining examples of the masterful brand of simplicity that makes REGULAR SHOW so unique. This is surely a series to be missed.