Aquaman Vol 1 is a very straightforward interpretation of the titular hero, but it's one that does a familiar concept with such gusto that it's hard not to love it. The plot centers around Arthur Curry attempting to create new ties between his undersea nation of Atlantis, and the rest of the world. However a familiar face emerges to hinder the king's goals and... of course it's Black Manta. Again, despite this book falling short on surprises, it handles its characters and themes in a refreshing light. All the characters, despite not being very witty and some being straight-up boring, are pretty well written. Dan Abnett, while his plot may suffer from tiredness, is great at writing dialogue. The imagery, which bounces between a few different artists, is appealing by all of them. The pages are extremely colorful, and the images just pop right off the page. This book is a wonder to look at. The action is fantastic too, much higher above the line than would be expected. Any scene with Black Manta in it is a gleefully good time. Dan Abnett just knows how to write villains in such a great and convincing way. While it may not be on the same line as Geoff Johns' acclaimed run, The Drowning is still a fun read and I would recommend to any aquafans.

This is easily one of the best Aquaman stories written. In this book, we truly get to see the extent of Aquaman's struggle to keep Atlantis and the surface world in harmony, and we see how it strains and pushes him. While the main villain Black Manta may not actually appear too much in the story, his presence is felt all around, and any segments with him in it are phenomenal. The art is all around fine, and we really see Aquaman kick some real ass, which is always great. The only minuses I could give this book come from the boring subplots, especially one concerning Mera. I love Mera, but her story here feels unnecessarily jammed in. Still a great story however. I feel this would be the book to show someone if they still believe Aquaman to be a joke character.

This trade really consists of 3 separate, vaguely connected Aqua-tales bound together. So I will be reviewing each individually, briefly. The first arc/story, "Warhead," is pretty terrible. While the main antagonist looks cool, his motivations and character remain muddy even after they are explained. The action, and on occasion the art, is messy. Aquaman and Mera get a few standout moments, but it's all relatively boring, and doesn't seem to connect to anything else in the series. The second, "H2.0," is a step up, but is still mediocre at best. There are some awesome moments, and the story starts to build up a "Aliens" vibe through the story, but sadly, after all is said and done, the story seems very low-impact, and even boring at times. The big mystery of this story, a strange, sentient water, is hand-waved away and we're basically given a poor explanation. Dead Water is badass though. "Crown of Atlantis," is a fantastic story, and one that highlights why I think Aquaman works so much as a character. I won't spoil what happens in the slightest, but it's heavy. I reccomend reading this one.

Bane Conquest #1 is an interesting idea to say the least. Giving Bane (my favorite Batman villain, by the way) his own series headed by his original creators Chuck Dixon and Graham Nolan, seems like a really awesome idea. Bane is such a great, menacing villain, and could easily carry his own story, right? Well, I think what the writers forgot to factor in is that Bane has no charisma whatsoever. Is he badass? Yes. Is he a compelling character? No. But at least, this issue sets forth the idea that this series isn't as much about the story, as it is about the action. And the art and action are pretty good. So while this issue may be somewhat lackluster, i'm giving it a bit of leeway because it's #1.

Decent enough issue that capitalizes on the banter between Bane and Batman. It's a very fun read, and although it's not exactly written the best, it has some really standout art and great moments. Good increase in quality over #1.

Pretty weak chapter of the story. Not much really happens here, except we get to see Bane and Batman both kick some serious ass. Some of it is good, but despite the art being very captivating, the action comes of as very unexciting. While Bane, Batman, and the Trio are written nicely, newer characters like Damocles and Dionysus are pretty weak.

My problem with this book is the complete waste of potential a series like this COULD have. Rather than making this a story about Bane and his gang on a globetrotting quest to dismantle various criminal empires and build an army, the series seems to be content with making Bane do bad guy stuff simply because he is a bad guy. It's very low stakes, and feels very disposable. This issue exemplifies that issue more than the rest have, as not even an appearance by Catwoman can help add levity the boring plot.

This issue is actually pretty good! Surprising, considering how the series was on a slow decline for the past few chapters. But this issue has it all, good art, humor, action, and it may be hard to believe, but the banter between Catwoman and Bane may even be better than Batman and Bane. Good issue, can't wait for what's next.

Deathstroke #1 picks up exactly where Deathstroke: rebirth #1 left off, and offers even MORE of what I love of the character, his stories, and action scenes. The only bad part I can really say about this issue is one extremely out of place and juvenile scene of Slade and his wife fighting in underwear. It's just a *bit* cringe worthy.

Deathstroke is not the easiest series to just pick up and read. I often find myself having to read an issue several times in order to fully understand what's going on. However, once everything starts making sense, you really start to appreciate it more. Issue #2 really shines in its dialogue, which Christopher Priest has proven to be his most powerful weapon with this run.

I'll say it again, Priest really knows how to write dialogue. Not only does it feel completely natural, he also manages to give each character their own voice, instead of just the same stuff coming out of different mouths. But besides that, issue is another knockout, mainly because of the intriguing and seamless introduction of Deathstroke's daughter adding new layers to an already complex story.

Reading Deathstroke #4 is like watching one of the vacation films, only if each character were highly trained killers. This one has some pretty good action, along with more exceptional chemistry between Deathstroke and Rose.

Christopher Priest not only perfectly writes Deathstroke, but he also writes Batman with a sense of realism and grounding that no one else seems to grasp. With this issue, we don't get a legitimate 'fight' between Deathstroke and Batman, more of a psychological battle. But it's still entertaining all the same, with more insight into Deathstroke and Rose's characters.

What I like about Deathstroke is that every issue feels like it serves an integral purpose in a greater story, even though it may not be immediately apparent. Whether it be setting up later plot details, fleshing out characters more, or even introducing some. Issue #6, while it does drag a lot more than other issues, certainly does feel like it sets up big things to come, with the present-day introduction of Deathstroke's son, a classic Titans character named Jericho.

Although Deathstroke is more of a story-based series than an Action-based one, it still finds the time of day to give us fan-pleasing battles, such as the earlier Batman encounter, and now with a Deathstroke VS Superman fight inbound. Although the issue does a lot more setting up than last issue, it still gives some entertaining enough espionage action, and introducing us to Priest's version of Superman, which while not as perfectly written as his Batman, still gets the job done.

This is how you end an arc right here. With a highly entertaining, grounded fight between two of the most popular characters in DC. Somehow, even without possessing kryptonite or magic, Deathstroke manages to be a viable threat to Superman. It's a really entertaining read, and offers a fine conclusion to an 8 issue story. And my-my, that scene at the end with Superman... expertly written.

The 'Four Rooms' mini-arc is more about character-driven scenes as opposed to huge, bombastic action. Which is perfectly fine. However, Issue #9 doesn't seem to be telling a very interesting story. Sure, we learn how Deathstroke got his namesake, we learn how he met Wintergreen, it all SOUNDS good, however it comes off as a very confusing and lackluster read.

Similar to Issue #9, #10 seems to be doing nothing more than offering straight filler for the next arc to get going. Despite a decent set-up at the end of the previous issue, This chapter of the story still falls flat, with unworthy action, and even less worthy character moments. The visuals by guest artist Cary Nord are appealing to look at, despite their relative simplicity, however the single action sequence at the beginning is pretty boring. Overall this arc just feels unnecessary in the overall plot.

This is the stuff most other comics wish they could be. Following a lackluster filler story, Priest bounces right back with one of the best issues of a book i've had the pleasure to read. With a legitimately gripping narrative, issue #11 also boasts outstanding artwork to boot. There's even a great fight sequence between Deathstroke and THE CREEPER. Recommended, even if you don't read the series.

And now, even after the outstanding previous issue, the story's back to meandering along at a snails's pace. With not much being established or resolved, Issue #12 is just trying to set more pieces in place for future events to unfold. The art doesn't even do too much to improve the score.

Yet another great issue boasting more of that satisfyingly smart writing that Priest has made his trademark by now. Along with the plot actually starting to move forward, this issue had some great action with reasonably high stakes. Plus a fantastic ending which sets up even more in this explosive house of cards that Priest has been constructing.

Another entertaining issue that adds a new complication into the story, Power Girl taking in Deathstroke, who has now been rendered blind. While the issue teeters on slowing the story down yet again, it manages to be satisfying enough of a chapter. The art also seems like an improvement by Bennett over the last 2 issues.

Good issue, fantastic art. This issue finally gets the story moving along at the pace that it should be, a complaint that I have had with the last few chapters of the story. Also, Tanya surprisingly makes a great addition to the already well rounded cast of characters this series boasts. I usually don't factor covers into my reviews, but this issue's cover is utterly atrocious.

It isn't until now that i've realized just how perfect the tone of this series is. It carries a John Wick-style grittiness, with just the right amount of Comic Book 'stuff' to make it just work. But, getting to the issue, it's everything that I love about Deathstroke, and just reminds me of why is character is more of just 'man with sword who's good at killing.'

For the 16 issues leading up to #17, Deathstroke has been digging himself deeper and deeper into a rabbit hole of murdering, lying, and cheating, and now it is all finally starting to boil over here. With Slade, Tanya, Rose, and Jericho having really strong moments, this issue makes it feel like each character's world is coming crashing down, which sets up nicely for the finale in #18.

Gee, for being the conclusion of a 6 issue long story arc, #18 sure doesn't conclude a lot. It seems to be saving a lot of the answers for the following 'Lazarus Contract' crossover event. But, even with this in mind, Issue 18 still does a fantastic job of showing us just how strained the relationship Deathstroke and his son is. With some great callbacks to early in the series, this book feels more like a conclusion to the pot of treachery that's been boiling since issue 1, rather than the smaller story arc it's meant to end.

As someone who skipped out on the rest of The Lazarus Contract, I was surprised that I enjoyed as much as I did of this book. I felt as though I were still able to understand what was going on, and overall it did feel like another part of Deathstroke's story. Even though the story drags, especially when focusing on the Titans, it is a real treat when Deathstroke is on the page. This is perhaps the most human, yet the most intimidating he has ever been so far, and even get to see some great past scenes that fill in some of the gaping blanks.

Despite Deathstroke's change of conscience feeling a bit rushed, it still feels believable, as he struggles to piece his life back together after shattering nearly every relationship he had with his family and friends. The narration by a resurrected Dr. Ikon works remarkably well, and this issue is a nice tribute to the Deathstroke legacy. The art is also perhaps the best its ever been in the series this far.

Priest sure loves taking his story slow. In some way I admire it, taking the time to give characters time to flesh themselves out and establish new plot threads that will come into play later. But I just wish this issue had a little more substance. There are a few standout scenes, but really this issue just serves to bolster the next few.

Great action, Standout art, and nice chemistry between the new members of the Dark Titans. Slade and Dr. Light's scenes together are simply a delight to read. Above-average chapter of Deathstroke's saga all around.

Another overall well-rounded issue in quality. Good art, good action, good characters. I still don't know what Priest is setting up with all the Chinatown business, but I wish he would get to the point soon. It's grueling to read parts of a story I have no investment in as of yet.

It doesn't feel like the plot is really going anywhere in this issue. Lately, the plot has just been about Deathstroke training his new team, which could be well done, but comes across as boring and disposable in reality. Plus the stuff with Chinatown still doesn't have any significance to the story. The art is below average even. Luckily, the writing is still on point, and this issue comes with a promising ending.

Issue #25 completely blew me away even more than I was expecting. On top of a grandiose appearance of The Society, which had me very hyped for this issue, there is plenty of other stuff here to fall in love with. This issue is more than just Deathstroke facing off with some of DC's biggest villains, it's a study of the character and his development through the series. Pagulayan's art is top tier this time around as well. Highly recommended to all.

Dr. Ikon as a character is an aspect of this series that I feel doesn't receive enough attention. David Isherwood represents someone who's life has been ruined by Deathstroke's poor decisions. He is what the rest of these characters in the series will become if they stick around with Slade for too long. Seeing Deathstroke and Ikon finally clash with each other for the first time since Issue #2, it is handled perfectly. The writing is on point, and the characterizations of Dr. Ikon and Deathstroke is perfect. One of my favorite issues of the series.

This arc has gone on for about long enough at this point. This issue is average, and even boring at some points. It feels like the story has gone nowhere since the fantastic previous issue. However, Terra is really given the spotlight and a chance to shine here. And the result is fantastic.

Despite coming off the heels of, in my opinion, an extremely mediocre annual, Deathstroke #28 brings the series back to its trademark mirror sheen, bringing us back to what we love about Deathstroke at his core. Despite still feeling very rushed and sudden, seeing Deathstroke back to being a evil bastard is a refreshing return to form. There are a few standout scenes, including the awaited confrontation between Kong Kenan and Slade, which is just too much damn fun, and hearkens back to early issues where Deathstroke faced off against Batman and Superman, not by punching them, but by outsmarting them. Glad to have Deathstroke back.

I am extremely conflicted as to what to think about this book. There are some standout scenes, don't get me wrong, but I can't help but feel dissapointed, like this annual didn't really serve as a functional epilogue to 'Defiance.' Despite a pair of fantastic scenes at the start and end of the issue, the rest of the book moves along at a brisk pace, but sometimes it feels like it's too fast for the amount that it is trying to do here. Also, the objective of this book was to establish that Deathstroke is back to super villainy, yet it seems like he gives up the hero act for little reason, save for one big twist towards the climax of the issue. Yet it still doesn't feel like enough to warrant an entire arc's worth of character building going down the drain. Not to mention, the twist completely loses all impact it could have had with a tacked-on epilogue. The art's decent, the action is passable, but this book just ends up feeling messy in the end.

I have always enjoyed the character of Deathstroke the Terminator, and the character arcs he goes through. Sometimes portrayed as the worst of the worst, and sometimes portrayed as a man with a heart. We definitely see some of that bad side (With how he treats his children in the opening flashback) and some of the good side (with how he double crosses his corrupt contractor to save some of his men's families), and it is all complimented with some standout artwork and action scenes.

Doomsday Clock is a very hard series to review at the moment because, like Watchmen, it is really best critiqued as a full story instead of one single issue. With #1, it is very hard to tell where the story is going to go, but this book serves its purpose nicely. That being, to re-introduce and introduce some of the new characters and themes we could be expecting from the rest of the series. The book seems content to act as a sequel to Alan Moore's epic Watchmen, and besides for a brief cameo at the end by Superman, the DC heroes are nowhere to be found. However, what's here is written well enough, and is accompanied by ridiculously sweet art. To say that Johns and Frank knocked it out of the park in their respective roles is an understatement. While the book feels a lot shorter than it actually is, it was intriguing enough to get me excited for what is to come. Just leaves me feeling like there should be more, however.

This issue fully proved to me that Geoff Johns really knows what he's doing with the Watchmen legacy. After a first chapter that left me somewhat dissapointed and wanting more, Doomsday Clock #2 is a fantastically crafted book from start to finish. Frank's art really shines here, although I wish it were given more space outside the cramped 9 panel layout, which sometimes I feel is just there out of necessity. However, as opposed to the previous issue, Johns really utilizes some of Moore and Gibbon's visual techniques here that really enhance the story. Comics are as much a visual storytelling medium as they are a traditional one, and I really love when writers take advantage of both aspects. All around, a great read, which answers some questions, but gives us a few more to chew on until next issue.

Doomsday Clock #3 is, again, tough to review because of how much of this series will likely function better as a full story than as singular issue releases. There is a lot in this issue that does not exactly make a lot of sense yet, primarily a portion of the book that mirrors the 'tales of the black freighter' segments from Watchmen. The story still has my interest, and this issue in particular had a few standout moments that prove that even with a story as serious as this, there can still be some fun and lightheartedness. Watchmen purists may be unhappy with some directions this book goes in, but all around it's another building block to the story Johns is sewing here.

A fantastic, emotional ride that unlike issue 4, manages to balance a compelling origin story, and moving the plot forward in the present day.

The Hellblazer: Rebirth offers me much of the same of what i've come to expect from our beloved cynical Constantine. The thing is it doesn't do much else than that, just giving us a single-issue story that is completely wrapped up at the end.

Justice League Vs Suicide Squad shines more in its execution, more than it does in its concept. The Justice League, a team of god-like beings, going up against a bunch of ridiculously underpowered villains? Even some of the dialogue in the book makes fun of it. However, the explosive action scenes, and fantastic dialogue more than make up for it. The plot itself is nothing fantastic, and mostly serves as window dressing for some great scenes. Outside of the main 6 issues, this trade also includes 5 tie-ins that help flesh out the story more. Highly recommend, This is what a trade should be.

Suicide Squad rebirth starts off on an extremely strong note, with Amanda Waller basically bullying the president himself into continuing the Task Force X project. However, things fall apart shortly after that. The banter between the squad members was awkward at times, especially with Captain Boomerang. The art also somewhat loses some of it's luster, and the disposable plot doesn't help anything.

I had made the mistake of Reading this issue without reading the "issue 0" Superman: Rebirth #1. So that definitely has some effect on why i'm giving it this score. I did not really understand what was going on in some scenes, especially the opening scene in the graveyard. Nor did I understand the current state of Clark and his family. But putting that aside, I still did get some enjoyment out of this comic. I thought the art was a true standout, possibly being some of the best i've seen of the new rebirth line of books. This not counting the cover of course, overcrowded and featuring elements not even present within the pages. I also very much enjoyed the idea of Superman's son and his struggling with his powers.

Superman #2 is certainly far more enjoyable and comprehensible than #1. The action was definitely more apparent and interesting than the previous issue as well. The art is even more gorgeous as well. However this issue falters in one section on my opinion. What was the deal with the whole "Kryptonian DNA detected" thing? I really did not understand that at all, or did I really understand the ending.

Without sounding too melodramatic, "The Talk of Saints," the story which makes up a bulk of this monster of a comic book (no pun intended), is one of the greatest comic stories i've read. On top of a moving, engrossing story, breathtaking art, and master-crafted production design, this story really blew me away in every regard. 2 scenes in particular, one which I just can't talk about here, made me feel something no book ever has before. Despite the big reveal at the end being a little *too* obvious, it was still effective and drove the theme of the story home. However, I can't just talk about the main story. Len Wein's final, unfinished work is also included in here, and although it does come off as just another Swamp Thing tale, it is still gut-wrenching to see Wein's final work as is. Only makes me wonder what would have happened had he finished it. I highly recommend this book not only to fans of Swamp Thing, but to those who love comics as a medium, and wish to remember one of the industry's greatest writers.

Pleasantly surprised with how this book turned out! Characterizations on point, good art, and a decent plot that brings these random characters together without it feeling forced. I'm very excited to see where this series goes. Definitely the best New Age of Heroes book thus far.