Overall, this issue works really well as a conclusion for the battle against Chimera. However, based on the ending, this isn't the end of the creature, and we'll probably be seeing him again sooner rather than later. As for this issue, the script is strong, which really means it's consistent for Parker's work. Some dialogue doesn't seem to fit (especially when Chimera says that he's the greatest aquarium, in a living being), but overall, it works. The art, while still good, isn't up to the quality level that Pelletier usually delivers. All things considered, this is a great issue in a great series, and it looks like things are only getting better.

After a rather disappointing story in "Aquaman: Future's End", it's nice to see this series getting back to what it does best. Jeff Parker really knows how to write a more introspective Aquaman. Parker's Aquaman is reflective, somber, and intelligent. He knows how to be bombastic, funny, and how to fight when he needs to, but as the king of Atlantis, he also knows how to be the politician he has to be. Because of that, this issue reads like a breeze, even though there's really not a big action scene. Each panel and page flows nicely, and there's no lagging in the pace. Add to all of that Paul Pelletier's artwork, which is fantastic as per usual. From the figures in the foreground, to the detailed architecture of Atlantis. This is the first part of a new story arc called "Malestrom", and I'm excited for the next arc. This book comes highly recommended.

What do you get when you cross two of DC's most underrated characters in one comic? the fantastic work that is "Aquaman" #36. Jeff Parker has done a fantastic job, in just two issues, of weaving together a great mystery, that's a fantastic twist on a normal "whodunit" story. Everything about this issue works: the inclusion of Martian Manhunter, the return of Vulko, the tension around the night Aquaman's mother died - everything just works. Parker is one of the best writers in DC right now, and this book shows just why he deserves that recognition. And of course, Paul Pelliter's artwork on this issue is fantastic. This guy can draw better than most artists today. He conveys the action in this book well, making it exciting to see, but still clear enough to follow. Everything about this book is fantastically done. It comes highly recommended.

There's not too much to talk about here. The fight between Aquaman and Grodd is great - showing just enough action to satisfy the purchase, while also holding back enough as a teaser for more later on. the backstory of Gorrila City is interesting, and changes how we look at the Atlanteans. Ultimately, I think we'll still view them favorably at the end of the arc, but I'm still curious where Jeff Parker is going to take this. Paul Pelletier is, of course, fantastic on art as always. The fight with Grodd, while brief, is exciting and dynamic to watch. While there are some holes in how the hive mind among the gorillas works, it's still an interesting concept, communicated largely through facial expressions. It's subtle, and well done. Overall, another great chapter of Malestrom. Highly recommended.

So much of this book is weird. The description that DC put out doesn't even factor in until the last few pages, and then it continues in the "Aquaman and the Others" issue coming later this month. The reference to "the war" is never explained as to what it was, or the effects it had. As an issue, it just doesn't hold up to the monthly "Aquaman" title. Jurgens doesn't handle the character as well as Jeff Parker does, and the art doesn't measure up to Paul Pellitier. The biggest flaw, in what is honestly not a bad book, is the misleading description of this being a one-shot. It's not. This is part of what I'm assuming is a two-part story. This issue is not a stand alone story, since you're only getting half of it. If you're an Aquaman fan, it's worth reading. If you're not, just pass on this one.

Dan Abnett's story of Atlantis being seen as an enemy nation to the US is an interesting one, and it's fairly well executed. Aquaman sounds like a hero, an elder statesman, a man trying to bring both of his worlds together. His struggle works on every level - there's the high octane superhero action, the intriguing political dialogue, and his commitment to a peaceful resolution to the issue. The US government's hesitancy to align with Atlantis makes sense, especially when considering Geoff John's run on Aquaman, and the "Throne of Atlantis" storyline in particular. The main issue I have continues to be with Mera's characterization. She's very one note, and not particularly intelligent in her reasoning. She just wants to fight and attack everyone and everything around her. I get the idea of her true love being in danger, but she doesn't show any kind of common sense. It's just such a shame when so much of the story works so well. The art in this issue is pretty good too, nothing standing out too much as great or as terrible.

This is the second half of the story from "Aquaman: Future's End", and that's a problem I have with the book: there shouldn't be a first part to a one-shot story. That complaint aside, this a really good story, and the artwork is solid. The end, with the reveal of The Other, is a great tease, and I would actually be interested in reading that series, if it ever happens. There are some great character moments, and while Aquaman is put on the backburner, it focuses on the members of The Others and their future, staying true to the characters from the Aquaman series. A satisfying conclusion, even if it should really be a done in one story. I recommend the book, but only if you read the Aquaman story first.

Timing is a factor in the enjoyment of this book. The comic, by itself, is actually really good, with a murder mystery, and a way of getting Batman closer to the inmates at Arkham that makes sense in the wider Batman stories. The problem, however, is the caption box under the credits in the book: "The events of this story take place after Batman: Eternal #30." Now, the main Batman book gets away with this, because the events of that arc are not directly tying into Eternal. But with Arkham Manor, this story is, it seems, does. Why did DC not wait two more weeks to release this book, when they would have been able to avoid spoiling the ending of Eternal #30? It's a strange choice. Now, about the book: it's really well done. Aside from some missing explanation about what happened to the Asylum, Gerry Duggan and Shawn Crystal deliver the beginning to a good murder mystery. The main problem is that, while this is supposed to feel like an indie book, this story feels like it could take place in the main Batman book. Crystal's artwork is really nice to look at, and his storytelling is straight forward, nice and simple. I'm going to recommend this book, mainly because I'm hooked enough to pick up the second issue.

Arkham Manor is a strange Bat-book. The writing is really good. Gerry Duggan is crafting an interesting story inside of Arkham Manor, with interesting characters and concepts. But I find myself wishing that Batman wasn't in this book, so we could focus more on the inmates and staff at Arkham. They're the more interesting characters, and have the potential for more interesting stories. That said, the Batman/Jack Shaw story is still really interesting, since the idea of Batman going undercover at Arkham makes sense. Shawn Chrystal's artwork is pretty good, but I think he's struggling on some faces. It seems like Shaw and Mr. Freeze have the same facial structure, with only minor details changed to distinguish them from each other. I like the scratchy style he's using, as it fits the darker atmosphere that the creative team is trying to make. Overall, it's a good issue, but I don't know how long this can go before it becomes tired and repetitive. I still recommend the book, though.

Maybe it's knowing that Arkham Manor is going to be essentially a mini-series instead of an ongoing, but I enjoyed this issue more than the first two. Gerry Duggan is exploring a good mystery inside Arkham, and it's interesting to see him introduce a new villain, and use Mr. Zsazs as a swerve. Shawn Crystal's art is really good, fitting the grittier tone of this book. And while he does still struggle differentiating faces, the overall work is still impressive. The problems with this issue are the same ones I've had with the series so far - it doesn't feel like anything more than a Batman arc, instead of a separate story. But I guess since this is only getting six issues, it is essentially an arc. Overall, it's still a decent book, and the mystery is shaping up nicely. I recommend for Batman fans, but if you're not, maybe this one can be skipped, since it's not doing much that's experimental.

This week begins the new creative team on Batgirl, and the new direction seems like it could be a lot of fun. I love the new take on Barbara, Batgirl, her costume, an the overall design of Gotham as a whole. It's really a nice urban look, a welcome break from the cityscape we've been seeing for decades. The artwork from Babs Tarr is fantastic, and the story layouts is from Cameron Stewart really contributes to the story telling. I love Tarr's take on Bab's eidetic memory, and her using it are easily the best pages of the comic. Overall, even with a new creative team on the book, this is still Batgirl. She's still incredibly strong, independent, and powerful. She's everything she should be. It might not be as strong as Gail Simone's Batgirl was, but this is still a great comic. Highly recommended.

Reading as many of DC's books a month as I do (somewhere around 21), you tend to forget that bright colors and fun are things that can exist in a good story. While I love DC's books, Batgirl occupies a special place because it's bright and fun. People are complaining that Barbara doesn't seem as strong as she was when Gail Simone was writing her, but I completely disagree. She's just as strong and independent as she was before, but now she's also fun to be with. She speaks like a regular 21 year old woman, and still holds her own as a fighter and crimefighter. Brenden Fletcher and Cameron Stewart are delivering great stories that, while they're building up to something big, each book feels like a complete story - having a beginning, middle, and end (as opposed to being part 3 of a 6 part story). But the best part of this book is, unquestionably, Babs Tarr's artwork. She brings such energy to every page and panel in the book, and I think she displays Barbara's eidetic memory better than anyone I've seen. If you're looking for a little fun mixed in with all of the dark drama at DC, this book is highly recommended.

Batgirl continues to impress, as the new creative team takes over from what Gail Simone did for almost three years. Cameron Stewart and Brendan Fletcher provide another great story, focusing on Batgirl taking down a doppelganger trying to make more money using her name and likeness. Babs Tarr is, of course, fantastic on art duties, delivering a kinetic energy to the book that radiates youth and excitement. The controversy around this book doesn't make sense to me, since the villain isn't identified as trans-gendered, but rather is clearly a performance artist looking for money and fame. It's a clever idea, I think. Overall, a well done issue from this team, as they look to remake Batgirl for the 2010's. Highly recommended.

This series is off to a slow start. Nothing about it really stands out as wrong, but nothing stands out as right, or as great, or as memorable. Batgirl, Black Canary, and Huntress (I'm less familiar with the last one) all read like themselves, they don't seem poorly characterized. The art is pretty good, and the villain is... well, present. I think that's actually the main problem with this issue - nothing is memorable, or makes we want to know what's going to happen. That's a bigger problem than some might think - you can have the best of everything going for you, but if there's no reason for me to care, there's no reason for me to come back. I want this book to work, I want it to succeed, but this was not a good first issue (especially after an average at best Rebirth issue). Hopefully next month's issue will be better.

Holy last page surprise, Batman! This issue is the start of the next huge story arc for "Batman", and what a start it is. Kudos to DC for not spoiling anything about this story in their solicitations the past few months. As for the story itself, it's fantastic, but that's to be expected. Snyder gets Batman, and is able to write his inner monologue in a believable, logical fashion. But beyond that, his handling of four other Justice League members shows that Snyder can handle the DC Universe as a whole. And yeah, that last page surprise is jaw dropping, literally. Greg Capullo's art is fantastic, which shouldn't be surprising after three full years of Batman stories, and this is a great way to start his fourth year drawing the Caped Crusader. The back-up story isn't tied in too much to the main story, but I'm thinking that it will eventually be folded into the main narrative sooner rather than later. If you're a comics fan of any kind, this book should be on your pull list. This issue, and series, comes highly recommended.

36 issues in, and no one should be surprised that Scott Snyder and Greg Capullo deliver a fantastic story, full of well-earned twists and surprises, not to mention great visuals. The battle between Superman and Batman is great, showing off the power and strength of Supes, while Bats gets to show off his forethought, planning, and intelligence. Everything is presented well, and Capullo's art shines. The scenes between Alfred, Julia, and Bruce are great as well, showing that Joker really didn't win the last time they fought. The backup story that James Tynion IV scripts is great, showing a creepy story about one of the patients in Arkham. He really taps into the insanity of the main character well, showing both her delusions, and how Joker is able to manipulate them. This should go without saying, but this issue comes highly recommended.

Joker's back, and somehow looks creepier with the skin on his face grown back than he did with it cut off. Scott Snyder and Greg Capullo deliver another fantastic chapter in their Batman saga in general, and Endgame specifically. Snyder's writing is, of course, masterful. He manages to capture the insanity and anger th Joker, the fear and determination of Batman, and the sheer panic and lunacy of the Jokerized civilians. Nothing feels out of place here, nothing feels unearned. The opening shot of Bruce staring at the reader is immediately jarring, and sets the tone for the rest of this issue - it's really freaking creepy. Greg Capullo is going to go down as one of the best Batman artists of all times. His work seems to be modeled after Bruce Timm and Paul Dini's Batman animated series, but is still his own. His facial work is fantastic, the action scenes are well done, and everything is intricately detailed. This book is just as much fun to look at as it is to read. Endgame is halfway through now, and it's still just ramping up, and I'm totally on for the ride. This issue is highly recommended.

I don't know exactly how this book ties into Endgame, but what we're given is a fantastic horror story involving the Joker. James Tynion shows just how far the Joker is willing to go to torture someone just because they said something he didn't like. We don't normally see heroes and super villains involved in horror stories, but the Joker fits perfectly into this one, haunting a reporter who stood up to him, that ultimately ends up ruining his life. There's some great tension, and some creepy moments, like seeing what Joker does to his "best friend's" roommate. Roge Antonio does a pretty good job on art. While I don't really like his depictions of the earlier Joker, once he gets nearer to the modern age, he starts to look appropriately creepy. The true horrific moments involving disfigured faces, tortured bodies, and things of the like are executed perfectly. There's a genuine creep-out element to this. Overall, while it might not be the best tie-in issue, and who knows how long we'll have to wait to see how this plays into Endgame, or the Batman story as a whole, the story told is well done, with great writing and art. Highly recommended.

If anyone was going to be Scott Snyder's successor on Batman, Tom King had to be on a lot of people's short lists. The former CIA operative turned comic book writer has a handle of good comic book action, as well as an intriguing story. This issue marks the conclusion of the first story arc, and it ends on such a great note. The idea of Gotham's powers is brilliant, and the heights he goes to in his battle are amazing. Batman's voice is fantastic, it fits King like a glove. The final resolution to this arc is also great, really casting Gotham in a sympathetic light, and showing how far Batman will go to save his city. Also, he hits Gotham with the Batplane - that's just objectively awesome. The one flaw of this arc has been the lack of characterization for Gotham Girl. She gets a bit more panel time in this issue, but it doesn't make up for four issues of not knowing much about her. Hopefully there's more to learn. David Finch deserves credit for drawing every single issue of this arc, as the biweekly schedule has to be a bear to meet. His art is great, much better than his work on Wonder Woman from the New 52.

Peter Tomasi gets Batman. He can show Batman as a true ass-kicker, a leader, a father, and a flawed human being. This is the among the best issues of this run, and that's saying something. Tomasi is leading rather seamlessly to there being a new Robin (I'm predicting either a resurrected Damien, or Carrie Kelley) in December, but it's still a fun ride to get there. I'm curious how the rest of the Justice League is going to fit into this, but I'm going to guess the payoff is going to be fantastic. As an aside, I'm really disappointed that this series doesn't get the same glossy cover that series' like "Justice League" and "Batman" get. This series deserves it. Just saying.

When I get an issue of Batman and Robin, I expect a lot of heart and interpersonal relationships. So much so, that I can forget just how great Peter Tomasi can write a fight scene. The action in this issue is great, with Batman on the hunt to return Damien to life. And, as established in the previews, he's not going alone, since Batgirl, Red Robin, and the Red Hood are joining him. Patrick Gleason gets a chance to shine, crafting some truly awesome images in the pages of the book, especially the revamped costumes Alfred gives the three younger heroes. One small issue on the art side is that Gleason struggles to draw Barbara's face. It seems like he's trying to match the redesign from "Batgirl" #35, but misses the mark a bit. The inking and coloring are also fantastic, as the hellish landscape of Apokolips contrasts well with the dark shadows Batman casts in the Hellbat. Overall, another fantastic issue from one of the best series DC is publishing right now. Highly recommended.

We're now one issue (plus a one-shot) away from the conclusion of Robin Rises, and Peter Tomasi has ramped up the action in this issue. Batman going on a full out offense to get his son back makes sense after everything that's happened in this mega-arc. The teaming up of Red Robin, Red Hood, Batgirl, and Cyborg is a lot of fun as well. While there's not much character development in this issue, the action heavy issue still works, because it's building on the developments from previous issues. Patrick Gleason's artwork is mostly great, but I still think he has issues drawing Batgirl's face. Next month, we'll get the conclusion of this story, and if you're not on board all ready, you need to get on now. Highly recommended.

Peter J. Tomasi is one of the few writers who can, in the same issue, write a heart pounding action scene brimming with tension and suspense, and then later fill you with joy and bring a tear to your eye. Unless you've avoided the internet for the past few months, you knew Damien was coming back by January, and indeed in December, as Tomasi said many times. Here, in this issue, that is finally paid off, and it's a amazing moment. Patrick Gleason deserves a lot of credit for that scene, as his art perfectly captures everything about it, reminiscent of the silent issue #18. There's no dialogue in this two page spread, yet you can still see the pure joy on Bruce and Damien's faces, along with the shock on the faces of Alfred, Barbara, and Tim (Jason is still wearing the helmet). It's the perfect moment, paying off over a year and a half of storytelling. Not to forget about the action scenes, which are amazingly done. Batman taking down Darkseid is believable, since the HellBat suit was designed by the Justice League, and he doesn't really beat Darkseid as much as stuns him and escapes. Darkseid will be back, you can be sure. In my opinion, this, the main Batman book, and Eternal are the three best Batman-centric books on the shelves right now. But this one in particular needs to be read to understand the love people have for this character. This issue, obviously, is highly recommended.

What can really be said, if you're a fan of Damian Wayne? He's been gone for so long, since February 27 of 2013. It's just great to see him back in what is essentially his book. And yes, while this issue does read like an epilogue, that's all I really needed after the two huge back to back issues that concluded "Robin Rises". The story is simple and fun, showing the changing dynamics between Bruce and Damian's relationship, Damian's eagerness to use his powers, and his cockiness because of the powers. It's all fun, and Peter Tomasi does great with it. Patrick Gleason's art is in top form here. I've always loved the way he draws Damian, and he really does capture the fun elements of the script well. The brief action we get in the book is well done, but the character moments are what drive the issue, and it works well. When the trade comes out, I think this will flow better then. I highly recommend you pick up this book.

This story does exactly what the "Future's End" event is supposed to do: show you where the DC universe could be in 5 years. Having a new Robin is intriguing enough, but connecting it back to Scott Snyder's Zero Year story was a nice touch. This Robin, named Duke, wants to prove to Batman that he's capable of being Robin. That alone is enough for a good story. Add to that the return of Heretic, and his battle with Batman, and the story goes from good to great. The fight seems a bit rushed and, while I like Nguyen's artwork usually, the inking was a bit too dark to make things out clearly. Overall, this is a good book, but I hope this isn't the direction this book goes, since I want Damien back as Robin. But if this is ultimately the future, I think I'll be OK with that. I can recommend this book if you haven't gotten it already.

This issue of the story (and the point where the first trade will end, as a piece of trivia) was fantastically done. Tim Seely's scripting work on this series has been fantastic, and this is no exception. Seely manages to bring the small Batgirl arc to a close in a nice, emotional way (and manages to write Jason Todd in a way that's not annoying), shows the true character of Jim Gordon, and that Jason Bard and Batman can work together, even with differing tactics in some areas. Emmanuel Simoeni's art on this issue knocks it out of the park, giving the entire book a dark, dirty look that perfectly fits the story. I'm excited for what comes next, especially with the reveal of the Spoiler at the end. (Hopefully, we'll finally see some development with Stephanie Brown in the next few issues.)

Batman: Eternal has been a fantastic series. This issue is no exception. James Tynion, unsurprisingly, delivers a fantastic story. The development for Alfred and Julia is interesting, mainly in wondering where it's going to go next issue. For me, the highlight of this issue is Alfred getting a chance to explain how effective he could be in a fight. Add to that the reveal of Hush (causing my jaw to drop when I saw that) and the Architect (someone I'm not aware of, but definitely creates some interest), and this issue feels incredibly important. The biggest twist comes with Jason Bard, so I'm not going to spoil that for anyone. Suffice it to say, things are looking very interesting going forward. We're nearing the halfway mark of this series, and events are picking up steam. Also, Jason Fabok is probably my favorite artist on this series. His art always adds to the story, and this issue exemplifies that. This would be a terrible jumping on point, but back issues shouldn't be too hard to find if you're not reading this book right now.

As someone who hasn't read Gates of Gotham, I don't know much about the Architect as a character. But as an introduction to the character, this works well. The story of Alfred and Julia moves forward as well, with Alfred being in the hospital and needing a replacement to help Batman. Julia fills in well for her dad, with a little coaching from Batman to find what he needs. The art from Jorge Lucas is fantastic, and I'm excited to see more from him for the next two weeks. Also, as a debut script on this title from Kyle Higgins (replacing John Layman), this issue is great. As with every issue from this series thus far, it comes highly recommended. Just make sure you've read the other 21 issues first.

This issue would have been better if DC had waited a few months to announce the new plot direction for Catwoman being a big time crime boss. That aside, the story itself was really good. The revelation of Catwoman's background is really interesting, and a nice shock for those who hadn't made the connection already. The development of the Architect/Hush story seems really rushed, as we had Architect introduced last issue, and now it's already being revealed that Hush is manipulating him. That being said, it's still handled relatively well. Dustin Nguyen does a great job on pencils, as per usual. While his style can be a bit rough and off-putting at first, it really fits the overall story of Eternal, and the Bat-Family as a whole. A strong issue, but it's plagued by the habit of the comic industry to release solicits 3 months in advance. As usual, this issue, and series as a whole, is recommended.

In a weekly series, the pacing of the grand story is necessarily going to be slow, otherwise you'd run out of things to write. That's to be expected. The pacing of the individual issues, for the most part, has been very fast, and this was no exception. Serving as the first actual appearance of The Spoiler in the New 52, this is a great introduction to her for people who never knew anything about her. The strangest thing about this book is that, in a series entitled "Batman: Eternal", seeing Batman in this issue was rather pointless, as it didn't seem to advance anything in the issue. Maybe it will make more sense in the trade, but for right now, it doesn't seem worthwhile. Andy Clarke's art is pretty good, but I think his faces need more time, especially on Stephanie. Batman looks too lean to fit the rest of the series, as well. Overall, another highly recommended issue in a highly recommended series.

Another great issue of Eternal, this one really starts bringing all of the threads together into one massive plot. We see Tim Drake and Harper Row back in Gotham, but we still don't know what all they learned in Japan. Batgirl and Red Hood are back in Gotham as well, even though Jim Gordon is still in Blackgate. But we're starting to see the real corruption behind Jason Bard, and how much Hush is in control of this plan he has. Ray Fawkes' script has everything it needs, with some good jokes, and great character moments. If there's one issue with this, it's that we're seeing the reunion of the Bat Family, which we saw in "Batman & Robin" a month or so ago. Other than that, a great story altogether. The art on the other hand isn't up to the very high standards this series has set. It's not bad, but there are some places where it needs a little more work done. Overall though, a great comic that I can easily recommend. If this isn't already on your pull list, it should be.

As much as I've loved every issue of Eternal so far, this one doesn't do as well as the first 25. The script is fine, and even great is some areas, with some great storytelling. While the reboot of Hush's origin is changed from what Jeph Loeb originally wrote, it's an interesting take on the character, if a bit weird. The characterization is done really well, and the story moves along at a good pace. What drags this issue down is the artwork. R.M Guerra isn't a bad artist, but I think the strain of doing a weekly comic (and pulling back to back weeks on the series) resulted in a lot of rushing, leaving a lot of the details needing a lot more work. Also, Tommy as a kid looks like the kid on the cover of Mad. It's weird. I still recommend the issue, but don't expect artwork up to par with the cover, or previous issues.

After a week of backstory, we get an issue that continues some of the plots we've seen, but nothing too major. There's really not too much to talk about with this issue, since it really is just touching base with all of the different plot threads. It's written well, and the art can be jarring at times, but is still better than decent in most places. There's just not a lot going on here. If you're reading Eternal every week like I am, then go ahead and pick this issue up.

One of the better issues of Batman: Eternal recently. The script by Tim Seeley delivers in a lot of good ways, the art by Meghan Hetrick is really good, and the reveals are well earned. But, there are a few issues. The death of a certain character doesn't seem necessary beyond a shock. That said, it does look like it's going to be used to develop Catwoman's character, so that could be fun. The last page reveal has been spoiled for months now, because DC can't help themselves with their solicits (coming Monday!), unless it's the main Batman book. Actually, rather comically, the ad for the new take on the series is placed one page before the actual reveal. Some character moments feel rushed, and leaves one wondering where that's going to lead. Eternal has been very good about containing its story, but I'm afraid that we're going to see characters set up for great development, and then it will take place in their own titles. It makes business sense, but story-wise, it's a bit frustrating. All of this said, this was one of the better issues in the 20's for this series. Recommended.

After a couple of weeks of people saying that "Eternal" has been spinning it's wheels, the creative team this week comes in with a strong issue, that feels like it's starting to set up the final major arc of "Eternal". Ray Fawkes is on scripting duties this week, and takes the time to remind us that Batwing and Jim Corrigan are in this book too. While the Arkham story hasn't gotten much attention, Fawkes is able to deliver a script that continues that story, and starts to set up the eventual conclusion that we know has been coming for months. Simon Coleby is on art this week, and he manages to deliver a lot of gruesome imagery, although there are some depictions that make it difficult to understand exactly what we're seeing. All in all, after a few rougher weeks of "Eternal", it's nice to see the series getting back to what it did well for so long: telling not just a great Batman story, but a great story involving the rest of the family. This book comes highly recommended.

Batman: Eternal had a plan from the beginning. People tend to forget that. This story was finished before the first issue was written. Now, breaking into the 30s, and getting to around 60% of the issues being already released, you can see the massive machinations coming together. Ray Fawkes delivers a fantastic story yet again, with great action, and showing that our heroes really do care about everyone, even the people in Arkham Asylum. Fernando Pasarin is on pencils this week, and he more than delivers, both in drama and action. The final, climactic destruction of Arkham Asylum is the central point of the issue, while also dropping in some other threads of how another two stories are going to connect, as well as reminding readers that Batman is still wanted by the GCPD. The only issue I have is that it seems like Deacon Blackfire was taken down way too quickly, especially after so much buildup. A fantastic issue that comes highly recommended.

Alfred and Bane are on the cover of the issue, and the team-up we got was fantastic. Ray Fawkes delivers another fantastic script (his entire mini-arc these past three issues has been great), and Fernando Pasarin delivers some fantastic pencil work. The story they tell is wonderfully done, communicating the anguish and fear that Julia goes through throughout the issue, the calm and calculating Dark Knight as a leader, and the payoff of Alfred being a complete badass is awesome. The entire story from cover to cover is fantastic. And, those last few panels on the last page deliver an emotional payoff, as well as a fantastic reason to pick up next week's issue. This one comes HIGHLY recommended. Batman: Eternal, after a few weeks of spinning their wheels, has taken back off, starting with #29.

I don't think this really needs to be said anymore, but obviously, Eternal is ramping up more and more with each successive issue. It seems like it's gotten it's focus back, zeroing in on one major storyline going on, while teasing us with characters from other storylines to remind us that they're still there. We're also seeing some connections being made, like the Arkham story connecting to the Batman/Hush battle going on, while also throwing in Spoiler. Everything feels well paced, and well earned as far as reveals go. And while we knew that Alfred was going to come back to the cave because of "Batman" (main title), seeing that play out was still worth the price of admission. Jason Fabok is on art this week and delivers some fantastic work (which is pretty common for him). His action scenes are well laid out and easy to follow, but also full of energy. But he also knows how to get across the emotional scenes, including a certain reunion that's been building for at least 15 issues. This issue, of course, comes highly recommended.

While this may not be the most action packed issue of Batman: Eternal to date, and while this issue only focuses on one plot point, this could be one of the best issues of the series thus far. We get to see some actual action from Julia Pennyworth, with her and Batman going around Gotham destroying weapons caches. We also see a brief confrontation between Jason Bard and Hush, showing us who's really in charge of things in Gotham right now. Kyle Higgins delivers another fantastic script, with great dialogue and action from beginning to end. Jason Fabok once again stuns on artwork, able to deliver fantastic looking action scenes, as well as having very detailed work throughout. This issue is highly recommended.

It's amazing how, week in and week out, the "Batman Eternal" team can craft a story that encompasses every aspect of Gotham City. Kyle Higgins, on script duties this week, delivers the first of (hopefully) a few confrontations between Batman and Hush. And while the confrontation is physical, it's the mental battle between the two that really shines. These two know each other so well, and Higgins is able to communicate that relationship well. Alvaro Martinez does a great job on art duties this week. His pencil work is great, and I have to give a special shout-out to the splash page of Hush sitting on a pile of weapons. Awesome. "Batman Eternal" is ramping up week to week, and everyone should be along for the ride. This book is highly recommended.

The third arc of Batman: Eternal is up and running, and we're seeing some great new twists in this issue, and in the weeks to come. The script by James Tynion is, of course, excellent, with great action, and better character moments. We learn a lot about Jason Bard's background, and why he hates Batman so much, and it's a great idea, since it makes logical sense that things like that would happen. Where the issue falls a bit is the art. While the action looks great, the slower conversations don't work as well in my opinion. Overall though, another great issue for this awesome story. Highly recommended.

This issue is not the best that Eternal has to offer, but it's still really good. There are a lot of plots being set up, as well as small advancement of the Jason Bard mega arc. Tim Seeley does a great job with writing, and you had to know it was going to have some horror elements. The haunting we see after what Batwing went through at Arkham is interesting, and I'm curious to see where this goes. There's just enough set up here, while leaving enough unknown to make you want this to come back up. Catwoman's story is interesting enough, but we haven't seen enough of her takeover of the crime families here, so it doesn't feel exactly earned. There have been some time skips, and obviously she's still working off panel, but I would have liked to have seen more of it. Batman doesn't really do much here, as this is a setup issue more than a storyline issue, but his interaction with Catwoman does set up some interesting future story possibilities. Andrea Mutti's art is decent enough, but it's nothing special. Everything looks fine, but it doesn't stand out in any particular way. It's not as detailed as a Jason Fabok or Jim Lee, and it's not stylized enough to stand out like a Tim Sale. It's just decent. Overall, this issue is fine, but it's not the best this series has to offer. Still recommended, but not highly.

Focusing more on villains instead of Batman, we're given another good chapter of Eternal, but I don't think this is the best issue we've seen. Tim Seeley does a decent job writing this week, but there are some gaps in the story that aren't explained, and some of the transitions don't connect naturally. The dialogue is still good, but the justifications for some of the alliances aren't explained well enough. Andrea Mutti's art is, again, decent, but nothing special. Overall, it's not a bad issue of Eternal (I don't think we've seen one yet), but it's also not going to be among the best issues either. I still recommend you pick it up if you've been reading this far, since there's enough to entertain.

Eternal continues this week, and we get the conclusion to the nanovirus subplot. And while the conclusion is great, I really wish we had gotten more development throughout the last 41 issues. But, for what we got, this was good. Harper really shines here, and I'm glad it looks like Harper is going to be a bigger part of the Bat-Family. Kyle Higgins really gives her the spotlight here, since the other members of the Bat-Family are busy or possessed by nanobots. Harper, instead of having to punch or kick, uses her smarts to take down the nanovirus. It's really well done. And the choice of the villain behind the nanobots is great, and makes me wonder why I didn't figure it out before. The art from Joseph Quinones is great, handling the action well, as well as giving some great figure work. I also love the expressive faces he delivers, helping to deliver the emotion behind the text. Of course, this issue comes highly recommended.

There's not really much to say about Tony Daniel's new Deathstroke series. The art is, of course, amazing and detailed, and the writing is solid for the most part. But as a story, it's not a done in one, and it doesn't really set up much for the next issue. Slade gets a mission, it goes bad, and the last page ends with him asking someone named I-Ching what happened to him. With a character like Deathstroke, the #1 issue should give back-story and explanation of who he is, and what he does. And, while that is there, it's rather rushed, and the cluttered text boxes and speech bubbles block some artwork, but enough to be distracting. Overall, it's just not the best introduction to a new series, and with the popularity of the titular character, not a great introduction to him either. Maybe we'll get more in th next few months, but for now, it's just OK. If you're a fan of the character, I recommend the book, if for nothing else than the art. If you're not a fan of the character, maybe wait a bit on this one.

What does a penis have to do with age? Why do I ask this question? Because that's what this comic forces me to ask. Maybe that was supposed to be a joke, but I don't get it. Tony Daniel is a fantastic artist, that can't be denied. But there are problems here with the art and script that leaves me asking questions about the communication between writer and artist. Which is surprising, because they're the same person. The action in the book (which is most of what this book is) is pretty good, but there are issues with the storytelling (questions like "when did he put his armor back on", "where did that rifle come from"). The main problem is that there's very little advancement in the actual story. We're two issues in, and we haven't even seen the semblance, the formulation of a plan by the villains. It's just a weird issue that asks the wrong questions, but doesn't deliver the right answers. If you're a hardcore Deathstroke fan, pick up the issue. If you're not, and still on the fence about the book, only pick it up if you've got extra money in your budget. Otherwise, feel free to let it pass.

Three issues in, and what in the world has happened? Slade was aged down by decades, he killed a bunch of people, and then he fought some more people. What's special about this book? What stands out about it? Tony Daniel's art is, of course, fantastic. But his writing on this series so far has been underwhelming. It's such a disappointment, because I loved his Detective Comics run in 2011, but on this book it's not working for me. Maybe it's just that the series needs a new writer, with Daniel staying on art duties. The last page reveal does leave an interesting story open, but I'm skeptical on how it'll turn out. Overall, an OK issue, but it's still disappointing. If you've got extra money lying around, and you're a Deathstroke fan, pick it up. But if neither of those things are true, skip the issue, and maybe the series.

Benjamin Percy and John Paul Leon do a fantastic job in their guest spot in Detective Comics #35. "Terminal" is a two part story ending next month, but this issue is handled well, setting up the event driving the plot, establishing the villain, and giving us some visuals that make your skin crawl. It seems like the creative team is building a horror story, in place of the usual fantastical detective work. The only thing that might drag on this issue are all of the Middle East references. It does, in one sense, add to the horror aspect, since it's very real, and something the readers can relate to. On the other hand, it takes away from the escapism, since that aspect of the story is what we're reading comics to escape from. That's really a nitpick, but I still thought it was worth mentioning. All things considered, this is still a fantastic issue, especially if you're looking for a good, classic detective story. Highly recommended.

A terrorist attack on an airport using a virus. This is one of the most realistic Batman stories I've read, and the horror aspects of it are fantastic. There are some confusing aspects of this book, though. I'm not sure where this lands in continuity, if it does at all - Bruce and Dick Grayson both look older, and Dick's a lot more jaded than you might think he would be. The conclusion is a bit rushed, and a little too convenient for my taste. If there were a few pages, this could have been explained better. But, even with that said, this is still a great book. Ben Percy delivers another great script, and this little story might be able to serve as his audition for a monthly book at DC. John Paul Leon's artwork is able to really communicate the horror of what this disease does. With all of that considered, I can still recommend that you buy this book, and #35 from last month. They're both fantastic, and worth picking up.

I was really on board with this story until the end. The story from Brian Buccellato moves along as a good pace, and it's engaging, with well fleshed out characters. The team up with Batman and the Riddler works really well, and shows how smart both characters are. But the ending really drags everything down. It seems so out of character for Batman. Plus, given what we know find out about Julian Day (who has taken over Arkham Island) and his history with the Riddler, it honestly feels like Batman sends the Riddler off to his death. The ending kills the book, which until the last page or so was heading for an 8.5 at least. But I can't get past the ending to say that I can recommend the book.

Forever Evil, as the first line wide event in the New 52, is a good story, but it shouldn't be thought of as a line wide event. Compared to something like Blackest Night, this doesn't bring in a lot of heroes from the outside of Justice League, save for a few token mentions (off-panel at that). All that aside, as a story, Forever Evil is really strong, with an engaging story and interesting characterization. And as a lead in to Lex Luthor joining the Justice League, it's really good. The biggest flaw the book has is that Nightwing dies, and it doesn't pack much of a punch. Dick is dead for two or three pages, and then brought back by plot convenience. It's still a good story, but that's supposed to be the emotional punch, and it doesn't pack much of one. If you haven't read it yet, go for it, but it's not going to blow you away.

I was a bit uncertain as to how this book was going to play out, since this is a new take on Gotham, and the Bat mythos as a whole. But I'm glad to say I was surprised. Gotham Academy, so far at least, seems like a lot of fun, and reminds me in a lot of ways of Harry Potter. I'm glad DC is taking a risk by not publishing another superhero book, and instead going with teen drama. So buy this book, and give it a few issues. Now, the writing is really good, but I still think we need more time to get to know these characters. This is the first issue, so we're in the establishing phase, but I'm wanting to know more about these students, which is a good sign for the future of this book. The art by Karl Kerschl is really superb. I love the designs of these characters, and the overall style of the world he's building. The Gothic design (apropos, for obvious reasons) of the school reminds me of the old cathedrals. This has the potential to be a really fun book that reaches a younger audience to start reading comics. If for no other reason, go buy this book. I recommend it, since the beginning plot threads seem interesting enough for me to get the next issue in November. Let's show DC that books like this will sell.

Imagine the challenge of introducing an entirely new cast of characters and a new story into an already established world, and only loosely connected to one of the best selling characters in the history of the medium. This is the challenge facing "Gotham Academy" and its creative team. Two issues in, and they're facing that challenge perfectly. This is a bat-book only because it takes place in Gotham. Other than that, Batman (or Bruce Wayne) haven't played any major roles so far. What that means is that driving the sales for this book is the cast of brand-new characters. "Gotham Academy" #2 manages to hit every beat it needed to: building the setting and environment our main character Olive is living in; showing her interactions with her teachers and schoolmates; and delivering a mystery worth coming back for issue after issue. This book is enchantingly well-written (which is an odd adjective to use, but it fits). Becky Cloonan and Brenden Fletcher are delivering fantastic scripts, and Karl Kerschl's art alone is worth the cover price. It's obviously really early on in this series' run, but I already think it's going to be one of the standout books of this year, and (hopefully) many more to come. I highly recommend.

This is the first time that a book has genuinely creeped me out. "Gotham By Midnight" is about Jim Corrigan and the team at Precinct 13 in Gotham. Ray Fawkes, who's been doing fantastic work on "Batman: Eternal", now gets a monthly series focusing on the horror and supernatural aspects of Gotham. And honestly, in a city like Gotham, it's amazing that there hasn't been a book like this before now. There's one flaw that I noticed in this book. There's one part where the character representing the audience (Sargent Rook) asks a question that was not set up by previous dialogue. Meaning, he asks what Corrigan meant about something, but what he's asking about was never said. Other than that, this was a fantastically written book. But this book would not be anywhere near as good without the amazing art of Ben Templesmith. His art is not pretty, it's not "good looking" by normal measures, and it certainly doesn't fit into DC's house style. What it is, though, is perfect. It's perfect for this kind of book, with scratchy looking characters and backgrounds, muddy colors, and dark inking for shadows. All of this is done by Templesmith on this issue, and it works beautifully together. This book is haunting and creepy, and that's just the way it should be.

Tim Seeley, Tom King, and Mikel Janin are crafting a great spy thriller, even though they're just three issues into the new series. Dick Grayson, as an agent of Spyral, is given a gun. Obviously, that's going to be an issue given his training with Batman. Seeley and King are able to give a logical reason for Dick not to pull the trigger, as well as crafting an emotional scene showing that Dick's method can work, at least on certain people. They're also able to show the ramifications of using the gun, should a spy choose to do so. Add to that the intensive mystery building around Spyral, and their attempts to learn the secret identity of every superhero, and the stage is set for what could be a long form epic story, similar to what Brian Azzarello is doing in Wonder Woman. Janin's artwork is incredible, from his smooth, clear depiction of action, to his detail on faces, guns, etc.. Even the sex scene at the beginning is handled in a way that doesn't feel exploitative, and still treats Agent 8 as a human being, rather than an object. Great work by both the writing team, and Janin. Three issues in, and "Grayson" is becoming a standout book amidst the 12 Bat Family titles that are being published this month. Highly recommended.

There's nothing wrong with taking a break every once in a while. After three issues of heavy action, Tim Seeley and Tom King do just that - take a break. The result is an issue that seems inconsequential, but taking a moment to just have good character moments is important when building a new series. We get to see the lighter side of Dick Grayson, and it's just fun. One of the biggest issues with this book is Mikel Janin. Now, don't get me wrong: his art is fantastic 95% of the time. But, in the splash pages or two-page spreads when he's trying to show Grayson flying through the air, it's hard to tell exactly where everyone is starting and stopping. While we don't get too much actual story development, this issue is still fun. But, I actually don't recommend it as a starting point for "Grayson". If you're into "Grayson" already, then yeah, go ahead and pick it up.

Having now read this comic three times, I really didn't like this issue. The art isn't bad, and the script as a concept could work, but the execution is terribly flawed. The comic is told from end to beginning, with each page beginning with the time stamp "Earlier". While that alone could work in other books, in this one it didn't. Add to that the rather forced use of the "Cluemaster's Code" (writing down the first letter of the first word in every sentence) in certain areas, and the dialogue comes off as robotic just for the sake of using that code. Plus, the fart joke in the middle? Just lame. Add to *all* of that Dick Grayson killing someone, and this leaves a bad taste in my mouth. The issue didn't work for me, but others really like it. I can't recommend it.

With a few early confrontations with the New Gods done for now, Godhead is shaping up already to be an event that could change the DC Multiverse going forward. The script Robert Venditti delivers is a great one, with good action, and a few quiet, somber moments that allow the reader to feel the importance of what we're seeing. Also, the differentiation of the characters in the script is great. There aren't really any archetypes being used with these characters, instead creating individual personalities for each character to fit into. It might seem strange to mention, but when dealing with crossovers, placing characters into archetypes would be really easy. But I think the strongest aspect of this issue is Billy Tan's artwork. His style, while not as detailed as Doug Mahnke's work, is similar to it. But it's differentiated enough that makes it stand out, and in a good way. Overall, this is a great second part of this first act, and I highly recommend the issue and, so far at least, the crossover. Also, a bonus shoutout to Ivan Reis' monster variant cover. It's awesome.

Godhead Act 2 has started, and what a way to start! There's very little action in this book, as it's setting up the next act, but the character moments here are more than worth the cover price. The pages with Hal Jordan and Sinestro are fantastic, and Robert Venditti is able to take the final interaction between Hal and Sinestro from Geoff John's run, and building it to another level. The brief scuffle between the two is fun, but the dialogue is what brings this up to a great issue. And, while Billy Tan sits this issue out, artist Francis Portela is more than up to snuff, delivering fantastic panel layouts. Also, something that's really undervalued in comics is expressive faces, but Portela excels at them, able to get across some great comedy using pictures. This issue of Godhead comes highly recommended.

I was really excited for this issue, since I wanted to know how, in 5 years, the Corps had recovered from the death of the Guardians. But that's never mentioned. How has Hal done as Corps leader in the five years we didn't see for the sake of this jump? Never mentioned. So right off the bat, the things I was most curious about were not mentioned even in passing. Now, in the actual story, the return of the Black Lanterns was really interesting, and led to some really emotional moments regarding Hal and the identity of one of the Black Lanterns. But the ally he has in the battle is Relic. How did Relic escape the Source Wall? Never explained. In a comic that tried to explain a lot, there's still too much that's unexplained for me to have enjoyed this more. The art is really good, with Martin Coccolo managing to mimic Billy Tan's art really well, to the point where I didn't really notice much of a difference. However, I can't recommend this book as a must buy. If you have extra money after going through your pull list, and you're a Green Lantern fan, consider picking it up. If you're not a fan, or you don't have extra money, you can skip this book.

Van Jensen and Bernard Chang deliver another good chapter in Godhead. Jensen knows how to deliver an emotional story, even when the Green Lantern titles are stuck in a constant crossover mode. Jensen delivers us another fight with the New Gods, this time focusing on the god of war's battle with John Stewart. The fight is strong enough to keep readers interested, and delivers a few great moments that people will be taking about them. Bernard Chang's art is fantastic, as usual. I'm really starting to like the coloring that's being used in moments when characters are injured or killed in battle. It adds to the intensity of the fight, and makes the other panels stand out even more. Recommended reading.

Godhead continues this week, and the results are a mixed bag. This issue is strange, since so much of it really works well, but there are a few parts that don't work, and they're really distracting. Distracting enough to drag the score of the book down below what it would be without those elements. Now, while I like the idea Van Jensen had with John Stewart at the end of this issue, it just seems too convenient to be believable. The explanation is rushed, and it doesn't add enough for me to buy it. Bernard Chang's artwork is, for the most part, really good. But there are some panels that just feel flawed to me, like some of the details aren't tuned up enough to deliver the desired impact. But, with all of that said, this is still a good issue, with some good surprises. While this might be one of the weaker chapters in Godhead, it's still good enough that I can recommend it to you.

Honestly, this issue doesn't work that well for me. There's a lot here that could work, but the execution is flawed. The ending (spoiled on the cover) is a good idea, and makes sense within the greater continuity of Green Lantern. However, there's too much reference to events that happened recently. While that wouldn't be bad in a normal month to month story, we haven't seen these events that turned John Stewart into a killer. It could have worked a lot better if we knew more about the events that occurred to change Stewart. Alas, we'll never know. The art was serviceable enough, but it wasn't anything special, and fell short on a few panels. Nothing special enough to make this a must on your pull list this week. I don't recommended it, but it's not horrible either.

This oversized one-shot is the beginning chapter of the "Godhead" crossover, and it's fairly well done. While the story is intriguing enough, the dialogue is bogged down by exposition is some areas, getting in the way of the narrative a bit. But, as this is the first introduction of every New God not named Orion, the exposition is necessary. Where the book really does well is the artwork. Even with five different pencilers, the art doesn't contrast to the point of being distracting. The jaw dropping moment for me was the fold out of the source wall, as Ethan Van Sciver tackles that part with his usual fantastic detail. Overall, a really good start to "Godhead", and recommended if you're reading multiple Green Lantern titles.

As a conclusion to the Psion story, this issue felt kind of disappointing. There's very little in actual conflict with the Psions, and the end with the team leaving feels really rushed. It probably doesn't help that the book has to do the 5-year jump next month, and then GodHead starting in October, but I have to think the writing/art team knew this going in, and could have fleshed this out better. Not a bad issue on its own, but the conclusion leaves a lot to be desired.

Justin Jordan may be putting out the best Green Lantern book right now, and this issue gives credence to that theory. Filled with great character moments and, while there's a lack of action for a good portion of the issue, the book moves at a great pace, and helps establish what has the potential to be a great event. The artwork by Brad Walker is fantastic in every panel, with good clean lines, great detail, and great surroundings. Walker knows how to draw space in a way that feels, rather correctly, otherworldly. The planet where the issue takes place is not in the Milky Way galaxy, but somewhere we've never even seen before, and getting that chance to see it is amazing. Everything works for this issue. There's one nitpick I have, but it's something I hate. The editor of the book, Darren Shan, needs to make sure that the lettering has every word in the sentence. There's only one instance, and maybe it's just my copy, but there's a preposition missing that hurts the reading of the sentence. A nitpick yes, but I think it's worth mentioning. Overall, this is a great book in a great series, as part of a great (so far) crossover. Highly recommended.

Godhead continues in Green Lantern: New Guardians, and while the script Justin Jordan delivers is his usual excellent, some subpar artwork drags down this issue. The idea of Highfather controlling the Life Equation is really interesting, and I'm curious to see where things go from here. Jordan knows how to write great dialogue between Carol and Kyle, and their relationship feels natural. But the biggest problem with this book is the artwork. Honestly, it's not that bad, but compared with the fantastic artwork that Brad Walker delivers on a monthly basis, Didgenes Neves' work is subpar at best. It's a serious drag on the issue, and this series (being the best GL title on the shelves right now) deserves better than this. I recommend the issue for the story, but don't expect great artwork for your money.

So, I guess I like this book more than most people do. The story that Justin Jordan tells in this issue is great. We're seeing more nuance in the New Gods. Where in the first two acts, they were cast as villains who were out to destroy our heroes for "the greater good", we're now seeing some of the New Gods coming out less as black and white, and more shades of gray. The battle with Highfather is handled very well, taking up only a couple of pages, but leaving a great cliffhanger to come back for next week. Diogenes Neves and Rodney Buchemi do a great job communicating the more somber moments between Carol and Kyle, the hope that Kyle has when he gets his ring back, and the pompous attitude of Highfather before attacking the heroes at the end. Overall, a great issue of Godhead, with good storytelling and artwork, as well as a great cliff hanger for next week's three issues that will bring this story to a conclusion. This issue is highly recommended.

Well, we're starting the final arc of what is, in my opinion, the best Lantern book on the shelves. After the events of Lights Out and Godhead, I was glad to see that a good portion of the book devoted to the aftermath of what happened to Carol and Kyle. And while it's sad to see her and Kyle split up, it makes sense. We also get a call back (ahead?) to the Future's End tie-in, seeing Saysoran introduced. Maybe this means we're not going to see what happened in that book come to fruition, or maybe not. But the hook to come back is the return of Oblivion, Kyle's natural enemy. It's a really interesting way to end the series, with a literal battle of life and death (sort of). Diogenes Neves' art is great, although there are some struggles when Kyle's wearing his mask. But the action scenes are great, and the rendering of one of the Source Titans (cool name) is awesome. Overall, a good issue. I highly recommend.

There's not much to say about this issue, because there's nothing really memorable about it. I don't know anything new about Kyle Rayner as the White Lantern, and we don't know anything about the protagonist named Sayosen. The art is decent enough, but it can't save a boring script. If you're a completionist then pick up this issue. If not, you can pass on this one. I can't recommend that you pick this up, which is disappointing, because Justin Jordan is a good writer. From what I've read of his work, this is a rare miss.

Geoff Johns delivers a solid story in Justice League 34. It's nice to see the team taking a break after Forever Evil and "The Injustice League", so this issue is very welcome. We get a nice character focused story. Johns focuses on the Trinity, and how they interact with Lex Luthor, while also giving us a glance at the budding relationship between The Flash and Power Ring, which hearkens back to the Green Lantern/Flash relationship, which is a nice touch. The art, on the other hand, leaves a bit to be desired. The pose Superman makes while fighting Gorilla Grodd is hilarious, but unintentionally so. I'm not familiar with Scott Kolins artwork, but this is not an incentive. It also makes me long for Jason Fabok to take over this title for art duties. Still a good book to pick up, just know the artwork isn't going to up to snuff in some panels.

Geoff Johns laid the groundwork for the next arc in Justice League here, with the prologue for Amazo Virus. While there wasn't much action in this issue, the banter between Bruce Wayne and Lex Luthor is really what's great about the issue. Like I said, there's a lot of groundwork being set here, but it's worth reading. It shows the great thinking of Batman and the rest of the League, the cunning of Luthor, and the opening pages showing the League doing what they do best all combine to make a great issue. The artwork with Ivan Reis and Doug Mankhe is superb, and I didn't get distracted in styles, because they blend so well. The book looks great, and reads well. Highly recommended.

The Amazo Virus gets off to a great official start (last month being a prologue) with Justice League #36. This issue is a lot of exposition, with Luthor trying to justify why he created the virus in the first place. It's a more dialogue heavy issue, but it's well done. Geoff John's script is excellent, weaving a gripping story that, while set-up for future stories, is still good set-up. But to me, the star of the book is new regular artist Jason Fabok. His interiors are fantastic. Every panel is drawn beautifully, with exquisite detail on everything from buildings in the background, to Superman's kryptonian armor. Everything about this book works, and works well. This issue comes highly recommended.

First Damien gets powers, now it seems Batman is going to get powers too. Who's next - Batgirl? The Amazo virus continues in Justice League 37, which focuses on Batman and Superman hunting, finding, and fighting Patient Zero. Wonder Woman comes in to help save the day in an awesome two-page spread. And we also get some good character moments with Lex and Lena Luthor. Geoff Johns does a great job (shocking, right?) with the script delivering some great action and drama, while also creating some mystery as to why Luthor actually created the virus in the first place. He lies to Lena and Captain Cold, while changing the story a bit, so we don't really know the motivation. It all comes together to make a great comic, telling a fantastic story. Jason Fabok does a great job on the art, with great figure work, intricate detail on both foregrounds and backgrounds, and just great action all around. The one drawback on both the script and art sides is the over-reliance on splash pages and two-page spreads. There's just too many of them, and maybe more development and story telling could be done if some of them were regular pages. But that is kind of a nit-pick. Overall, it's another great issue of Justice League. Highly recommended.

Batman has superpowers! Yeah, it does make Batman a bit overpowered, but you have to believe this is a temporary thing. The Amzao Virus continues, and it's still really good. Geoff Johns is delivering a horror story with the Justice League, which is a fun idea. The terror that swept Metropolis after the release of the virus is about to be replaced, since it looks like something is controlling the people who have been infected. Jason Fabok, as per usual, delivers some great artwork. His action scenes are great, fast and dynamic, with a lot of great detail on the surrounding areas. It makes the world look real. His figure work is great too, not going too over-muscled to be comedic, but still having the heroes be imposing. The Amazo Virus might not have a cure just yet, but I'm along for the ride. Highly recommended.

There's something about "Red" in the title of a book that makes it not work for me. When the previous Batman crossovers have come out, Red Hood and the Outlaws were among the weakest chapters of said crossover. Same with the previous three Green Lantern crossovers. Soule isn't a bad writer, and J. Calafiore's artwork is great, but this book just doesn't work for me. Probably the biggest flaw is that this book is at the end of an arc just in "Red Lanterns", and if, like me, you haven't been reading it, the slower pace at the beginning (setting a reflective mood) just doesn't work, because there's no context given. As a part of Godhead, this honestly feels like rinse and repeat from the past 4 parts, with a lantern corps member meeting the New Gods, getting their butts handed to them, and then the New Gods leaving. It's just strange. If you're reading all of Godhead, pick this issue up to have the complete story, since things might make more sense in hindsight, when we're in the second or third act. If you're not reading Godhead, and you're not reading "Red Lanterns" regularly, you can skip this issue, since it's really not worth picking up outside of those two reasons.

What a difference an issue makes. Last month, I buried this book, since there was too much backstory not explained for people who only read for the crossovers, and it felt like a rinse and repeat of what we had been reading. This issue, however, is nothing like either of those. Charles Solue is able to explain, in a few pages, the main points of everything that happened since Guy Gardner went to join the Red Lanterns. After that, the mission is on to get to New Genesis. This issue works on every level, and really showed me why people think Soule is one of the best writers today. And then there's the art. J. Calafiore's artwork is fantastic, with great figure and facial work, detailed backgrounds, and excellent story telling. Every panel clearly flows into the next, so the action is easy to follow. I'm really excited for the next chapter(s) (two coming next week) of Godhead. This book, surprisingly, comes highly recommended.

Damien has super strength and super speed, and there might be more to see! The conclusion of Robin Rises gives you exactly what's promised - the return of Robin. I love the idea of giving Damien powers, as it creates a whole slew of stories to tell with him and Batman. It changes their relationship, their dynamic, and it's a bold choice to go with. Peter Tomasi doesn't deliver a lot of heart in this issue, but he doesn't need to. We got the emotional climax last week in Batman and Robin #37, with that killer two page spread of Bruce and Damien embracing. Here, we get a kind of flashback to that, which some might see as a little too long, but for me, works (even if taking out a page or two wouldn't have hurt). Andy Kubert nails the reunion of our two leads, and it's gorgeous to look at. Like I said, while we don't get much heart, we do get a lot of action, including a huge showdown between Kaliback and the Bat-Team. It's a great way to introduce Damien's powers to the reader in a natural way, without needing any expository, overwrought narration. We find out what powers Damien has when he does, which is how the story should be told. Kubert shines on art duties, able to bring this saga of Batman and Robin to a close. We're also given a callback to an earlier issue, with Alfred wanting one night off for the two, but the Bat-Signal lighting up the sky. A small touch, but a good one. Overall, a fantastic end to a story that, honestly, didn't begin in issue #29, but issue #1. This is the end of the single story of a disconnected father and son coming together that we've seen play out over 3 years. Well done. It's highly recommended.

We're given three origins in this issue: Cyborg, Red Hood, and Mera. It's nice that Cyborg creator Marv Wolfman got to write the new origin, since he could stay relatively close to the original story, as well as the new origin Geoff Johns wrote in Justice League. The story is short, and told mainly as a flashback, but it's well done, and really gets across the love father and son have for each other. The art isn't the best I've seen, but it's still really nice, with some well detailed work. Cyborg - 8.5/10. Red Hood's origin is cluttered with narration, which can be a bit much at time. Overall, the story is told well enough, but I don't like the changes made from the "A Death in the Family" story from '88. What really helps the book is the art from Jack Herbert. Every page, every panel is beautiful to look at. The actual dialogue and narration aren't too interesting, but the art is nice. Red Hood - 6/10. Mera's origin is actually really nicely done. The art is really well done, and the story gels nicely with what we've seen in the Aquaman monthly. Jeff Parker's script flows well, for the most part. The strange part is when Mera is talking to herself, waiting for shipwrecks to breach the barrier. Narration captions would have been more logical, I think. But that's a nitpick. Mera - 9/10.

Before next week brings the end of Brian Azzarello and Cliff Chiang's run on Wonder Woman, Secret Origins brings us the chronological beginning, with a simple, fun tale about a young Diana on Paradise Island. While some of this is a re-tread of earlier Wonder Woman issues from their run, it's still fun to read. Plus, there are some really fun interactions between Aleka and Diane, a set up for Steve Trevor and Diana's relationship, and more. The art by Goran Sudzuka is, of course, amazing, just as the art has been for the past three years on Wonder Woman. Wonder Woman - 9.5/10 While I don't read "Justice League Dark", the origin given for Deadman is fantastic. It starts with a sympathetic background, shows how the abuse affected him as an adult, and sets him on a path of redemption after he dies. The writing, while having an older feel, works really well. The artwork is fantastic, and overall, the origin is really solid. Deadman - 9/10 The majority of Sinestro's origin isn't anything new if you've read Geoff Johns' run on Green Lantern, or have at least a passing knowledge of Green Lantern lore. What Cullen Bunn adds are the elements of Sinestro's childhood, getting his ring at first, his nationalistic tendencies, and how he forged the yellow rings on Quard. While I'm glad there's a lot that I knew, since it means Sinestro hasn't changed because of the New 52, it does make reading the origin a bit of a chore. The new aspects are really good, so that helps. The artwork is really good, focused on detail on backgrounds, and little elements like that. Sinestro - 9/10 Overall, this issue comes highly recommended.

Now while you really should judge a comic half based on the art, and half on the story, that's not how I can approach this story. (I'm only reading the physical comics, so this was one part of the book.) The art, for the most part, is sub-par, especially Diana's face. It's certainly not the DC house style, but it deviates from it in a bad way. These renderings are not that great. But, this story gets such a high rating because the story itself is great. The retelling of Diana's origin, focusing on how she got her bracers is fascinating, and told from the perspective of a proud mother. It really is superb. Come for the story, and just know the art isn't going to blow you away. Still highly recommended.

This is a fascinating story. While the beginning is a bit slow, it gets up to a good pace, and is a good study in who Diana is as a person. The art ranges from really good to decent, but doesn't take away from the issue that much. The biggest problem with this book is the ending, feeling like a deus ex machina. Also, we're never really introduced to who the villain is, the comic preferring to assume we know enough of Diana's history to know who this is. Oops. But overall, this month's* Sensation Comics features good stories from beginning to end. A fun read that comes highly recommended. *Sensation Comics is released digitally every week, and in physical form every month.

Where "Red Lanterns" felt like it was a repeat of the same plot points from the previous issues in the crossover, "Sinestro" delivers a fresh take on the attack of the New Gods. Cullen Bunn delivers a great script, with great art and exciting action. It was actually a surprise to see how much I enjoyed this book, since the idea of having Sinestro star in a solo book didn't sound attractive to me, but the book delivers. And, it's actually nice to see more of the different members of the Sinestro Coprs getting some characterization. As a finale to Act 1 of Godhead, "Sinestro" #6 delivers a strong ending, while also hooking us for the next part next week. This issue comes highly recommended.

This is the second part of a story that shouldn't have a second part. There's no real confrontation with Nemesis from the Wonder Woman issue, and there's very little development for the characters or story. The best thing about this book is the ending, with Wonder Woman becoming the Goddess of Peace, instead of the Goddess of War. That's a great moment to see in an otherwise worthless book. The art isn't great, and tends to look rushed at best in places. But the thing that really kills this for me is actually the editing. Sentence structure is terrible in places, and should have been caught. Words that were unnecessary in the sentences, words that were missing... it's a mess. I recommend not buying this book, since it makes the Wonder Woman issue meaningless.

A rather surprising book this week that is really good. The team is diverse in appearance and powers, and for a rag-tag team, do really well. The art is really good as well, and conveys the action and powers of the heroes really well. The big downside is that this is just a one-shot, and there's not going to be more stories with this team in the near future. I would have also liked to know more about what happened to the team we know (beyond "they're dead), and a bit more explanation of the war that these books keep referencing. That's a big flaw with this entire premise: the writers are referencing events that people who aren't reading Future's End don't know about. But it's a fun done-in-one story that's worth the cover price. Not highly, but still recommended.

Overall, I'm enjoying the new "Teen Titans" series. But, there are some weaknesses that will need to be fixed in coming issues. 1) We still don't know a lot about these characters. Bunker and Beast Boy are the focus of the issue, but other than being consummate heroes, I don't think we know more about them at the end than we did at the beginning. Red Robin is in a couple of pages doing detective work, but that's not a character, that's a job. Wonder Girl doesn't show up (does she still get mad when she's called Wonder Girl?), and Raven's appearance only serves to plant seeds. Ultimately, that's what this entire issue did: plant seeds for the next issue. That's not a bad thing in and of itself, but this feels written for a trade, not like a story that could stand on its own. Not bad, but I'm ready for more. The art's still really good, even if there are some problems here and there.

After a disappointing "Future's End" tie in that abandoned the team for a new ground, it's nice to see Will Pfeifer and Kenneth Rocafort reunited on Teen Titans. Issue 3 delivers on all fronts, with great character moments, great action, and great artwork. The opening with Raven is fun, and gives her an identity that she's been lacking recently. Beast Boy and Bunker are quickly becoming the best of friends, much like he and Cyborg were in "The New Teen Titans". Everything about this book is fun, with great action. I don't know where they're going with this robot terrorist from Star Labs, but I'm interested. Rocafort's art is fantastic, and I think he's getting better at not objectifying the women in the book. There are still some questionable shots, but there's improvement there. Also, something that needs to be praised is the coloring by Dan Brown. His color work makes everything pop, and gives the book a bright look that's a welcome break from the darker stuff we usually get at DC, and what we got in the last volume of this series. Just all around well done. Highly recommended.

There's a problem with this issue of Teen Titans: it all feels too convenient. The conclusion is really rushed, and sets up the obvious villain for the next arc. There's no attempt at subtlety, or trying to hide that the person who's behind Algorithm is going to try to hurt the Titans in the future. Speaking of the Titans, they're barely in this book, at least as a whole. They spend a total of five or so pages together, with most of the issue focusing on the main battle. There's a nice little tease of future sub-plots with Wonder Girl, but it's just a tease, so there's not much more there. Artwise, Kenneth Rocafort does a really good job. I actually really like his pencil work, and the clutter on the pages between panels doesn't distract me from the story. He's also gotten better at not sexualizing characters, although there's still room for more progress to be made. But really, the problem with this book is that it's not a satisfying conclusion to the story of Algorithm, who by the end feels like a means to an end, and not an actual threat to the team. I still recommend the book, but understand that it might feel a bit disappointing.

Teen Titans continues to be an interesting comic. Will Pfeifer has an interesting idea here, and it's executed fairly well. The idea of a S.T.A.R. labs developing a pill that gives people superpowers is an interesting one, but I'm not sure I completely buy a developer giving it to a high schooler as payment for financial assistance. It's just a bit too far. That being said, the four teenagers are interesting enough for the issue, but I'm hoping they're not the focus of the entire arc. I don't think they'll be able to hold interest for the entire thing. The introduction of a new (Earth O) Power Girl is interesting, and I'm curious to find out more about her. The main drawback on this issue is Scott Hepburn's art. It's not bad, but it lacks a lot of the energy Kenneth Rocafort brings. There's some figure work that's questionable, and some facial work that doesn't work, but it's serviceable for the most part. Overall, it's decent, but not great. I recommend if you're a fan of Teen Titans, but maybe not the best for new readers.

Pro-active superheroes is not a good idea. But that's exactly what it sounds like the new Power Girl is trying to get the Titans to become. The problem is that they can only respond to crimes that are committed, since the criminals aren't criminals until they break the law. It just doesn't make sense. That being said, there's still a lot to like about this book. I like the idea of introducing a new Power Girl to the team, and the idea of her actually having the documents to legally call herself Power Girl is really funny to me. Scott Hepburn's art, while not as sharp as Kenneth Rocafort's, is still really good, although it goes a bit too cartoony for my taste at some points. The interactions between the main characters is fun too, but I wish we could get to know more about them as people. Manchester Black, unless there's some great back story to this guy, is a boring character. There's seemingly no motivation for this guy to do anything nefarious, other than he can. I just don't get him. Overall, this is not a bad book, or a bad series, but there are some problems starting to show that need to be resolved soon. I recommend the book, but it's not a must read.

Maybe it's that this book is trying to do too much in one issue. Maybe it's because Morrison is overly ambitious in his method of storytelling. But there's something about this book that leaves me feeling overwhelmed, and not in a good sense. But, with that said, the story is still really solid. It reads like an action thriller, and moves along at a good pace. The characters, while unfamiliar to someone who's never read Charlton Comics (me), are able to be understood (to an extent), and we're given an idea of who they are and what they do. Frank Quietly's artwork is fantastic. He packs so much detail into so many panels. Like *so many* panels, there are images that can't be seen. It's an interesting route for the creative team to take, and it works more often than it doesn't. But there are parts where it doesn't. I recommend this book if you're interested in exploring the DC Multiverse, but if you're not overly familiar with Chartlon Comics, this one might be worth skipping.

No one besides Grant Morrison could write The Multiversity. His deep love for the smallest minutia of comic book lore is on display in every issue of this mini series. The Mulitversity: Thunderworld takes place on Earth-5, where Captain Marvel (not Shazam) is the Earth's Mightiest Mortal, along with Captain Marvel Jr. and Mary Marvel. There's just such a sense of fun in this issue. There are some really good jokes, clever dialogue, and the opening sequence that breaks the fourth wall is very cleverly done. And Cameron Stewart's art is fantastic as well. His pencils add to the fun, energetic sense of this book, and the 40 pages just zip by, looking beautiful all the while. The main villain's plan is very interesting, and really plays to the Multiverse concept. Everything about this book just works. The only issue I have is the portrayal of Georgia Sivana's transformed state bugs me, since she's so focused on her looks, above anything else. And the costume doesn't help. And reducing Jr. to a drooling moron because he sees a pair of large breasts is just stupid. Other than that, this book is great. I highly recommend.

This issue is, of course, fantastic. As we're now one issue away from the 35 issue story that Azzarello has been telling, the tension is building. And, of course, the art is great. Cliff Chiang seems like he's just born to draw Wonder Woman. Everything is rolling right along, and I'm excited for the ending. Highly recommended.

Giving this issue a 10 seems to be the obvious choice, but it really deserves it as its own issue. 37 (counting the Villain's Month issue, as well as the Zero Month issue) issues, all telling a singular story. There were no 6 or 12 issue arcs in this series. It was just one story, from issue one until the end. And, as a conclusion three years in the making, this issue delivers on every count. Every character gets their proper conclusion, with no loose strings left behind. Azzarello gets Wonder Woman, I think that much is apparent. He understands how the character should be written, and how she should be portrayed. Add to that Chiang's artwork, which is able to showcase a powerful female character without reducing her to an object. This was not a story where things happened, and Wonder Woman was an element. This has been, from the beginning, a story about Diana and Wonder Woman. If you have not read this run, you need to do so. This issue specifically, and this run in general, comes highly recommended.

Meredith and David Finch's first issue of Wonder Woman is a massive disappointment. Meredith's writing is nowhere near the quality of Brian Azzarello, and the story she tells seems to be massively rushed, and kind of lazily done, in my opinion. All but four or five pages are less than three panels, and there are numerous splash pages, and two pages spreads. She doesn't set up her story in the first pages, and we don't get any sense of what Diana is going through until the third to last page, where it's all hastily shoved right over her face. The battle between her and Swamp Thing is useless, and out of character for her, even in the New 52. The Justice League are here as well, but they're just window dressing. Or, if you prefer, fan service. Ultimately, at the end of the issue, nothing is really accomplished. Also, if this is supposed to be following up on Azzarello's run, there's very little mention of any of the characters we cared about. Zeke is in one panel, but never talked about; there's no mention of Zola; and the gods we met are completely absent. And then there's the artwork. David Finch is not a bad artist, but he really under-performs here. Everything looks rushed and lazy, and Wonder Woman (supposed to be an adult) looks like a young teen-aged girl. After 35 issues of a series that was consistently one of the best books, if not the best, on the shelves, this is a terrible follow-up. I cannot recommend this book.

The most frustrating thing about this book is that Meredith Finch actually does have some interesting ideas. The idea of Wonder Woman struggling to balance her Justice League responsibilities, being the Queen of the Amazons, and the God of War is interesting, and if it was in the hands of a better writer, it would actually be a great story to tell. But, while this idea is interesting, the execution is awful. Wonder Woman doesn't seem to have agency in her actions. She doesn't seem like the subject of this story, but an object within the story. (That would be a problem in any book, but is a much larger problem when the book is called WONDER WOMAN.) And then there's the introduction of Donna Troy. If there was a reason for her to be naked, it wouldn't be a problem. But again, she lacks the agency to choose her nudity (or non-nudity). She is merely an object, to be fan service. Again, the idea of a potentially villainous Donna Troy is interesting, but the execution is horrible. And then there's the art. The continuity flaws between night and day is one problem, but the horrible pacing in this story, the hard cuts to different scenes without even connecting the two, these are just not allowable. This is bush league stuff. And, can we talk about the depiction of Wonder Woman? She's an Amazon! She's supposed to be larger than adult humans. But she's drawn as diminutive, small, weak looking. This is stupid. Look at Azzarello's run - Diana towered over almost everyone she met. This issue does not work, it honestly sucks. This book is on the chopping block. I may drop this title in a month or two. I highly recommend buying anything else.

Let it be known: I didn't hate this issue of Wonder Woman. Oh, don't get me wrong - it's bad, but it's not sexist in an overt manner, and doesn't treat Wonder Woman as an object in a story. So, we've made some improvements. The main thing that frustrates me about this creative team is that there is so much potential for good here. Meredith Finch seems to have good ideas about Wonder Woman's story after the Azzarello run, but she can't figure out how to communicate them. David isn't a bad artist, but he can't figure out how to draw a woman that isn't a doe-faced, diminutive super model. And there in lies the problem. Take out the horrible characterization we've seen in the last two issues, the pointless nudity of Donna Troy (by the way, great job not following up on that plot point at all, save for one freaking page), and the utter lack of agency displayed by Diana, and what are we left with? A boring story about a whiner who can't manage more than one responsibility. I still think I need to re-read this issue to fully comprehend how I feel about it, but this series is on the edge. I was not blown away by this issue like I was with the previous team. If I can't find anything worth reading about next month in my re-read, then I'm done with the series. Which is a shame, since Azzarello's run made me a fan of Wonder Woman. Overall, this is another bad issue from the Finches (F-Squared), but it was better than the last two. I don't recommend this book. Have fun with something else.

I really wish this issue wasn't a two-parter, since it doesn't need to be. This issue was really good until the end, when Superman shows up. Diana, of course, is five years in the future, and in the middle of a war. Even being the God of War now, she is still the same person, and she hasn't lost herself in bloodlust. We actually do get some good exposition about what's happening in this issue, and why this war is taking place. And while it might have seemed out of the ordinary in most situations (since she's explaining things to people who should know them already), it doesn't feel forced, thanks mainly to the reaction of one of the generals. Rags Morales' art is really good most of the time, but there are a few panels when Diana's mouth looks a bit "chimpish", for want of a better term; and a lazy eye in one panel. But for the most part, his art is fantastic and fits the story. But even still, it's hard to recommend because of the two-part aspect, and there are people who don't want to read both parts. This part is good, but if you're not into Wonder Woman, and specifically what Brian Azzarello did with her, then you can pass. I think it's worth the cover price. I could also understand if you don't want to buy this book because of the crossover aspect.

Scott Snyder writes Batman better than anyone I've ever read, but he's not at all a one-trick pony. His roots in comics are horror, and Wytches #1 is a great horror story. Everything that's good horror is supposed to have is here: a creepy atmosphere, suspenseful situations, and a terrifying story. There's no reliance on cheap jump scares, instead deciding to try and disturb the readers. And that's where this issue succeeds - it's truly disturbing to read and see. Having only ever been exposed to Snyder's Batman writing, to see him dropping the F-bomb and C-bomb, etc.. is jarring in and of itself. Add to that a truly disturbing story, and masterful artwork by Jock, and you have a story that is ripe for great horror material. If there's one thing that drags the issue down, it's the coloring, but that's only on some pages. In places, the colors are too muddy to make out Jock's drawings. I get what they were trying to accomplish, but it's a bit too much. Other than that, this is a fantastic start to an exciting new series. For someone who usually only reads superhero comics, this is a great departure from the norm. So, join me in the woods with Wytches #1. Highly recommended.

Snyder is tapping into some deep fears in Wytches. It's not just the supernatural things that always scare us because we don't know what they are. It's the things that we actually can face, like a missing child, that provide the true horror. Snyder doesn't have to create scenes with terrifying imagery (although he does, to great effect) to scare us. He writes about the things that we can understand and relate to, and that scares us more. Jock shines again in this issue, really delivering on the seeming insanity of the father as he looks for Sailor. The scene of the father's flashback to the woman who broke into his house is haunting. The only problem is still the coloring on the book. All of the color splotches on the page don't seem necessary, and can make it difficult to make out what's being seen. In some cases it works, but there are a lot of times where it's just distracting. Overall, Wytches is, of course, really good. I highly recommend.