Eric Lee Comic Reviews

Batman '89#6 offers an emotionally satisfying ending. Some readers may be confused on the general lack of action or the fast pacing, but the comic shows Batman, but the art and the plot alone should make up for it.

Batman: Echoes #1 is a bit of a slow burn, but it succinctly sets up the world of the characters and introduces new plots and twists in an organic way. I'm personally excited to read the next issue.

Batman: Echoes #2 continues this slow burn of a plot that is lacks any Batman action. But due to the strength of the creative team and what is being teased, readers should still come away with a satisfying experience.

Batman '89: Echoes #3 is finally paying off some of its plots in a gratifying way. Its lack of a coherent overall villain plan and minimal action scenes can test readers' patience. However, the characterization, mysteries, and wonderful art still make Echoes a worthwhile read.

While the series is highly unusual in its pacing and seems to really be holding back showing Batman on-screen, it is still a fun treat to read. Quinones' pages look amazing and Hamm does craft a compelling narrative now that the pieces are in place. Batman '89: Echoes #4 is an overstuffed gothic Batman adventure that may intrigue some readers or bore more impatient ones.

All images are courtesy of DC Entertainment.

Batman: Echoes #6 is a jumbled mess of an issue with beautiful art. It is a shame that the script does not let the art shine. A disappointing ending to a mini-series that also suffered massive delays.

This tale gets the egregious award for being the least favorite of the annual. A new villain named Haunter uses a low-grade form of Scarecrow's fear gas as a cover to escape from Arkham and Batman is right on her tail. The crazy thing is that the plot is not even that bad, but it is obvious that Wilson wanted to tell a bigger tale and then ran out of space to do it. Hence, the entire thingfeels like a series of truncated-and occasionally confusing-events with an ending that is veryabrupt. Also, Christmas has very littlebearing on the plot, making it the odd story out in an annual full of holiday stories. Wilson and Evely's potentially interesting tale wasunfortunately cut too short and would have been better served asa full issue instead of a six pager.

King is in top form with his writing. It is apparent that he is taking a lot of his personal experiences from his life and putting into these characters. It makes for such a heartfelt and emotional reading experience, that not even his occasionally odd dialogue tics can derail it.

Ultimately the story is a satisfying one-shot. It does not add anything to the ongoing plot in the main title, nor is it groundbreaking. But it is a perfectly proficient comic that gives more background on Alfred.

Batman Annual #5 goes out of its way to portray Clownhunter more sympathetically. Having Leslie Thompkins as the main protagonist in the issue gives him more humanity, which has been sorely missing from the main Batman title. The logistics of how he became Clownhunter still snaps suspension of disbelief, but this is, overall, a solid book.

Even though this issue's plot is a littlethin, it does a decent job of instilling a feelingof emergency for Batman and the rest of his crew. They are definitely in for a long night in the “Night of the Monster Men” crossover.

This issue feels like the storyline is starting to sag a little. But thanks to seamless plotting and character "F" Yeah!" moments by Orlando and Tom King, along with nice art from Rossmo, this issue staves off from feelingboring.

King and Janin created an opening chapter for “I Am Suicide” that is is highly enjoyable and leavesthe reader with anticipation for the next issue.

This issue ofBatman has a lot of fun highlights that makes the comic a worthwhile read, but it is dragged down by odd pacing for the overall storyline.

Batman#11 is hampered with questionable characterization for Catwoman and a plot that is plodding. Its saving grace is the fantastic art by Janin and Chung that is almost worth the price of the comic.

The latest issue of Batman is a mixed bag of genuine shock that puts Batman in a fresh new perspective, but also one that is frustratingly insular from the ongoing story arc.

The finale to “I am Suicide” was a mostly well-done conclusion that gave each character at least one good scene and ends with acliffhanger that makes one anticipate the next issue.

This issue may have some problems, but is a decentstart to a Catwoman-centric storyline. It has a genuinely good surprise and promises to answer dangling plot threads soon, but is also hampered by slow pacing.

The enjoyment of this issue depends on what preconceived expecations you have going into it. If you read it in hopes of a comprehensive answer to the Catwoman plot line, then you might be slightly disappointed. But if you read it to see a deep exploration of Batman and Catwoman's connection and wonderful art, then you will appreciate the issue.

The openingchapter of “I am Bane” is an ecliptic mix of humor, dark moments, and subplot advancements. While Bane does not physically appear in this issue, his menacing presence is felt everywhere and the cliffhanger ending will definitely entice readers to pick up the next issue.

Still, this comicis probably one of the best issues in King'sBatman run, due to its suspenseful writing and appropriately gritty art. It is shaping up to be on of the best Bane-centric storylines sinceKnightfall.

This is a fun issue that comparesBatman and Bane in a intriguing way. It is decent, but slightly flawed because of the abrupt ending and inconsistent art.

After several strong issues, “I Am Bane” stumbles due to a nonsensical plot and decompressed storytelling.

King's script createda mostly satisfying conclusion to the storyline, while being riddled with lazy resolutions and mediocre art.

The first issue of the Flash/Batman crossover is near perfect on both the writing and artistic fronts. There are some minor quibbles that may detract some readers' enjoyment, but it is a fantastic introduction to "The Button" storyline.

The penultimate issue of “The Button” still offers a few surprises and great action. The lack answers is concerning, but not enough to derail the fun and enjoyment of the storyline.

Despite a truncated ending, “The Brave and the Mold” was brief, amusing story with plenty of action, beautiful art, and funny bits to enjoy.

Despite a truncated ending, "The Brave and the Mold" was brief, amusing story with plenty of action, beautiful art, and funny bits to enjoy.

This issue is a divisive one. The character interchanges between Batman, Catwoman, and Gotham Girl are delightful. However, thescript and art is a little uneven at times, especially with the controversial ending.

The opening chapter of King's latest mega-arc starts off well. It has a promising premise, great art, and a sharp script. The concerns that drag down the book is mostly personal preference and are relatively minor.

King and Janin produce another fantastic issue of Batman that promises high action and fun easter eggs. It is also full of intriguing character work and a great hook. If one can get pass Batman's questionable skills as a savior and the Riddler's serial killer depiction, then it is a highly enjoyable comic.

King's insistence on telling “The War of Jokes and Riddles” in the most basic, broad strokes creates a dissatisfying reading experience. He insists to skipping over plot points and character motivation in favor of building a strong thematic through line. It is unfortunate that what started out as a promising storyline has turned into a frustrating mess.

King and Janin created probably the most enjoyable issue of "The War of Jokes and Riddles". Thanks to King decompressing the events more, readers are able to enjoy the intimate character interactions and story pivots more. One hopes that King will continue writing the rest of the storyline with a slower pace so readers can enjoy the details more.

The second part of “The Ballad of Kite Man” is decent. It has good scenes and pushes the overall narrative. But, King's continual refusal to show the actual war is a frustratingly odd storytelling choice. Furthermore, this deepening backstory for Kite Man feels fairly unnecessary for a such silly character.

King and Janin have made perhaps the first all-out, fun issue of the "War of Jokes and Riddles". It has actual narrative flow, good character moments, and pay-offs. If every issue of "War of Jokes and Riddles" was like this, it would have made for a much more enjoyable story arc.

This issue feels divisive. It has really high high points and really low low points. Fortunately, King provides enough twists to keep the comic fresh-feeling and emotionally resonant.

This issue ofBatman shows what King can do when he is not tied down to an overly ambitious story structure. He tells a straight-forward superhero tale and it works well. It is brief, exciting, easy-to-follow, and fun. This issue feels like what a Batman comic should always be.

King and Jones produced a satisfying conclusion to a brief, yet enjoyable storyline. It both perfectly articulates why Catwoman and Batman should be together and why their romance is doomed. That makes for a sad and highly emotional drama.

King and Mann's tale of a simple human social interaction is funny and introspective, while giving readers some new, unique perspectives. It is hard-press to find flaws with this issue. In fact, it makes me want to see King on a new Batman/Superman series.

The efforts of King and Mann produced another great tale. It was funny, witty, and dramatically interesting. However, the plot was not super complex and King's repetitious writing style did hinder the issue a bit. But overall, it was an enjoyable comic filled with gags, sharp one-liners, and fantastic art.

Despite some minor flaws, King and Moore's comic is everything one wants in a Batman detective story. Twists, shocks, interesting emotional arcs, and classic villains are all in the story. It is a testament to King's growing skills as a writer and a showcase for creepy and great comic art.

King and Jones make due with tougher material. Wonder Woman and Batman are not nearly as compatible as Superman and Batman. It shows in the script, but the creative team still puts out a decent effort in making the Diana-Bruce dynamic fun.

This issue is not King's best scripting efforts. It is riddled with odd character portrayals and plot points being introduced and then quickly dropped. However, King was able to showcase an enjoyable display of Batman and Wonder Woman's relationship. Additionally, Jones' art is drop-dead gorgeous and elevates even the most mediocre material.

King writes a flawless script. It has action, intrigue, and a looming sense of dread for our heroes. Only Janin's art is a little stiff, but that is a fairly minor nitpick in an otherwise flawless issue.

King and Janin hit it out of the park again with their second issue of “Everyone Loves Ivy”. It is funny, intriguing, and dramatic.

King and Janin craft a wonderful conclusion to “Everybody Loves Ivy”. It is unexpected, but emotionally and narratively satisfying with only some minor nitpicks.

King, Jones, and Janin deliver a fun, breezy analysis of Batman and Catwoman. Even though half the comic was silent and the other half were from older comics, none of it comes off as lazy writing. The creative team worked wonderfully in tandem to really display why Batman and Catwoman are good for each other. The present day parts were silly, but the flashback scenes said something more substantial.

King and Daniel created another strange, but thoroughly entertaining Batman story. It is a fun romp that is both odd and shocking.

King continues making some twists in his alternate-universe storyline. However, the adventure showcases the downside of the alternate-universe trope: it is too easy to make everything awful and the characters unlikeable. This makes it difficult for the readers to connect with anybody. Furthermore, the outrageous tone makes the ending unintentionally laughable.

Despite King's best efforts, the last issue of “The Gift” falls a little flat. The alternate world is underdeveloped and the ending is weird, bordering on crass. Booster Gold and the last scene are saving graces of the comic. However, even that is not enough to elevate it more than mediocre.

King and Janin made a comic that has some good characterization and beautiful art. However, the thin plot and an unusually incompetent Batman drags down the good qualities of the creative team's work.

It is clear that King and Janin have volumes to say about the Joker and Catwoman. These are great motifs that spin-off from the conventional “Joker secretly loves Batman” idea. But King forces the characters to jump through a lot of plot hoops to get there. It makes them out-of-character and, worse, idiotic. This issue is profound, but highly flawed.

There are some great material in this issue. Amazing artists, nice emotional beats, and an awesome twist ending. It is not a perfect wedding comic, but it is pretty darn good. Despite the spoilers leaking, some off characterizations, and redundant narratives, it would be a shame to not read the build-up to the ending. Check it out and form your own opinions on the resolution.

This issue is the follow-up to the heavy wedding comic that this title needs. It is light, while still progressing the overall storyline. It also keeps some deep characterization and clever humor. There are nitpicks with some of Bruce's choices and the treatment of Mr. Freeze that I take issue with. But overall, they do not drag down this story's enjoyment.

After some missteps with storylines like "The Best Man", King appears to be firing on all cylinders. His writing style seems to be better suited for these non-traditional, personal stories more. Here, King wields all of his storytelling tricks to maximum effect to create a dense, satisfying narrative.

Batman#53 is the perfect conclusion to the “Cold Days” storyline. It feels emotionally right and offers subtle character twists and turns that makes it interesting.

King and Wagner's one-shot starring Nightwing is a sentimental journey of two men. It is subtle and fun at the same time. However, in the context of King's run, it is also superfluous. Still, while it is not able to hit all of its emotional beats, it still resonates well enough for fans of the dynamic duo.

King and Daniel do a fine job setting up the next stage for Batman. The issue was light and breezy with a shock ending. However, the tedious banter and ill-fit art style does bring down the enjoyment a little.

King and Daniel upped the ante in the previous issue and their follow up is even better. The action, drama, and humor all play perfectly. Nothing feels overbearing or annoying. Daniel's excellent art even complements the script well. Overall, a great comic reading experience with only a few nitpicks.

Overall, the final chapter to“Beasts of Burdens” was underwhelming. The use of parallel storytelling and great art can only carry the comic so far. The build-up was lacking and the climax was a tad generic. What is worse, King's interpretation of Batman fails to emotionally engage, making the whole adventure feel empty and shallow.

King's script is both competent and flawed. He has many good, fun ideas, but the execution is always a bit flat. Fortunately, he is bolstered by great artists like Janin. This issue is a good example of what makes King'sBatman both a compelling, but also frustrating read.

This comic proves how meticulous King can be with his plotting. It also shows that he can show a proper pay-off that packs an emotional punch. While the Penguin narrative kind of peters out, the enticing promise of what comes next overpowers any of this issue's shortcomings.

The storytelling technique of splitting the issue into thirds shows how comfortable King is with his writing. While King can definitely write interesting, sympathetic characters, the problem is how he writes Batman. If it is difficult to root for the hero of the story, then the overall comic becomes harder to enjoy.

This comic is a worthy sequel to issue #38. It is creepy, weird, and off-putting. The protagonist is disturbing and perfect for this type of story. Sure, there are some logical stretches to make the story work, but it does not hamper an otherwise psychologically twisted piece.

Batman's head is twisted around now and he is losing his mind. But King and Gerads depict a man whose paranoia is starting get to him. The comic is wonderfully fractured and the art is the perfect accent to the script. Despite the criminal underuse of Professor Pyg's character and lack of follow-up from previous issues, this comic was one of King's strongest.

The “Knightmares” story arc is a fun and fulfilling narrative that examines Batman, while subversively advancing the overall plot. However, the finale for “Knighmares” is a bit of a letdown, because of a subdued twist ending and plot inconsistencies.

Williamson and March create a fun, fast-paced opening act of the Flash and Batman crossover. It is breezy, fun, while providing a sufficient amount of action and drama. It is still annoying that it interrupts the flow of King's story and the art is a little odd in some places. But for the most part, this is a highly enjoyable issue.

Williamson churns out a fun, but ultimately uneven chapter in “The Price” crossover. Hopefully, he can wrap things in a satisfying manner within the next issue.

King's return to the title has heralded one of the best single issues in his run. It is insightful, unconventional, surprising, and meta, without being overly-indulgent. Some minor nitpicks aside do not derail the quality of this issue much.

This latest part of “Knightmare” is a fun, light chapter with amazing art and action staging. However, due to a confusing ending and a well-worn premise, this issue also feels very thin and ultimately unimportant.

While this issue is a part of the “Knightmare” story arc, the parts that really shine are the portions unrelated to the overall plot. The majority of the comic was fun, hilarious, and colorful. Unfortunately, a quick 180 turn in the tone and the abrupt ending undercuts a lot of the fun scenes.

King's “Knightmares” ending was a fantastic summary of Batman's character. It may not reveal anything radically different, but King presents it so well. While “Knightmares” ran one or two issues long, but the conclusion was near-perfect. A great ending to a long story arc.

This issue is fun, but uneven roller coaster ride. It is an all-out action piece that is made mostly enjoyable due to some of King's writing quirks and Janin and Fornes' fantastic art.

King, Janin, and Fornes have crafted a thrilling, psychological mind-trip in Batman #71. It shows Bane at his most manipulative and Batman becoming more broken. This comic is an exciting shocking, unpredictable experience.

Batman#72 is a culmination of King's run so far. Fortunately, he sticks to landing so far and pulls old plot threads together with masterful ease. This issue has not only intrigued me for future storylines, but also retroactively elevates past issues.

King and Janin craft a quiet, but subtly story with Thomas Wayne. It works because of the interactions and the stark difference from the last issue. Even though this issue is hampered down by King's writer tics, the overall experience is a great character piece.

King and Janin prepare Batman for the next blockbuster storylineCity of Bane.The road to get there is adequate. While the overall premise is great, Batman#74 gets bogged down by a lot of narrative flaws. The metaphors are unsubtle, the dialogue is repetitious, and the pacing is a drag.

Batman #75 has some flaws, despite an overall strong opening chapter. An overly-used plot, plus some iffy art by Daniels drags down the quality. But, the strength in concept and amusing tone makes “City of Bane” a fine start.

Batman #76 makes for a fun, but disjointed reading experience. It does a good job on depicting the fringe benefits and pitfalls of Bane's domination. But it also jerks readers around from scene to scene with little finesse at times and has unnecessary Catwoman filler pages. Overall, the comic is an okay read with some storytelling flaws in it.

Batman #77's main storyline is a welcome breath of fresh air to "City of Bane"s slow plotting. However, the issue's enjoyment is dragged down by a laborious secondary plot.

Batman #78 is a great issue that tops off Bruce and Selina's personal arc. The dialogue is particularly well-constructed. Despite some silliness and weird placement within the “City of Bane” story, it is still pretty awesome. Easily the best issue of Batman in a little while.

WhileBatman#79 has a lot of great moments, it feels too familiar. It is almost as if King could not decide which Bat/Cat resolution to use, so he just did both. As beautiful looking as the art is and how great King's script is, it cannot escape the fact that it contributes nothing to the story arc.

Batman #80 has some over-due action sequences that are sure to thrill, as well as good character interactions with Flashpoint Batman and Gotham Girl. Despite a slow pace and a repetitive plot, this issue is a lot of fun.

For me Batman #81 pulls its narrative threads together in an oddly boring way. King teases just enough to keep things intriguing, but the mechanics of the storytelling feel very pedestrian.

Batman #82 was set-up to be a climatic battle. Unfortunately, pointless scenes and a lame, predictable twist ending drains the climax of its emotional weight. King seems more interested in allocating the drama to the Thomas-Bruce Wayne conflict. If that is the story that King really wanted to tell, perhaps he should have made it more focused and not crowd it with so many useless ancillary characters.

Batman #83 was a fine send-off for Alfred that also moved the plot along. Perhaps King was a little to liberal with the teary-narration, but the strength of the plot and the art make the issue work.

Batman#84 is a great, concise explanation of Flashpoint Batman. While the flashback sequences were elevated by King's expert use of reverse storytelling, it is ultimately marred by FP Batman's behavior in previous issues.

Batman #85 is a loose collection of good scenes that do not feel related to one another or to the other issues. King wrote good scenes and has great running callbacks. But the emotion gets bogged-down by his insistence to use clever literary devices. In a way Batman #85 is a fitting end to King's run, because it is a microcosm of his run:consistently inconsistent.

Tynion is a good writer with a decent track record of comics. This debut issue is no different. He hits all the appropriate beats, but because there is not enough time to establish a credible threat, it lacks urgency. Furthermore,Batman #86is a mish-mash of past plots make it seem more tired than provocative. While there is an underlying structure of a cool idea, it is hampered with retreads and an underdeveloped mystery.

Batman #87 is a step-up in visuals and scripting. However, I feel that Tynion still retreads past plots at the expense of different, more natural story developments. While the read is fun, the issue still feels dispensable.

For me Batman #89 reads like a mediocre, middle-of-the-road superhero piece. While there ‘s nothing egregious about it, it also fails to make a huge impression.

While Tynion's storyline is coming together with a promising hook, the main “twist” of the issue was a little pedestrian. Still, combined with amazing art, Batman#90 is a step in a more interesting direction for the title.

Batman#91 is weakened by having the Designer be the main villain. He is broadly written and his motivations and methods are still vague. Unless Tynion is planning on paying off plots next issue, it seems like “Their Dark Designs” will be regulated as forgettable in a few years.

While Batman #92 has a lot of slam-bang fun, it's still structurally a mess. There are too many things happening, and it's taking too long to get anywhere. This comic is both too fast-paced and padded at the same time. Not even amazing art by March could hide the issue's weaknesses.

As a conclusion, Batman #93 acts as a highly unsatisfying ending to a rudderless arc. The story bounces all over the place and encourages fans to read a completely separate arc, if they want any sense of closure. Not even super strong art, or fun story ideas can save the comic from delivering what I found to be a great sense of disappointment.

Batman#94 is a mostly enjoyable issue. It makes for a better read in a vacuum, not having read the comics prior to Tynion's run. However, knowing the context of the comic, it makes it a little less special, and runs dangerously close to being redundant. It's still too early to tell how “Joker War” will shake out yet, but this start may run the risk of being a retread of “City of Bane”.

Batman #95 is a slam-bang, fun action comic. The concept is simple and the action is explosive. There's also enough emotion to make it engaging. The plot falls apart if you think about it too hard, but it makes for a solid brainless adventure.

Batman #96 is a perfectly serviceable issue. One gets the sense that Tynion is building to something bigger, but right now he's laying the groundwork. While many of the concepts aren't completely unique, it's still a lot of fun seeing Batman, and other characters, reacting to the Joker's takeover. Tynion doesn't give readers a lot of plot right now, but fun enough ideas and visuals to keep them coming back for the next issue.

Like, the previous issue, Batman #97 falls a little flat for me. There's nothing out-right wrong with it, as it's well-made on a technical level, but many scenes don't rise beyond perfunctory. Despite that, it's still an entertaining and fun reading experience.

Batman #98 features a lot of the tenets of a great comic: awesome art, dynamic action, and decent character moments. However, it hardly does anything outrageously innovative, or reveals anything new about the characters. So far, Tynion's Batman barely rises above being a typical, enjoyable, action comic.

Like the previous “Joker War” instalments, Batman #99 is a middle-of-the-road superhero adventure. It rarely exploits its premise or gets into character head-space enough for me to feel an emotional connection, but it's just interesting enough to keep readers coming back. While this issue adds some much-needed character moments, they may not be enough to keep my interest in this arc afloat.

Batman #100 has a lot of ups and downs. It succeeds in delivering a smash-bang conclusion, but the logistics of why things occurred is thin. While it's fun, it also feels very shallow, because of unfocused writing and poor set-ups.

In my opinion, this issue is a good example of a fantastic artist elevating a mediocre script.

Batman #102 is a fun, breezy read. It checks all the marks of a good comic: cool premise, interesting antagonist, a fun adventure.

Batman #103 is an OK issue, but features nothing to make it stand out. The plot's been done before, and the characterizations of the new villains are fairly shallow. Furthermore, the lack of a consistent artist also robs the story line of a good visual tone. In the end, this issue is passable, if a little generic.

Batman #104 continues to be a mixed bag, in terms of quality. There are some really good scenes and ideas mixed in with pedantic, boring concepts. The art barely rises to the story, because of the wildly clashing visual styles. It's frustrating to see Tynion beginning to craft a more interesting character like Ghost-Maker, but stick him in a very mediocre plot.

In the end, Batman #105 is a worthy conclusion of the Ghost-Maker's debut arc. It makes me interested enough in him to want to see him again. Even if the issue's ending's strangely sudden, and a little empty, the strength of the climax makes up for it.

“Clown Hunt” showcased my favorite art, in a one-shot full of amazing artists. The wild, Fantagraphics style really stood out to me. It gave the tone a crazy drug trip. Focusing on the new character of Clownhunter, we finally got to understand some of his motivation, and a tiny bit of his back story. However, my biggest problem with Clownhunter is how unbelievably effective he is at killing Joker goons. He's only a teenager, yet he knows how to wire motion-detecting bombs to bodies? That really breaks the suspension of disbelief and takes me out of the story.

While Batman/Catwoman #2 boasts beautiful art and promising plots, it's also is a frustrating comic. The pacing and the confusing timeline transitions dragged down my enjoyment level, and also made it difficult to judge the comic on its own merits, instead of as a whole when the entire story's completed. This certainly feels more like a chapter in a book rather than an individual issue that stands on its own.

Batman/Catwoman #3 is the start of the plots really taking form, leading to some genuinely intriguing threads. However, the inconsistent pacing of the different plots means that parts of the issue drag, while others really shine.

Since Tom King has established all the separate plots, it's easier to navigate when he switches timelines. Even better, the plots are all in an interesting place. Despite some minor annoying writer tics, Batman/Catwoman #4 appears to be an indicator that the series will shape up to be an intriguing story, intertwining the three tales from across the past, present, and future time periods.

Overall, the way that Batman/Catwoman #5 focuses on interpersonal tension may or may not have a ton of mileage, depending on the readers' taste.

Tom King and Clay Mann continue to be on a roll with Batman/ Catwoman #6. The creative team really hit their storytelling stride and the series has some direction. The sudden scene changes and the Joker/ Catwoman friendship derail from the enjoyment a little, but this is still one of the strongest issues yet.

Batman/ Catwoman #7 is starting to show more flaws in the storytelling beats. Given that there is five more issues and maybe a Christmas one-shot special to go, one wonders if King is drawing out his conclusions a little. The plots are all interesting, but the structure of the three time periods maybe detrimental to the overall story.

The various storytelling threads are developing at a glacial pace. While it may all tie together in the end, reading it issue by issue makes it feel aimless. Furthermore, the developments that occur are more confusing than intriguing. The biggest saving grace is Liam Sharpe's art; it's weird and disjointed, but also adds a lot into the scenes' drama. Batman/Catwoman #8 feels like it continues to be a decompressed story that's saved by odd and idiosyncratic art.

While King brings up some interesting ideas, it's all already been said in his previous Batman work. With such a slow pace, Batman/Catwoman #9 is mostly saved by Sharpe's idiosyncratic art and the genuinely intriguing future plot.

Batman/Catwoman #10 is what I wished the entire series had been like. The time skips aren't a hindrance to the story, but really enrich the characters' journeys. It also feels satisfying that the various threads are finally starting to tie together.

Batman/Catwoman #11 is a mixed bag of aimless plotting and genuinely good character drama. It's unfortunate that King decided to make three different narratives of varying qualities.

While Batman/Catwoman #12 does offer an appropriately emotional conclusion to the series, the story's pacing problems and lack of romantic moments between the couple rob the climax of a satisfying resolution. In the end, perhaps King tried too hard to make a non-traditional love story while neglecting the essential element: romance.

Batman/Catwoman Special #1 is an excellent examination of Selina Kyle's life. It shows how different she is from Batman and Bruce Wayne in an interesting way. Furthermore, the art done by John Paul Leon and three other artists is a visual feat for men who typically have different art styles. Paul Leon should be proud that this is his last work.

Batman/Spawn is an excellent package of dynamic storytelling and intricate, detailed art starring two of comics' biggest characters. It's a real shame that the creators can only do one issue, as opposed to a full mini-series, because the story could have benefited from letting the ending breath.

The issue is also available in the “DC Noir” format, in black & white. This version highlights Grampa's unique, quirky art style.

Batman: Gargoyle of Gotham #2 has riveting moments when it focuses on the disturbing, new take on Bruce Wayne and the serial killings. The frightening art also makes this an ominous reading experience. However, the odd class warfare plot and the unrealized potential of the series' premise make for a slightly uneven read.

Batman: Gargoyle of Gotham #3 is one of the fresher takes on the Dark Knight in a long time. Nothing feels like a retread here. The only issue is that there are a bit too many new ideas and characters that it might confuse readers. Overall, this book is well-worth the long waits. Hopefully the next issue will not take another year to come out.

King and Marquez have set up an intriguing first issue, as it embraces non-linear storytelling and takes advantage of it in the mystery genre. Despite the abrupt ending, Batman: Killing Time #1 is a fun detective story that engages the readers with its non-traditional writing style and wonderful art.

Batman: Killing Time #2 showcases two comic creators in their prime. The writing is mostly sharp and the art is fantastic. Together it creates a beautiful package despite having a pedestrian ending.

Despite a somewhat meandering mystery, Batman: Killing Time #3 has plenty of action and fun character beats to keep the readers interested.

Despite some great action and developments, Batman: Killing Time #4, feels like it's starting to buckle under the weight of the plot. The writing in this chapter doesn't feel as refined as in the previous issues and the mystery is starting to wear readers' patience thin. However, it is still a solid comic.

Batman: Killing Time #5 demonstrates what rousing, fun adventure-mystery comic could be like when the creative of Tom King and David Marquez are firing on all cylinders. For the first time in the entire series, these creators are in top form, delivering high-quality entertainment.

Overall, the whole mini-series was a fun crime chase story arc. There were twists, mysteries, and plenty of action. It feels like more than just a typical action comic, without being too ponderous. Batman: Killing Time #6 provides characters and scenes that are fun and enjoyable, so much so that they almost overshadow the series' flaws.

While Aaron and Mahnke have given readers an amazing opening issue, with a clever conceit, Batman: Off-World #1 tends to prioritize style over substance. Perhaps it will evolve as the series continues, but for now, it is an entertaining detour from the mainstream Batman comics and it is only the first issue.

Overall, Batman: Off-World #2 is a fun diversion that doesn't seem to ever rise above its premise. While this isn't necessarily a bad thing, it may be an indicator that this series could become a forgettable adventure. I hope that's not the case.

Batman: Off-World #3 has refocused its plot to give readers a sense of anticipation and excitement. While the action is spectacular, it could lose readers with its exaggerated characterizations of both the villains and Batman.

While Batman: Off-World #4 continues the fun, smash 'em-up story, the main plot feels like it's floundering, due to the lack of any real, in-depth characterization. The art's more than worth the price of admission, but for me, this feels like ultimately shallow entertainment.

Batman: Off-World #5 has a more focused plot and some decent character beats. It is unfortunate that it is hard to get invested in the story because the villains and Batman are written more like caricatures than actual characters.

Batman: Off-World #6 is a book full of awesome art, wild action scenes, but ultimately a very pedestrian plot and paper-thin characters. If you like stories of Batman being super-cool, then this story has plenty to offer. However, readers may tire of this ultra-competent Batman who has no internal struggles continuously kicking aliens in the face.

Batgirl vs. The Riddler seemed to have some promise, but turned out to be an unremarkable adventure. The comic is competently created by Seeley and Jung, but it does not rise above mediocre.

Overall, the Bat-Wedding preludes ranged in quality. Some are surprisingly good and some are mediocre. Unfortunately, the 'Harley vs. Joker' one-shot ultimately feels the most pointless. The character ideas are seeds to great plots, but it ended up being a shallow examination.

Seeley pumps out another awesome and satisfying wedding prelude comic. This comic answers some fan questions about the Bat-wedding and also gives a good insight into the Nightwing and Hush dynamic. Only the strange alternate reality plot and epilogue drags the issue down a bit.

The Red Hood-Anarky is a breezy, vapid issue that showcases good characterizations and a decent plot. It is not the worst of the wedding specials, but not the best either.

These one-shot specials can easily be a boring cash-grab. Fortunately, Seeley infuses Damian's story with drama and action to create a nuanced look at Damian Wayne and his feelings about the Bat-wedding. While the art is spotty in some instances and Ra's role was compulsory, the issue still was a great Damian character piece.

Overall, Batman: The Audio Adventures #1 shows some storytelling potential, but is hampered by middling subplots and a weak comedic tone.

Batman: The Audio Adventures #2 features high-flying action, an interesting main story, and fun art. However, the various mediocre side plots and an inconsistent tone create more of a sense of confusion than excitement, hampering any enthusiasm for the rest of the issue.

Even though there are still some unanswered questions and a somewhat mediocre main plot, Batman: The Audio Adventures#3 is a highly enjoyable comic. The art and character designs, along with a lighter tone helps makes this tsle of the Dark Knight standout from other Batman comics.

Batman: The Audio Adventures#4 is a fun if breezy comic. The storytelling and art are well-matched and have real forward momentum. It's still not perfect, as there are still too many characters and storylines that don't seem to connect. Fortunately, it's still strong enough to be an enjoyable romp.

Batman: The Audio Adventures #5 is a bit of a mish-mash. It has some truly excellent art, enthralling action scenes, and a decent cliffhanger ending, but is weighed down by the ridiculous Killer Croc storyline that really detracts from the central narrative. Hopefully, future installments will clarify Croc's role in the story more, but until then it feels like a real drag.

While the main narrative of Batman versus the Demon's Brood provides a solid adventure for Batman: The Audio Adventures #6, these other aimless storylines really drag its pacing down. Not even the wonderful art can save this plodding series.

The entire series feels like a strange mish-mash of plots that barely connect, wrapped in a beautiful, but also inappropriately cartoony art. It should be no surprise that Batman: The Audio Adventures #7 would've been any different.

DC: Silent Tales is perhaps one of the most fun, charming one-shots in a long time. It does some surprisingly adept character writing and always delivers a good punchline. This book is highly recommended for both new DC fans or long-time readers.

DC's Ghouls Just Wanna Have Fun is a fun anthology for the spooky season and all-around a good read, with some really nice artwork.

The issue of The Flashwas just as enjoyable as the previous chapter of “The Button” storyline. While there are some nagging plot threads, the breezy script and solid art are not detracted from telling a genuinely story.

Williamson has a thankless task of putting together a middle arc to springboard future storylines. Fortunately,him and King crafted a mostly well-made, intriguing plot with excellent art. However, the ending was a tad unsatisfying. But, as long as readers come in with theexpectations that not every plot thread will be answered, they will have a fun time.

Williamson is doing a fantastic job pushing multiple threads in the Flash-Batman crossover story. It feels important and relevant to both titles. The latest issue delivers on all fronts with the drama, action, and intrigue with only some minor flaws.

Unfortunately, the conclusion to “The Price” is clunky and awkward. The main thrust ends way too soon and the latter half feels like it is loitering around. It also has no definitive conclusion. It is a disappointing ending to an overall fun crossover storyline.

All in all The Next Batman #1 was a decent first issue, and it did leave me interested in finding out more.

The ending is completely tacked on for the sake of a cliffhanger. It comes completely out of left field, and is tonally inconsistent with the rest of the whimsical story. Outside of the art, this segment is completely passable.

The art by Jack Herbert's nice, but there are a few character poses that are stiff and lifeless looking.

The whole story structure is a mess. It is only saved by the pretty and bright art by Emanuela Luppachino.

Gotham City: Year One #1 opens with a promising mystery, even though the art and small scale prevent it from being a fully immersive dive into Gotham's past.

Gotham City: Year Two #2 continues to have an engrossing plot, but is hampered by a lack of period feel for the era it's set in. Hopefully, Hester and King can create a more robust 60s era Gotham in later issues. Otherwise, it feels too much like yet another modern-day crime comic.

Gotham City: Year One#3 is at its best when it is a vehicle for Slam Bradley to act and react to the startling situations he finds himself in. He's a protagonist who's likable, and this is the key to Year One #3 being successful so far. Unfortunately, the unfolding mystery of the Waynes offers only drips of information, which could make it easy for readers to disengage from it. Slam as the main lead, as well as Phil Hester's wonderful gritty art. are make this issue a worthwhile read.

Gotham City: Year One #4 is a very entertaining read as it kicks its film noir influences into overdrive. Even a somewhat mediocre mystery doesn't dampen the sharp characterization and moody art.

Gotham City: Year One #5 is chock full of secrets and revelations that fall into place perfectly. Despite the fact that King relies a bit too much on the narration to describe the events, the overall dramatic effect is worth it. Hopefully, the final chapter will lead to an epic conclusion.

Gotham City: Year One #6 is a solid conclusion for a series that may have wavered for a bit, but then raced to the end. There are some weird race-related elements that hurt the final issue, but this was a rewarding ending to the series.

Nightwing is a decent enough comic, but is missing that big change in direction to give the series a shot in arm.

This current issue of Nightwing is where the story's themes start crystallizing and the book is stronger for it. Despite an extraneous Batgirl appearance and Raptor still being a boring character, this issue is solid action that raise some intriguing questions about Nightwing.

In short,Nightwing is a comic that is still struggling to findits voice and a captivating story hook, though Tim Seeley plants enough story seeds that can potentially grow into more intriguing plots in the future.

This issueis not only a solid entry in the “Night of the Monster Men”crossover, but also maybeone of the better issues ofNightwing despite a backward characterization of Batman.

This installment of “Night of the Monster Men” was very great, thanks to Orlando and Seeley's witty scripting and Antonio's solid art. If thestoryline's conclusion is as exciting as this issue, itlooks like “Night of the Monster Men” will end on a high note.

Nightwing #7 continues the disappointing trend of having too much Raptor. And that is a real shame, since other aspects of the book: the art or supporting cast are fun. If Seeley would just ease the spotlight off of Raptor, the book would be more enjoyable (like during the Raptor-less “Night of the Monster Men” tie-in issues). Unfortunately, given the storyline's title is “Rise of Raptor”, readersshould expect more of the same.

Nightwing pulls together a lot of plot threads that began when the title rebooted. The prior issues were fairly mediocre, but at least led to this satisfying conclusion.

The latest issue ofNighwing is a real treat for people hoping for a fun Superman/Nightwing team-up. Not even the inclusion of Superman's awkward continuity baggage can drag this issue down.

DC's Super-Pets Special: Bitedentity Crisis #1 does a fun job with tales (tails) about the various animals of DC. I appreciate that it tried to be a variety of stories that ranged from hilarious romps to heart-tugging yarns. Unfortunately, the more serious ones tended to be more of a dud than poignant. Overall, Bitedentity Crisis is a must-have if you love DC pets.

Overall, theTales From the Dark Multiverse: InfiniteCrisismostly satisfies. The premise was intriguing and logically paced until the somewhat rushed haphazard ending. While an enjoyable comic, its illogical, rushed ending ruins an otherwise good story.

Titans is a comic that has a decent script and interesting hook by Dan Abnett, but is hampered down by its weak art and lackadaisical villain.

This issue of Titans kicks the main plotinto overdrive, leading a thrilling, edge-of-your-seat cliffhanger. However, the awkwardly transparent dialogue and Booth's art preventsTitansfrom being a true must-read comic.

The current issue of Titans was fast-paced, character-driven, and appropriately emotional. The lack of action from the other Titans and the still-shaky art brought the score down a little, but this issue may be its strongest one yet.

The conclusion of “The Return of Wally West” certain lives up to its name. It firmly ushers Wally back into DC lore, while creating a exciting talethat teases intriguing future plots, that is unfortunately dragged down by the Titans doing nothing and shaky art.