Minhquan Nguyen Comic Reviews

A solid, harrowing debut that operates quite well as its own beast, though its mileage may vary for fans of the series it spun off from.

Azzarello tackles one of the most volatile combinations in humanity"religion and sin"and manages to render a compelling portrait, which grasps at some kind of truth about faith in the real world. His plot could use greater definition, however.

The story finally gets its plot moving in a coherent fashion, but you're still frustrated by the shortage of specifics.

Now we've really got a story on our hands, what with all the different forces gathered in one place and ready to combust at a single spark. Light it up, I say!

The issue keeps you very much interested in the outcome of Lono's path toward redemption by giving you something of an early climax, but puts quite a few plotlines on the backburner in the process

Azzarello's unromantic view of the world means that some characters, just like some people, may live, even die, without much meaning, but that makes for a less than satisfying comic.

A very definite resolution that nevertheless leaves a great deal unanswered.

Despite the lack of anything remotely resembling explosions, the drama in this issue is just as intriguing to read. And with Larfleeze as the nest issue's guest star, an explosion is only a matter of time.

It's been a very strong run for Cornell and Luthor on Action Comics, and this issue, good as it is, makes you wistful that its end is near. Only the promise of the ultimate blow-up can resign you to wishing the end will come as soon as possible.

Reign of the Doomsdays may not be the worst crossover storyline DC has ever produced (e.g., Amazons Attack!), but it's a strong contender. I can't wait until Cornell can use his chops for something worthwhile again. Unfortunately, that's still at least three issues away.

My jaw is to the floor"not in a good way. It's just appalling how this title, in the same hands that brought it such terrific storytelling for over a year, has suddenly turned almost hackish. I can't bring myself to take any more of this; consider this Dropped.

Only partially substantial and largely unnecessary, but it's still a very enjoyable reading experience.

First-class art with a mixed bag of writing. Ultimately, it's the story that matters, and no matter how much you love Hamner or Sook, they can't elevate a mediocre tale that far.

This is easily one of the least flashy versions of the Man of Steel yet, but also the most approachable. A strong start to what may or may not be a new golden era for comics' greatest icon.

Mildly entertaining with an important character development for this iteration of the Man of Steel, but also a bit too slow and more muddled, artistically.

We finally put Doomsday (mostly) behind us to concentrate on better things, although Pak possibly makes a major misstep along the way.

While still a bit light on the "Action" side of things, the issue has plenty of dramatics to keep you invested, and all signs point to a major confrontation with a classic foe next time around"though it might not be the one you expect.

While a compelling enough read, this story, like its star, doesn't reach to the stratospheric heights of which it is capable, and is further hampered by a mostly unmemorable backup feature.

A touching back-up feature, a competent (but not inspired) retelling of Superman's origins, and a completely disconnected plotline makes this issue one severely mixed bag.

Despite its flaws, the story manages to produce the sense of wonder this much-hyped series promised way back when. Let's see if Morrison can keep that going.

Imaginative and smart as always, but not all that inspired. This series still has yet to live up to its hyped-up promise, and those cloying back-ups certainly aren't helping.

Yet another disappointment from one of DC's "flagship titles. It simply doesn't bring the great and grand Superman tale we've all been hoping for, which means thus far, the new DC has done little to revitalize its trademark hero for a modern audience.

Easily the most fun I've had on this series since it relaunched; now this is the Morrison-penned Superman comic we've been waiting for.

A lot of great moments, each of which would be the seed of a great story, but mashed together, they all lack the impact they're potentially capable of.

The story begins to tighten at last, and the star finally acts like himself, only with some youthful zip in his voice and manner. Let's hope the Morrison magic can work again.

While the ambitious plot already teeters on the edge of success and failure, the storytelling stays strong, but the inconsistent arm drags it all down.

I enjoyed this issue quite a bit, but I suspect many won't feel the same if they don't love Krypto as much as I do. It's safer to say this is a more middle-of-the-road issue, considering the hokier elements you have to work with here.

The story suffers from both breathless pacing and unimpressive art, and a solid back-up feature can do little to help that situation.

The issue suffers from somewhat weak art, but otherwise shows Morrison in fine shape, delivering the kind of story only he can devise.

Mr. Morrison, it's only my appreciation for what you're trying to do that keeps me from going any further beyond calling this issue "questionable." I hope you can completely overturn my expectations in the next chapter.

The best thing that can be said about this issue is that it's an interesting experiment that doesn't quite pan out as anyone would hope.

Powerful in many respects, but confusingly executed. This is Morrison's eager, ambitious work in its rawest form, which is unfortunate because some polish on both the textual and artistic sides would have easily elevated this story to something approaching a masterpiece.

Way for Diggle to bring Superman back to basics"so much so that he lacks any novelty or freshness whatsoever. Dropped.

Though dragged down by mediocre art, Soule captures the essence of Lex Luthor's villainy, but also his appeal.

It sends some mixed signals on what drives Krypton's greatest villain, and it's hampered by somewhat messy art, but it's nonetheless a fascinating take on the longtime antagonist.

A strong first outing from Pak that's dampened by an unnecessary, distracting back-up feature. Pak's clearly making some risky choices in his approach to the Superman mythos, and a few pay off surprisingly well.

There may be more ambitious Superman stories elsewhere, but the character's output will have a whole lot more integrity if issues like this one became the textbook example of a Superman story for our times.

Crazy as it sounds, Superman is actually becoming fun again. If Pak-Kuder can continue this streak, DC's first and biggest icon may recapture the glory that made him a star in the first place.

Marvelously entertaining, stacked with the humor, adventure, mystery, drama, and that little touch of moral weight that makes for excellent comics.

Kuder's near-absence proves how crucial he's been to the power of Pak's Action Comics run. Pak gets Superman involved in some interesting discussion, though it doesn't really lead anywhere except for an ominous warning of future threats.

Only slightly more substantial than you feared a Doomsday story would end up, but not so much so to declare this a hit-in-the-making.

Mindless without the redemption of being entertaining most of the time.

If you can ignore the parts where Doomsday is involved, the story's not half-bad, and Kuder's art is always worth looking at.

Amazingly enough, you're excited to see how this story's going to turn out, even if it's been quite a slog to get to this point.

Doomed is over, but its dulling effects linger. Pak retreads old ground and continues in the same direction.

Pak's Action Comics is back in shape, ready to provide more classic Superman stories with a modern spin.

A Superman story that ventures into somewhat uncharted territory and finds fertile ground there.

If there's a mission statement to the reinvention of Superman during the New 52, it's make him more like us. Youth and inexperience went a long way, but the writers have definitely taken pains to give him a wider range of emotional experience: the cockiness of knowing he's the powerful man in almost any room, the allure of pure sexual attraction, the grief of losing his parents. Pak has been a committed part of that wave, carefully tuning Clark's voice to sound like a human first, a superhuman second.

An odd, simplistic little fable that doesn't really take advantage of the five-year jump, nor will it stand out to anyone reading for the first time.

The allure of new characters strengthened by gorgeous art makes the debut of the Legion Academy a worthwhile read. I highly recommend giving it a shot.

New blood seems to be just the thing to make Legion fun again; their adventures may be smaller in scale than their adult counterparts', but at least they get you more invested.

With three plots running at once in one issue, none of them get the chance to really grab your interest.

If Levitz will wise up and get rid of these largely disposable "co-features," and if Jimenez or his equal returns to art duties, this title may recover its early momentum. If not, it's likely to become as bland a read as its sibling series.

You'd think revolving an entire issue around one character would do more to make her palatable, but almost the opposite effect happens. This series is dangerously close to joining its sibling on the Dropped List.

The enormous lack of originality and imagination has finally sent this title to the Dropped List, officially and unfortunately ending my attachment to the Legion for the time being. Maybe I'll see all you Legion-heads again when Legion Lost #1 (written and drawn by the always dependable Fabian Nicieza and Pete Woods) comes out.

Like many of DC's digital-first projects, this series arrives with little relevance and even less originality. While the textual and artistic efforts are competent and respectable, ultimately, they give you little reason to follow this series on an ongoing basis"and I won't.

There's not much substance to the issue, but it proves that it can run on nearly pure adrenaline alone.

If you're in it for pure entertainment, this title works very well, but it's definitely not out to be intellectually and even emotionally stimulating in any significant way. Amicably Dropped.

I was about to start by saying how bizarre it is to have All-New Hawkeye launching when Hawkeye, which is fairly new itself, is still running. But then I thought of how Batman and Spider-Man have about half a dozen titles each, which makes two Hawkeye ongoings seem positively restrained by comparison. I guess what feels weird about ANH is how it feels like a premature sequel, as if the Empire struck back before the Rebels were done blowing up the Death Star.*

A fascinating yarn that offers a bit of insight into a compelling character, but without much reason for telling it.

If you're going to mash pulp and western together, this is the way to do it. Right now, you get mostly Hex being Hex, which is always fun, but later issues have to prove Gotham needs his presence, or this series will be little more than an interesting novelty.

The issue would have gotten a higher grade had it not been packaged with the almost pointless "El Diablo" feature, which should never have been attached to this title.

A grim, intriguing beginning for a series showing the grim, intriguing beginning of Gotham City's dark shadow. Get rid of the unworthy co-feature and this title will have plenty good going for it.

With a better-resourced backup, and a still solid A-feature, this title continues to offer stuff no other book on the stands does, though it has a ways to go before it deserves a cult-favorite status.

It's hard to write a Western that breaks out of the strict trappings of the genre, but Gray-Palmiotti are actually starting to do it, in two stories at once. Here's wishing them even more progress in issues to come.

Some great art and a solid wrap to Hex's second arc gets weighed down by a highly disappointing finale to the back-up. Can you say mixed feelings?

Whatever else you have to say about this series, you have to admit it's unlike any other title out there, which would be virtue in itself enough. Luckily, we're also getting some fairly decent story and art out of it, though it hasn't quite found its stride just yet.

By far the strongest issue we've had so far on this series, which just goes to show there's room for an old genre to grow, after all.

A mixed bag for sure"a disappointing end to one story, an intriguing start to another, and a feature which just sits there.

Get rid of the back-up feature and this title would be the perfect dosage of western pulp every month.

Just get rid of the co-feature and this would be a solid monthly indulgence of the Western genre.

As always, I find myself a bit surprised that I enjoy this series as much as I do. But I'd enjoy it a heckuva lot more if it wasn't always saddled with a back-up I can't really care about.

Gray-Palmiotti show the very best of their appeal by taking the unexpected and mixing and molding them in unexpected ways. Please get rid of the back-ups, now.

The back-up mucks around with history in a futile sort of way, and while main feature has all the right toys in the sandbox, they haven't resulted in much worthwhile play.

Even by the lower standards by which a title like this gets reviewed by me, it's barely scraping the bottom of mediocrity. It's entirely possible this is just a bump in the road for the otherwise decent series, but at $3.99, I'm not sure it can afford even that.

Once again, Gray-Palmiotti manage to surprise you with certain storytelling choices, redeeming the series for another month, especially with the promise of the 19th-Century Stormwatch appearing next issue.

I had higher hopes for this series, given its premise, but it's never really capitalized on its promise and it doesn't look like it will do so anytime soon. Dropped.

Splendidly entertaining, mostly unoriginal, with a lot of delightful art and some less-than-amazing art. And yet, the "Ame-Comi" part of the series remains a mystery.

Points for some great art which actually works for an American-made manga, but which should be put to use on a much better script.

It's been a long time since I've given a grade worse than a C- to anything, but this issue is a bit of a mess in plot, tone, and art, and trips itself even further by relying on some amazingly bad jokes. Obviously Dropped.

Splendidly entertaining, mostly unoriginal, with a lot of delightful art and some less-than-amazing art. And yet, the "Ame-Comi" part of the series remains a mystery.

An enlightening reintroduction of Animal Man to a new generation, with strong art. For the loyalists, there's stuff to enjoy, but it won't be quite as substantial.

While it's not quite substantial enough to be considered a must-read, there's enough new information here to be worth your time, though the art is not quite as potent as it should be.

With these "Dark" titles, DC wanted to bring some new flavors to the selection of mainstream comics, and if this series is any indication, they have a good chance of succeeding. It makes me very happy to think you can see a title like this side-by-side with The Avengers and Batman.

A decent story that works better as a study into our hero's competing interests as superhero and father, strengthened by Foreman's perfectly attuned artistic efforts.

This issue maintains its gripping spell as it takes mainstream comics to brand-new dark corners.

Like any good work of horror, it keeps you gripped the whole time you're in it, dreading and anticipating when things will take a turn for the even worse.

The best scary stories are the ones that keep you wanting more in spite of your fear, and Animal Man certainly has that quality going for it. Even better, it looks like Lemire and Foreman are just getting to the good stuff.

It troubles your mind and stomach for all the right reasons. This series continues to hold you in its grip as it gradually progresses to the inevitable crossover with Swamp Thing, the very idea of which grows more exciting with every issue.

Call it a movie or a comic, but either way, it makes great reading. Lemire's still redefining what it means to create a mainstream comic book, and if others take his lead, there's a great future ahead for the medium.

An important expository issue in the sense that it sets up the type of family drama we can expect from the story from here on in, as well as the losses at stake should things turn out for the worse.

The scary moments never stop on this title, and the odds just get worse and worse for our heroes"which, if anything, makes you more invested than ever in their fates. Even if Lemire somehow delivers the worst-written issue ever next time, you'll still be in for the long haul.

Solid and gripping, though the issue doesn't really carry you too far into the storyline. It's really about time Buddy became the great hero he's mean to be, though it appears he'll have to go through a purifying death journey to do it.

There's a lot happening here, but it's mostly world-building and groundwork for the next major showdown. Still more than substantial enough for your money, though.

Not the most punchy ending to an arc, but Lemire's solid writing, with strong guest art from Ponticelli, make this a quietly gripping one.

Nothing too outstanding just yet, but we are only in the prologue of Lemire and Snyder's collaborative masterwork. They only need to get you primed and nervous for what's next, and they manage that easily.

While the ambition of this storyline remains and with it a possibility to turn this arc towards a conclusion worthy of its hype, things seem less than impressive at present.

Highly uneven art and a story losing its momentum results in a mostly average read overall.

A couple highlights only illuminate the general blandness of the rest of the issue all the more, though it seems like Lemire is getting back a touch of the momentum he's lost.

The ideas are good, the execution less so, and the art only hampers things further.

When a hero becomes secondary in his own title, that's never a good thing, and the art is ill-equipped to deal with the massive amounts of action taking place in the issue.

It's truly amazing how low this title has sunk in the last few months. It makes you wonder if it's special enough to keep the faith in anymore.

Shockingly, it's not the most moving portrayal of a father losing his son you've seen this year, even though it involves some of the ostensibly more grounded characters in the DCU proper. That alone should tell you how desperately this title needs a reset at this point.

A much simpler, cleaner sort of tale, and, not coincidentally, something of a return to form for Lemire, with strong artistic aid from Leon.

An accurate depiction of grief in the wake of death, but not as emotionally impactful as it should be, and ultimately overshadowed by a plodding plot.

Given the utter shallowness of the villains at work here, it does seem like Lemire is simply phoning it in at this point, perhaps too occupied by Justice League happenings to focus on smaller fry. I don't know how much more of this merciless mediocrity I can take.

At this point, it's hard to tell whether your discouragement with the title is due to the seemingly endless tragedy it produces, or due to its wearisome execution.

Much as I appreciate the title's new duds via Albuquerque, the story feels too redundant and one-dimensional to make continuing on worth it. Dropped.

A roiling mass of fiction, metafiction, and realism that threatens to gnaw itself to death, if only to yield new, even more potent life.

There's a lot of glamor in superhero comics, and I'm not just talking about the perfect bodies, cutting-edge tech, and spectacular plots. I'm talking about characters who seem immune to the ordinary screw-ups of everyday life. For sure, there's a paradox to a person capable of superhuman feats yet making a total fail in common sense, but it's one that applies to all of us. It explains how you can manage a vast load of children's dependency cases on a daily basis, yet also eat a sandwich with the wrapper still on it fifteen percent of the time.*

At once tender and mythical, it seems Johns has found the exact tone needed to make Aquaman special.

The Others was one of the best concepts to come out of the new adventures of Aquaman, but each time Ostrander works with them, he saps away a good deal of your interest. Some advice to the DC bigwigs: find someone with tighter writing skills and a bigger vision to do the Others, lest you ruin their already damaged potential.

This series gives us a chance to take a good long look at Aquaman on his own terms, and he makes a pretty impressive figure. While the action of the plot leaves much to be desired, we get some very strong personal scenes that do much for building his character.

Forgettable in script and art. For those possibly panicked by the issue's scarcity, don't be; it's not nearly worth the five bucks you'll be shelling out.

This is Johns doing what he does best, which is telling superhero stories from a very human perspective. While still a bit slow to take off, the strong doses of action and drama, coupled with superlative art, will keep you pleased for another month.

Arthur's popularity may continue as a recurring motif in future issues, but after this one, you'll understand it's immaterial. Our hero doesn't care what you think of him; he'll do the right thing anyway. Slow pacing aside, this story packs good substance and deserves attention.

A perfectly enjoyable, functional story, though Johns misses opportunities to really hit home runs with his material.

While more complete and substantial than most issues, ultimately this one still serves as a prelude to a bigger story, albeit a very good one.

A light, breezy issue which introduces a few dramatic overtones to the title's second banana; the art, however, takes a step down, making the issue suffer more than it needed to.

Here is where Johns hits his stride, veering away from meta jokes in favor of real, old-fashioned, long-term storytelling.

Though a bit slow and stingy on details, the issue has a strong emotional pulse which quickens when the action gets going, and you can't deny Johns introduces a number of interesting plot elements here.

For those of you who remember Johns' superb early work on Teen Titans and the rebirthed Green Lantern, he's bringing some of that same magic here.

Since I'm a bit of an Aquaman fan, it's no shocker for me to say this, but I imagine it'll be shocking for many of you who share my sentiment"this may be on its way to becoming one of the most purely enjoyable superhero comics I'm reading.

It would not be out of the question to say that Johns' Aquaman will become one of the, if not the definitive runs for the character. If this doesn't merit our favorite undersea king his position as one of DC's icons, nothing will.

A great sample of what the modern superhero comic should be. Even with all the action and outlandish ideas, there's room for heartfelt emotion from both script and art.

Johns has always striven to find reflections of real life in the most implausible superhero stories and this issue has him succeeding beyond our expectations. Reis, as always, delivers top-notch superhero art.

A mostly straightforward, predictable, and windy use of a prologue chapter, one that does little to inspire excitement for the arc to come.

A satisfying follow-up to the first chapter of this latest major Justice League adventure. A solid start bodes well for the future.

If nothing else, there's a lot of excitement to be had here, although both Johns and Pelletier fall a little short of the maximum impact they could have.

A solid start to a new arc, with our hero set for some interesting new challenges, both on a political level and on an adventure level.

Pelletier clearly doesn't have the same polished look as Ivan Reis, but with Rod Reis bringing the same lush coloring, Pelletier can impress on his own right. He has a simpler style of figure, a little cartoonier, a little less detailed, and a little less emotionally convincing, but it still captures most of the same adventurous and somewhat sinister tones we've had on this series up till now.

With all the new material Johns is bringing to the series, there are distinct echoes of the glory days of his Green Lantern revival here.

Ostrander does a good job with the space he's given, but ultimately the potential of his story gets nipped by the fact that he only has one short issue to work with. This seems to me a sign that the Others is a big enough concept to carry a title of its own.

While his overall story is intriguing enough, Johns' execution continues to be something of a mixed bag. I really think comic book history will look back on Johns as a great ideas-man, but only an occasionally gifted craftsman. Looking at this issue, you can enjoy his constant additions to the Aquaman mythos, from the brusque Dr. Rhodon to the rejuvenation of forgotten villain Scavenger. But almost spoiling these bright points are moments of unengaging, even dull writing, especially the pontificating monologues.

The art and script are fine, but both can definitely use some extra zip.

The issue provides more suggestions of the villain's life than hard information, but it's nonetheless an interesting glimpse into his still-developing moral boundaries and attitudes towards a world he considers foreign. Stronger art would have been appreciated.

A flat look at Aquaman's biggest foe that makes almost no attempt to improve the character. If that wasn't disappointing enough, the issue also duplicates far too much material from Forever Evil without adding new spin. It shouldn't get credit for cloning another's work.

A few good thrills to be had, and as always, an enticing cliffhanger, although some of the storytelling choices leave something to be desired.

This is fantasy comics, pure and simple, with a bit of a superhero twist. Johns and Pelletier execute their work well, but fall short of the inspiration needed for excellence.

Considering this is Johns' swan song on the title, it doesn't have nearly the punch it should. There are too many defects in execution, and the art isn't strong enough to push past them.

A competent first issue to Parker's follow-up on a remarkable Aquaman run, though he perhaps expends his efforts on mostly the wrong places. The art can use a strong boost as well.

Nothing new to see here, or very little, anyway. Parker's execution is fine, but he hasn't proven himself a source of great ideas yet.

The plot requires an incredulous deficiency of human intelligence to operate, but at least the results are worth building on.

A lot of action fluff to pad the way for bigger, more important storylines to come.

A lot of activity in this issue, most of it fun and productive.

The first completely Arthur-centric issue in a long time and it's one of the least exciting. Not a good sign.

There are a lot of interesting connections to make between the Manhunter from Mars and the King of the Seven Seas, but Parker's too interested in his own plot to explore any of them.

I've been feeling the familiar numbness of indifference seep into my readings of Aquaman for the last few months, but I've never really been able to pin down where it was coming from. Parker's put a lot of effort into taking Arthur new, unexpected places each issue, and that's been a reliable source of interest. But it still feels like the series is lacking some vital spark to take it from diverting (read: worth perusing in the store) to critical (read: worth buying for many readings to come).

Successfully gets you to want more, though rather inconclusive for a one-shot.

The issue makes a good case for the Others to have a miniseries, not an ongoing, in a case of too little, too soon.

Weakly, even shoddily constructed at nearly every turn in almost every manner. Even if things improve from here on out, it's impossible to believe it'll be dramatic enough to redeem the damage already done. Dropped.

Entertaining, but extremely rushed and inflicted with slightly sloppy art. It also leaves you in confusion as to the direction and overarching plan for this series.

For an issue where the world nearly met its end, it all feels like mostly a letdown. I think I'm willing to see if a new arc can catch my interest, but as it stands, the series feels like it's just making itself up as it goes along, with no idea what it wants to be or do.

The issue seems to use the new arc as a chance to start afresh, with a more accessible storyline and stronger art. Worth a second chance.

Things keep rolling smoothly in the world of Archer & Armstrong, though Van Lente seems to be making a concerted effort to tighten up his cast and give some actual direction to his story.

It's hard to tell if Van Lente actually has a serious story up his sleeve or if he's just playing around. If it's the former, he has a lot of work to do; if it's the latter, he doesn't do quite enough.

A very mechanical sort of issue, reusing a number of typical comic book tropes with Van Lente's humor to patch it all together.

Van Lente never succeeded in getting me much attached to the characters, nor much invested in the story. There are more promising projects coming down the pike, which makes it easy for me to Drop this series for better things.

A solid introduction that could have punched itself up a little better with more substance.

There's a lot more we have to know before we can tell if Duggan knows what he's doing, but there are positive signs in this issue.

Things are starting to spiral out of control on this series, and I don't mean just for Arkham itself. Duggan started off with a great premise (Arkham set up in Bruce's family home), delivered an interesting follow-up (Bruce enters as patient to investigate murders within), but now seems to be foundering on his next step. Last issue's Joker revelation definitely threw the story off track, but Duggan hasn't always kept a firm hand on the steering wheel to begin with.

And just like that, we have merely another Bat-title on our hands. This is why people get cynical about Batman comics; DC releases yet another series starring the Dark Knight, promising it'll be different from all the others, and it ends up being Bruce stalking and beating down some madman with a shtick. Some might protest that all Batman stories are like that, with such reductive thinking. My rebuttal: then we should seriously reassess how many Bat-titles we're willing to support.

From the moment you start reading, it's clear Busiek gives you a story quite unlike anything else on the stands right now, but we know too little to know whether this is a masterpiece in the making.

Busiek continues to prove the master of finding the universal elements in extraordinary circumstances, and at the rate of Anderson's artistic evolution, we'll have a near-perfect series before long.

A little preachy and obvious with its message, but otherwise another terrific glimpse into an oft-ignored area of the superhero genre.

The art is comfortable, though not ideal, but the scripting remains a treasure. Busiek may be the most cost-effective storyteller in the business, delivering more meaning and substance in one issue than most can in six.

A lot of story for not as much usable information. Although Busiek and Anderson's skills are very much on point, it's not quite as meaningful a product as previous issues.

Though entirely focused on the purely superhero half of the series, Busiek doesn't lose sight of the humanity which makes the title's spirit.

Astro City has always had a somewhat confusing relationship to its superhero side, which reveals itself in this issue. Still, there's enough of Busiek's usual spirit here to make the story worthwhile.

A bit repetitive in regards to the obstacles our heroine faces, but otherwise intelligently written, with plenty of material for you to mull on.

For once, an Astro City issue that reads like more of the same superhero nonsense.

Busiek tackles another untrodden area in the superhero genre and gets some very good material out of it.

I have my doubts as to whether Hopeless can deliver a story strong enough to overcome the inherent distastefulness of his premise, and while this issue doesn't settle the matter either way, it does have signs of being more than just shocking.

Even though the technical parts of the issue are sound, I just don't think I can stomach seeing young heroes get killed off for so little reason and with so little meaning"twice a month. It will take some work to convince me not to Drop this series in a couple issues.

The series vacillates between the truly enjoyable character bits and the largely dull and pointless murder scenes. I might just end up dropping the series anyway, since I have no interest in seeing anyone else get killed off.

For what it is, Hopeless does a fine job. The only question is whether you really want to accept what he's offering. I, for one, do not. Dropped.

Loses points for being such an obvious money-grabber, but otherwise a solid chapter in Captain Marvel's greatest challenge since she took her new name.

Still one of the"I'm just gonna say it"funnest products from DC nowadays, Batgirl lets you into a sunnier side of Gotham. The inclusion of Damian Wayne into the mix offers one of the best characterizations of him yet, and adds a whole 'nother level of entertainment to the issue.

In the grand scheme of fiction, you need your gripping storylines and your just-plain fun stuff, and Batgirl fits the latter bill very well. Still, a little more attention to the crime-fighting aspect would help for you to take this title more seriously.

Batgirl tends to carry you away just by being charming and fun, but it really needs more mission substance to be a true superhero title. Miller takes steps in that direction, but there's still a ways to go.

This issue gives you the more serious side of Batgirl"and it's a good look. I wouldn't mind a little bit more of this kind of thing, since Miller does pretty well at it.

Two lovable characters in total sympathy with each other, a foreign setting, fully-realized, oddball villains with a hero-and-world threatening plot, with a lot of laughs tossed in? If this isn't what comics are for, we might as well just stop reading.

Miller tries to paint over the major gear-shift in story as best he can, and there are some enjoyable moments, but this is definitely not the way anyone expected this series to go.

Story-wise, we'll have to give up the plot as a wash, but the issue is the perfect reminder of why this series and character have so deeply captured our affection. But save your tears; as Steph says, "It's only the end if you want it to be."

I'm glad to see that Simone is still plugging away, trying to capture the spirit she wants for this title. She gets pretty close here, but is hampered by less than impressive art.

Come to this title with no prejudices, and the smart writing and luscious art will soon worm its way into your heart. Barbara Gordon may just earn her bat again, if Simone capitalizes on her momentum here.

It's obvious Simone has a lot of elements she wants to juggle, and that there's uncertainty as to which direction to take Ms. Gordon, but the series remains engaging and well-told.

The A-story still hasn't sold itself, but the character work with the titular star and the interplay with her supporting cast and guest star almost make up for it.

It hasn't been an entirely smooth ride, but having Barbara back in costume has been enjoyable nevertheless, and it feels like she's finally figuring out her stride.

I dunno. While the reading hasn't been terrible by any means, Simone still seems to be struggling to capture the spark that will make this title live up to its hype.

So far, the norm for this title is to have a handful of effective moments and another of tiresome, forced moments. Still, there's enough virtue to the series to keep it on my radar for the long term.

Simone's chops are such that the issue flows well, no matter what, but the story's pulse still beats weakly, and the art adds little life support.

Little improvements here and there, but the series' overall flaws are quickly becoming too great for such minor changes to matter.

I understand that this issue is a one-shot tie-in, but the quality of this series has been degrading for a long time, regardless. I'll stick it out a while longer because Simone's attached to it, but I might as well say right here I don't have much confidence she can turn things around.

While the discussion of real-world issues is pretty thoughtful, it raises more questions than it answers, and the superhero stuff feels flat at best.

Though tempted to stick around to see what Simone can accomplish with frequent and sympathetic collaborator Ed Benes, I think a year's worth of disappointment is enough. Functional should not be the standard by which this writer operates with this character. Dropped.

An issue that reads like Simone has finally figured out how to write Batgirl without trying too hard, boosted by strong, grounded artwork from Pasarin.

Everything you want from Batgirl and so much more. Actually worth the hype in almost every way.

Density's usually not a virtue in comics, but it is when every line of text simultaneously offers necessary information, advances the plot, fleshes out a character, or expands the world of Burnside, doing the same amount of work it would take other comics several issues to accomplish.

It'd be nice to get some villains of real substance, but pure entertainment is a decent attraction, too.

Stewart-Fletcher falter a bit in straightening out Babs' motivations, but eventually get her in a good place by the end of the issue.

Can you believe it's only been five issues into this new run? Feels longer, doesn't it? The specific vibe and characters of Burnside feel so fully realized, so warm and familiar, that at times you get the impression Babs has lived here her whole life. But more than that, a lot has happened since Babs arrived: a wealth of new friends at home and at school, academic struggles, Dinah moving in and moving out, several romantic entanglements, and most of all, newfound celebrity and infamy.

As annuals go, this one isn't terrible, but you can't come away from it without feeling like each story got short-changed a little. The art gets great treatment, however, and picks up the stories very well, so it's not a total loss. Despite the Batman Incorporated stamp, the issue only sticks to that concept half the time, so don't go in expecting a full tie-in.

I'll let the issue's appeal speak for itself. The Riddler is confounded by a riddle left where he his final prize should be: "What arrives / at any time of day or night / always ready / to fight the good fight?" From the rafters, Robin leaps out, "Answer?" and Batman joins him: "Justice!"Ka-bam!!!

While some of the novelty has worn off, it reveals a surprisingly solid bit of storytelling underneath with plenty of laughs still attached. If we can get Case to draw the whole issue every issue, that'd really ice the cake.

The first feature represents an experiment in more serious storytelling for this tribute series, and ought to be commended. The second feature reminds us why the original show became such a mockable fan-favorite in the first place.

Still as unrepentantly silly as ever, but offering little that requires forgiveness, aside from a comparatively underwhelming epilogue.

In TV terms, it's a decent bit of entertainment, the kind you'd watch if you happened to catch it, but not the kind you'd go out of your way for. Dropped, on friendly terms.

While it has some redeeming points, it's overall a disappointing effort, especially from a piece of work with Snyder's name attached to a character for which he's become famous.

A rather pointless kind of read, largely devoid of the complexities that make Bane such a great character and Tomasi such an admired writer.

As ill-conceived as the last time Pak wrote a Mongul-related story, the annual is barely held together with solid artistic efforts and your own good graces.

Certainly not what you might imagine from a Batman-Superman comic, but that's in no way a bad thing in this case.

It may not be the best or most outstanding new series from DC right now, but it has the virtue of being the most surprising, practically all of it in a good way.

For an issue ostensibly about Doomsday, Doomsday is the least interesting figure in it. It's most useful for those who missed Action Comics #23.2: Zod, but even then you won't get much out of it.

A reader who comes in with any kind of foreknowledge won't find much stakes to hold onto, but there's still plenty to enjoy from the script and art, regardless.

A solid finish to a solid arc. The issue makes its points clearly, though without much brilliance, and there's plenty of details to enjoy throughout.

It takes a bit of effort to get a handle on what the story's even about, much less whether it's any good, and the art is ill-suited to convey its dramatic weight.

Pak clearly has a point he wants to make with this gamer spin, and he's willing to trample over the integrity of the plot to do it. Booth's art does not make up for the shortcomings in the script, either; it's far too full of flash for that.

Ill-conceived as the first two chapters of this arc have been, it is quite a blow to receive such an unrewarding conclusion.

Pak gets somewhat back into form with a likable portrayal of both sets of Worlds' Finest, but the substance is also somewhat lacking.

Very much on the thin side, with some technical annoyances sprinkled in the writing, though the direction of the plot and characters is very interesting.

The story could have been great, but it needed more time and thought than Lemire got or provided. With so many issues in a row being this disappointing, I'm starting to think this series isn't worth the $3.99-a-pop investment.

Thin in almost every respect, though the arc isn't"here it comes"doomed just yet.

Too erratic and indecisive to be worth the extra money it charges. Dropped.

A very interesting character study on one of the most complicated characters in the DCU. Fitting for the son of Batman.

Anytime you make Batman smile is like playing with fire, and fortunately, Tomasi manages to do it several times without burning himself.

The chain of events is entirely traditional to what you already know of Bruce and Dick, but the execution reveals new layers to their relationship and mutual past that is much needed in this new continuity.

Other Bat-titles may deliver greater action, more potent mystery, or zanier plots, but none have made the Dark Knight and his sidekick seem so sympathetic and accessible. And anyway, this title's not short of action, mystery, or zaniness by any means.

Among the pure superhero dramas being put out by the new 52, this one counts among the best, weaving tremendous character work and gripping plotting at the same time.

It's a very different kind of drama and Batman story Tomasi's telling here, but a powerful one just the same, very much the rival of Scott Snyder's acclaimed work on Batman.

Some blisteringly explosive action, but the story's resolution falls a bit flat, as the dialogue takes a turn for the clich. A solid read, but a slightly disappointing end.

Tomasi delivers what so few writers do: a satisfying conclusion to his story, where you feel a real sense of accomplishment, of major development. The emotional rewards from this arc feel like good compensation for your time and interest indeed.

Not only forgettable, but downright counterproductive, making this issue seem like it comes from a completely different series than what we've been getting.

A downtime issue for the Bat-family that's actually not down most of its time, but with more family than you might think.

A worthy read from top to bottom, which only lacks so far in knowing exactly where the original source of all the tension comes from.

A solid, emotionally-driven read complicated by the presence, however slight, of other storylines. The pick-up art towards the end also tarnishes an otherwise visually sound issue.

Much as you'll love the big emotional moments of the issue, the actual plot provides a poor vehicle for them, and Giorello's art diminishes the usually sleek look of the title.

Tomasi kicks off his tie-in to the big Bat-story of the year with much pizzazz and not a little disgust, and the art only enhances both elements.

This isn't likely the last time Damian will face Joker, but it surely has to go down as the definitive confrontation. An action-packed issue that's also emotionally charged under the surface.

Touching and full of soul without ever emasculating the characters, although lately we've gotten a bit too much of this kind of thing instead of actual plot.

About the finest depiction of life after loss in a superhero comic as I've ever seen. This is Tomasi and Gleason at their very best working on material that not only plays to their strengths, but also goes beyond the contours of the costumed caper genre.

Plays directly to Tomasi's strengths as a pure character writer who enjoys layers of symbolism and meaning, which in turn plays to Gleason's strengths as an inventive and thoughtful artist.

Full of emotional swerves, this issue actually succeeds in making Jason Todd a figure of sympathy even as it pushes Batman ever closer to the edge of self-destruction.

Rather than repair the at best distant (at worst bitter) relationship between Batman and Batgirl, the issue calls attention to the weaknesses and vagaries of their bond, besides suffering from noticeable scripting and artistic defects as well.

Again, there's not much in terms of plot going on,* but the studies in character are more than engaging enough for the issue, especially with some outstanding art behind it.

It's the gift that really needs to stop giving. A very good piece of evidence that the Court of Owl's time has run its course.

A bit of a mismatch, art-wise, and not exactly the most enlightening exploration of the featured villain, but between the lines, you can find some compelling commentary on Two-Face's fractured psychology.

The issue reminds us that you can't bring back what's lost, but you can always repair what's left. While Gleason gives life to a wishful fantasy, Tomasi gently guides us towards the last stages of Batman's grievance cycle.

Execution is everything, and between Tomasi and Gleason, they have turned fairly straightforward stories into thoroughly engaging reads that frequently have marks of brilliance.

As emotionally driven and action-packed as this issue is, content is a little lacking, which leaves it less exemplary than usual.

It's not often that the civilian part of a superhero's life is the most interesting, but Tomasi makes it more than that in this case. Bruce's personal problems are part and parcel of his problems as Batman and even more compelling in many ways.

After all the efforts of the past few issues, Tomasi winds up with a less than stellar ending, though it has its outstanding moments.

Tomasi doesn't make the best use of his guest star, but it's a spectacular good time nonetheless, promising more to come.

Formulaic in plot and surprisingly weak in character, this is Tomasi at his least inspired.

Too much exposition and feet-dragging brings down an otherwise enjoyable team-up between two unlikely sympathetic characters.

One of the rare occasions when less substance and more action would've profited the issue, but it's a good adrenaline rush of a read all the same.

Pretty much zero progress on the plot, but an outstanding bit of character interaction with great art.

Great art and some lovely character moments, but substantially a bit thin, especially for committed fans.

Tomasi's strengths are readily visible, but whether he can overcome his weaknesses remains to be seen.

Despite some spoilage, the issue's thrills and sweetness remains mostly intact.

Any comic book geek worth his salt has wondered what would happen if Gotham had the kind of superheroes that Metropolis and Central City does, and the conclusion is Gotham probably wouldn't be a crime-infested disaster for long. This would definitely be the case if Bruce were somehow to gain superpowers. You know he'd figure out every application of every ability, no matter how minute, and he'd whip that city into shape faster than Justin Bieber makes an asshole of himself.*

No surprises here. Regardless of the time and person, Robin is always there for Batman.

Not too many writers can scrabble together so many players into one issue and make each feel like an important cog to the whole work, but Morrison manages to do just that.

It's very hard to pin down the appeal of this series, but I'd wager it has much to do with the anything-can-happen energy you get from the script and art. Morrison hasn't lost a beat in the long hiatus; Batman Inc. is quite as entertaining as it was before.

One of the most effective and thorough character pieces I've seen of a person who's been a bit poorly defined up till now.

For sheer entertainment alone, this issue ranks up there for one of Morrison's best issues in the last year.

As always, I applaud Morrison's ability to write something which is just purely entertaining, yet rises above a guilty pleasure. Still, it'd be nice to get some movement on the big, underlying plot though.

A fascinating interlude, but also somewhat contrived and beside the point. As Damian astutely points out, "Nobody knows the future," not even Batman.

In many ways, you have to earn your own reward from a Morrison script. On the plus side, this one's a real doozy, and what you get out of it, should you try, is equally rich.

Whether bound in continuity or not, it really feels like the end of days for Batman and all he cares about. The brilliance of Snyder's Batman notwithstanding, Morrison's is very much worth a look as well.

While I still question the ultimate necessity of Damian's death, I can't deny that within Morrison's greater work, it is completely well-earned.

Strictly a transition issue, allowing us to recover from the trauma from last month while psyching up for the next arc and the ultimate conclusion of Morrison's Batman epic.

More set-up than story, the activity in this issue is so low-key that even Burnham's usually energetic art feels stifled.

Besides being mostly a waste of time and an unforgivable and wholly unconnected interruption to an important storyline, it is also occasionally crass. Burnham's enthusiasm is apparent, but it's improperly channeled.

Just because it won't necessarily go down in history as another of Morrison's classics doesn't mean that it can't be a better than average story.

Morrison is mostly wrong. You probably won't hate the issue, but you will mourn for the greatness it could have been. With the DCU largely ignoring its presence, Batman Inc. is the lone artist shouting to be heard on his street corner while the rest of the world passes by, his message not fully-formed enough to vie for anyone's attention.

This issue really worked well on every level. There is still some doubt as to the value of multiple Batmen, particularly since the original is portrayed so vividly here. Even compared to the characterization of Catwoman, the Japanesecharacters lacked depth and credibility. It would have been valuable to have more layers to Jiro or Lord Death Man's personality and backstory revealed, but the issue is packed and satisfying, regardless. If this first issue is an indication of thecaliber of work to come, then there is a lot to look forward to from this story and its team of creators.

Honestly, the concept of Batman Incorporated still has some ways to go before its success in the long run can be seen, but at least the idea is driving some exceptionally enjoyable stories. Issues like these prove just how boundless creativity can really get in comics. If this series can maintain that feeling, there's no doubt it can be one of the best comics in the next year.

Excepting a bit of Morrison-esque confusion in the dialogue, this issue is a reward and treat for those who waited patiently those three months for its return. If the quality stays this high, I personally don't mind the wait.

Theres a wealth of detail amidst the jumble of material Morrison gives you, but you may need a couple re-reads to truly enjoy them.

It seems Morrison has only scratched the surface of what Batman Inc. is really going up against, as you can come back to read the issue again and again, and still find something new each time.

With all the material stuffed into this one issue, and with great treatment from both writer and artist, you're getting a bargain at DC's held-$2.99.

On-the-ground storytelling at its finest, jazzed up by a Batman spin. You can't ask for better than that.

A fun idea, executed well, but with all the gloss and lack of depth as an excellent action movie.

Entertaining, for the most part, but considering nearly a quarter of the pages is basically a recap of past Batman Incorporated issues, the price still gouges in the end.

It's not original, but there's thought, rather than pure exploitation, driving the series.

Snyder-Tynion are still introducing you to all the players, but given their number and variety, it's looking like Batman Eternal will be quite an enormous story.

One thing's for sure; if too many issues of Batman Eternal are like this, I won't be able to tolerate it for very long.

Some parts are more crucial than others"one plotline in particular seems like dead weight"but the mystery deepens nicely here.

Economic considerations have a way of making all commitment decisions easier. Batman Eternal is not bad, but it's too niche compared to its other weekly competitors. Amicably Dropped.

A very strong start to what may be one of the great Batman stories of the year"you may not want to trade-wait this one considering its terrific merits.

With all the material stuffed into one great-looking issue, you can feel satisfied that you're getting your money's worth.

Rich in detail and executed with crafty subtlety, this story is a prime example of solid storytelling paired with invaluably supportive art.

Whether this is a case of too many cooks, or too few, or simply not the right cook, this series has gone from promising one of the best storylines of the year to most deteriorated.

A few months ago, this looked to be one of the best products coming out of DC for the year. Now, it's yet another of a long list of titles that illicit nothing more than resigned sigh.

Honestly, an issue full of Nguyen's miniature figures is worth the price of admission alone, but with some fun storytelling and decent jokes, it's really as good as you can hope for.

More story-driven than ever, this series is starting to find the right balance between cute and consequential. Even if it weren't, the silly gags and Nguyen's irresistibly charming art is worth the price of admission alone.

Li'l Gotham doesn't need to be anything more than sweet and amusing, but it has every capability to be those things and smart at the same time. Unfortunately, if this issue is any indication, subsisting on its own ideas without the holiday gloss is not a promising move for the series.

One can only hope that as the number of holidays Nguyen-Fridolfs haven't written about dwindles down, they'll be motivated to aspire to greater things, because festivities aside, these holiday stories aren't really cutting it anymore.

Story-wise, it's all a bit thin and messy, and you don't get much in the way of character growth either. But you do get the Bat-family eating tacos, so it all sort of evens out in the end.

While I highly recommend handing over your hard-earned money for this light, adorable series, I can't see myself reviewing it perpetually. Amicably Removed from Coverage.

Hurwitz comes at one of the oldest stories in comics from a unique angle and mostly succeeds, though he only manages to add a mere ounce of fresh air to the Batman mythos.

Despite the questionability of releasing a Halloween story in June, the annual is a solid product, filled with moments of true suspense and genuine character. That said, without some familiarity with Hurwitz's work on these villains, you won't get as much out of the issue as you should.

Redeemable in places, but a very, very disappointing debut from a writer who seemed so much more capable of greater things. Let's hope this issue is a sample of growing pains more than anything else.

Enough of an improvement to give you reason to hope that last issue was just a case of debut nerves, but not enough improvement to make you believe it'll all go up from here.

Fascinating in parts, and definitely thought through, but both Hurwitz and Finch make some dubious creative choices which prevent this title from rising to a higher level.

If this was Batman being written for the first time around, maybe Hurwitz's take would work a lot better, but instead it flies against precedent and fails to achieve the sympathies it means to invoke.

I don't know if the last issue of this arc has what it'll take to keep me attached to this series. There are a lot of series to read out there, and I'm happy to Drop a mostly mediocre one to fish for something better.

Shoddy character work, a fairly straightforward plot, and insipid art combine to produce an unimpressive conclusion to an unimpressive arc. Most likely Dropped.

Quite possibly one of the most remarkable and sophisticated commercial animated works in this hemisphere. Considering Batman: The Animated Series started DC on this path, it's only fitting that Batman would offer the material for one of their best efforts yet.

Winick offers a fertile premise and some promising ideas, but all rather too underdeveloped to really predict if it'll turn out worthwhile or not.

Conceptually, the issue has a lot of merit, but the execution falls flat in almost every respect, making it very hard to distinguish itself among the many excellent Bat-titles already on the stands.

About the only things still recommending this title is redeemable writing and competent art, and that's simply not enough for the long haul. A shock to the pace is seriously needed for Batwing to stay off the Dropped List.

An improvement over the last issue, to be sure, but not such a one to keep this title from getting Dropped.

Like reading a chapter out of a good novel, the script carries you along with it, no matter how wordy or involved it gets, and the art completely immerses you into the story. Just great, human storytelling through and through.

What appears on the surface to be a belated attempt to do right by the title's predecessors only tarnishes their legacy even more with a conclusion lacking any good-faith effort to capture intent and spirit of what came before.

Absolutely one of the strongest titles in DC's current roster. It does not break ground with its ideas, but it takes the simplest concepts and makes them like new with a great combination of thoughtful writing and outstanding art.

Nothing in this world is perfect, but this title does a pretty good impression. A joy to read, from text to imagery.

A remarkable arc in every way for Batwoman's first time out solo, resting on her own laurels. This is easily one of the finest offerings DC has in its collection of titles, and absolutely deserves every bit of praise it's been given.

Very much a prelude issue, complicated by a somewhat complex structure and an artistic readjustment. In the end, though, the series feels quite as solid as it ever was.

Somewhat less suspenseful than the opening arc, but just as focused and driven in telling a good story. Batwoman continues to impress, remaining a solid performer in DC's line of titles.

Each plotline proceeds smoothly, allowing the big picture of the story arc to come into focus. Batwoman has become an incredibly dependable title for getting a balanced dose of action, character work, intrigue, and the supernatural.

At this point, Batwoman's vendetta against Medusa comes second to the personal drama happening among all the characters, but the creators keep you invested on both fronts.

If you need any evidence that Batwoman has every capability to be the equal of its more famous counterpart, look to this issue. It may not be as wildly ambitious in its abstract concepts, but its more grounded tone, if anything, resonates with you eve more.

With another rock-solid arc to its name, Batwoman retains its position as one of DC's strongest titles, offering first-class art, emotional and entertaining scripts, and simply a distinctive flavor of superhero all its own.

About as perfect an opening to a story arc can get. It offers you everything you'd want: meticulously crafted writing, breathtaking art, superhero fan service (in the most innocent sense of the word) to beat the band, and, most importantly, gripping, engrossing stories.

If you want to see the World's Finest women, Blackman-Williams are making a pretty good case that these ladies are it.

While the big baddie isn't quite the threat you thought she'd be, she's definitely a threat of the world-ending degree. Our writers honor their chosen heroes with the scale of this story, and our artist depicts it with a mythic beauty.

It's a risk spending so much time developing a character who's not the star of the show, but for Williams-Blackman it pays off beautifully. Maggie Sawyer might not become a supporting character in the popularity league of Lois Lane or Aunt May, but she proves to be just as fascinating a figure as her more famous girlfriend.

A tad slow to reach the grand finale and ever so slightly repetitive in certain parts of the script, but a wonderfully rich issue nonetheless, and the art puts it over the top.

I still consider this to be one of the most consistently well-told series on the stands right now, where even when it's not as good as it can be, it's still very good.

Not much forward movement, plot-wise, but you still get treated to some of the lushest art on the stands, along with convincingly grounded scripting.

I still consider this series as one of the most well-crafted of DC's products, and issues like this demonstrate why. It lacks hype, but deserves as much attention as any of the pop or cult favorites out there.

Another strong showing as always, although Williams-Blackman make the mistake of letting one character go off on a tangent for way too long for too little benefit.

It would be a more perfect issue had this interlude not come so unexpectedly, but there's no doubt that Killer Croc ends up in a much, much better position as a character than where he started, and that's as much as you can ask for.

A solid transition issue to the big fight with the Batman himself, though we get little insight into how Batwoman plans to do it.

Can we just get on to the big showdown already? Williams-Blackman are clearly stalling, even if they do manage to deliver another engaging issue with terrific McCarthy art.

A strange, pointless, and discouraging read in almost every way. Taken together with the uncomfortable creative changes on this series, this should be a red flag to escape before things get worse. Dropped.

Self-contained, but with significant developments for two very interesting characters"antiheroes have never been dissected this well.

Between this and the outtasight issue of Secret Six last week, Simone's in fine form this month, as it finally feels she has got her mojo back on the title that made her name in DC.

Heartwarming"how can you not appreciate your veterans, fictional or otherwise?"but shallow in plot and riddled with inconsistent, often ineffective art.

While Birds of Prey may be returning in name next month, we all know it won't be the same title we love. But then, it hardly matters; this last arc has made the series virtually unrecognizable, a poor shadow of its former greatness.

And thus ends another female-led title's run on my pull list, much to my disappointment. I wouldn't mind coming back someday, but to be honest I've just plain lost patience with seeing where this title wants to go. Dropped.

This is certainly a return to form for the title, as it offers high-paced action and bold character work hand-in-hand. That said, more developments to the plot would be much appreciated.

As always, the action goes at a rollicking gallop, dragging plenty of strong character moments along for the ride. While it's questionable if we'll get anywhere out of the ordinary, I'm in for the long haul.

We get a compelling picture of the big baddie the Birds are working against, and plenty of fun moments, but a slight dampener on the pace and action overall.

With the Birds, you get a little bit of everything, written and drawn with a lot of expertise and craft. Rock-solid, with only a few hairline cracks in the plot.

Still a lot of fun, despite a few minor shortcomings, and no matter what happens, this will always be the best all-female team book on the market"seeing as how it may be the only one.

Kelly Sue DeConnick, writer of the upcoming Captain Marvel, challenged readers to prove that a "female-led book about the power of the human spirit, about the many guises of heroism, a book wherein no one gets raped or puts her cervix on display, can break six issues". With all due respect, I'd like to say the point has already been proven in Birds of Prey, as you don't get more female leaders, more spirit, or more heroism than here–and it's lasted seven issues.

Solid stuff from pretty much the only all-female team title on the stands, with Swierczynski finally starting to answer questions we've had all along.

A rare underwhelming issue from Swierczynski, a result of a predictable crossover plotline. It has its entertaining moments, and I imagine even more once the series returns to its normal course.

Enjoyable, but disjointed, and you can't really overlook that this series has been wandering around without a map for a while. Time to get our bearings.

Never at a loss for action, but meandering where the story is concerned. We haven't had a fully played-out plot in a long time, and it can't really wait that much longer.

While Swierczynski is entirely capable of writing a good comic, he has completely lost his sense of focus for this title, and the upcoming #0 issues can only distract him further. Kudos for lasting a year, but this title doesn't seem destined to avoid the Drop List longer than that.

While tempted to give the issue a slightly higher grade based on gut instinct alone, I'm going to apply some caution and say only that this is a very solid series, with strong writing and powerful art, and deserves attention.

It really is a shame this title's getting cancelled, as it boasts some truly commendable writing and art. Of all the books getting the plugged pulled on them in a couple months, this one probably deserves it the least.

Frankly, I can think of any number of titles that deserve cancellation more than Blackhawks, and this issue is a good example of why. Even when the creative team is rushing hard, they put out solid work.

If nothing else, this short-lived series is evidence that DC has great talents in Costa and Cafu, and it boggles the mind why these two don't have replacement projects in the works already.

Even if it's not always clear what's going on, the amount of care and thought going into this unusual narrative is obvious.

A painstakingly, elaborately crafted mystery that will yield layers every time you read it.

Fewer connections and clues this time around, but with even greater investment in the characters.

All these patterns in the clues are deliciously frustrating, like feeling an answer on the tip of your tongue.

Much depends on how Spencer plays out the bomb he drops on us in this issue, but the explosion is nevertheless captivating.

It's hard to believe we're nearly at the end of this series, and I still barely have an idea of what's going on. It's a testament to Spencer's masterful storytelling, of course, but it's also a humbling experience for a semi-professional analyst of fiction. By the same token, it's that much more rewarding when you find your educated guesses are on the right track after all. Bodies can thus be a cerebral rollercoaster ride, disappointing one well-crafted theory and supporting another in the same issue"occasionally at the same time.

If you read this issue only once, and with the same investment you'd give to most comics, you might be tempted to put it down after you're done and wonder, What the hell did I just read? You'd think after seven solid issues, you'd have a firm grasp on the story and all you have to do is coast towards the resolution. But Spencer's not interested in giving us an easy ride, even in the series' final hour. If you want to get the most of the issue, you're going to have to give it all your focus, just like its predecessors.

Everything you need to know about what happens in this issue, you can get from the title and the cover: John Constantine's searching for Swamp Thing. Batman and Zatanna show up at some point (though Superman doesn't). That's it, see you next time!

This series as a whole demonstrates that we may never learn that gathering a bunch of popular stars is far, far from a guarantee of success. A waste of time for all involved.

A feminist story, but one remarkably free of anger or self-righteousness. A little difficult to access for the new reader, but otherwise an easy, solid read.

Whatever Marvel's female-led titles lack in quantity, it almost makes up for it with quality. This title finally gives some definition to one of the premier women of the Marvel universe.

There are a lot of assumptions going on here and the satisfaction Captain Marvel feels at the end is mostly unearned, but otherwise a well-written and well-rendered issue.

A very uneven issue that doesn't make it clear what kind of story it wants to tell"or what kind of series it wants to be"or what kind of hero its protagonist wants to model.

A filler arc if I've ever seen one, and one without much fun, given the lameness of the enemy, the lackluster interaction of the characters, and one very annoying love interest.

An entertaining piece of filler that gets derailed at the last minute by a plot twist that no one saw coming, in a not-so-great way"much like an actual train derailment.

This issue will need quite a bit of the benefit of your doubt to maintain its credibility, as it's hard to take the protagonist or the art seriously when both seem so immature.

While the dialogue and liveliness of this series remains its strongest selling point, there's nothing particularly extraordinary about its plot nor especially with its art.

Quite a bit of good plot-work here, with a much greater focus and direction than we've grown accustomed to seeing from the title. Looking forward to our hero actually taking names next issue.

While there are some poor choices made in structuring the story, the story itself is serviceable enough for a diverting read.

Its intentions are good, but ultimately, it falls flat from trying way too hard to transform its protagonist into something she simply isn't at the moment"a hero of iconic proportions. Having been less than enthused for a while now, I think it's time to Drop the series for better things.

An interesting profile of one of Catwoman's new supporting players, but not one that gets you attached to her.

Some snafus in the art make an otherwise intriguing issue less effective than it would be. I actually would like to see more of this felon's exploits.

Takes the intriguing elements of Scott Snyder's Joker story and dumbs them down for a significantly pervier, weirder, more annoying Joker.

It's going to be a rollercoaster ride, reading this title, but sometimes those are the ones most worth fostering.

Although the issue does have a few bright spots, something about Nocenti's timing or erratic writing diminishes their impact, and Sandoval's art at times frustrates your enjoyment even further. I'm not sure how much longer I really want to stick by this.

Although Catwoman definitely feels different, which is part of its appeal, it's sometimes so erratic a read that you can't quite pin down if it's a difference you like or don't.

I stuck it out for as long as I could, but I think it's pretty clear by now that I'm not enjoying myself very much. Whether it's my failure to appreciate Nocenti's work or a failing on her part, this title is Dropped either way.

A direction for Selina that makes her the powerful woman she should be, not just Batman's guilty pleasure.

A true gangster story set in the world of Batman. It's an idea too good not to work, even if there are one or two things wanting.

It's lonely at the top. That truism has always applied to Selina, ever since she took over the Calabreses, but after ordering Nick's death, she's more isolated than ever. The issue opens on three panels, one of her sitting in a car with Antonia, another of her surrounded by revelers at a party, the third alone in the shadows of an empty room. Three different settings, but they all depict the same thing: whatever burdens she carries, she carries alone.

A respectable first offering from Aspens newest series, but a lot will depend on how the initial story elements get played out before you can really put your money into it.

The intentions are good, but the execution is heavy-handed, trying a little too hard to emphasize its own seriousness and never really indicating there's a fresh story at stake here. I have little interest in continuing on, and I doubt many people will feel much different.

Still as fun a read as the very idea, you've never been quite so convinced that a once downtrodden, bedraggled girl can elevate herself to fairy tales' finest secret agent.

As with any spy thriller"even one involving fairy tale protagonists"success depends on the credibility of the villain and the plot twists, and we get some good ones this issue.

Despite being such a mash-up of different tones and subject matter, or maybe because of it, this title achieves an almost ideal balance of weird, silliness, sobriety, and darkness.

Moves a bit too fast and tries a bit too hard, but the series definitely proves that it has a lot to offer, especially if you're looking for something more traditionally supernatural.

Against all odds, the title has convinced me to give it until the end of its first arc to prove itself. I'm not confident it'll be worth it, but at least I'm hopeful.

For a story where gravity will occasionally and sullenly cease its predictable work, Collider is delightfully grounded, though no less capable of sending your imagination spinning so high that indeed, you might experience a bit of Vertigo.

If you went into this series with a pessimistic outlook, I think this issue will best your low expectations, but it's not clear if it does so in a good way or in a differently bad way.

Even taking the character and series as a whole new thing, separate from prior incarnations, it's a mostly well-worn stream of generalities, with nothing to set it apart as fresh or novel.

This series started on weak footing and sadly seems committed to that pace. I think it's safest to cut my losses and Drop it before I get trapped in an inevitably disappointing relationship.

Now this is how you start off a big sci-fi series. Superb, seamless blends of high-octane action and quiet moments of real emotion; clearly defined, interesting characters; a premise that's at once familiar and fresh; and art that loses none of its smartness by aiming for the spectacular.

A happy breath of fresh air that seems on the verge of dissipating all too soon, inviting you to enjoy it for as long as it lasts.

There's nothing intellectual about the love between father and son, but it moves you in no less profound a way.

There's not much action and a noticeable dip in the art, but the relationship between Scott and Chris remains as compelling as ever.

The Summers men achieve their objective smoothly"too smoothly, in fact, leading to an unremarkable issue across the board.

A misguided story in almost every way, practically its only value is in convincing you that Damian saved himself a lot of heartache by dying. There are worse things than death, as this issue demonstrates. Dropped.

Just as well-crafted and compelling as everyone makes it out to be. Instead of all this Avengers vs. X-Men nonsense, how about reading stories that will outlast the yearly gimmicks?

The bulk of the surprises were used in the last couple issues, but this one has more than enough gripping material to make it a worthy read.