Nicole Drum Comic Reviews

Lauren Keely and Jonathan Luna's true strength with this book is how it's put together in a way that is both futuristic and clean as well as heavy and emotionally devastating at the same time. It's a well done issue.

While picking up a much-loved story after 20 years is a complicated thing, 30 Days of Night: Falling Sun #1 does it perfectly. With Barness writing masterfully guiding readers through unsettling final moments of calm before darkness falls and all hell breaks loose again while also establishing the quieter horror of the complacency that time delivers and Shehans gorgeous (and gory) art, this first issue is the perfect descent into a nightmare that readers wont be able to get enough of.

Overall, this is a very solid tribute to and celebration of Wonder Woman.

Between the words and the art, there's a respect and a gentleness for the horror of mental illness without flinching about what Cleo is facing with her other, higher purpose. While there's not a lot beyond general table setting in this issue, it's intriguing and very well done.

A really enjoyed A Haunted Girl #2, but I feel like there is a bit of a disconnect from the end of the first issue and this second issue, almost as if the second issue is as much a first issue as the first issue was.

It's expertly paced in terms of getting things moving and setting the story up for a bigger conflict. The only real "problem" here is that we're so close to the end of this miniseries that one cant help but wonder if things are going to be rushed now that we've gotten things rolling.

While I wish A Haunted Girl was a bit more refined and a little less on-the-nose at pointsespecially because I feel like there is a rich story in Cleo's family history that could be beautifully exploredissue #4 concludes with what might be the most interesting and optimistic representation of someone fighting their demons and winning.

Between an insane story, a genuine appreciation for the emotional core of the character, and some bonkers action and wild turns, Absolute Batman #6 might just be the most insane Batman story weve ever been told. This book and this arc is bananas, and its some of the best executed storytelling in current comics. Period.

When it comes to Acid Chimp vs. Business Dog, there are certainly aspects of that concept in the unexpected crossover between My Bad and Billionaire Island,which sees a superhero parody (My Bad) collide with an economic dystopia (Billionaire Island). Unfortunately, while both premises are independently funny and sharply incisive satires with a lot to say about the world, when you combine them and put their animal stars together, the result is a story that loses its bite. It leaves readers with something that is unfamiliar unless they are a big fan of both series; that winds up feeling as superficial and superfluous as the society they seek to skewer.

With a threat like Leviathian supposedly being a huge issue, it all just sort of falls flat. For an issue with such incredible visual appeal, there's just nothing else there.

For readers who have been keeping up with Bendis' run on Action Comics, they're probably used to that by now, but it can be a little jarring at times for those hopping in, curious as to what all this Leviathan business is about.

Szymon Kudranski's attention to detail and brilliant use of space on the page gives the story a tangible, real-life feel. The words on the page have meaning, certainly, but the expressions Kudranski creates on the faces of the characters go so much further, to the point that in some panels you don't even need the words to understand what is going on. It's breathtaking.

It's a perfect pairing and it makes for another, standout issue.

Action Comics #1014 continues to offer a bit more insight on the ground-level threat with a sense of urgency that makes the whole mystery all the more exciting. It's a must-read this week.

If the previous issues of Action have had an urgency, #1015 feels like a slow stroll"at least until the confusing and chaotic last panels that bring the story sharply back into focus.

Overall, it's a pretty average issue with cool art, a fun fight scene, and serves as a bit of a breather from some of the other madness in the DC Universe right now.

Ultimately, Action Comics #1017 falls into a space in which the story is is good but it just doesn't execute the way perhaps one might want a comic book to, creating a bit of a disconnect between the story and the images that support it. It's a "good" book. It's just nothing special.

There's a nice little bit of humanity to the bulk of the issue, but the end result is an issue that is just functionally okay"not even really good, just kind of there.

At this point, the fight feels like it's been drawn out too long and it's that concern that drags the issue out. There's just too much going on and in too many points in time. Too much tell and not enough show.

This arc is one that is well past its prime. It's time to end it already. We already know Superman isn't winning the day. Let's move on.

It's a lackluster issue on almost every page.

The current run of Action Comics is honestly a mess and understandably so. There are a lot of moving parts, a lot of things unexplained and it's not always the easiest to read and this is especially true in Action Comics #1022.

You know that a story has gotten overly convoluted when you have to rely on a fairly extensive, full-page (and then some) recap in order to make sense of the issue in hand and that's where we are in Action Comics #1023.

With the gravity of the story being weirdly undercut by needless awkwardness, the book ends up being promising but a little to try hard. Story wise, it's good. Execution wise, it leaves a lot to be desired.

It's another miss.

Everything here feels both overwrought and under developed to the point that readers might actually find themselves hoping Superman loses just to put him"and this run"out of its misery.

Action Comics #1027 is a weird mess of an issue.

Bendis' run held promise; this finale shows just how much that promise was wasted.

The whole issue feels genuinely like Superman and the Action Comics title is back after a rather lackluster run from Brian Michael Bendis.

Story-wise, Phillip Kennedy Johnson has a good grasp of Superman and also does a solid job of making Mongul a distinct character in a way that doesn't always happen with some of the major alien big bads. In fact all of the characters are well-written, with distinctive voices. That said, there are moments where it feels like the issue doesn't quite have the space it needs to flesh out what's going on.

Action Comics, and really all Superman stories, work best when they're not trying to reinvent the Superman mythos but instead use it ways that drive story, feel authentic, but are also fresh and in this week's Action Comics #1031, Phillip Kennedy Johnson knocks that out of the park.

With all these moving parts, Action Comics #1032 could be a real mess, but Phillip Kennedy Johnson makes it work and work beautifully by keeping they story centered around good characterization, particularly when it comes to Superman and to a slightly lesser extent, Lois Lane.

Overall, it's a solid issue that pushes the story forward while revealing just a bit more in terms of detail.

When it comes to Action Comics #1034, I'm torn. While Phillip Kennedy Johnson generally demonstrates a sound understanding of Superman and the characters in the hero's general orbit, this issue feels a bit off.

Whatever is next for Superman after this, the issue feels reassuring and hopeful. The art throughout is also solid and even better, the supporting story is fresh and intriguing. Overall, it's a really solid issue.

The result is a functionally good issue that is just tainted by what came before, which is deeply unfortunate.

Overall, this is an exciting and through-provoking issue on all fronts and while the "Warworld Saga" may not be every Superman fan's cup of tea, the quality here hits the mark.

It's a good book, just gloomy and grim and it kind of pulls everything down a bit for a character so rooted in hope.

I am admittedly not a huge fan of "The Warworld Saga" arc, but even though it's not my cup of tea I can recognize just how solid Philip Kennedy Johnson's writing is this issue and just how well he understands Clark Kent.

We get a frustrated Superman who reacts, not out of character, but accordingly and there's an honesty in it that Action Comics has been lacking for some time. As for the Martian Manhunter backup story, while Superman's story is heavy, this issue gives us a delightful moment of J'onn and his tabby cat that frankly I didn't know I needed, but it's both a truly wonderful "aww!" moment and also absolutely perfect to the character and the story. Both stories" this is a solid, solid issue in all aspects.

Perhaps this is all just the calm before one bonkers storm of an ending, but as a single issue goes, it's just okay.

I'm still not the biggest fan of the storyline overallthat's a personal preferencebut this issue is really solid.

I've mentioned a few times how the Warworld-related stories haven't been my favorite Superman tales, but Action Comics #1043 might be the issue that sways me.

If there is one thing that is consistent across the entirety of this Action Comics story, it's the art and it's excellent here.

Superman is very much peak Superman here in terms of his character and humanity (even if his powers are failing) and it makes for an incredible read to see this kind of humanity in a dark time, especially considering it's simultaneously still very much unclear how it will all end.

Overall, the whole issue is strong from cover to cover and an excellent chapter of this saga.

Superman is officially back on Earth in Action Comics #1047 and it's a welcome return after the long, sometimes uneven "Warworld Saga" especially with this issue seeing a strong return to form for the hero.

The art in this issue is unfortunately a bit lacking which also doesn't really help things, the end result being a very "okay" overall issue.

While Action Comics #1049 may not be the best Superman story, it is a good one that ticks a lot of the boxes.

Ultimately, Action Comics #1050 was billed as a major shift for Superman and it more than delivers.

Action Comics #1051 lives up to the hype with a trio of stories that are just honestly really good.

The result is an issue that works not just for Superman, but for the full roster of characters in Superman family, all while giving readers a lot to enjoy.

Action Comics #1053 is just really damn good.

Overall, solid issue from cover to cover.

It is beautifully done on every level, from story to art. This is a fantastic issue all around.

All around this is a great issue of Action.

Action Comics #1057 is interesting in that the main story is phenomenalif not darkwhile the two backup stories leave a bit to be desired.

Overall, this is very clearly one of DC's best books right and this issue is proof.

Action Comics #1059 isn't bad, but it's not good. It falls kind of in the middle when you take in all three stories in the issue.

While Phillip Kennedy Johnson's run on Action Comics has, overall, been very good with some truly excellent storytelling, Action Comics #1060 is a little on the weaker side overall.

After the previous run, this feels like a downgrade, but in terms of being fun, it is a good, if forumlaic, start.

There's a potentially interesting twist at the end, but the breakneck pace taken to get there almost makes it feel like it has less impact.

The art's nice, but everything else here is superficial and flashy and not particularly well-crafted and ultimately highlights Jason Aaron's bigger weaknesses as a writer: things sort of come unglued all too easily and too quickly and there's no gloss that can hide that.

The issue has a ton of action and plenty of stakes. That said, at times it feels like it's overstuffed and almost too much.

There's a ton of action here which keeps everything moving very well even though there's a lot to get through. There's no sacrifice of character moments, either which makes this very well done over all.

This is very much an action issue about family and it's well paced, well considered, and well done.

The art feels a little rough in places, but that doesn't take away from much. Overall, a decent issue.

While this run has a distinctive feel of being "filler" content to get from more recent major arcs to the next big thing, there is no denying the charm of Simone's work with the Man of Steel as "Superman and the Challenge from the Stars" continues.

The whole arc was a nice little interlude before we get to All In, but it also felt like a nice resent, with Superman's core values perfectly on display with plenty of action as well.

Overall, this is a fantastic book and a really lovely "Superman" story.

As a whole, Action Comics 2022 Annual employs the idea of how one moment in life can shape everything else in a way that, while not exactly groundbreaking, is so well-written and well-illustrated that it elevates an otherwise ordinary story to the level of a classic, offering new insight on a beloved character, fleshing out a newer foe, and reminding readers of the superpower we all have in the compassion and care we share with others.

Overall, it's been a Superman story for the ages and this issue is a fitting conclusion.

The net result is a book that doesn't feel like it has the significance that it should while also feeling a bit rushed. Still, if you're a Superman fan, it leaves the reader with a lot of possibilities and that's a big win.

What the issue lacks in plot it makes up for in heart, and that works just fine.

Adventures of the Super Sons #6 is an absolute treat. Peter Tomasi takes all the elements of what makes for a classic, entertaining comic book adventure, injects some spot-on humor, and even throws in a dash of intrigue and an engaging cliffhanger to boot.

Adventures of the Super Sons is quite possibly one of the most enjoyable books DC Comics has put out in a long time, and that holds true even with an issue that sees the Super Sons separated and in peril.

While the story is pretty predictable -- Luthor is up to something far worse than initially hinted -- there's something pure and refreshing about the straightforward story that reminds readers of just how fun comics can be.

The issue is a superb, fun romp approached with the heart and determination that has been a defining feature of this whole run. A fantastic read with bright, truly enjoyable art; you won't want to put this issue down.

Full of action, this issue surprises with a few moments that make it look like the Sons might be betrayed by their robot friend Hex and it even looks like they may not make it out alive. That actually makes the story more interesting, which is why the reveal at the end that help has arrived in the form of the grown ups a little disappointing.

The best part is that the issue is very much in line with the overall sense of adventure the entire series has had, which makes it a solid, truly enjoyable issue from one of the best series DC has going right now.

A story within a story within a story, a clever Eminem reference, and a whole lot of action. That's what Adventures of the Super Sons brings in its final issue and while it doesn't all come together seamlessly, the overall effect is a bright, fun, thrill ride of an issue very much in keeping with whole maxi-series.

It's funny, relatable, and honestly just darling. It's not exactly intellectual, but this book is just fun.

Aggretsuko: Out of Office #2 is the palate cleanser everyone needs during the hustle and bustle this time of year.

Honestly, it's a ton of fun and really well put together and this issue really turns up the heat on everything. It's not your regular comic, but it's pretty great.

It's a great book. Truly.

Ain't No Grave #1 is a little uneven, but there's clearly a lot of potential.

While some of the leap from arrival at the end of issue one to just full on rage this issue feels a little without transition, it's still a strong entry in what feels like an overall story of facing one's mortality.

It's an interesting story and it's really well done, serving as both entertainment and cautionary tale.

Ain't No Grave #4 is the penultimate issue of this series and it's striking because it's nearly wordless, but that near-silence is deafening. It's a fantastic example of just how much storytelling art can actually do as we see Ryder quite literally buried by her past, her present, and her future on her journey to face Death.

While the issue generally feels like it is wrapping up almost too neatly, overall it is the weight of Ryder's lessons that make this a truly fantastic issue and the mini-series overall a genuine gem.

Alligator Loki #1 is perfect. A collection of the Infinity Comics series from Marvel Unlimited, the one-shot is packed with individual stories of the lovable Loki variant as he gets into adventures and mischief.

This is a pretty strong start overall.

Things definitely take an unexpected turn in the issue which is enough to keep the interest and story moving forward. It's a decent issue, though the pacing does make one wonder if this story might be better suited for a collection rather than an issue by issue story.

There is so much going on in Alpha Flight #3 that I almost wish this particular issue had been divided into two parts or it had been paced a bit different, but that is more a hallmark of everything going on with all things "Fall of X."

The pacing is strong, the storytelling is solid, and while there are things that do feel a little like caricature with Department H, there are real stakes for the characters and and investment in how things are going to play out.

The pacing is a little off, but it's still a good read particularly with the promise of seeing some of these characters again in other comics in the near future.

The issue is not one you want to jump into if you haven't been reading along for at least a few issue prior, but it's certainly an excellent kick off to what terrifying plans Kindred has with the Sin-Eater.

America is such a unique and interesting character, readers will no doubt wish she had a more unique and interesting conclusion to this grand adventure.

It's a well-told story that manages to hit all the right notes and establish an adventure without sacrificing the current story for the larger arc.

Coming off of a truly charming and engaging first issue Amethyst #2 continues that momentum with an issue that captures, both in words and art, the frantic feeling of helplessness Amy experiences upon discovering her entire world gone and no allies to help her.

There's a lot of development in this issue and a lot of stunning art and while the story elements are a bit messy, a bit ragged, and quite frankly A LOT to process, the book is a fun one to read, leaving you with a lot of questions as the fight makes its way to the big bad's territory at last.

Amy Reeder's Amethyst has been a delightful series thus far and Amethyst #4 continues that streak.

Amy Reeder's done some outstanding work, both story and art, on Amethyst as a whole and this issue certainly drives that home as well with a book that may not be the most polished in terms of the way it wraps up its story, but is visually gorgeous in every possible way.

Honestly, this one is just great all around.

For Aquaman fans, this might be an interesting premise, but it doesn't really seem to serve Green Arrow/Oliver Queen at all and it feels at times like Brandon Thomas doesn't really know where he's going with things. Ronan Cliquet's art is very nice, however, so even if the story feels messy, at least it's nice to look at.

While the first issue of Aquaman/Green Arrow: Deep Target was clunky and confusing and left off with a sense that Brandon Thomas had no idea where he was going with things, issue #2 seems to have a much better grasp of things.

This issue, like the series thus far, has been little more than an unnecessary mess that does a disservice to the characters and the talent involved.

Maybe if you're reading it just for fun, there's redeeming value, but when these two characters deserve more substantial adventures, this is just not it.

This issue by no means saves the series to date"a poorly executed comic is still a poorly executed comic even with one fun issue"but at least this issue is both entertaining and even a little interesting, finally paying off on the Silver Age riffs of it all.

Other than art, this issue is just poorly executed over all. The characters deserve better and so does the reader.

In the end, it's a disappointing issue, a disappointing finale, and a disappointing series all around.

The only real hiccup here is that there are times when orienting yourself as the reader takes a moment, but it's a solid start to what feels like a truly intense (in the best way) series.

This is truly a great issue and while there are some small details that feel just a touch cliche at times, the sum of the parts here is just a really strong story.

While I ultimately wish there had been just a little bit more of Aquaman & The Flash: Voidsong, the third issue is honestly pretty great.

Overall, Aquaman and the Lost Kingdom Special #1 is a surprisingly solid comic book. All three stories in the issue are good reads, though the Black Manta offering is probably the best of the trio.

It's a fun issue with a lot of lead up that will hopefully pay off soon.

Overall, it's a solid issue. It doesn't particularly stand out, but it also isn't a bad read.

Archie #30 puts the whole story in position for what feels like the ultimate action point of the whole arc but with so much steady storytelling it's hard to get excited for what's to come.

One of the major strengths of Mark Waid's work with Archie is the pacing and that holds true with Archie #31. The issue kicks off with just the right amount of urgency and maintains the energy through to the last panel. Unfortunately, this issue falls into the same trap that most of the previous issues have before it, and that is that it sets up little cliffhangers that simply aren't necessary.

Archie #32 marks the final issue of Mark Waid's run and the end of the modern relaunch of the series before it shifts into legacy numbering with a new creative team and as closing issues go, this one is practically perfect.

You can truly feel the heaviness of the looming war and even though we already know where the world ends up in the end, how the beloved Archie characters fare is as much a mystery for us as it is for them and this first issue is an excellent first chapter.

It's a bit long and a bit dense, but even at that it's still a good tale. Overall, this anthology has something for everyone and is very well-done. It's easily one of DC's better spooky anthologies.

It's nearly impossible to miss the heavy Star Wars feeling Ascender #1 has and while hero journeys are universal, Ascender is too reliant on stereotypes and tropes, resulting in a too cliche debut.

A marked improvement over the debut issue, Ascender #2 moves away from the table setting of the first issue to some real conflict and action.

With just the right amount of action and plenty of heart, Ascender #3 finally finds its footing, striking an emotional chord that will keep the reader connected, despite the relatively slow burn of the actual plot.

Ascender #4 really advances the story this week and as the different elements of the plot start to come back into play, it makes for a genuinely engaging and intriguing read.

Ascender #5 does that in a heartbreaking way this week, one that will leave you gasping aloud in the final pages. It simpy doesn't get better than this.

Ascender is one of those stories that may have taken a bit to get going but it's one of the best books out today now that it has.

While narratively there are threads that still need to come together, Ascender #7 feels almost like a one shot, but it's an elegant and beautiful one that sets a new tone for the story ahead. It's exquisite.

Ascender continues to be one of the best comics out there and this week it accomplishes that with a frenetic, powerful combination of deeply emotional storytelling that bring's Mila's parents back together in the worst possible way along with incredible art that draws the sinister tones out of the story written on the page.

I don't know how each issue keeps getting better, but this one is one of the best.

As this chapter of Ascender's story ends, it offers no answers and just the barest shard of hope, but the story is filled with both light and feeling in a way unlike anything else. It's good.

From cover to cover, Ascender #11 simply outstanding. A great read.

As always, I could praise Dustin Nguyen's art all day and it still wouldn't be enough"and it's excellent here once again. Truly a solid issue and a joy to read.

There is a lot here, but what makes the book perhaps a big stronger than some of the other transitional issues of the run, is we get to really dig into Mila, her personality, her thoughts, her situation.

One of the best things about Ascender is that while this deep into the story odd twists and turns are to be expected, they frequently delivery in a way that is very unexpected.

Overall, Ascender #15 is another fantastic chapter in this saga and a good place for the story to continue from.

Yes, this is an issue largely of setup, but Lemire and Nguyen have managed to pull of one that is very, very, very well-done.

Overall, it's a solid penultimate issue. Bring on the end.

Pacing wise, things move very fast and that certainly does make it perhaps a little less strong story-wise than some of the earlier installments. That said, the art this issue is the best its been and Lemire crafts this absolutely gorgeous emotional gravity that holds all the stakes you'd expect it to, but still ends in a way that is satisfying and doesn't break your heart. It's wonderful.

Overall, it's a good read, but not great, though there's lots of potential in the mystery presented.

The Autumnal started off with an elegant and fairly strong first issue, but issue #2 has already started to slip into obtuse mystery and difficult cliche.

Barnstormers #1 has quite a few things going for it. Perhaps the biggest and best of those things is Tula Lotay's art.

It makes for a very slick, stylistic issue and while it still seems like Barnstormers overall is going to be a book more of style than substance, it's still a good bit of fun as things begin to pick up.

Barnstormers #3 is very much working its way to have a bit more substance to go with its style, though the style is definitely still its defining attribute.

What it lacks in depth, it makes up for in its stylistic sense.

The book itself is beautiful and subtle in its storytelling, finally pulling back just a bit to reveal that the real story here is not Tillie and Bix, but the story of lawman Zeke West who has been pursuing them.

It's something that Tom Taylor's story tells well alone, but Otto Schmidt's art shows it as well, the end result being a beautiful, satisfying, and perfectly Batman tale.

This might be the best Batman book of the year.

If Tynion's main Batman work were even half as good as this story, readers of the main line would be in for a treat. At least with this book Clownhunter feels like a character worth caring a bit more about.

Batman #112 like so much of everything in recent arcs just feels like a reheated version of things we've seen before. At least this time Tynion is recycling his own homework.

All in all, a perfect chapter in the Batman story.

Batman #45 is an issue that you will either love or hate. Tom King's story here is solid. Well-written and well-paced, it is slow to dawn on the reader the major twist the story takes at the end.

The weird alternative universe/timeline story started in Batman #45 continues this issue and doesn't get any less weird, but it simply works better.

Overall, a very well-done issue that readers won't forget any time soon.

The issue is not an easy read. It's subtly graphic with some intense moments, but it is an incredible issue that will leave readers wanting more even as they flinch and try to look away.

It isn't often that readers get to see the, dare I say, human side of the villains in Batman's world, but Batman #49 does just that and it makes for one of the more thought-provoking and powerful issues of this run.

Overall, Batman #50 may not live up to the overwhelming hype that led up to it, but it doesn't need to. It's an issue that redefines and fundamentally changes Batman -- and Catwoman -- forever in a way that has been far too long in coming.

Given all the hype around the wedding between Batman and Catwoman -- and the way that affair turned out -- one might expect that Batman #51 would take the easy way out by delivering a broken, violent, emotionally shut-down Batman. And it does, but to Tom King's credit the story takes a very different turn.

Tom King's writing is giving Bruce an introspection one wouldn't have expected after Selina left him at the altar and it might be one of the finest chapters in the Caped Crusader's story yet.

Batman #53 is a great reminder that there's a bigger story to be told in King's run than just the love story between Batman and Catwoman.

A little light on action, but strong in emotional weight, readers might not claim Batman #54 as a favorite, but it's definitely a turning point and it will be interesting to see where things go for both Dick and Bruce going forward.

If you've been reading Tom King's Batman, then you've likely figured out that it's the issues that are the quietest in terms of action and major events that end up packing the biggest punch, and that holds true for Batman #55.

Admittedly, it's a slightly cliche story, but King tells it well, moving back and forth from the story of a son dealing with a father who was less than stellar and a pseudo-father dealing with grief and rage over what's happened to his pseudo-son. He even manages to slip in another somewhat unusual villain.

The issue is visually beautiful -- a largely wordless fight between Batman and the man who shot Nightwing -- but it lacks substance.

One thing Tom King has excelled at during his Batman run is humanizing the villains in a way that doesn't make them sympathetic but instead gives better insight into who they are. Unfortunately, despite a genuinely intriguing setup with The Penguin, the issue continues with a further dehumanizing of Batman.

Batman is at his darkest, most unrestrained worst this time around, to the point it's getting nearly impossible to want to root for him in any capacity. To an extent that's the point, but the deeper we get into King's run the more and more this bleak fall from grace into utter darkness becomes a chore to read, and that's especially evident here.

We're no closer to answers to this mystery, but there's a twist at the end that makes this darkness worth sitting in a little bit longer.

King's told this story nearly thirty issues before and, by bringing it back here only serves to stall any forward motion the book should have had -- something that feels awfully dangerous in the first chapter of a new arc.

Batman #62 is, in a word, weird. But that isn't necessarily a bad thing.

To say that Tom King has been taking Batman to unusual places is a little bit of an understatement, and those unusual places haven't always worked. This week, however, Batman #63 takes us deeper into the "Knightmares" arc and in doing so follows along with Batman into what feels less like a Knightmare and more like a dream come true.

The balance between the anger stage of grief in Flash and Batman's guilt and desperation makes for a deeply meaningful story, and it's one you won't want to miss.

Despite the solid action and beginnings of a resolution, there is just this vague sense of being left wanting. However, if for nothing else than it's sharp honesty and vulnerability in showing Batman for who he is, the book is a fine and worthy read.

It seems like a waste of narrative space, and it's likely to leave fans wondering when -- or if -- the story is ever going to start moving forward again.

Generally speaking, these Knightmares stories have largely worn out their welcome. While Tom King is trying to tell a larger story arc (he has to get to issue 100, after all), these stories feel more like filler, a way to technically complete an issue without having to expend too much story.

Tom King's extended run on Batman has its highs and lows, and while more recent installments of the "Knightmares" arc have been more on the low side of things, this week's Batman #68 is decidedly a high point -- and possibly one of the most enjoyable issues King's done yet.

We are finally at the end of the "Knightmares" arc, but while Batman #69 does serve to shift the narrative towards the next chapter in an engaging way, it really only illustrates what readers know and editors should have: the entire "Knightmares" arc was a long stall, filling issues and pages for no redeemable purpose bt to extend the run.

It's a worthwhile read, and at least there's the promise of a showdown soon.

Switching storylines, inconsistent continuity, and a disconcerting sense of not ever really be certain what parts of the story are "real" and what parts are hallucination has become almost a default for Tom King's Batman run, and that holds true for Batman #71. Unfortunately, that also means that Batman #71 is a bit of a mess to read.

The threat to Batman honestly doesn't feel that substantial. But, of course, that may be the ultimate beauty of the entire issue.

Every page is an exquisite delight so beautifully crafted you can feel the desert sun on your face as you read and as the Waynes make their way towards an uncertain destination.

This deep in, readers get it: Bruce Wayne is a mess with a whole lot of daddy issues. Do we really need to drive that point home every issue?

Not even the one "shock" reveal is enough to lift this from what feels like a major low.

If #75 was too narrow, #76 is open exactly wide enough. There's a lot revealed in the tight narratives in the issue and you'll want to carefully read every expression and every word on every page.

Everything changes in this issue and, even with a shocking semi-cliffhanger, it feels like the story is truly coming together"even if it's in the darkest possible way.

This is 100% a key issue of Tom King's run and an absolutely defining moment for the hero himself.

Batman #79 is another one of the more quiet, character-driven issues in Tom King's run and, like many before it, an excellent example of just how good this run truly is.

The ending of the issue isn't a twist, you can largely guess what's coming, and like many issues of King's run this one could have benefitted from being part of a larger story rather than a single issue. But it is an excellent issue, one that truly sets the stage for the end in a powerful and important way.

Ultimately what works here most comes in the last few pages, when you realize Batman's plan isn't going to plan. It makes up for the somewhat disappointing undoing of most of the series' drama and the fact that we still haven't gotten to Bane.

If you can get past the threadbare cliffhanger approach once again, though, the use of orange tones in this issue tells a story all its own and is a real treat for the reader.

Comic books, at their best, tell stories by showing and not telling. Batman #83 does that in a way that is rarely seen anymore and it may well make this heartbreaking issue the crown jewel of the entire run.

The second-to-last issue of Tom King's run arrives with Batman #84, but it's an issue that, with so much story left to tell, feels an awful lot like stalling as it takes readers not into a final showdown but reminds them how we actually got to this point. To be fair, it's a beautiful stall.

The overall issue ends up feeling a little too bland and a lot too clean for a Batman story and while one could argue that it's never been a Batman story, it's a Bruce Wayne story, even from that angle it misses the mark.

Overstuffed with far too many words"dialogue, narration, all of it"and further burdened by art that is disproportionate and poorly executed, Batman #86 drowns in its own failed attempts to imitate better works resulting in unrelenting mediocrity.

Batman #87 firmly establishes that we are in a new era for Batman, but it's an era fraught with issues.

The third issue of James Tynion IV's Batman has arrived and while the previous two issues have been a bit difficult, Tynion genuinely finds his footing in Batman #88.

The big threat in Gotham is starting to take a more distinctive shape in Batman #89 and thanks to a bit more time spent on Catwoman's part the story it's more interesting than ever.

Batman #90 gives readers what they've been waiting for: the Designer's grand design, the big plan, the "what is the Designer up to" of it all by revealing Catwoman's big secret and, to be blunt, it's kind of a let down.

The real star of the issue is both the art and sense of subtle vulnerability that Tynion gives Batman"an unexpected treat in a fairly average issue.

The bottom line is this: while the amount of time fans have had to wait for the issue thanks to the coronavirus pandemic make things feel a bit more special in the immediate term, the issue is only average at best.

The issue is simultaneously too much and not enough and ultimately lands as just an "ok" book overall.

The book is one that in a sense serves to let readers catch their breath before things really pop off, but it generally just feels kind of messy, almost like Tynion didn't know really where he wanted to go.

Ultimately, the issue feels like a half-hearted mashup of the weaker parts of Nolan's The Dark Knight and The Dark Knight Rises with a bit more Joker and yet another random shiny thing"this time literally with that new Batsuit"to distract from what is becoming painfully apparent: fun ideas don't always make for a good story.

Things aren't thrilling or groundbreaking, and there's still this nagging sense that the whole story is going nowhere, but the issue is an intriguing read if for nothing else than a glimpse at what Bruce's ideal world looks like.

Batman #97 finally reaches the tipping point where the grand art can no longer cover the holes in the story. By now we should know what Joker's grand plan is or at least be stepping into a showdown. We're not. And it almost feels like we never will be.

It's not a flawless issue, but it's probably a best of run and a damn fine read.

It's well past time for this story to come to an end that, if the lead up is any indication, is going to be nothing more than smoke, mirrors, and marketing hype. Just like the whole arc has been.

This isn't about frightening the dark elements of Gotham nor is it about saving a doomed city. Batman #100 is about nothing more than Batman's (and, perhaps, the author's) ego. That's both a waste of this story's premise and a crying shame.

It's an okay issue that feels almost like it could have been a summary at the front of something more exciting. Not bad, not great and in some regards better than "Joker War" was an entire arc.

The bottom line is that Batman #102 is one of Tynion's better runs, but the story feels sort of recycled which detracts from its overall quality. Perhaps instead of constantly trying to create "new" characters there should be some investment digging into Batman's lesser-explored qualities first.

We're a few issues past "Joker War" into a promised new chapter of the Batman story and yet it's the second verse same as the first.

Batman #104 may be the most interesting installment of the "Ghostmaker" arc thus far, but that doesn't necessarily make it good.

For all of the ideas that James Tynion IV brings to Gotham as he overstuffs it with flashy new characters, the real disappointment of his Batman run ultimately comes down to two things: an over-reliance on hype that is enver really delivered upon and a lack of Batman.

Batman returns this week after taking a brief break for "Future State," but if you're expecting Batman #106 to live up to the excitement and sheer quality that was Future State: Dark Detective or even Future State: The Next Batman, this issue will probably disappoint.

The post-Future State Batman is certainly giving the series a much-needed mystery, but in James Tynion IV's hands, that mystery is getting muddled thanks to an excessive amount of dialog and posturing, much of it which serves only to kick a dead horse, as it were.

The Unsanity Collective is still a snore and the road to the Magistrate and Future State is still a snore and an eyeroll, but there are some genuinely well-done moments here. Whether they will restore your faith in Tynion as a writer or remind you of just how weak the rest of his Batman work is, that's up to you to decide.

Everything else just continues the same boring and largely formulaic we've seen in this arc.

Bringing Batman to account by making him a somewhat realistic character would be a good idea, but a complete take down of the vigilante with issue after issue after issue of kicking him while down is just too much and it's that lack of nuance and forethought that shows itself sharply here.

The current core of Batman's story isn't serving to tell a Batman story. It's designed to back fill "Future State," just with Tynion dressing things up with flash and gimmick characters. When you realize that, when the whole of Simon Saint's plan is laid out completely bare in the issue, it takes the shine off of everything else.

Ultimately though, the closer we get to the end of Tynion's run, the more it seems like the real plan is just to keep repeating things and hope no one notices there's no "there" there.

At this point, Batman as a title just feels like biding time until this whole arc and run is put out of its misery of mediocrity.

There is just too much going on and anything important feels poorly jammed in. This is not a good Batman story.

The fixation on a host of one-off "original" characters has left "Fear State" and this run and this penultimate issue lacking any nutritional value, as it were. At least Jimenez's art is good and Morey's colors fantastic.

It's no mystery that I've found the bulk of this run, and especially Fear State, to be a mess and while Batman #117 is less messy than previous issues, it's certainly not raising the bar by much.

A brand new chapter begins with Batman #118 and for the first time in a long time it actually feels, truly, like something new.

This issue is, on every page, a breath of fresh air and while I do still have some reservations about Abyss, I'm eagerly along for the ride.

The bar wasn't terribly high, but Batman #120 as an issue is wildly better than anything in the previous run and the "Abyss" arc just keeps getting better.

This is a really solid issue that caps off a refreshing and solid Batman run.

This is a great issue and one that doesn't just feel like a cog in a larger story.

Batman #123 does exactly what it sets out to do: it advances the "Shadow War" arc in some big ways, not only pushing the story forward, but also connecting a few dots as Batman and Robin work together to get to the bottom of who wants a war between Deathstroke and the League.

Joshua Williamson's run on Batman wraps up in Batman #124 and it does so in a satisfying fashion.

While first issues of new runs are usually pretty promising, Batman #125 comes out of the gate operating at such high levels that it genuinely feels like the only direction is to keep going up. Between the incredible art and a rich understanding and appreciation for DC's most iconic character, this comic book, this issue specifically, is exactly what Batman is meant to be; it's about damn time.

This book, as the kids would say, slaps.

Zdarsky and Belen Ortega both bring their A-games with the story and the art with the entire book feeling richly satisfying. Simply put, this isn't just a good issue; it's a great one.

It's tight visual storytelling and it's spot on. This is start to stop a fantastic issue and another chapter in a truly excellent run.

Chip Zdarsky is continuing to prove that not only is he the best writer on Batman in a long time, but he is carving out a spot as one of the all time greats.

In the end, the "Failsafe" arc concludes almost predictably and while the quality of Batman #130 isn't quite to the high standards set by Batman #125, it's still an interesting issue that positions the story to progress in intriguing directions. Yet it's an unfortunately bloated and somewhat rushed conclusion that doesn't quite land and leaves the reader wanting more because they're just as tired as Batman is by the end.

While it's a move that might feel like it operates counter to the idea of balance Zdarsky created up to now, the result is an intriguing detour from what Batman fans might expect even if this first installment is a little slow to get off the ground.

This is, in fact, the second chapter of a miniseries in much the same way that Powers of X #1 was the second chapter of its own. Once readers understand that positioning, this is an easy issue to enjoy as it frames a very promising saga ahead.

While I would like to see this story progressing a little faster so that we could get back to the main universe so that Bruce and deal with Failsafe because it feels more and more like we've just forgotten the urgency of that storyline entirely, this adventure in this alternate Gotham is still a fascinating one, particularly this issue as we dig a little more into the cracks in the system as it were.

Batman #134 is an issue of layers, both in the main story and the backup, and while not every layer holds it's still a solid issue and an interesting one.

Admittedly, a little bit of the storytelling is weak in spots and it does at time feel a little rushed, but there's a lot here that really speaks to the core of Batman as a multidimensional character, something I think a lot of creators miss. The art here is also bananas good.

It's a home run all around.

This issue feels very much like they've just taken literal years of Batman development and thrown them in the garbage to push through a half-baked idea of pure, rushed, nonsensical ridiculousness.

This issue, and rapidly this whole title, is just not worth the read.

The writingspecifically Batman's inner monologueis campy as hell and while none of it is patently bad, it's also just not good. It feels tired, worn out, exhausted, which is a shame because the art in the issue is bright and alive and really quite good.

Batman #140, like much of Zdarsky's current Batman story, is a case of potential squandered.

The art is solid, which is nice, but again, it very much feels like a lather-rinse-repeat sort of situation in which Batman hasn't learned anything, just this time jammed full of references that don't always work.

Batman #142, kicking off the "The Joker Year One" arc, is part origin story, part retelling, and part attempt to reconcile current elements of the character's story in Chip Zdarsky's Batman with more definitive tales preceding it. But instead of making important connections between the Joker's past, present, and future, the issue over-explains unnecessary details about DC's most iconic villain and offers very little of substance.

The result is something that feels cheap and a little messy and whose purpose remains a question.

Batman #144 provides the conclusion to "The Joker Year One" arc and ultimately, it all ends up feeling like a needless detour from the general trajectory this run of Batman has been on with the Zur-En-Arrh arc or even the Mindbomb arc.

With the confusing and derivative "Joker: Year One" arc over, we're finally back to dealing more directly with Batman and the issue of Failsafe and this issue largely does the work of setting things up and laying groundwork. There's a little action, a lot of talking, some bland inner monologuing, but it's readable.

The only real "win" this issue has is the art, but it's not enough to lift the story.

While it certainly feels like the Zur-En-Arrh storyline is dragging out a little bit too long at this point, Batman #147 feels pretty stable as turning points go.

Ultimately, it doesn't feel like any real narrative ground has been made, just Batman learning the same "lesson" he's learned in dozens of recent stories, leaving one to wonder where this title goes next.

It makes for a nice read and offers a little more emotion to things, all while table setting for what's next. I wouldn't call it filler, but as a coda it simply works.

For an issue that should be a milestone, Batman #150 is surprisingly weak and very out of place as an "Absolute Power Tie-In."

Batman #151, for being a tie-in issue for the "Absolute Power" event, is actually fairly solid.

Batman #153 is a dense issue that sets up a lot of things that could be very interesting going forward.

Ultimately, Batman #158 is okay. If you really liked the first Hush story, youre probably going to like this. Lees art also never disappoints. But this does in many ways just feel like a symptom of something larger with comics and with DC specifically: the need to revisit iconic and classic stories to over-capitalize on nostalgia in a way that really only offers up diminishing returns. Its just one issue, and future chapters could shift a lot of things, but just from here it doesnt feel like were going to be breaking any new ground and if readers really want to retread the Tommy Elliot story, the first one was a masterpiece all on its own. A follow up wasnt necessary.

Batman 2021 Annual #1 is, generally, wildly better than the majority of Tynion's Batman work but it suffers from a lot of the same pitfalls, especially in that it feels more like an imitation of something else rather than an authentic creation.

It's a convenient and rather tidy way to close off Tynion's run, but while it will satisfy some Batman readers in that it gives a distinct sense of closure, one can't help but walk away from the issue feeling as though it was all very superficial " a very slick way to shuffle characters around, clearing the board for the next creative team while also never really dealing with any of the issues presented over the course of the run.

The much anticipated Batman/Catwoman #1 is finally here and while it's not a perfect book, it's one that lives up to the hype.

Not a bad book, but certainly not a great one, Batman/Catwoman #2 is enjoyable enough but that only holds if you remain on the surface. Any real scrutiny just weakens the whole issue.

The result is an issue that is messy, confusing, and a little overcooked with a story that could have just been a one-shot.

If this is par for the course for the rest of this series, it's going to be a very long, boring, unsubstantial drag.

Batwoman/Catwoman hasn't been living up to the hype that preceeded the series for a while now, but Batwoman/Catwoman #5 might be the weakest issue yet.

This deep into Batman/Catwoman, it's fairly obvious that the only thing this series really has working in its favor is the art

Every issue of Batman/Catwoman has somehow managed to get worse than the one before it, but this week's Batman/Catwoman #7 is spectacularly awful.

If I'm being honest, I have no idea what is even going on in this title anymore - and I don't want to.

If you've been holding out for Tom King's Batman/Catwoman to finally pick up and go somewhere or for the multiple storylines to somehow make sense, you will be gravely disappointed.

The art's okay, but the story itself and its execution leaves a lot to be desired and really should have been reigned in a long time ago given the bloat, the fluff, and the lack of substance overall.

When it comes to Batman/Catwoman #11, you have to think of it as two different books: one comprised entirely of art and one comprised entirely of narrative. The former is exquisite. The latter is at least readable.

In the years since Batman #50, a lot has happened, both in terms of King's run on Batman, as well as with the characters themselves with all of it leading to this: Batman/Catwoman #12. The issue finally delivers that wedding after giving us a dozen issues of story that also wove in bits about their married life and family between a murder story and other elements, but while the issue finally offers up a conclusion and delivers on the "Batrimony" of it all, much like the rest of the Batman/Catwoman series it lacks substance, sense, and lands as little more than a somewhat pretty string of gimmicks that just feels like cheap fan service in the end.

This would have been so much better with just a bit more care and substance and as a result, it's the art that gets this issue the bulk of its rating from me.

What happens when the goal is finally in reach just not the way Batman himself would do it? That is, at is core, the premise of Batman/Catwoman: The Gotham War Battles Lines #1, but while the idea of seeing Batman come to clash with Catwoman over ideology as Gotham finally gets as close to safe as it has ever been is a hell of a premise, unfortunately the execution of this issue just doesn't deliver on it.

Story wise, the plot makes no real sense either, and there's a very juvenile quality to the writing that, when paired with Cizmesija's art, feels so rough you'd guess this was a poorly done draft if you didn't know it was a fully finished piece. This is all just extremely disappointing.

Everything here is just a disappointment which is unfortunate because Jason Todd is a character with great potential that deserves vastly better

This comicand the whole eventfeels like a really bad Mad Lib. In fact, it might have been better of being a Mad Lib. Thank gods it's over.

By taking what feels like an unconventional and unsettling pairing and attaching it to a harder, more authoritarian take on Batman and Gotham that Black Label allows, this dense issue both captures a great deal of Batman's noir aspects and pushes the boundaries of what readers expect from both hero and villain.

Things feel cluttered, story wise and while dark and gritty with a sharper edge is something that should work for Batman, this issue veers a little too far into the grim and the weird, ultimately creating a lack of balance that throws the whole issue off.

Overall, this issue is a big improvement over the second issue and definitely feels much more interesting.

Batman & the Joker: Deadly Duo #4 is an interesting book, but I don't mean that in the sense that it is intriguing or fascinating. Instead, I mean that it is interesting in that it should be intriguing and fascinating with Batman and Joker weirdly working together to deal with a dialed-up-to-eleven take on the Trolley Problem and it has good visualsthe Gotham bullet train is absolutely gorgeous and a sight to beholdbut the whole issue feels overly burdened with trying to out-grimdark itself on nearly every page.

The twists this issue lack punch even as the art pushes things over the top in the gritty department which, in turn sort of has an unintentional "pick me" vibe mixed with the 80s. Add to that, this is a very, very dialogue heavy issue so it is, at time a slog.

Batman & The Joker: The Deadly Duo #6, as is most of the series to date, fairly ridiculous though not unenjoyable.

It's dated in a sense and because of that, never really rises to reach its full potential. It's not bad, it's just. not great.

While some of the actual storytelling and art both leave something to be desired, Batman and Robin #1 shows a lot of promise.

Overall, still solidly in the range of just okay.

Everything about this issue just screams busy work and while not unpleasant, it doesn't really serve any purpose and even the art isn't especially strong or organized, either.

Batman and Robin #4 is definitely an improvement.

Overall, a really strong issue and great fun to read.

This is a very strong issue that highlights relationships and personality and it's beautifully executed.

Between the two separate stories, the issue has a disjointed feel to it that functionally nudges the story along but doesn't really feel like it delivers anything al that interesting. I hate the term filler, but it might just fit here.

I don't love the art in this issue as it feels a little uneven and inconsistent at times, but the story more than makes up for it as all the pieces start to fall into place.

While the Man-Bat plot wrapped up a little tidily, the set up for the next story not only is satisfying in the growth we get with Bruce and Damian's relationship but also in that the series is keeping a duo-focused energy in the most unusual of circumstances.

The issue's got action, flashbacks, a Damian that acts on emotion rather than logic, father and son dynamic, and dinosaurs. It's a pretty good one.

Batman and Robin #12 is a really well-crafted and at times elegant expression of Damian's growth as a character while it pulls together the impact Alfred has had on his life and offers something of a coda to Aflred's death and its fallout only to almost immediately waste the fantastic storytelling and growth with what can only be described as comic book 'roid rage for the sake of a plot twist to close the issue in a cliffhanger.

Batman and Robin #13 is a surprisingly emotional issue as Damian finally comes to some truths about himself and his relationship with his family..

What doesn't quite work, however, is the art. just doesn't quite do it when it comes to the human characters. It's messy and a complicated and it detracts from the overall quality.

The story is a little dense and a bit repetitive at points, but it's a wonderful read and an absolute must for anyone already invested in the Batman and the Outsiders story.

Writer Bryan Hill brings a bit of a fresh approach to the team by incorporating numerous big fan favorites, such as Black Lightning, Katana, and Batman, with younger characters The Signal and Orphan for team incarnation that feels a lot like the Bat Family and is equally as complex and slightly dysfunctional.

The same clich story elements that created pitfalls in the debut issue still exist here, but the action is hard and fast and fun to read while being even better to look at thanks to Dexter Soy's engaging art.

The theme of the Outsiders as a broken team continues this issue and, while that's a point already made in the previous two issues of Batman and The Outsiders, this week the story shifts towards healing even as, in a paralell plot, the person the team has been charged with saving falls further towards darkness in the hands of Ra's Al Ghul.

It's not a bad issue. It's just not particularly great as it lurches forward towards what is (hopefully) an action-packed future.

Nothing here is easy, as we're learning, and it makes for another solid read.

It's a solid read and a good lead in to the next arc in the series.

Batman and the Outsiders #7 still struggles a bit with too much exposition, but we're finally getting into the story for real now -- and it's one that has promise.

Batman and The Outsiders #8 is flat-out one of the best issues of the series thus far.

Bryan Hill knocks it out of the park with his stripped down, raw take on Black Lightning's anger and grief, and it makes for a stunning, satisfying issue.

It's exciting, intriguing, and feels like solid payoff for all the build up we've had thus far.

In truth, there is a lot of establishing in this issue, but it works well in that it helps resolve some of the emotional notes that have been running through the series as well as bring all of the major players to a spot where the real fight can jump off: going up against Ra's.

It's not that it's bad or problematic that the book puts so much weight on this aspect of the story; these relationships are interesting and inform the future of the team. The problem is is that these are conversations that happen in nearly every issue of the series, almost exactly as they do here, and thus far has done nothing to advance the idea of the Outsiders as an actual team.

For all of the frequent issues of imbalance in storytelling that Batman and the Outsiders suffers, this week's issue #13 is an issue that finds itself firmly set on stable ground with a chapter that offers up not only some explanation as to what's next for the team now that Ra's diabolical plan has been revealed, but delivers on some of the doubts and concerns that have been planted irregularly through the series thus far.

Batman and the Outsiders had definitely hit its stride in terms of story and while things do drag a little in terms of pacing in Batman and the Outsiders #14, the issue rightly focuses on a bit of character development"Black Lightning getting his upgraded powers in particular"in a way that starts to truly set things up for a coming battle with Ra's al Ghul.

It feels like we've been waiting for the Outsiders to take on Ra's forever at this point. The book just needs to get on with it.

The finale of "The Demon's Fire" storyline hits in this week's Batman and the Outsiders #16 and rather than go out with an impressive, spectacular finale, the whole story comes to conclusion with a whimper.

It's a slightly too-tidy wrap up, but it delivers on the characters in a thoughtful way that serves as a "what might have been" while also serving as an adequate goodbye.

While I wish the pacing of the issue was a bit betterit feels a little too slow and lags at timesstory wise, there is quite a bit in this issue that very much works.

Batman: Dear Detective is going to be a divisive comic book because it's neither a true comic book nor an art book, exactly, but tries to land somewhere between the two concepts.

It's entertaining and has obvious room to grow and, if nothing else, the art is out of this world pun intended.

It's actually kind of an interesting read and it certainly makes for a nice contrast to everything going on in the main continuity, but the plot feels thing and I'm already wondering how long the overall conceit of things will carry.

Batman: Off-World #3 is a bit of an improvement from previous issues in terms of its pacing and in that it does coalesce around a strong direction for the story going forward. Unfortunately, that doesn't help in terms of the characters that still feel disconnected to the point of it feeling like it is weighing things down.

All around, this is a truly interesting read and feels like a turning point for this title.

If you aren't reading Batman Prelude to the Wedding, you need to. The third in the series, Batgirl vs. Riddler is, like Robin vs. Ra's Al Ghul and Nightwing vs. Hush, excellent.

In keeping with the rest of the prelude books, Tim Seely does an impressive job at revealing intimate sides of those in Batman's world and the way he deftly handles Harley and Joker will make you wish he wrote them all of the time.

A solid, incredible issue you'll want to read over and over again.

Batman Prelude to the Wedding: Red Hood Vs. Anarky #1 may be the weakest of the Prelude one-shots, but that doesn't mean it's not still a worthy issue.

The march towards the wedding of Batman and Catwoman continues, and Batman Prelude to the Wedding #1 Robin vs. Ra's al Ghul is perhaps one of the best moments of that march.

There are many things in the darkness; this Batman: The Imposter #1 makes them worth exploring.

While I continue to have some major concerns about the diagnosis salad (I'm starting to question if Tomlin fully understands the conditions he tosses around) that is part of the Dr. Thompkins' internal monologue about Bruce Wayne"and I really don't buy the presentation of how Alfred would handle young Bruce"Batman: The Imposter #2 continues to be a really interesting exercise in realistically approaching the iconic character and his story.

Batman: The Imposter is a solid experiment, in terms of Batman stories. Taking a realistic approach to the character and his world is fresh and interesting, but this finale issue reveals a pretty sound weakness in how this creative team did that and it's inconsistency.

While Sale is no longer with us to provide the art, the art here still honors and furthers the visual storytelling legacy and supports everything in a way that leaves readers wanting more.

Well-paced and carefully crafted, Betty & Veronica is an excellent start. The glimpse it offers into the friendship and inner lives of two of comics' most iconic female characters is a welcome and intriguing one that feels long overdue in a world that all too frequently revolves Archie.

Every page of Betty and Veronica #2 rings true, and you'll get to the end wanting more.

Betty & Veronica #3 is a thoughtful, carefully crafted read that continues to delight.

It's the second-to-last issue of Betty & Veronica, and Jamie Lee Rotante once again nails the female friend dynamic in an honest, relatable way.

It's sad that the series is done, but there's so much good to take away from the story. Jamie Lee Rotante has created an instant classic with Betty & Veronica.

There is only one way to describe IDW's Big Hero 6: The Series #1: adorable.

Billionaire Island #1 is by far the most intelligent, jaw-dropping, razor sharp, impeccably-timed comic you'll read this week or possibly ever.

From cover to cover the issue is great writing and great art and it's overall a great read.

Everything just hits here. It's another knockout issue.

This issue is another excellent chapter of this all-too-real story.

Some comics falter a little in their penultimate issue, that's not the case here. Russell continues to craft a layered story while Steve Pugh's art is just so spot on.

Taken as a whole, Billionaire Island is a great series, but issue #6 loses its footing, weakening an otherwise great run.

As annuals go, Black Cat Annual #1 is fun.

There's an elegance to this particular sort of heist story and Jed MacKay pulls off something that is hearbreaking, thrilling, and satisfying all at once.

If Black Cat #5 offered an elegance to the heist, then Black Cat #6 is all brash and bold and it's perfect for this chapter of the story.

Generally I hate story arcs that conclude with everything in a neat and tidy box, but Black Cat #7 pulls things together cleanly and neatly in a way that may be light on action, but is a really great story.

If you're a Black Cat fan, this comic is an absolute feast of good things. It is a little wordy in some places but other than that it's a solid, exciting read.

Black Cat #9 is just flat out fun.

Even if "Infinity Score" isn't my favorite arc ever, this issue is pulling things together very well. It's a very well executed issue.

There's a lot of unmined treasure in the Black Knight and this comic is digging into both the humanity of the character as well as the Arthurian aspect of things; the result is something deeply engaging, relatable, and exciting"allowing readers both familiar new to the character to identify with his flaws and the darkness within him and still be thrilled by promises of more adventure around it all.

There is no sugar coating things. Black Knight: Curse of the Ebony Blade #2 has a lot to process in terms of the mythology and that lends itself to a lot of exposition and panel after panel of words. However, the way Spurrier uses that mythology to weave in other aspects of the story, bringing together parallel storylines and build a larger mystery, it makes the density worth it.

Like the issue before it, Black Knight: Curse of the Ebony Blade #3 has a lot to process in terms of mythology. It's something that makes the book very exposition heavy and while it's a good read, given its juxtaposition with what should be a significant battle, the result is an issue that looses its footing just a bit.

This is a fantastic issue. Period.

Black Knight: Curse of the Ebony Blade reaches its finale this week with issue #5 and while the entire run has been an action-packed ride that simultaneously delivers on some deeply thought-provoking concepts about the accuracy of the history we're told as well as mental health, Si Spurrier saved the biggest punches and most exciting moments for this finale and the result is a fantastic book.

While Black Manta #1 possesses some intriguing ideas and an interesting overall premise, the first issue has many moving parts that never offer readers quite enough context to warm up to the mystery this story is establishing.

Black Manta #2 is a strange book and it's honestly a little boring, but it isn't necessarily bad.

If you weren't engaged in this story before, this issue will change that - and there's even an appearance by Gentleman Ghost.

With just two issues to go, that's really disappointing. The slow burn of this book really deserves something a bit more elevated because the art brings everything else down.

This series has been pretty up and down so it will be interesting to see if the finale sticks, but this issue is a truly solid read.

Black Manta #6, despite its somewhat abrupt ending that leaves a great many of loose ends, is somehow better than the entire run of the series to date.

The most notable thing about Bloodrik is the visuals. While the issue's story sees Bloodrik following a light he saw on a mountain and it is a, generally, uneventful and, introspective sort of journey in terms of narrative, it is the art and the way the journey is presented that is most interesting.

Bloodshot #1 is a comic with good intentions that doesn't work very well, save for a whole lot of explosions for fun's sake.

It's flat, it's predictable, and it's boring, leaving readers with no real investment or no real reward for opening up the issue.

There are plenty of rich and interesting details and plenty of mysteries to unpack while still giving the reader just enough to compel them deeper into a complex and harrowing journey.

Blow Away #1 was sparse and used the empty and inhospitable environment to set up for a mystery and now, Blow Away #2 puts that lack of hospitality into play to push that mystery forward after loading it with tension.

Blow Away has its first misstep of sorts with issue #3.

Blow Away #4 is good, but suffers from a few minor issues.

Overall, Blow Away #5 pays off on most of the mysteries kicked off in the first issue which is no small feat. It's a strong finale to a strong story.

BRZRKR #1 is a fun read, but it's going to need a lot more than the Keanu Reeves of it all to make the ongoing series worthwhile.

There doesn't feel like much to propel the story to the next issue here, but the issue is honestly surprisingly good overall and despite the rather ordinary "extraordinary" origin, it's a solid read.

To put it bluntly, the Wolverine-adjacent of it all is getting old, even as the story starts to heat up.

Overall, this issue kind of feels like a decision point for the title. Either it's going to kick fully into gear or it's going to fizzle. In either case, things are just okay.

If last issue was a decision point between full steam ahead and fizzling, BRZRKR #5 takes us closer to fizzling. It's not bad, but it's not great, leaving an issue that feels like it needs a shot in the arm.

BRZRKR #6 finally picks things up rather than completely fizzling out and while we do spend a good bit of time with B getting into his feelings, we do it in a different setting, on the battlefield in the present, as it were and it makes all the difference both in how we as the reader perceive him and, perhaps, how B perceives himself.

BRZRKR #7 takes the story on a bit of a turn that feels weirdly calm and almost comforting in that we get some answers"or at least what are presented to B as answers"as to what they really want with him.

BRZRKR #8 is a decent comic. When taken in the context over the overall series, this is definitely an issue that feels like it moves a little unevenly and on some level there are aspects that feel like they don't need to be a full issuewe already know the government is up to some less than savory things.

BRZRKR is a series that is up and down a lot and while there is a lot that looks really, really cool in BRZRKR #9, story-wise, this is a bit of a down for the series.

While this is an issue that does still suffer a bit from having a lot of moving parts and there are pages that feel a bit like filler the final pages ramp up quite a bit of tension, just enough that this epic story feels like it may have gotten well back on track as it rounds into its finale.

Overall, it's an okay issue but it takes so long to gain momentum that one has to wonder if it will hold through to the finale.

As conclusions go, BRZRKR #12 is "okay" at best and, at worst, an issue of missed opportunity.

It's less Wild West and more bad stereotype and while the book looks nice in terms of its art thanks to Francesco Manna, it misses the mark.

If all of B's tales are like this one, then they will all be a delight to read.

It's, on the whole, a book that works for BRZRKR fans but probably isn't going to make much sense for new readers.

There's just enough mystery about both the demon and Roux that you'll want to keep reading to find out more.

Another solid mx of humor, action, and exposition, Giles #2 is a fun read, and you can't help but find yourself hooked.

It's something that honestly elevates the entire issue from simply good to great as it invites you further in and breaks your heart with each and every page.

Here's the thing about Giles #4: the conclusion of "Girl Blue" is supposed to have emotional weight, especially after the revelations about Roux's past last issue. Unfortunately most of the book is tied up with tedious exposition that is honestly better suited to another medium.

It may be repetitive in terms of challenges, but each time the heroes learn something new and that more than makes this issue worth the read.

If you're invested in the series, it's a solid read, but this issue really is nothing to write home about.

Overall, kind of a mundane and average read. Here's to hoping they pull out all the stops next issue to make up for it.

The end is finally here for Buffy the Vampire Slayer and Season 12, and Joss Whedon's finale manages to pull together all of the threads of the series -- both television and the many comic book continuations -- into an oddly satisfying conclusion.

In many ways it feels an awful lot like a Cartoon Network show circa 2000 and if that's not enough reason to read it then I don't know what is.

What works here is that there is a combination of a slight bit of humor as well as an increasing sense of escalation and while some of the action sequences here feel ridiculous at times, it's still an intriguing and fun read all around.

While there's not a story to tell on these pages, the covers here themselves tell a story of one of DC's finest characters who frequently doesn't get quite enough her own due.

There's aren't a lot of words in Cemetery Beach #3. The issue tends to let the art do the storytelling and while it does it well, the words that we do get as the story progresses isn't particularly deep.

Cemetery Beach is a unique book that suffers from a too-common problem: the concept is strong, but the execution sloppy at best, and the end result for issue #4 is a book that feels like everything is being run into the ground.

Cemetery Beach continues to be weighed down by the very thing that makes it interesting: strong concept, weak execution.

The story here is a common one: someone in power wants to remain in power and will do anything to stop those who threaten that. Finally that's becoming more clear, and with Cemetery Beach so close for our two protagonists, this issue feels like it all might come together at long last.

While the story is wrapped up in what generally works as a natural stopping place, if you've managed to make it this far with the series, you may well find yourself feeling like you've wasted your time.

It's just the right amount of horror for this time of year and a pretty fun comic at that.

It's a great balance that reestablishes the characters, addresses how things have evolved for Hum and Serka, and sets up what may just be the wildest adventure yet.

Coda #2 is a little hard to follow; something with the narration and the individual stories between Hum and Serka don't really differentiate enough on the page in places to keep it all straight at times, but if you go slow and are careful, it still ends up being a solid issue.

Compared to the two previous books in the series, Coda #3 is a bit messy and has some structural weaknesses that make it difficult to follow as there are multiple things happening at once, though none of them are particularly clearly laid out.

While Coda #4 is longmaybe a little too long at pointsits an issue that brings the story into very intimate focus.

It's beautiful, it's gut wrenching, and ultimately it is a story about hope and it's one that is very finely crafted.

It's scary, it's interesting, it's even got a bit of humor. The art is top-notch. It's a winner for sure.