Nightwing #3

Nightwing #2 was awesome. It had action, romance, and drama -- it kept the reader on the edge of the seat and looked awesome. I was hoping that would lead to a great next issue, but unfortunately, it takes a small step back. While apparently the creative directive for DC has been not to focus on the past events of the characters, this issue deals almost exclusively in filling in the gaps from Dick's past.

A couple things to note. I don't remember the exact age Kyle Higgins said Dick became Robin, but it's not nearly as young. If I remember correct, the old age was 12, but now it's probably more like 15 or 16, as Dick is definitely at least 12 in this flashback to his past at the circus. And I like the contrast between what Haly Circus is now and what it was then. When Dick goes back to the circus to visit it's usually all smiles and happy days, but this shows a Haly Circus that resents him for leaving and isn't always all honky-dory. 

Batgirl #3

One of the important Post-Flashpoint questions is how do all these characters now relate to each other. We've seen a dynamic shift in Bruce and Damian's relationship, as well many couples are split up, including Lois and Clark. Bringing in Nightwing for issue #3 establishes Dick and Bab's relationship, last touched on in Scott Snyder's "Detective Comics" run.

From Barbara's point of view, there's obviously a lot of sexual tension. She can't help but think back to their days as Batgirl and Robin, recalling how her "ballet" and his "acrobatics" were in perfect sync, a way of flirting. They chase each other throughout Gotham, Babs of course becomes pissed because he's checking up on her as Bruce and Dick are obviously trying to play big brother and protect her from herself. Dick gets her to rationalize that it's not because they don't trust her, it's because they care about her.

Batman and Robin #3

 This continues to be one of the top five ongoings as a result of the "New 52." Tomasi seems born to write Batman (his past as a Batman editor obviously helps him here), and while Patrick Gleason's pencils vary in quality (A+ on one page, lackluster on the next), together they create very fine books. It's really a shame they only got one story of Dick and & Damian, surrendering arcs to Winick (although that story was decent, good writing with up and down art) and Paul Cornell (god was that terrible).

Last issue introduced to the reader two new characters, Morgan -- who works for Henri Ducard, and Damian's new dog, who better be named Ace or I'm just going to get so annoyed. These characters both play a big role in this comic, as Damian struggles to understand the value of a dog (I guess not every 11 year old really wants a dog, maybe Damian would prefer cats? His dad certainly has an affinity for them).

Batwing #3

We're three issues in, and one can't really ask anymore of Winick than what's he's already done. Batwing is fantastic, a super enjoyable read that is a breath of fresh air. It's full of misdirection and intrigue, while also adding heart-pounding action to the mix, creating a solid balance.

This issue opens with a flashback to the past of David Zavimbe, where we see him with his brother Isaac, two soldiers as young men, terrible killing machines, but ones who refused to stoop to a level of everyone else in the force, choosing to protect women and children instead of raping and slaying them. This shows a moral high-ground in them, despite that they are working as devastating killers for General Keita's Army of Dawn.

Detective Comics #3

I've been critical of this series, and for good reason. For the series that DC Comics is named after, the quality of the comic, especially after the relaunch, should be top notch. But they assigned Tony Daniel to create this book, and well, not much more needs to be said. The two books he's been assigned? The Savage Hawkman book, which is better kindling than it is an actual book, and the second is this book.

Simply put, Tony Daniel has been handed books and squandered both opportunities. He is a fantastic penciller, yes, but after Hawkman is cancelled and Detective Comics reassigned, I dearly hope he isn't allowed to write again. The third installment of the Dollmaker storyline isn't much better than the second, suffering from lack of "so what?" What are the stakes here, besides the whole save Gotham without trying to die in the process thing.

Red Lanterns #3

Realizing that I'm in the minority in opinion on this series, I'm trying to take a fresh look at this series. I'm taking a step back, trying to separate myself from my enjoyment of the first few issues. I want to figure out why so many despise this series.

After reading issue three, my opinion hasn't changed that much. Honestly, I still think Peter Milligan is doing a great job. One of the hardest things to do in comics is to prove readers wrong, and work uphill against their assumptions. This is why I worried about how long this book would survive. When they announced this series, it was met with much skepticism, and I believe that closed-mindedness is jading some against the coolest color in the spectrum: red!

Green Lantern: New Guardians #2

For the shortcomings of Blue Beetle, I forgive Tony Bedard as Green Lantern: New Guardians was a geat comic to read. Tony Bedard really captures the voice of Kyle Rayner, or as I like to call him, the best Green Lantern ever (suck it Hal Jordan). A tendency for many writers is to make all characters of the same family exactly like each other. And in the Green Lanterns, this is somewhat true. Guy Gardner, John Stewart, and Hal Jordan all have very similar personalities. And while that somewhat makes sense, as the Green Lantern rings look for similar qualities in their soldiers.

But Kyle is different. He's more cautious, smarter, and is less brash. But he still has incredible will when he needs it, and all of this is shown in issue #2. While it may not be super-evident, if one went through this comic and at every choice Kyle makes, asked "what would Hal/Guy/John do in this situation?" one would realize that in most cases Kyle would make a different choice (and often the better one).