This issue ends with a nice cliffhanger that heightens the conflict in this book. It should be interesting to see what develops.

The art is detailed and very beautiful but it also looks rather subdued. For all the action taking place, we don't really see it leaping out of the page at us. We don't 'feel' the impact of the punches or the heat of the battle in the way that we would in the art of guys like Kirby or even Sal Buscema or Herb Trimpe. Franky, the art doesn't fit a story of what should be a violent and desperate struggle.

The back-up story with the Kon-El Superboy is something of a let-down after the high-octane main feature. But it does have its own clever twists and turns, such as Superboy solving a problem with brains and compassion rather than force. The art is improving but is still a bit rough for what should be a slick, highly-polished Superboy feature.

The art is a bit workman-like-- professional and well-drafted but still feeling a bit flat. The scenes that should be shocking just look rather weird. The cover is also a bit deceptive as it shows a scene that does not appear in the comic. And of course, the title of the comic is almost as convoluted as the story. Why did they bring the old "Adventure Comics" title back, just for a one-shot? Why not just call it, "the Guardian special"?

The Atom back-up feature has the size-shrinking hero delving into a mystery in his past and battling hoods with similar powers to his-- except that they blow up when they use them. It lacks enough excitement but at least the mystery is genuinely puzzling and leaves the reader wanting to know more.

By the way, this issue comes with a variant cover by Frank Quitely (of ALL-STAR SUPERMAN fame.) Maybe next issue can come with a variant story by Grant Morrison.

The one major irritant in the story is Lex's niece, his partner in crime, who prattles on about her plans for mass murder and genocide like an adolescent mooning over some matinee idol. She must be useful but it is hard to believe Lex Luthor would tolerate someone so childish.

Perhaps the worst thing about this issue is that it is a little too 'pat'-- the conclusion was too easy. Considering this comic is not set in the continuity of the mainstream DC Comics universe, they could have come up with something drastically different for the final chapter. What we do get is a hint of a sequel, which isn't such a bad thing considering the quality of this book so far.

Of course, this book is targetted at people who have been reading DC comics for years and they will get the jokes-- they may even find them overdone. The book has entertaining portions and DiDio, the comic character is actually lots of fun in a 'Looney Toons' way. But after awhile, it gets boring to see DC Comics poke fun at itself. It is like devoting an entire hour-long cartoon to the comic-book guy from the SIMPSONS. Giffen has always excelled in finding humour by pointing out the silliness of superheroes but this approach can also sour the reader on superheroes. It also seems a bit sad that DC comics can't come up with a comedy book that is simply-- funny and does not rely on a parody of FINAL CRISIS to work.

Having Batman fight what looks like a 19th century circus troupe doesn't really grip the reader the way DC Comics wishes it would. In fact, it looks like a typical three-part Batman story that Doug Moench would do a few years ago. Hopefully, the creative team can build up from this to a more satisfying resolution.

This isn't really a comic book. It is more of a teaser for the coming FIRST WAVE series so those expecting a massive battle of the titans will be disappointed. The notes and drawings at the end however look very intriguing, possibly an indication of FIRST WAVE's potential. Just the same, many of those who picked up this book will be left feeling a bit let down. This book should have given us more than the brief squabble between the Dark Knight and the Man of Bronze.

The art by Quitley is an acquired taste. He does make his people look a little less idealised which would hurt Batman (who after all, is just a guy in a funny suit) but as this is a new Batman and Robin, the uneasiness of these characters with their new identities actually fits in. The fight scene is certainly interesting without being chaotic or overly gory.

One problem in this issue is the way Batman faces all these horrifying events without showing the slightest sign of shock, fear or even disgust. This detracts from the horror that the entire story is trying to convey. When the lead character acts like all these monsterous things are just 'another day at work,' the reader can't help feel the same way too.

The writing however is just slightly above adequate. It does not really capitalise on the unique setting of the story. Partly this is because we are merely seeing Batman go up against another old member of his rogues' gallery and not dealing with something unique to Barcelona or Spain itself. Perhaps we should be grateful that they did not resort to some stereotypical Spanish villain like an evil matador but having Batman fight an old foe for the Nth time detracts from the novelty of a story set in Barcelona. While this is a very good-looking comic with an entertaining story, when you get down to the basics, it could just as easily have been set in Baltimore.

The Batman and Robin stories do give us some decent adventure and detective stories but nothing really outstanding. Still, everyone involved in this book shows professional-quality work (yes, even the awkward 'Alfred-with-Hooker' story) that could just use some sharpening. Then they could be ready for the big-time.

Maybe this story could have worked better with fewer characters. As it stands, many of the characters in the story came off as uninteresting. This was a good effort but they just overreached.

DC Comics has had a problem deciding what to do with Man-Bat. He has been a reluctant hero, a plotting villain and a mindless monster. He had a mini-series that was seemingly wiped from continuity almost as soon as it was published. Obviously this new Kirk Langstrom isn't going to be the new Batman. But maybe they can finally make him the 'right' Man-Bat.

The art is adequate but unspectacular. This could be just another issue of BATMAN or DETECTIVE COMICS. The characters are recognizable but there is nothing special about their depiction.

The mystery of Midnight is a intriguing. His agenda and ties to Bruce Wayne are carefully concealed. The character does look rather strange and frightening. But nothing that Batman hasn't handled about twenty times before. In fact, that is part of the problem with this miniseries: basically, we have a new mystery villain who is manipulating old bat-villains to target Batman--or Bruce Wayne. Doesn't this sound very similar to the whole "Hush" storyline? Or the manga-Batman just a few weeks ago. Or to the "Black Glove" storyline running in the Batman titles right now? Or even to the "Long Halloween" story of not so long ago? With Batman appearing in about nine titles a month, almost every possible story about him has already been told, so the story-tellers end up repeating themselves. Everyone recycles old stories but in this case, the story we are getting is too similar to the ones that ran just a few months back. Perhaps it would be better if an acclaimed writer like Niles would do a s

The art may not be enough to overcome the huge challenges that this book faces in a very fickle marketplace. At the very least however, DC Comics deserves credit for doing something so daring. Hopefully, they can do it well.

Despite its many good qualities, this book is still rather rough around the edges. This being the first issue, one would think it would start off with a lot of action to pull new readers in-- and then introduce the comedy and introspection later. The art is pleasingly cartoonish without making the characters look stupid or silly. But it seems rather unfinished, like Kunkel lost his eraser mid-way and decided to just leave in all the sketchy lines he made in the rough draft. Even the cover is rather crude. It looks like a bunch of guys all standing in a group together, even though it is suppose to be an illustration of how Billy turns into Captain Marvel. (Isn't the transformation suppose to be instantaneous?) DC Comics is also apparently using a lower quality of paper for this book, which certainly gives it a different "look" and "feel." Of course, this probably allows DC Comics to sell the book at lower cost than most of its titles, so more kids will buy it. Hopefully, this book will

The art is compelling and suitably gloomy. The art team really knows how to put Green Arrow in a heroic pose, even if he is shooting at his best friends.

The dialogue is surprisingly free of "gangsta" slang which some may find refreshing but which others may find unrealistic. It is also hard to believe that a city like Metropolis, which enjoys the protection of Superman, would have such a crime-ridden slum. Yes, that is part of the original Black Lightning series but it was unbelievable back then too.

This new story isn't completely faithful to the original version of Black Lightning's origins but it does capture the mood of the original version while updating it to fit with modern 'continuity.'

There is an interesting story, both in this comic and in the whole SUPERPOWERS line but it is not being done with the proper skill and dozens of new characters are being crammed into each story. People may not like hearing this but this book makes one appreciate Geoff Johns and Kurt Busiek and the way they can write team books with numerous characters-- and still have a cohesive story.

The art is a bit of a mixed bag. In many pages, it really captures the emotion and drama of the situation, especially in the close-ups, be it the concerned expression of Barbara Gordon to the rage-filled face of a corpse-like Aquaman. But some panels look poorly constructed so it is hard to tell what is going on. The fight between zombie-Aquaman and his living family is one example. One panel has somebody's fist punching -- a bunch of shapes-- followed by Aquaman holding someone's heart in his hand. Hard to tell what just happened there, unless one is aware of the Black Lantern's assignment to harvest people's hearts. Another scene has the characters popping in and out of the top of a lighthouse. Did they all run up all those flights or stairs or did they gain the power of flight? Whatever happened there, the obvious solution would be to make the art easier to follow.

The art, while powerful, is a bit rough. Some action scenes look good, but a few panels are a bit hard to understand. Many of the characters don't look too good either but then many of them are decaying zombies so maybe this is to be expected.

The art is detailed and powerful looking, making the emotions of all the characters, including the zombies, come through very well.

Maybe this will change by next issue as we learn more about the threat against the Flash family but if DC Comics isn't careful, the bad guys will end up upstaging the heroes.

The art is a little too posed, considering the emotional turmoil that the characters are going through. Even the scene of Donna Troy confronting her zombie offspring seems stiff. The (non-zombie) women look really hot though.

Maybe we can get a few BOOSTER GOLD stories that don't involve changing DC history but which are just decent adventure stories.

This issue also has Blue Beetle in a back-up feature, tracking down a family of scientists who specialise in killer robots. It is a diverting little story but it gets cut short just as we the plot starts getting interesting. The art looks like an Archie comic that is trying to take itself seriously. It is pretty unique and has a nice simplicity to it.

The Blue Beetle backup feature in this comic also works out well as the Beetle and his crew outsmart a mad scientist who has turned herself into a robotic killer. The story and art, while superficially cartoony, have a lot of dramatic impact. As an additional treat: it appears that the storylines of both the Blue Beetle and the Booster Gold stories are converging. Both Booster and the Beetle may not be major players in DC Comics but allows them to have fun stories that don't have to link up with the year's crossover.

The art by both Leonardi and Jurgens is competent and up to the task of telling the story but neither one really shines. The two art styles also don't mesh together very well so the transition between them is rather jarring to the eye.

The use of a whole team of artists for one issue is a bit of a an irritant. You can't help noticing the abrupt change in styles. And you can't help comparing the styles and thinking that some parts are better than others. The Hawkman sequence could have been drawn with more clarity and the Firestorm sequence just isn't up to par with the rest of the book. This kind of thing may be unavoidable considering the close deadlines under which this book is being produced. But it does detract from the general high quality of this title so far.

The art in the book is improving. Although the styles of the different artists don't always mesh together well, they are all of high quality and do fit the mood of the respective characters.

Frankly, the highlight of the book is the action scene with Black Manta, mainly because it is drawn so well and because the character's strength and anger make him much more captivating than all those confused characters who have been wandering throughout this miniseries.

Those who are following this miniseries for the other characters (Firestorm, Aquaman, etc.) or the main plotline with the White Lantern may be disappointed that this issue did not even touch on them. But the whole Mars subplot has been dragging a little too long with too many gory scenes included and it is good to see it is finally amounting to something.

The brief Deadman scenes add to the mystery and the art is amazing. It really whets the appetite for what is to come. DC Comics should sign Ivan Reis to a long term contract because he has all the makings of the next Jim Lee, perhaps with even greater depth than Lee.

The art is of acceptable quality but some portions seem rather rushed. Perhaps the inking was too heavy, so that it left the title looking a bit 'muddy." The art is still good but Ivan Reis could do better.

As for the fate of the new Dr. Fate? Well, I think it would be a nice tribute to Steve Gerber if someone would pick up his very original creation and make something special out of him.

If they were going to reprint something about the Metal Men, they could have used the Ross Andru stories of the 1960s or even the Simonson stories of the 1970s. Those were far superior. And in many cases, were even funnier.

The cover by Quitley could also be better laid-out. It is hard to recognise some of the figures in that crush of presents and snowflakes. Or maybe the confusing cover is just a sign of how the very concept of Christmas cheer has become so alien to the DC universe.

It remains to be seen if future issues will match the quality of this issue. But so far, things are looking very good.

The art, in both the main story and the Seven Soldiers back-up feature, is the high point of the book, giving a retro-feel while still being pleasing to the modern eye. The only quibble is the way Kuberts make all the superheroes look so angry and hostile. That is something we might see from modern comics but the Golden Age heroes tried to look up-beat and inspiring. Look at all the all old DETECTIVE COMICS of that period and you will see Batman and Robin always smiling at us.

If there is any weakness in the comic, it is the lack of excitement. The framing story, with a cop worrying about his childhood friend, just seems dull, like some "educational lesson" that is inserted into a children's book.

This compilation just seems unnecessary. Is Mongul such a great character that we need to learn about his background? Basically, he seems to be just another power-hungry dictator for heroes to knock around. Maybe Signalman or the Invisible Destroyer will get their own specials next.

It remains to be seen whether this miniseries will deteriorate into shrill political labelling but at least it does appear to have a good story behind it and does not look like the cheap exploitative gimmick that many feared it would be.

This new mystery series comes just after DC Comic's latest foray in the genre-- namely, "Simon Dark". There are a little too many similarities between the two titles: both have mysterious protagonists who live on the margins of society, protecting the innocent from unholy conspiracies. Even the titles are similar. Maybe next we will have "Mystery Melvin" or "Sherman O'Shadows". At least "Dead Romeo" reveals more about its hero and leaves enough hints in the first issue to have the audience wanting more. It also has a powerful, frightening cover. It is a pity the interior art did not match it-- even if they were done by the same person.

There have been various attempts to revive the Defenders in recent years. So far, none have been successful. This version may be the most pretentious and least exciting version yet. Maybe we can find Len Wein and Sal Buscema again and just have them do a good rousing story about a fight with the Wrecking Crew.

Unfortunately, the art lets this story down. It has a scratchiness to it that makes the period setting and bizarre creatures all look like they were taken from a sword-and-sandal B movie. Even worse, the crucial, dramatic scene at the end is spoiled because the artist fails to properly build it up to show just how horrifying it is suppose to be.

Commissioner Gordon hunts a serial killer while wondering whether his son might also be a psychopath.This is a very low-key, psychological story and a very unusual Batman tale. In fact, Batman barely appears in this comic at all, only coming in at crucial moments, almost as an afterthought.The real story is Gordon's hunt for an old serial killer which in turn awakens old fears that his son, James Junior, may also be a psycho. There are flashbacks, looking at Junior's strange behaviour even as Gordon gets closer to his quarry. It is an intriguing story which makes poor, hard-working Gordon even more sympathetic. You can't help wondering how an honest, straight-arrow cop like Gordon could have produced such a twisted kid-- especially one who, in a hilarious sequence, decides to go trick-or-treating as the Joker. But the story isn't for everyone. The action is too subdued and the big mystery about Gordon's kid isn't resolved which may leave readers feeling cheated. The continuity about Go

The Metal Men back-feature is amusing but relies on the old JUSTICE LEAGUE INTERNATIONAL gimmick of making the lead characters look like childish idiots in order to get laughs. Granted, the Metal Men have often been goofy and comedic but it gets worrying to see them acting like fools when their boss, Doc Magnus is in mortal danger. It is like they genuinely don't care for him-- except for the clingy, obsessed Platinum. The old heroes-as-idiots thing has become overdone by Giffen and co. They need to start finding humour in other places. At least the art is quite good, giving a nice surreal-but-realistic look to what is essentially a domestic comedy.

The detailed and luxurious art serves the story well, giving a foreshadowing of the dark decadence of the threat facing the Patrol. But it could have been a little more dynamic.

While this title is filled with interesting characters and situations, the creators may have unintentionally alienated potential fans by making the comic hard to follow. Perhaps they were trying to hard to be "quirky" to match editions of the DOOM PATROL.

What is really interesting is the similarities between the new Kobra organisation and real-life terror groups like al-Qaeda. DC and Marvel have been too politically-correct to use Islamic extremists as villains but in this issue, we see distinct parallels between such groups and Kobra's cult. The fanaticism of their members, their willingness to kill anyone-- even themselves for their cause, their disregard for the outside world, their reliance on hidden infiltrators to commit attacks, are all hallmarks of modern-day Islamic terror groups. Kobra even uses the word 'jihad' near the end. It remains to be seen if DC writers can really exploit this new group to tell new, more timely stories. Or if Kobra will simply deteriorate into another bunch of hooded thugs in a few years time.

By itself, this issue doesn't really grab you but it does leave hints of greater things in the coming days.

Maybe all these gimmicks about weapons going backward in time and gods coming back to life will end up as just so much special effects, like computer-generated images in a Hollywood blockbuster. But the more serious story of evil slowly engulfing our heroes, makes this comic worth reading.

The pacing of this book is off and it dilutes the suspense of the story. Frankly, a stronger editor was clearly needed to ensure the tale makes sense. Sure, there is a lot going on but it is hard to tell what is important and what was thrown in, just to look 'kewl.'

It is hard to say if the gems within this issue are enough to make up for the massive faults in the story. Considering that this is the second-to-the-last chapter, it may very well be a sign that the conclusion will be an even bigger mess. That is too bad. Had the editorial side exerted a stronger hand in directing the movement of the story, perhaps this miniseries would truly have become the classic it was suppose to be instead of just another money-making comic-book 'event.'

Morrison and DC simply aren't making it easy to read their comics.

This book needs to step up its pace a little more. Right now, it seems to be all flash and glamour-- much like the Super Young Team itself. But if readers don't see the characters doing something besides looking good, they may not keep reading.

This book has an uphill battle ahead of it to find fans and should not make it harder for them. I suspect that if this book were a Marvel Comics production and was tied, however loosely to the X-MEN franchise, it would be an outright success.

DC Comics has crafted a solid mystery in this comic. It just has to give us a reason to keep reading.

Okay, it is only the middle of the story but by now, these stories should be making more sense. The lead characters aren't popular enough to sustain the narrative. Heck, we don't even know if they are suppose to be in danger or not. Maybe if this story featured major characters like Black Canary and Green Arrow, it would be more compelling. Right now, the events in the story seen unimportant because they are happening to minor characters.

Perhaps it is the format of this comic, which comes out only once a month but it is still hard to get into the story. It simply isn't that compelling so that readers will remember exactly what happened in the previous issue and understand how this all relates to the latest issue. Maybe when the whole thing is collected into a graphic novel, it will make more sense-- and will be more entertaining.

There are a few glitches like Firestorm being depicted with light skin. The cover is also rather unimaginative and fails to convey any sense of the action or desperation inside the book. It looks like a bad 1960s ad for Chesterfields.

The highly-detailed and stylised art enhance the story and the character of the Human Flame. The villains may be laughable but they are still dangerous and rather awe-inspiring. The Justice League, who make a guest appearance, also look quite impressive.

At least we still get a nice action tale out of this book. But considering how good the previous issues were, this last issue should have been much, much better.

The Legion of Superheroes has been a troubled franchise in recent years with numerous re-boots and revamps that have left it unrecognisable to old fans while failing to attract new readers. In the end of this miniseries, we will likely see all three Legions combined into one team that will be more acceptable to readers. But in the meantime, the creative team can be credited with crafting a comic book that is entertaining enough on its own, one that will delight old readers and will engage new ones, regardless of whether they care about old characters like the White Witch or Rond Vidar.

There is nothing particularly deep or meaningful about this story. It isn't very moving or inspiring but it is a fun ride. Sadly, it comes out after months of delays which diminished its impact. Even Superboy-Prime seems disgusted with the delays. He isn't completely stupid after all.

The art is the big stumbling block of this issue. DC Comics should let its new artists study the works of Bernie Wrightson, Mike Kaluta, Matt Wagner, Frank Brunner, Rudy Nebres and the Redondo brothers to show them that they can do mood, mystery and menace without turning the comic into a murky, mixed-up mess.

Here is hoping this mini-series lives up to the promise of its first issue. If it does, it could very well end up stealing the thunder of FINAL CRISIS.

The art helps build the tension and adds to the atmosphere of sordid desperation while still making the story easy to follow. It is rare to see such detailed art that isn't "shiney" or confusing. All in all, this miniseries contributes greatly to the FINAL CRISIS event while standing on its own as an exciting tale and a turning point in the lives of its leading characters.

This is an exciting story and it has some very moving... and very frightening scenes which make Superman and the rest of the cast look very impressive but all in all, it still leaves the reader-- even the intelligent reader-- wondering what the heck just happened.

This book and the miniseries itself are ambitious and experimental and they have a look that will be appreciated by people who are tired of the big events that dominate both DC and Marvel comics these days. Those who will nit-pick over every inconsistency will find a lot to pick about, especially since the Spirit and Doc Savage aren't quite the same characters in this book as in their previous appearances in other comics. But if you don't let yourself get hung up on these details, it should be quite entertaining.

The high point of the story is the scene where a wordless Doc Savage crashes through a window and saves the day. That should be a clue on what kind of story they should be writing.

The art takes a little getting used to. It is bright and full of strange colours and bizarre shapes. The characters-- particularly the kids-- have a cartoonish look. But at the same time, like well-made cartoons, the art does catch the eye, making it easier to read the book. It also does not rely on over-use of speed lines or other depictions of Flash's super-speed as previous versions of this book have done.

The art is imaginative but certain panels clearly look rushed so the fine details are not clear. Kolins sometimes overuses his thick, black lines which makes many scenes-- even those set in the nice, shiney future, look rather dirty.

The art is highly detailed and very dramatic. Sometimes it is a little too overdramatic with energy-lines exploding from the Flash in almost every panel he is in. Iris Allen is also drawn very strangely. Sometimes, she looks stiff, like a statue. She also appears to be about 20 years old instead of the 40-plus year old grandmother that she is. Then again, DC Comics seems to believe that any woman who looks over 30 is unattractive so all female leads look like they are just out of their teens.

The only bothersome part for me is the way another super-speedster was killed off rather casually, just to show how 'bad' the supervillain is. Oh well, guess they need more Black Lanterns.

While this mini-series has been exciting and amusing, it isn't quite the tour-de-force that "GREEN LANTERN: REBIRTH" was. It feels like something that DC Comics felt compelled to put out just to set the stage for the inevitable FLASH and KID FLASH comic books.

DC Comics deserves praise for trying to do something besides standard superhero comics but in this case, it looks like they don't really care that much for this "war" title and are not giving it enough attention.

Other than that, the book is quite satisfactory. Basically, we get a story where Merlyn is hired to kill some tech-geeks. Green Arrow and Black Canary track him down and and a vicious struggle ensues. This is a competent, self-contained story with strong, well-rounded art that makes all the characters come alive as real people-- particularly the Black Canary who comes off as a good-looking, but tough woman and not some super-sexy comicbook vixen.

The art at least makes the story easy to follow and although the action scenes are crammed into too little space, they still pack some excitement. It is just that the characters aren't interesting. They seem to do things almost randomly. The creative team is struggling to turn Cupid into a lovable, madcap villainess, like Harley Quinn but she just comes off as an irritating, creepy killer. Big Game does show some promise with his intense ruthlessness, even if he is just a carbon copy of Kraven the Hunter.

The art, while not as detailed as previous issues, is actually better looking. It has a bright freshness that does not become bogged down by the huge cast, the complexity of the settings or the weirdness of the aliens. If DC Comics really needs an artist for their big crossovers, maybe they should take a long look at Reis-- if George Perez isn't available.

The problems of this issue tend to lie in pacing. Too much time has been taken up re-telling Jordan's origin, mostly just to build up the suspense for the big 'Blackest Night' event. There have been other comic books that have taken months or even years to build up the suspense for their big 'epic' tales but they did this by having stories that stand on their own as well. This recap of Jordan's first days as a Green Lantern have been all build-up and would not be very enjoyable if we didn't know that they were all part of a big DC event coming up.

The art is a little too serious for such a light-hearted story. You almost expect Larfleeze to go on a killing spree any time he is denied what he wants. Maybe that was the intention.

The art is dark and gloomy, fitting for a horror-themed story with the walking dead all over the place. But it could look confusing once the protagonists move to outer space.

The art is powerful but also often turns confusing. Using inventive camera angles may be good for scenes but not when you are showing two alien monsters wrestling with one another. With such a huge cast of characters and a diversity of settings, the art team should exert more effort to make their work easily comprehensible. The cover for one, is barely understandable.

One odd thing in this issue is the Green Lantern infirmary: Oa is suppose to be one of the most technologically-advanced planets in the universe and yet their infirmary looks like just another military field hospital-- complete with cots lined up in a large hall. This book is largely the story of a military unit at war but surely they could have come up with something more futuristic.

This issue may just be a sideshow in the big BLACKEST NIGHT event but it is a very entertaining sideshow.

Despite its faults, this is a very exciting issue and sets the stage for more Gardnerrific goodness next issue.

Small quibbles: making Guy a Star Trekkie seems to be out of character. It feels like the writer is speaking for himself rather than a hardcore jock like Guy. Also, no mention of Guy's other dead girlfriend, Kari Limbo?

The art is still a bit rough, focusing a lot on exaggerated features, much like a 1990s comic book. But it also captures the danger of the situation and the plight of the heroes.

But the art is too messy, filled with splashes of dark ink that make the book hard to read and to look at. Perhaps this style is intended to evoke the violence of the action and the squalor of the setting but some of the characters' bodies are just laid out in strange ways.

It is odd that you have to look to the Green Lantern franchise for DC's red-blooded war stories.

One big problem facing this book is the way it keeps escalating threats. We now have a solar-system-sized space ship that can destroy planets with ease. Eventually, even the most devoted readers will get jaded and will stop getting excited by all the spectacle.

It isn't easy reading and may not be completely satisfying but Habibi is worth tackling for its sheer beauty and the messages it tries to convey.

While this issue is entertaining enough on its own, the entire story is eclipsed by the character of General J.E.B. Stuart. With his florid, poetic language and his flamboyant, anachronistic appearance, he grabs most of the attention and gets the best lines. All the other characters, including Jamal, can't really hold their own in their scenes with him. One would think the ghostly general is the lead character, not the tank crew. If this keeps up, they might as well change the title of this book to "General Stuart and His Not-so-Amazing Friends."

Miller may want to say something about Islamic extremism but this book could just as easily have been a story of Daredevil fighting Hydra. There is no realism in this story, either in the villains or the heroes. If Miller really wanted to rally people to stand up to Islamic extremists, he could have had a story about the troops fighting in Afghanistan. But then he wouldn't have been able to include any pictures of sexy girls in fish-net stockings.

In fact most of the weaknesses of the story could have been glossed over if the dialogue and pacing were more exciting and flowed better. The lead character's internal monologue seems too forced, like she was trying too hard to make us feel sorry for her. The art does not help things. It isn't bad. It is just pedestrian. It tells the story but it does not increase the suspense or help set the mood too well. Even the scenes during the Carnivale in Venice don't look too impressive. The haunting cover of this issue gives us a hint of the decadence and danger of Venice but the interior art does not follow through.

Maybe instead of comic webzines interviewing the writers and editors of top-selling books and popular characters, someone should interview Milligan and company and find out just what they were trying to do with this book. It may tell us a lot of how creators' minds really work.

The art is typical-- nice, clean, detailed, but it also doesn't stand out, which is a drawback for a story which is suppose to introduce the 99 to a whole new audience. Again, the scenes of the JLA in action are the best of the issue. Maybe it is simply a case of the writers and artists being more familiar with the Justice League than they are with these newcomers.

Strangely, this is suppose to be part of a series of stories narrated by the Joker about his fellow Bat-villains. But there doesn't seem to be anything linking this tale to the rest of the stories. It already fails to convey the horror of Poison Ivy's actions and does not make her a tragic figure. It just seems to be thrown together as a showcase of her beauty and her environmental agenda. Of course, this isn't the first time that writers have been overcome by the character's sex appeal that they failed to craft a good story about her. Apparently, her powers extend from beyond the printed page.

The art has a desperate, dangerous look to it but some panels are just scratchy and undefined. Some characters don't come off very well. Tallulah Black for one, looks as if she were drawn by an amateur. The grey of Hex's old Confederate uniform seems to be the same shade of the blue of the army soldiers. And for a storyline focusing on guns, the artist does not draw revolvers very well. Considering what a "big" event this is, DC Comics should have pushed for a better art job.

It is in the writing that JONAH HEX is lacking. Too many times, the writers seem to be wallowing in horror and shock tactics to try to make the title seem more gritty and 'realistic.' This issue serves up a man getting his head torn off and a woman being beaten to death to try to stand out. Palmiotti and Gray did gain some renown for doing comic versions of 'splatter'movies and it sometimes looks like they are using the same tricks in this book. The old Hex stories had their share of brutality but they gave us a lead character and a world where this brutality was clearly an anomaly, making the eventual scenes of violence look tragic and necessary. Nowadays, the violence in this title seems to be there for its own sake.

There is a back-up feature involving Liberty Belle and Hourman in some sort of light-hearted caper with Tigress and Icicle. Frankly, it doesn't really add much to the book and it actually diffuses the sense of danger in the main story. In one tale, we have the very same characters acting like super-heroics are just some joke. Yet in the main story, the very same characters are ready to kill each other. It just makes the backup feature look superficial and tacked-on.

The back-up story, with Hourman and Liberty Belle trying to recover an ancient book ahead of Icicle and Tigress, still isn't coming together. Are they trying to make it a superhero-version of Nick and Nora Charles? Well, the plot is too muddled and the story too tame, especially when compared to the action-packed main feature. The story doesn't even feel very exciting since the good guys and bad guys seem to be taking it easy on each other.

The back-up story however continues to underperform. It is a caper story with Hourman and Liberty Belle teaming up with Icicle and Tigeress in search of some magic stick. But there is no conflict or even suspense in the tale, despite the fact that the heroes are working with a pair of villains who normally would kill them on sight. This story has gone on for too long and it still isn't going anywhere. The relaxed, emotionless art does not help matters.

The back-up feature, with Hourman and Liberty Belle teaming up with villains Icicle and Huntress searching for an ancient artifact, is getting worse and worse. It is like they are trying to make it boring with the poor pacing and non-stop, insipid dialogue. Maybe DC Comics thought this story would be a clever action comedy. It is just a dull story without excitement, conflict or drama.

The art is really uneven. Some panels are wonderful-- and then suddenly we get a facial expression or a character that just looks so--- wrong. Power Girl and Cyclone are the worst victims here. Artist Howard Porter has always excelled in big action scenes while lagging in depictions of women but this issue really emphasizes his weaknesses. He suffered some physical injury some time back which may explain things. But DC Comics could have at least asked the inker (in this case, the skilled Art Thibert) to clean up his mistakes. At the very least, they could assign him to a story that didn't emphasize female characters. In this issue, it looks like they just left poor Porter out to dry.

The art is still unique and dynamic. There is no other book on the market that looks anything like it. But there are some panels which just get confusing, where you can't tell who is blasting who with what.

At any rate, the book ends with a partial revelation of Gog's real agenda. It sets up the coming conclusion very well. But it also leaves a lot of the JSA members looking really stupid for blindly following a stone giant across Africa, even when he was casually killing people.

It is also interesting to have a JSA story that is tied so closely into Checkmate when the two comicbooks barely had any tie-ins when CHECKMATE was being published.

The biggest flaw in this issue is the small number of actual JSA members involved. The team now has a gigantic roster, where many members barely do anything in some issues of the regular JSA book. In this issue, they could have easily scattered team members all over the place to keep Kobra's destruction to a minimum.

One good thing is that the mood and atmosphere of the story is well-maintained, all throughout. Regardless of their seeming lack of resources, the Kobra cult do look dangerous simply because they operate in dark and mysterious places, in a secretive, malicious manner. Quite different from the typical comicbook private army who walk around in full uniform where everyone can see them. The art team deserves a lot of credit for this mood. The cultists' faces are always enflamed with murderous intent and their bodies seem almost animalistic. It is a convincing portrayal of what a terrorist group would be like in a comicbook universe.

The art has the required sense of darkness and impending doom but also doesn't have anything that really grabs the reader. This could be a standard detective-noir story if not for all the phantoms flyng around.

However if you were one of the readers who loved the mood and suspense of the GENERATIONS LOST series or the comedy and unique interaction of the BWA-HA-HA JLI, you are going to be very disappointed to see it replaced by what seems to be just another superhero team.

The art is well-drafted, making for a very comprehensible story that is easy to follow even if it largely consists of dialogue. Of course, since much of the story consists of the 'Trinity' sitting around a table, the art team doesn't really have much to work with. The inker and colorist do bring out some depth to Pacheco's usual work.

Additionally, this is the second time in barely a year that we get Amazo using the Red Tornado's body to attack the JLA. How many times is this is going to happen? At this point, no matter how popular the Red Tornado is among his team-mates, they must really start questioning whether he is worth all the trouble.

This issue also has a dream sequence involving Hawkgirl having sex, after which we see Red Arrow leaving her bed. Yet amazingly, it still has a comics code stamp. Well, I doubt too many kids would want to read such a slow-moving book anyway.

The art is very expressive and quite imaginative, especially the scenes in Shadow-Thief's 'all-light' cell. But like the story, it all looks like a TV soap opera rather than an big-screen action movie. The cover meanwhile, looks totally inappropriate. It seems more like a sex scene than a frightening horror scene.

The art reflects this rushed style of writing with too many elements jammed into the story. There are many panels with barely any background and many panels with too many characters crammed into too little space. Rags Morales, the artist of this issue, may be doing a fill-in job so he couldn't spend too much time on backgrounds and detail but it doesn't make an already complicated comic book easier to read.

The art is serviceable but not much else. The new villains do not have the threatening majesty that one would expect from bad guys who can trounce the Justice League. Bagley can certainly do much better.

There is also a scene where Jade's power pulse suddenly begins reciting free-verse poetry while Jade is sucking the energy out of an opponent. Those scenes just show that the writer simply can't write good poetry.

Eclipso and his gang of shadow-powered cronies goes after Jade and the magical city on the Moon. Just as Doomsday shows up, attacking the JLA and the Green Lantern Corps.The story is a bit unwieldy, dealing with two different threats simultaneously. While there may be a connection between Doomsday and Eclipso, we don't see it. Instead, it looks like the League just happened to get hit from two sides at the exact same time. That isn't necessarily a bad thing as it shows how the team would deal with more than one threat at a time. It also helps that Robinson is one of the few remaining writers who still uses narrative captions. We really need these captions explaining what is going on since the art is a bit lacking in this area. The small panels and vague backgrounds often make it hard to tell when the setting of the story has changed, so we can't immediately tell that Supergirl's battle with Doomsday is actually taking place many miles from Eclipso's invasion.The story still could have

Eclipso with an army of darkness-themed villains, has conquered the Moon and now, he goes one-on-one with the Spectre as part of a bizarre scheme to-- get this-- kill God.The JLA meanwhile, have been spirited to safety but instead of attacking Eclipso outright, Batman devises a plan to defeat Eclipso. What that plan is, we don't find out because the comic book ends just as the team goes into action.This story shows both the talents and the weaknesses of writer James Robinson. His characters have really interesting dialogues-- not always realistic ones mind you-- but always engrossing. Even the 'internal dialogue' taking place within Eclipso is quite entertaining. The writer once actually devoted entire issues of STARMAN to characters sitting around a table and talking so the editors probably think he can get away with something similar in this book.On the other hand, Robinson's plots are complicated and contrived and so much of his dialogue is spent trying to explain the plots. Additio

The art is a nice blend of painted and drawn styles, giving the book a very lush, overflowing look to it while still keeping the characters looking very dynamic. Too bad that so many characters spend their time just standing around and talking. The scenes of Batwoman and Odd Man (?!) in battle look quite good and give us only a taste of what this book could be.

Perhaps the best part of this entire issue-- maybe this entire miniseries-- is the ending which caps the whole "Cry for Justice" story off with finality, definitely telling us, what happened to the key villain....so we know this plotline isn't something that isn't going to turned into another eight-issue summer event. It provides a great deal of satisfaction after we were led along for so many issues.

There may be some disappointment for those who were expecting a "KINGDOM COME"-level story. For all the build-up that preceded this issue, it looks like just another evil alien storyline. They could have wrapped it up sooner but the results so far have been satisfactory.

The art makes the story easy to follow from panel to panel. The fight scene between Adam and Billy especially stands out as you can actually see how tje antagonists move from one action to another. While the art in this issue isn't as detailed as other books onthe stands, it has a humanizing effect that makes all the characters easier to relate to. If there is any shortcoming, it is the fact that some of the more god-like characters, like Isis or Billy, look a bit too mundane.... too human, rather than the ethereal beings they are suppose to be.

There are still too many questions left unanswered in this book, like why the JSA would take a complete neophyte like All-American Kid or a pompous jerk like King Chimera as members when there is so little known about them. But at least the new creative team are not shying away from challenges. Right now, they have just laid the groundwork for two years worth of plotlines. Maybe they should pause to take a breath.

The art is extremely satisfactory for this type of book. It carefully utilises the panel space to accomodate a cast of dozens. The details and the backgrounds are all well done, helping the reader know when a scene has switched locations or where the characters are during the story. While the art certainly isn't as flashy or dynamic as the art in other 'hot' books, it certainly helps the story and keeps things clear, never confusing the reader about what is going on during the comic.

The art reinforces the feel of intimacy and comfort in this issue. The faces are all expressive and interesting-- even when they are showing negative emotions. Take away the fancy costumes and this book could pass off as a very well-done domestic comedy. But maybe we can see more action in the coming issues.

Maybe this new "Starheart" City and the Obsidian-Jade threat will result in some pretty good stories later on but for now, they look contrived and dull.

The Justice Society are on the ropes against the master plotter, Dr. Chaos and the super-powerful Scythe when an army of heroes arrives on the scene to help them. Not too surprisingly, the heroes win, especially with the help of a revived Green Lantern, Alan Scott, now merged with his mystic lantern.It is an entertaining punch-up even if you get the feeling that the heroes could have ended this so much earlier if they just worked as a team instead or rushing in fists first. There is also a proliferation of new heroes who we are not told about and are given less reason to care about-- a major weakness in the story.Even with the main menaces dealt with, there are still a lot of mysteries and plotlines that have to be resolved. This does keep things interesting but if recent JSA history has taught us anything, it is that extended plotlines can wear out the patience of the readers. All these mysteries need to be wrapped up quickly, while people still give a dang.The art has a dark, seedy,

Sadly, this is the end of the line for the JSA for now-- a sad conclusion for a title which was once one of the brightest lights of DC Comics. Frankly, I doubt the new DC comics line will come up with anything to match this book in its glory days.

So yes, this book was fun to read but mostly for the nostalgia. It really looks like they are stretching this "Earth-2" thing out, perhaps to the point that people will get tired of it. As it is, we have the whole affair with 'Gog' to deal with-- not to mention the eventual ramifications of the Final Crisis. It is hard to sustain interest for that long.

The need to resolve all of Magog's plotlines in one issue makes it look like DC Comics is determined to kill him off very soon. That is a bit sad as the writers were doing something original with Magog: depicting a character who wasn't likable and who didn't try to appeal to the reader for sympathy but who was still a hero. Well, one thing they did succeed in doing in this issue was showing the reader that Magog wasn't just a one-note character but despite everything, was actually quite admirable. Too bad we won't be seeing much more of him.

All in all, the whole tone of this book is that of an amusing diversion rather than an exciting adventure. In today's comic book market, where all the books feature life and death situations, KNIGHT AND SQUIRE isn't really that compelling. Although this book doesn't really grab the reader by the throat, it would be nice to see a successful comic book that doesn't rely on shock and awe.

The Joker goes after the easy-going superheroes of England and Knight and Squire have to rally their mates to stop him in the final issue of this miniseries showcasing the British version of Batman and Robin.Frankly, the issue is a disappointment largely because it IS too easy-going. The Joker seems to be killing people at will yet the heroes of England take too much time going after him and when they do finally confront him, they basically just take him into custody-- no massive struggle, no life-and-death battle. He just walks into their arms.The art, like the story, is also too humdrum. It doesn't effectively communicate the growing fear and concern in the British superhero community over the new, more ruthless threat in their midst. Perhaps all this is just the usual British stiff-upper lip at work, not to panic and take everything in stride but this is a comic book after all and people read these things expecting to see action and suspense.The funniest part of the story is the Jok

Yes, this issue leaves a lot of things unresolved. A bunch of subplots are left hanging and many characters are simply dropped completely from the story. But the mystery writer does find a credible way for the Legion to beat an unbeatable foe and to come back from certain death. And for the big twist at the end, he even manages to pull out a surprisingly touching happy ending. All in one issue. Those worrying about Princess Projectra or waiting for Cosmic Boy to come back will be outraged by this issue but considering all its limitations, the book is as good as it could be expected.Anyway, a new version of the Legion is on its way and this series will soon be reduced to a footnote in DC comics history.

Ironically, the competence of the superheroes is probably one of the biggest problems with this issue. In the end, the Legion defeat the bad guys with professionalism, efficiency and a minimum of violence. That is nice but most people read comics to see drama, conflict and a whole lot of violence. Maybe next time, we can see more widespread carnage when the Legion battles an invading space-fleet. Nobody wants to read a book about characters who are so competent that the story becomes uneventful.

Just two points: First: Magog's powers and capabilities are still a big vague. He can fly now? And he has some sort of technological background? Wasn't he just a Marine? Second: the practice of setting parts of the stories in actual real-life locations (Sudan) can make it seem like DC Comics is trivializing the very real atrocities happening there so this has to be handled with sensitivity and good sense.

P.S. , the cover is symbolic. Nightwing undergoes a lot of suffering in this issue but he does not get acid thrown onto half of his face.

By the way, this issue is suppose to be part of the whole "Batman RIP" storyline but aside from the absence of Batman, there seems to be no real connection to that tale. It is part of a wider story about Two-Face and a woman he once loved. It has been an intriguing tale so far but it already risks becoming tiresome. Hopefully, the next issue will give us a suitable finale.

The cover is a bit dull however. It looks a bit suggestive, with Ra's urging the reader to join him in his hot tub.

The civil war among the Outsiders continues with old faces making a return.The Outsiders have split into two with Black Lightning leading one faction as they invade Markovia to battle Geo-Force and his gang. It is an action-packed tale with old members and foes from the various incarnations of this group making a return, characters like Grace, Looker, the Masters of Disaster and so forth. This is an action-packed tale even if it does lack a central focus. Too many characters in too little space forces the story to jump around a bit, to the point that it is hard to tell which characters are merely incidental to the story and which characters are crucial.There isn't any attempt to fill the readers in on what happened earlier so the whole reason for the war is never very clear to newcomers. Some things happen out of the blue like Creeper's new powers or Looker's comeback. Frankly, with the limited page count for most DC books today, it is becoming clear that the DC comics can't afford to

Amidst a civil war between the Outsiders, Geo-Force finally flips out, attaining a power level that he has never shown before. Is this mysterious being called 'Veritas' to blame?This comic is sadly due to be cancelled in a short while but at least it is going out with a bang and not a whimper. While the plot line is clearly being cut short due to the impending cancellation, the fight scenes and the spectacle are all getting the required space. People may complain that some characters are not acting... well, in character and some events, like the Olympian being beaten by Owlman, look a bit contrived but it all helps the story barrel along at a swift and exciting pace. Fittingly, the team does include a member called "Freight Train"-- silly sounding but one that suits the book.The art is another pseuo-Kirby job and in some scenes, it does look like a bad imitation of the master but when the book has to show the truly bizarre and impossible events of this gigantic war, then the art truly

Starro the Conqueror has finally taken control of Vril Dox and now, the rest of his team of REBELS must try to rescue him before Starro spreads his control to the rest of the universe. Unfortunately, Starro has on his side, sheer numbers, careful planning and a bruiser who can match Lobo in battle.So the team has to revive the monsterous Tribulus to even the odds. It looks like DC Comics basically gave away the main plot point of the issue by having Tribulus on the cover. This title has done a great job in handling multiple characters, giving Starfire, Captain Comet and company a chance to shine in the face of a very complex plot. If there is any let-down, it is in the amount of space devoted to Lobo's fight scene, only to have it end in an anti-climax.The art is also refreshingly clear and easy to follow, making the story accessible, even to new readers.Sadly, this book like many other DC titles, is on the chopping block so it is likely that the story in these last issues is being com

The art is powerful but lacks a sense of mystery. It reduces the Hangman to being another muscular two-fisted brawler instead of the haunting figure of punishment and mortality in archaic garb that we see on the (very well-done) cover.

The art is a bit blocky, especially in the scenes set in Afghanistan which don't look anything like the place we see on CNN and other news shows. However the scenes showing the Shield in action do capture the power and excitement of the character. Whatever the book's shortcomings, the Shield himself does look like a great superhero.

While DC Comics may deserve some praise for their originality, the new Inferno may be a bit too strange and untraditional for readers to sympathize with. His un-handsome looks won't make things easier. The complicated mystery as to the origins of this new Inferno may actually scare new readers off instead of attracting them. Maybe DC Comics should have just stuck to the Golden-Age version and used a fire-breathing carny who fights crime.

The art is very pretty but is also overly-complex, to the point that it distracts the reader and prevents him from knowing what is going on. All those unnecessary lines look like an artist who is showing off instead of showing us what is happening.

The art is surprisingly good. Benes is known mainly for his depiction of sexy women but he shows great versatility here. He showcases the deeper emotions in his characters and not just their shapely bodies. If he keeps this up, he could easily become one of the hottest names in comics.

The art is kinetic and fast-moving and the inks of Sienkiewicz helps build up the mood of darkness and despair that all the characters are feeling. What it lacks is the sense of infernal grandeur that one would expect from a story based in Hell itself.

Despite its problems, this issue still has decent twists and surprises and lets minor DC characters show what they are made of. It just feels a little padded-- possibly to fit into a trade paperback. The comedic cover also does this issue no favours. Seriously, who would be tempted to pick up a book whose cover seems to trivialize its the contents?

On a side note, why is King Shark being taken out so easily? Isn't he suppose to be a big-deal character who even Superboy couldn't beat?

The art does have a grim tone to it while still making the story clear and easy to follow. But it relies on too many close-in shots to convey emotion and the fight scene at the end is drawn in a way that makes it look static and dull-- almost as if it was just a backdrop for some more wisecracks and clever remarks. The cover is also rather unremarkable. It makes Artemis look like a chorus girl lost in a forest..

Basically, the issue helps flesh Floyd out but can't really move him forward. That is the job for the regular SECRET SIX writer. Just the same, for this old fan, it was fun to see a glimpse of the old SUICIDE SQUAD again. Who knows? This may open the door to more appearances by the team.

The art is a bit stiff and too many of the female characters have the same face but at least it manages to tell a very complex story in a very limited space.

The art has a grittiness and humanity that makes the confusion of war more palpable. But it also makes it hard to tell Easy Company's men apart. Even Sgt. Rock is recognisable mainly from his helmet with the sergeant's stripes on it. Joe Kubert, Russ Heath and George Evans never had trouble making Rock stand out, even in the dirtiest and grimiest situations.

This book has a lot of promise, especially for a title with a completely new character who is not tied into the whole DC-Crisis thing. But if the creative team makes no effort to attract new readers, it will likely not survive for long, regardless of the star-stature of its writers.

This is a unique title with its own attractions but it needs a wider audience. If it does not find more new readers, it may not survive for long, which would be a pity.

There are still too many things that are vague about this issue. Some things just aren't depicted clearly (was Cyrus Gold's father crushed by a loan shark?) or are intentionally obscured (how did that demon-thing in the beginning get his head blown off?) The story of Grundy is still quite intriguing but it needs to be handled better if it is to hold the reader's interest.

There is clearly a good story going on this comic but with half the book devoted to characters committing random acts of violence, there just simply isn't enough space for the story to be told.

The art is moody but also very clear and articulate in depicting the volatile emotions of the characters. Ivy looks quite enticing and Gold-- even in his human form-- is quite menacing. There is just too much reliance on the art to tell the story. If anything, the writer Scott Kolins seems to be using as few words as possible to avoid covering up his own art.

The art is consistently good and in intensity and menace, it tries to make up for the failings of the story but it simply isn't enough. Scott Kolins, who did both art and story, maybe outstanding in the former area but falls short in the latter field.

There is also a back-up feature where Bizarro is told he has some great destiny ahead of him. This part, drawn by Starlin, is very cryptic so it is hard to judge it on its own-- although the art is well-done. By the way, despite all of Bizarro's space travels, he is also shown on Earth in such books as ACTION COMICS and in the SOLOMON GRUNDY miniseries. Is this just a continuity glitch we can ignore or is it a sign of some twist coming down the line?

Just the same, this book is special. It tackles issues that are rarely tackled in mainstream comics-- and does the job well. The less mature readers out there may complain about the lack of action and the 'cliffhanger' ending. And maybe this kind of story can't really be done too often in comic books which rely so much on spectacle. But this issue is a nice change of pace.

The art fits the comic-- lively and powerful. In some poses, both Supergirl and Superwoman look quite unattractive. But maybe that is for the better. It helps reinforce the impression that this is a serious story about very conflicted characters and not some cheesecake feature with girls in skintight clothes.

Hopefully, the creative team will get over these teething problems quickly and deliver a Superman run worthy of the character's status as the world's premier superhero.

The art is expansive and emotional but in many panels, the human figures have a kind of sheen that makes it look like they were made of plastic. Atlas particularly looks like his broad chest is plastic-enhanced. A newcomer to the book might even suspect the character was an android with the way his skin looks.

The art is eye-catching and moving but it also has a painted, posed look that prevents it from fully capturing the movement and power of the characters. It almost looks like every page is intended as the cover of another comic rather than part of a story. But at least the characters in the story look more human and more relatable than they did in previous issues. And of course, Krypto comes off looking very good, like a real dog rather than a cartoon canine.

The art is competent and detailed but is also rather flat. It looks like something a non-comic artist would whip up if he were forced to do so. This kind of art really makes a reader appreciate the genius of Curt Swan who could put life into a simple scene of Perry, Jimmy and Clark just standing around a desk.

The big problem for this story is the 'gimmick' of the fathers of both Superman and Batman meeting and setting the stage for both of their sons to become superheroes. It just seems too unbelievable and contrived. On the other hand, this kind of thing was regularly pulled off in the 1960s-1970s when a writer would suddenly reveal that Batman's father had performed heroics in a 'Bat-man' costume before his son took up the mantle. Or that an evil duplicate of Superman was being raised by a family of criminals just a few towns away from Smallville. If the reader can just take this story as just a typical superhero tale that doesn't really change anything... then it should be enjoyable enough as disposable entertainment.

The strongest asset of this issue is the art. Even though he has to work with several different inkers, the strong, well-drafted pencils of Rags Morales come through. He gets the huge cast right and makes both the gigantic action scenes and the small dramatic scenes more effective. The only real weakness is the unimaginative cover.

Some other old names like Cary Bates, have recently returned to mainstream comics-- some of them not so smoothly . Not sure if this issue marks a resurgence for Wein but judging from this issue, he could eventually find a place in today's comics.

The art has a nice, clean rounded look that makes the human characters easy to sympathise with. But it also makes the villains look less fearsome. This comic has got to have the cleanest depiction of Apokalips ever.

Interestingly, this series credits TV and movie producer Michael Uslan of initiating the THUNDER Agents project. Perhaps this series is intended as a draft for a potential TV show.

Like the first series, this miniseries may actually read much better when it is collected in a trade paperback. Sadly, there probably won't be another sequel.

The creative team also fails to make the reader care about the fate of the Tangent universe. It seems to be just another alien dimension rather than a twisted reflection of our own world. Still, the story so far does have a sense of building towards something big. Perhaps in the next issues, it will really catch fire.

This book still has to find a proper way to use its huge cast and find a proper tone for the team. They are suppose to be "teen" Titans but they sometimes behave like young kids while acting as grumpy as senior citizens. There is little of the youthful excitement that was crucial to previous versions of the Teen Titans. This team is indistinguishable from all the other 'teams' out there. The Teen Titans need a reason to be together. The original Teen Titans, the 'new' Teen Titans of Wolfman and Perez and the Young Justice team all had such reasons. These guys seem to be thrown together just so DC comics can have a TEEN TITANS title on the stands.

There is also a Ravager back-up feature which, in story and art, is as violent and morbid as the main feature. The main difference is that the protagonist, the Ravager, is so unlikeable that you actually want her to be killed.

The troubling thing about this issue is that it basically focuses on Deathstroke rather than any of the Teen Titans. It is practically an admission that Deathstroke is the only character from the old 'New Teen Titans' days who still has a healthy following. That is a pretty sad comment on the whole Teen Titans franchise.

For all its action, it is hard to feel there is anything of consequence in this issue since we know everything is going to be changed in in a few weeks anyway. To think that they just introduced a new member, Solstice, just a few months ago too. Maybe after this, DC Comics will finally have a TEEN TITANS title that will matter again, though to be frank, I doubt it.

The art is professional and well-rounded, making the heroes look very formidable. But the inking is a bit heavy. Maybe they were trying to give it a horror-story atmosphere but a superhero book like this isn't really suited to that.

Oh, a few minor superheroes get killed off, just to shock us. The death list so far includes "Molecule,' the teen version of the Atom and 'Fever,' a once-charming character from the John Arcudi version of the Doom Patrol. Guess she had to die since the TITANS writers don't know how to write charming characters.

The art is the saving grace. The use of panels is clever and the human figures look very powerful-- even if they don't look like teens at all. Bennet's potential is really starting to flower. He used to have a roughness about his work, Maybe it is the inker or maybe he is just getting better but this issue looks really smooth. He is worthy of better material.

But it is still an absorbing story that does not glamourise or trivialise its subject matter but still manages to give a unique tale on an overused topic.

Archie comics has been taking some risks in recent years, experimenting with new art styles, new formats and introducing a gay character. But by leaving out the sources of conflict that have spiced up the older comics, they could end up producing stories that are actually duller than the ones they were using in the 1960s. when Betty and Veronica went hammer and tongs at each other for the love of Archie.

Nightwing's role as one of the most trusted superheroes in the world is employed well and this issue is his chance to shine. Hawkman largely just acts as Nightwing's back-up but he certainly makes for an intimidating presence. And he ends the story getting one up on Green Arrow.

A big problem with this issue is the decompressed storytelling style which sometimes gives the impression that the creators are just killing time. The heroes don't even get to meet the villain in this issue. So we don't even get to anticipate their eventual clash. Perhaps the next issue will finally bring something out of Supergirl-Raven combination, when they finally have to join forces against the bad guy.

The scenes of urban conflict could look more realistic. DC Comic's war books have never had a problem capturing the grittiness of war but this superhero book makes it a little too cartoonish.

The story does help in establishing the differences between the powers and the personalities of the two electrically-charged heroes but all things considered, it should have amounted to a lot more. Maybe DC Comics didn't think the first meeting of these characters was such a big deal after all. But with more effort, they could have made it a big deal.

Robby looks a little too mature and modern compared to the crew-cut kid who appeared in the 1960s comics but perhaps this was deemed necessary to make him look less out of place in a modern setting. Just the same, it is hard to think of Robby as the kind of person who sleeps in the nude.

The art carries the story well although it is a little too 'clean' for a war story. Maybe it was a good point not to show severed arms or spilt brains on a battlefied but the battle scenes could have used a little more grit. The Flash is also depicted as a little too buff. He is a slim runner, not a muscle-man.

The art is rather subdued but maybe that is what is necessary in a story that deals more with feelings and philosophical concepts rather than action. The depiction of Dr. Fate-- especially his golden "girdle" is a little overdone however.

This second issue has been a major disappointment and the rest of the series could end up the same way unless someone at DC Comics takes some drastic steps to improve the quality of this book quickly. Just look at the first issues of the last HAWKMAN title, when Geoff Johns and Rags Morales reinvigorated the character, turning him into a major figure in the DC line of superheroes. They showed that Hawkman could be a frightening, awe-inspiring character. This latest 'savage' incarnation of the character is just confused and confusing.

The art throughout the book is very well-done, except in the parts when the artist focuses on high-tech devices. Then, it gets a bit lost in an attempt to show off how clever the artist is, in drawing all the circuits and gears.

The cover is very good, evoking an "Indiana Jones" type of adventure. However it just gives the impression that this book will be filled with non-stop action. Those who are expecting to see the Spirit swinging through ancient temples, fighting armies of thugs, will be sorely disappointed. Maybe the writers of this book can step up the action to avoid such disappointments.

This book clearly aspires to be like those complicated 'ensemble' TV series like "Lost" or "Heroes" but the monthly comic format isn't ideal for this. This is an interesting effort from DC Comics but it just seems out of place.

The art is surprisingly good, considering it is clearly a last-minute fill-in job. The backgrounds are a bit sparse but at least all the characters end up looking good, especially Match who comes off as both menacing and comical as he screams for help even while he beats up the Titans.

The art is basic but quite pleasing. It helps tell the story despite the numerous flashbacks and monologues. There are a few panels where the profiles of certain characters (like Donna Troy) look a little off. But on the whole, it contributes to the book. The only drawback is all the gloomy darkness. Did the Titans forget to pay their electric bill or something?

This story also has nothing to do with any big "event", nor do you need to know anything about the continuity of 'Tor" to enjoy it. It is a perfect antidote to all those suffering from Crisis Countdown overdose.

The pacing of the stories could use a little work. Maybe the editors think that since this is a weekly comic, they don't have to rush the story. Well, they shouldn't prolong it either. For example, the Tarot story is full of mysteries that seem thrown together. The lead character is pleasant enough but she also seems a little dull-- and no, not because she has normal-sized breasts. The villain in the main story also seems like a rehash-- another oversized, super-strong monster. What do we call him? Purple Hulk? Doomsday ver. 2? Even his name, "Konvikt" seems swiped from another superstrong monster called "Subjekt-17" who faced Superman in the pages of his own book back in 2006-- in a story written by the writer of TRINITY. Again, they are substituting "K"s for "C"s. I don't want to komplain but Curt Busiec kan do better.

Perhaps the fact that this is a weekly comic title has made the creative team complacent. They know that another chapter will be out in seven days so why put so much detail into this chapter. Or maybe the workload is getting to them? A new comic every seven days can't be easy on anyone. Whatever the problem is, DC Comics should do something to ensure this title has a quality worthy of the "Big Three" heroes who appear in it.

The art is a bit too heavy for such a fast-moving, action-packed issue. But all in all, it captures the excitement of the story although some of the layouts get a bit sloppy in the last pages. Maybe the weekly deadlines are catching up to the art team. They certainly had enough artists working on this issue already.

The art is a bit uneven. The main "Trinity" story is depicted well, even though all we really see are explosions and energy trails. The Konvikt backup meanwhile looks rather rushed. It is told in the form of flashbacks to Konvikt's home planet while he awaits trial in some government prison on Earth. But McDaniel makes both the flashbacks and the present day "Earth" scenes look alike so it is hard to tell which scenes came first. McDaniel's blocky style simply does not lend itself to these kind of stories where setting and context are so important. All in all, this is a disappointing issue for TRINITY. Maybe since this is a weekly title, they feel they can spend an entire issue on special effects. Well, maybe they could have given us a stronger back-up story to tide us over.

To their credit, both story and art work together to show the ebb and flow of the battle with one side gaining the upper hand, only to lose it mere moments later. The outcome of the struggle is never in doubt. We all know who will come to the rescue at the end but in making us care about these lesser lights, this book makes the fight scene actually mean something.

The art is powerful but also strangely uninvolving-- perhaps because the characters we are seeing are no longer the old heroes we remember. But the art team still manages to keep the huge cast of characters straight, which is quite a feat in itself.

The art is a bit blocky and stylized with monochromatic backgrounds and odd panels where Batman and other characters are suddenly coloured differently. It is rather distracting. But the art also has a mysterious, modern "noir" look to the book which makes it stand out from the other DC Comics books on the stands.

Whatever the result of this book, DC Comics can take pride in having spent good money to try something new instead of just coming out with another BATMAN comic. Hopefully this experiment will attract new readers as it brings us new forms of storytelling.

The only weakness to the story is the way Nemesis suddenly uses holograms in his battle with the gorillas. There is no explanation for this, not even in his thoughts or his dialogue so any newcomer reading the book would wonder how the heck he could suddenly transform into a gorilla. This is a widespread problem with most comic books today, where they simply assume the reader knows everything about all the characters and don't even bother to explain how someone can suddenly fire rockets out of his butt or perform some other super-feat.

The art is serviceable but nothing great. In some panels, it is rather stiff and heavy and does not make Wonder Woman look like the dynamic character she is suppose to be.

The lettering could use more work. The credits on page 2 are almost unreadable. The cover is also rather underwhelming. It looks like Wonder Woman asleep in front of a guy trying to disguise himself as a Christmas tree.

The art makes the main characters-- and even the villains look both dynamic and graceful-- a very good thing for a comic book starring two female heroes.But the scenes of Japan are a bit unconvincing as they fail to capture the frenetic brightness of Japanese cities. There is also a surprising lack of background in the art. There are too many bare walls and floors which make the story seem less realistic.

The art has a nice classical look to it. The human figures are very well-posed and their faces, while not realistic, do convey a deep sense of emotion. But the backgrounds look rather empty for such a major storyline. Were the artists rushed because the story was re-written? Or perhaps I am just jumping to conclusions.

This issue is doubly disappointing because Wonder Woman had been on a roll last year. Perhaps a more dynamic, less introspective story is called for. One that is not weighed down by decades of Amazonian backstory.

The art still takes getting used too. While well-done, it is a bit simple and can be jarring for those used to the heavy pseudo-Greek art of previous incarnations of Wonder Woman. Wonder Woman's new costume also looks crude and unimpressive. That may be due to the design rather than the talents of the artist.

The art, like the story, is bright and easy to follow, in contrast to the gloomy, dark atmosphere of most supernatural-themed titles. Zatanna looks especially attractive without coming off as a hyper-sexualized bombshell. If there is any shortcoming, it is that Zachary Zatanna looks a lot older here than he does in other books.