I'll be honest, I was really looking forward to see Donna Troy finally resume her place in DC Comics' lore, but this hardly seems like the best way to make that happen. This issue just doesn't do a great job of making me care for any of these characters, their relationships, or their memories. In terms of adding to my pull list permanently, I'd have to say I'm leaning towards a hard pass with the vague possibility of checking in down the road. Not the comic for me.

The Birds reads like any old crossover special rather than the superhero squad goals we spent decades pining for.

Ultimately, what for some people may feel likeSilk's obnoxious immaturity could be lighthearted fun for others, andthe enjoyable artwork does a great job of making up for the writing's shortcomings. Since the plot finally picks up in the second half it'll be the ending's big reveal that helpsreaders decide to stick it out with this series or not, so you might just have to pick it up for yourself to decide.

It's clear even without reading the ending interview that both Myracle and Goodhart had a clear, intentional vision of what impact a young Selina Kyle could have on today's readers and it definitely reads as a good introduction to comics without diving in too deep.

I'm definitely a fan of portraying different body types, too, and not just by “cheating” with Chet's centaur nature or the various shapeshifting that occurs throughout the story; Julie's short round pear shape, Lindi's tall, blocky frame, and Cass' thin and long body all demonstrate how characters that use “she” pronouns don't all have to be perfectly hourglass or even the exact same design. Also, if the current in-world conversations are any indication, we can safely assume most if not all of our cast falls somewhere beneath the LGBTQIA+ umbrella and I'm really excited to see if Ellis includes underrepresented identities like asexuals, aromantics, people whose romantic and sexual orientations don't align, and (more?) trans and gender non-conforming folks.

Based on this first issue the series could easily go the way of Marvel's new generation of Asian representation like the Totally Awesome Hulk Amadeus Cho, or it could end up like early issues of Cindy Moon aka Silk. We've also seen time and time again how "new" versions of Superman quickly dip in popularity, such as Steel, Cyborg Superman, and the Eradicator, just to name a few. It will be up to Yang to keep Kenan's identity fresh and uniquely his rather than merely a carbon copy who happens to be Chinese.

To conclude, New Super-Man isn't quite sure how seriously to take itself yet; right now it can sometimes read a little closer to a Marvel parody of DC characters rather than DC property itself. Because the series has to concentrate on introducing brand new characters with ties to the Trinity, justify its existence as a story, and build a setting that previously has been mishandled in comics, I think there's incredible pressure put on pacing that prevents the reader from really getting immersed in Kenan's world. It's a decent read for now, but not the must-have I still hope it can evolve into.

I'm definitely interested in picking up the next issue, especially with Jon's fate hanging in the balance of our final page. This comic does superheroes the justice they deserve while also giving us a glimpse into lifestyle we don't typically see highlighted: a stable family. I'm excited to see Jon help us discover more of this universe with the innocence of a child and help us invoke our own sense of awe at these characters again.

As for our cliffhanger ending, I have my suspicions about who this mysterious stranger might be, but I can rest assured knowing that young Jon will be equipped with the sharpest of tools and powers from not one, but two “super” parents. This is the kind of comic that you know will grow you right alongside your main character, leaving you the better for having read it.

The ability to combine backstory, introduce new characters, continue to focus on the emergency that is Jon's unstable powers, and still support Lois as the strong woman and parent she is without missing a beat illustrates the sort of superior storytelling all of DC Comics should be aspiring to.

Overall the things I've enjoyed during this run are still present, although it feels like some of the character interaction was cut to make room for more of the Eradicator's backstory. I'm hoping that we'll soon circle back to the Justice League featured at the end of the #1 issue as their interest and concern in Jon's powers seems to have been quietly ignored for the time being and (although perhaps this is asking too much) I would like to challenge the comic to start weaving in characters with more diverse backgrounds in critical roles rather than falling into the traditional trap that Superman stories can often lead to.

As always, Gleason's stunning artwork and Wil Quintana's gorgeous colors elevate an already riveting narrative to a cinematic level. In fact, if DC Comics is considering rebooting their Superman story in the movie verse (as they probably should), I highly suggest starting here. I'd certainly pay to see it.

So far this Birds of Prey marries all the details audiences love about the post-crisis world (witty banter, genuine friendship and love, learning how to navigate very strong and differing personalities to form a stronger whole) with all of the goodness a fresh start has to offer (Babs' access to the latest technology, Dinah's rock band persona, Helena never ever having to again be associate with the phrase "belly window").

Starting off the series with the Green Ranger aka Tommy Oliver's entrance to the team is a brilliant move not only because he tends to be towards the top of everybody's favorite list but also because it makes the most sense from a narrative perspective. Whether you're a fan of the original Super Sentai Series or hardcore Power Rangers all the way, it's hard to argue that the dynamics of a fully formed, successful team aren't always the most exciting. While the show of course had the advantage of its many special effects, the comic medium lends itself much more to the intricacies of teen drama. Or as Chris Scott, a local artist and employee from my favorite comic store Fantom Comics described it, “Archie meets clay monsters.”

As much as I want to continue giving this issue nothing but praise, though, I'd be remiss if I didn't address this whole… Bwunda thing. Man. Oof. It is tough to read White Savior Man tromp through fake Africa's jungle-desert-village and into the home of some suffering Black folks just trying to grieve out of harm's way, even if it is just a few pages. I mean… If this comic wasn't so good at keeping the focus on Diana where it belongs with some gorgeous visuals to boot, this score would drop heavy. But lucky for us readers, the damage isn't quite as bad as it could be, and the cliffhanger gives us a much-needed launch back into the thick of the action as yet another specter from Diana's past enters the fray.

Without a doubt Nicola Scott's art cements the relational feel of this story, between soft lines and gentle, poignant facial expressions. In fact, in a world where DC is still recovering from its gritty everyone-must-be-Frank-Miller's-Batman phase, this comic may hold the most recent record for most genuine smiles. Once more Wonder Woman also presents strongly in terms of background art, the vast pastoral landscape so convincingly cinematic you feel rather than see it. Pleasing in both its visuals and narrative, this issue leaves me excited to see what new risks Rucka might be willing to take to continue to add a fresh perspective to the Amazonian warrior princess' history.

I remain amazed at how consistently this comics marries a grand mythos with our most intimate of human experiences and can only hope that the emotional focus grows even sharper with the next issue.

Truly this issue displays such a thorough understanding of the spirit of the Wonder Woman Amazonian tradition and gets so many things right it's hard to know where to begin.

Honestly, I'd never thought I'd say this, but I could easily become invested in a series based around the Cheetah's origin and her eventual evolution into a villainess with barely a cameo from Diana, that's how compelling Rucka has made her. I continue to be pleasantly surprised by the fresh perspectives this series has to offer when another creator may have hit a rut and I'm excited to see what else may be revealed and revitalized down the road.

In just a few words Rucka illuminates the essence of Wonder Woman that I believe many writers struggle to balance with her.

By the time you put down this book your mind will already beon to the next comic eager to learn more about Lunella, Devil Dinosaur, and how their shocking relationship becomes a partnership in the pages to come. A fantastic read for all ages putting in that necessary diverse representation work, don't wait until Moon Girl and Devil Dinosaur #1 is sold out to get your copy!

All in all I'd say the low points aren't a deal breaker; after all, not every moment can be perfect. What I'm really hoping for is to get back to those interpersonal and introspective moments that made issue #1 shine so bright.

Y'all there's a beautiful team up about to happen and I hope you're there when it does.

Moon Girl and Devil Dinosaur continues to get better with each installment and this comic is no exception. Though the few pages that continue to be devoted to the Killer Folk have a tendency to feel a bit like tedious filler, the incredible chemistry from the three main heroes more than makes this issue worthy of your bookshelf.

Though the Killer Folk continue to be my least favorite part of the series, at only three pages their presence definitely feels less oppressive this round and serve as a great tool for developing the characters of Lunella's family whose protective instincts prove right after all. I'm interested to see if in future issues they're able to figure out that Lunella has been disobeying their parameters once more, or if Lunella is actually able to keep her secret identity safe. What kind of abilities is Moon Girl capable of now that she's made the decision not to hold back anymore? This issue seems to be teasing at some exciting new developments in the near future.

Prepare yourself, however, for another gut-wrenching cliff hanger at the very end. I won't give anything away, but I will say I am totally at a loss for what the future might hold for any of our characters in issue #7.

Artistically, Marco Failla has done an amazing job at almost imperceptibly picking up where artist Natacha Bustos left off, though his work is a tad more cartoony than his predecessor with some interesting choices to dilate characters' pupils, for instance. That being said, the same fun style comes to play and solidifies this comic as a visual joy even when it's emotionally inconsistent. I'm excited to see how Lunella thinks herself out of the final panels' predicament now that she may not have access to all the tools she's been able to escape with before.

Also, I'm not sure why Natacha Bustos wasn't the artist on the previous issue but man oh, man, does she return with a vengeance with action-packed panels and some amazingly emotive close ups that make you wonder why this series hasn't been adapted for television yet. When you can thoroughly enjoy the story without even having to read the word balloons, you know you have a world class artist on your hands. As ever, I look forward to adding more Moon Girl and Devil Dinosaur joy to my life next issue.

This particular issue serves as an excellent example of Saturday morning cartoon goodness as Moon Girl finally meets her rival, the brilliant and bold Captain " err, Kid Kree " and demonstrates what it means to triumph in the face of mild annoyances if not evil.

One other enjoyable aspect that has returned in full force is the hilarious levity that the drama-filled storylines temporarily muted. I'm not saying Lunella's problems shouldn't be taken seriously, but I do think that this comic is at its best when we can read a couple panels of laughter. I also adore seeing Bustos be able to draw pages on pages of dynamic action shots; this issue is easily one of the most visually enjoyable so far and really ties together the themes that the writers have so carefully woven in. As with most of these endings, I'm left practically itching to know what the next storyline will hold for our Black Girl Genius on the road to realizing who she is and what her destiny holds.

With nearly 100 pages of storytelling and art this strong, what can I say other than you'd deserve the body slam coming to you for not buying this book immediately?

If all this doesn't convince you, let me say this as sincerely as possible: it's safe to come home, my friends. Our Diana is safe, our ability to wonder again is safe, and I firmly believe that Rucka will finally give us the truth we've all been searching for.