This issue was definitely the most action-heavy of the arc. The vast majority of the issue is dedicated to the big, but anything less would have cut short the over-powered slugfest we were promised at the end of the last issue. The relatively straightforward issue was well punctuated by the surprising twist ending.

It wasn't a poorly made comic, and the individual issues have had enough content to satisfy, but hopefully now we'll see a real direction for this book to move in, rather than being kind of a toy chest of Superman characters.

So here we are, picking up on some threads from ambitious series that couldn't do all they planned to. That being said, the issue doesn't feel bogged down by history or continuity. It's a pretty straightforward superhero story. Superman finds some goons, finds they masked leader, and grabs a friend to help take him down. The "twist" at the end felt obligatory, but that doesn't mean it won't be fun to see.

Two weeks away from the reveal, there is still very little we know about Mr. Oz and who he might be. My personal theory is The Superman from Dan Jurgens Tangent Comics. But thats just a long shot because Im seriously stumped.

One last thing: If this really is Jor El, why is he just grabbing Green K and waving it around in the beginning?

After all this time, the big reveal turned out to be a tease for Doomsday Clock, which is a bit of a let down.

What this issue had that the others lacked, however, was a single plotline. The story involving Lois and the terrorist was topical and at least somewhat tense, and had something to pay attention to that wasn't just filler for another semi-startling reveal.

Four issues down in the great Oz epic and once again we learn the "true" motivation for Oz's plan. He knows that a new Big Bad is on his way and he wants to get the hell outta dodge with his family, that's all. It now feels like the big plot to get all of humanity to act like dicks for a while was more about stalling and allowing his plan to take four issues to explain and less about teaching Superman anything about humanity. So once again we are reminded that this story is really just a set-up for another, almost certainly Doomsday Clock.

The great climax to the story of Mr. Oz fits with the rest of the arc in that it was long winded, boring, and ultimately just a prequel to a larger story.

Superman travels back in time to discover what secrets lie around the destruction of Krypton Booster Gold goes back to stop him, and they both find themselves trapped in an unknown timeline!

We're reaching a point where it just feels like the story is bullying Superman, but the plot isn't really moving or doing anything. No answers, no information, just an odd recreation of the famous Black Mercy story.

The latest destination in this haphazard cross-time caper turns this issue into a Booster Gold comic featuring Superman, rather than the other way around. The real purpose of the issue seems to be telling a revised version of Booster's origin, one in which his criminal activity is no longer a product of his own flaws, but those of his father. This takes a character whose defining characteristic has become growth, and undercut the journey he's been on. Unfortunately, the art also distracts from the story.

The newest location on the Booster and Big Blue road trip is New Krypton, and finally it feels like this story is an actual story, and not just an excuse for father/son moments.

"BOOSTER SHOT" part five! Superman and Booster Gold are stranded in time on a world ruled by not one but two Generals Zod! As Lor-Zod asserts himself as rightful heir to the military dictatorship of their adopted homeworld, Old Man Zod turns his attention to the interlopers from the past. Our heroes' only hope of survival is to repair their craft and get home-but to do that, they'll need to travel into the belly of beast!

"BOOSTER SHOT" part six! Escape from Planet Zod! Superman and Booster Gold must escape to travel back to the present, where the life of the captured Sam Lane hangs in the balance!

Dan Jurgens' final issue before the landmark 1000th issue of Action Comics provides a nice end note to a run that was consistently about fatherhood and forgiveness.

Celebrate 1000 issues of Action Comics with an all-star lineup of top talent as they pay tribute to the comic that started it all! From today's explosive action to a previously unpublished tale illustrated by the legendary Curt Swan to the Man of Tomorrow's future-this very special, oversized issue presents the best of the best in Superman stories!

A non-linear story that has versions of Batman both old and new, this is not only an interesting chapter in the Metal event but also an excellent story for fans of Batman who want to learn something crazy and new.

This was an extremely well put together issue. Straightforward and palatable while still being twisty, turny, and abstract in true Kirby fashion. The issue explains the origins of the key events and characters, but not all at the start and not in a way that just feels like a lesson. The story is immersive and thoughtful, and the art is edgy, dark, and interesting. It's a story that doesn't need a lot of prior knowledge, but still carries weight, and feels like it is part of something larger.

While a lot of it is sure to come from Scott Snyder's Batman run, Dark Days makes it clear that Metal will still be its own story, and not just another chapter in Batman's. Feeling very much like a cross between Forever Evil and Final Crisis, Metal is poised to be an exciting and dramatic crossover. Stellar script with a crowded art team

After all the buildup and hype, Metal is here, and wow did it deliver. Snyder and Capullo have developed a fantastic writer-artist relationship that really shows.

One Last Thing: Shooting the brain of the Anti-Monitor at the Rock of Eternity is supposed to destroy the Dark Multiverse? I dont know why I would or would not believe that would work, but thats just one of the craziest sentences Ive read in a comic in a while, which is saying something because comics are crazy.

It's an emotional roller coaster full of plot that makes you wonder how this issue doesn't have twice as many pages as it does.

The Justice League faces the final extinguishing of our world, invaded on all sides by unimaginable nightmares, fueled on to the edge of oblivion only by the belief that there must be a light in the endless darkness"somewhere. But"what if there's not?

All roads lead"to darkness. In the devastating and epic conclusion to DC's cataclysmic event series, heroes from across the universe make their final charge into the unknown to battle the forces of the Dark Multiverse! Space and time, dreams and nightmares, all will collide"and what is left at the end will leave the DC Universe irrevocably changed!

Darkseid had the gravity he deserved, imposing and thoughtful, but angry and hungry. Scott Kolins rose to the occasion with his art, creating a jagged and heavy feel that evokes the sinister feeling of Apokolips.

For a story arc with so many moving parts, this issue did a pretty good job moving them all forward without feeling like the issue was lacking content.

That said, the execution exceeded the messy plot. Christopher Priest's scripting abilities shone through in Deathstroke's conversation with Dr. Light. The hap-hazard team up fight with Defiance was appropriately reminiscent of a new Teen Titans team, fumbling through a battle in an amusing fashion.

That's a ton of stuff to keep track of. Priest's writing is as strong as ever, and the series is still compelling, but as the series goes on 20 pages feels less and less satisfying.

The more we care about the home lives of these heroes, the more the stakes will feel real to us when the dangerous super-heroing is going on. The issue forgoes a villain plot to focus on character development, creating a fun book that hearkens back to the title that Deathstroke premiered in: Teen Titans.

In a series that has felt incredibly sequential, this is a nice solo issue that really stands out.

Slade and Ikon attempt to duke it out as the Defiance team attempts to search for their missing leader, but really they all just talk a lot.

Hopefully, more context will come by the end of the arc. What always gets me about this series is that I don't mind how scattered it is; all of those issues listed above should affect my appreciation of the book, but I still find myself compelled and curious due to the dialogue, pacing, and artwork.

After all the build-up and the hype, Doomsday Clock is finally here, and it doesn't shock and amaze the way a lot of people were expecting it to. On the contrary, it shows great restraint, taking the time to set the scene and properly revisit the Watchmen universe. This book easily could have just given us a quick shot of Ozy and Manhattan for two pages, then getting along to Superman and the Multiverse and teasing all kinds of crazy stuff without providing a lot of substance. Johns does the opposite of this, really making the Watchmen world feel like it's naturally continued from it's state at the end of the original series.

Ozy meets Lex, Batman meets Rorschach, and things will never be the same. Add in a fun story with Mime and Marionette and a shocking reveal at the end with The Comedian's return, and you've got one exciting comic.

The Comedian and Ozymandias have their long awaited rematch as Mime and Marionette explore Gotham and Rorschach tells Batman everything he knows!

The series you thought you'd never see reaches its fourth issue with a shocking revelation about the aftermath of Ozymandias' actions and how they reach into even the darkest corners of the DC Universe. Don't miss the latest chapter by the acclaimed team of writer Geoff Johns and artist Gary Frank!

This issue makes for a nostalgic little one-shot. The vast majority of the Manhunter story is him punching people over and over while talking his way through the story, which is an apt description of most Golden Age stories. The cameo of Sandman and Sandy was fun and unexpected, and made for a more insightful story than expected. Giffen and DiDio pair well to evoke Kirby's voice, just as Giffen and Buckingham effectively replicate his art style. It's a decent tribute, if not a little standar

This issue was classic Kirby, a lot of fun,even if it was a little basic.

Howard Chaykin's witty and nostalgic script outpaces his art. Most of the art is solid, and the designs of the costumes at the end are definitely amusing, but something about the faces feels off. The shading on their skin makes them look like they're covered in scars when closeup, and the faces can be hard to tell apart in a comic without colorful costumes. That's made up for with the writing style, that combines a kid-gang style of fun with a noir detective feel that effective evokes war comics for kids from The Golden Age.

The first issue of a new story arc can often be far too much setup and not enough story. By adding a scene about the core dynamic of the Super Sons in the beginning of the issue, Peter Tomasi gives the issue an individual take-away before setting up the larger plot. It's nice to see Jon rubbing off on Damian, but also to see the reverse, as Jon is beginning to take the idea of being a hero more seriously and less like playing. Tomasi and artist Jorge Jimenez welcome the Teen Titans into their book with solid characterizations. The only components of the issue feeling lackluster are the villains, who aren't likely to excite readers unless they're fans of the old and obscure.

Peter Tomasi is a really strong writer when dealing with teams, and that fact shines through in this issue. His ability to jump into the new Teen Titans lineup is impressive, as well as showing how the dynamic alters with the addition of Superboy.

Eoroe is a strange planet. It refers to itself as having a Golden Age of heroes, it apparently has some Silver Age villains like Faceless Hunter and Kraklow, but thats kind of it. It could potentially exist anywhere in the Multiverse, since we dont know what Earth is like in this dimension.

This is a story that started very slowly with a Teen Titans team up and turned out to be relatively simple on the other side of the portal, as well as a little rushed.

After a meandering story about strange silver-age villains on parallel worlds, the boys have a nice quiet issue with their fathers and plenty of hijinks, which is where this series really shines. The relationship Jon and Damian have continues to get better and is a delight to watch, as is the changing dynamic of the boys with their own fathers. The Fortress of Attitude and the new school plot are certain to bring more issues like this to the book, focusing on its strengths. I don't know where Evil Future Bat Damian fits into all of this, but I'm certainly intrigued.

The Teen Titans continue to be excellent guest stars in this book, just as Jon continues to show that he's an excellent guest member of the Teen Titans.

Now that the Super Sons of Tomorrow arc is wrapped up, I find myself feeling like the heroes of this story did after the various time-travelling heroes left: feeling very much the same but also different, and not totally certain what happened and how much of it was important.

"The Parent Trap" part one! Talia al Ghul returns for her son Damian, whom she trained from birth to be an assassin. With the evil in Robin's past finally revealed to Superboy, it might be too much for the Sons' partnership to survive...especially when the boys find out her next victim is one of the most important people in their lives!

"MOTHER'S DAY" part two! Talia al Ghul is back in Damian's life, for better and for worse! As the world's deadliest mom forces Robin to make the ultimate choice between his past and future, Superboy finds himself caught in the middle. But the specter of Damian's murderous past life has shaken the bond between the Super Sons, and the body count is far from final.

"End of Innocence" Part One! Robin and Superboy have been to hell and back again, but this time their friendship must stand the ultimate test: the Amazo Project! Kid Amazo returns as the pieces of this deadly plan fall into place and reveal a secret that might tear apart Damian and Jon's growing friendship.

I have nothing bad to say about this adorable and delightful issue, I was beaming from ear to ear the entire time I was reading it. While still being funny and charming, Tomasi manages to avoid making a story about the Super Pets feel childish or silly simply by writing it earnestly. This is a proper superhero story, complete with cameos, team ups, interpersonal history and drama, a villain plot and some heroes who save the day. Writing comics without dialogue is extremely difficult, and when done well it can be an amazing storytelling experience; this issue is an excellent example of how to use the medium like that.

Fun issue and worth reading, but nothing overly spectacular.

While it was well made and executed, particularly Lois' stop honoring Deborah Sampson, it still didn't deliver on what I'm looking for when I pick up Superman. Coming right after another "day in the family" issue, it just needed a little bit of balance.

If you have a relative who is a war veteran that likes Superman, this book or arc would make an excellent gift for them. This issue is nothing if not respectful. Personally, since my grandfather served in Korea, the line about Korea being the "forgotten war" of American History really hit home.

Keith Champagne comes on to the book seamlessly, showing a compassionate and earnest Superman just trying as hard as he can to get some children home. Compile that with a creepy and intriguing plot involving one of the most powerful entities of the the DCU, and we've got ourselves the balance of heart and spectacle that Superman is best at.

Usually when Parallax possesses someone, they get a giant toothy grin. I wanted Supermans mouth to be bigger in this issue.

S.T.A.R. Labs macguffin potential is getting out of hand. They are making an evil super weapon and they made a stun gun that summons Superman like Jimmys watch, in the same issue? This is why we need LexCorp back.

Tyler Kirkham manages to redeem this forgettable issue with his art, especially showing Supermans emotions as Deathstroke plays with him.

The standard creative team of Tomasi, Gleason, and Mahnke make a triumphant return with the first issue of what promises to be an explosive story about the Kents on Apokolips and Luthor on the throne. They do a solid job setting up the story and establishing the initial players while still making room for some individual moments. Seeing Lex and Superman work together is almost as cute as seeing the Kent family debate about what to have for dinner, and the issue even has time to showcase Superman and Superboy fighting giant robots.

When Jack Kirby took us to Apokolips, it always had a paradoxical feel of fun and high adventure mixed with fear and a hellish horror landscape. Tomasi and Gleason's depiction definitely lives up to that legacy.

Now that all of the different moving parts of this Apokoliptian story are established, this issue is able to feel like an adventurous war story. With different generals like Granny and Kalibak planning master schemes, and solitary dissidents like Superman and his family just trying to survive and maybe do some good in this hellish landscape.

With Granny and Kalibak in jail and Darkseid gone, what the hell are Desaad, Steppenwolf, Vermin Vundabar, and the other evil New Gods doing? You'd think they'd have something to say about King Superman

The Tim Drake of Tomorrow is back and with a vengeance, and both Batman and Superman are under attack!

The explosive game of keepaway that has been the Super Sons of Tomorrow crossover brings all of its parts together in what felt like it was going to be a climactic issue, but ended up with one last twist to overcome. After the slow build seeing the Justice League of Tomorrow in small amounts across the arc, their arrival in the current DCU was so frantic that it ran the risk of being anti-climactic, as the big finish appeared to be stopping Jon from detonating the Fortress of Solitude. But now with one last time-travel Hail Mary coming from Tim, the new players are set up for an emotional finale.

Writers of superheroes and especially Superman should take note: It's important to take a step back from insane comic book plots and just remind yourself what makes a character special. Issues like this one remind me why I love Superman, and why I'll keep reading Superman for the rest of my life.

"SUICIDE PLANET" part one! Far away in a distant solar system, a world stands on the brink of destruction, much as Krypton did so many years ago. As Superman and son venture off into space to help, an unexpected adversary stops our heroes dead in their tracks: these people wish to die.

Not only does the story raise real-world questions about faith and the degree to which we are obligated to respect the flaws within, it does so with the added bonus of Superman's son being there as a witness, forcing Clark to reflect and explain his actions when he normally wouldn't have to.

"BOYzarro RE-DEATH" part one! It's a bizarre, Boyzarro world-and we just live in it! When Superboy comes face to face with Boyzarro, the Son of Bizzaro, a strange transformation begins to take place. But that's not all that the Kents have knocking on their door! Superman versus Bizarro round one am not just the beginning!

"BOYzarro RE-DEATH" part two! What do you get when you try to fit a boy from a square planet into a round one? Boyzarro! Superboy and Kathy try to keep the lid on their Bizarro-sized can of worms as Boyzarro tears a rage-filled path of destruction from Metropolis to Hamilton and beyond! But what happens when Superman and Bizarro find out what their kids have been up to?

"BOYZARRO RE-DEATH" part three! Gathered together from the cosmic recesses of the universe are the most powerful forces of bad ever assembled! Now the Super Foes face the Legion of Fun-and the only heroes who dare to stand against this intergalactic threat of the Bizarroverse are Superman and son!

The Kent Family have sold their house in Hamilton, and it's time to pack up and move out. But not before one last trip to the Hamilton County Fair!

The big moment of this issue is the adult Tim Drake assuming his new identity, "Savior" with a new costume that's allegedly thrown together using prototype Teen Titans costumes. Not only does the costume look nothing like anything that the Teen Titans would not even could wear, it looks pretty bad and busy. The individual elements of the costume are good, but there are too many of them and they don't work well together. The awkward Savior moment is made up for by the touching scene in which Damian saves Jon, and we see the young Robin admit how much he cares for his new friend. It's an emotional scene that reminds readers of he strong friendship between Bruce and Clark, and it's a really big moment in the development of Damian Wayne.

Beyond being a great homage to the character himself, this comic was by and large a love letter to Jack Kirby himself. Both stories featured a character that resembled the man, and celebrated his intelligence and unmatched creativity. Jurgens and Orlando both capture the bizarre and other-worldly atmosphere of Kirby's Sandman, but the art by John Bogdanove and Rick Leonardi really make the issue sing.