Al Ewing's mega-sized issue is at its best when focusing on the hijinks that Doom and Venom encounter while tumbling across time and discovering what adventures await them in each new period, and less so when it's doing its best to untangle the larger "how" of its time travel provocations. Read Full Review

Venom #25 is more of a stealth Doctor Doom comic under the guise of an Eddie Brock-centric story, but it offers enough amusing time travel antics to entertain fans of both characters, and keeps up an enticing pace throughout its double-sized page length. Read Full Review

That was good man!

It's a bit long-winded and though they're all excellent, the artists have the usual collaborative "too many cooks" problem.

Those nitpicks aside, it's a healthy double serving of great work. Whether you're in it for the relentlessly awesome Doom characterization or the clever and significant twists in Eddie's story, you won't be disappointed. And if you like it all… *mwah*

Continuity nerdery: The mention of Dr. Doom trying to recruit Spider-Man indicates the relevant scene takes place shortly before ASM #5 (1963).

A great over-sized issue here where we get a lot more of Ewing writing Doom excellently after he previously did so in the last issue. This got incredibly complicated throughout, in my opinion, but Ewing was able to make everything fairly understandable as the story went on. I knew this would end with the moment we saw previously in Issue 22 of Doom talking to Flexo, but I still really enjoyed it when it ended up happening. I must say I am a little bummed that we won't get Ewing back on this series for the next three issues, at least, but I remain hopeful that Grønbekk will give us some interesting content until Ewing returns.

A really nice and fun comic book in general. Al Ewing just knows his way around to make good comic books. Now I just need Ewing and Cafu on Fantastic Four and the Immortal Dr. Doom asap and we'll be golden.

It did a number on my brain trying to decipher the time travel explanations, but the book did a great job of keeping it the right amount of fun and serious. Doom was the star in this issue, but it did enough with Eddie to keep the issue flowing well.

"You're weak against stretchy guys!" Are you $%#ing kidding me?

What do you get when you buy an oversize 25th issue of Venom in which Venom doesn't appear?

To say this issue was disappointing would be an understatement. Whole lot of pages to accomplish very little. Story-wise, this issue barely moved the chains. I was expecting to see the culmination of an arc Ewing has been building (slowly... so slowly) since issue 18. Did that happen? Nope. Just a masturbatory slug-fest that accomplished nothing and ended with a... I cant even call it a cliffhanger... call back to a panel of Doom and Flexo that we've seen in a previous issue. The goal: Eddie wants a time machine to beat up his evil future self. I'm sure there's no way that could go wrong. Ultimaely, said evil future self is dispactched with barely an inconvenience by a means that should have barely inconvenienced him.There's 2 pages of expository dialogue from Doom and Kang explaining why everyting Eddie is doing is futile - Kang literally draws a diagram on a white board to explain it to Doom, who already knows. We get a bit of fan-service as a time traveling Eddie pours his heart out to a teenage Peter Parker. Honestly this scene didn't work at all, and would have been better left out.

Al Ewing is a pretty good writer, but this is not his best work.

The art team for this issue had 5 different artists. While I won't say any of the art was bad, I can't say that any of it was particularly good. It was... ok. They were all competent storytellers, but they're styles were different enought that the transitions were jarring. The failure of this issue lies soley at Ewing's feet.

This Venom series has been a bit of a mess from the start. The shifts between Dylan's and Eddie's storylines have been weird. They interrupt each other's arcs, leaving everything feeling unresolved and incomplete. Multiple writers and inconsistent art teams are big red flag that something's going wrong.
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