Brett Booth's art here is hammed up to 11. I'm not sure what the deal is, but his portrayal makes pedestrian lines and normal actions come across as supreme comic book cheesiness. That said, while I'm typically a fan of Dan Abnett, there's plenty of dialogue here which stands by itself as physically painful to read - Roy's opening up to Donna being a prime example.

Dumb cliffhangar.

This was far better than I thought a Lobdell book had any business being. A genuinely solid and enjoyable issue that stands on its own. I'd like to believe we could get an entire Red Hood run of this quality, but I know better than to get my hopes up.

"I wish I could call Frankie ... No, Babs! Burnside is the past!" I'm taking that as a message from Hope Larson and it's music to my ears. There's still some issues here, but it's already so much better than the last run it's hard to complain. I only hope Larson continues to transition back to the Batgirl of Gotham.

Genuinely surprised to find out Simon Oliver is British after "init she" from the cab driver. The dialogue is as heavy-handed as Constantine's characterization. I'm not confident that Constantine is in good hands if this is anything to go by.

This is the Harley I like.

Bleez manages to be more compelling in one issue than either of the protagonists have been in three. The only problem is we know Bleez. This is the same Bleez we've been reading about for the past 5 years, but all her character development seems to have been thrown out. If it was a memory-wiped Bleez or alternate-universe Bleez it'd be fine, but I can't reconcile treating a character I've already invested in as if their slate's wiped clean without some explanation. more

It gets an extra point simply because I love Ferreyra's art, but I'm not enjoying this. I don't buy Emiko's face-heel turn at all. We're three issues in an Dinah is already one of the two most important people to GA? I think not. I'm assuming this is all built on pre-52 narrative, because Percy's spent no time giving me reason to invest in anyone or anything going on here, as if I'm meant to care already. more

A dull issue with god awful narration. There is very little logic in character attitudes, and the series continues to take a "tell, don't show" approach to the Oliver/Dinah relationship. Only propped up by Ferreyra's excellent art. Safe to say this is one of the worse Rebirth series.

It's not often that writing of this level can get upstaged by the art, but god damn. I don't recall ever finding a comic quite so revolting. It's wonderful.

It's a giant leap forward from Burnside, but I'm wary of how much seems to have survived considering how much Rebirth seemed to be willing to throw out and correct in other series. Barbara's far less insufferable here, but still not back to her old self. Her terrible outfit and Frankie's existence also seem to have survived, along with Dinah's terrible stint as a rock star. Still, Benson and Benson avoided making me want to vomit, which is a marked improvement from the Cameron/Fletcher run. more

All too often a good story either lacks a good ending, or a good ending is wasted on an undeserving story, but my thanks go out to Aldridge for managing to deliver us both in a solid final issue.

The art was good for both stories, and Deadshot's half ended so well, but Katana's just wasn't of the same calibre.

I'd say it went out on a strong note. I wouldn't be surprised if Suren is lost to obscurity after this, but I hope Maya figures in Damien's future adventures once in a while.

Some great examples of awful dialogue in here.

Made me miss the supernatural elements of the DCU, but felt like something from decades ago.

Again, things occur at a million miles an hour. He's dead. Everyone knows. He's alive. He's recovered. Everything's gone. All while acting as though Ollie and Dinah - who in this
incarnation have known each other for 5 seconds - are the GA and BC of olde. The transition from where Green Arrow as a series has been to where Ben Percy seems to see it going feels as rushed, clumsy and badly-done as when Sokolowski tried to make it more like the "Arrow" TV show in 2014. more

Some interesting ideas, but everything feels so, so rushed. Ollie and Dinah seem to go from
flirting to "needing space" via some kind of relationship in the space of 5 pages, not to mention the ending...

I sincerely hope Azzarello's run won't simply get undone. It's bad enough that we've gone back to the dominatrix-style corset and miniskirt.