It's hard to understand how a comic can be so consistently good, flawless even, for this many consecutive issues. After reading the first, then the second, the the third, I told myself it would lose steam at some point, but it's quite the opposite that actually happens. This series gets better month after month, changing dynamics each time. This time, the romance between Scott and Big Barda is so in touch with reality, it's scary. As mythological, cosmic and complex as they can be, their actual everyday life is pretty much the same as anyone else. The weight of this last day spent together, doing almost nothing special but being together, is crushing, yet full of love and hope. It's funny, philosophical, emotional, beautifull. The art of Gerads is still the superstar of this story with repeating panels, taking us at just the right pace though the story, making us notice the small details even more. Truly a work of art and a comic I'm sure will be seen as one of the most important of its generation. more

do not cry. do not cry. do not cry. do not cry. do not cry. do not cry. do not cry. do not cry.

Do you remember that Britney Spears fan, the one from the "leave Britney alone" video? That's how I felt reading this. Geoff Johns knows he can't win over readers like me, but is like he didn't even tried. The art is kinda good, but... But... I'm sad. I'm so sad...

a Watchmen comic with one page at the end where Superman is having a nightmare from going to the prom as a young teen. utter and complete garbage.

Watchmen doesn't need a follow-up. It doesn't need to be connected to the main DC universe, nor to have its metaphors explained to the reader, nor to have forced jokes and continuous (and very distracting) references to the original comic-book.

They shouldn't have tried to replicate the structure of the original, because it just doesn't work. Don't get me wrong, Geoff Johns is a very good writer, but he's used to work with much more dynamic page structures. Alan Moore knows how to work with 3x3 panel grids, and so do Tom King and Jeff Lemire, but Geoff Johns doesn't. And that's perfectly fine, just don't make the guy write a comic book that bases its entire structure on the 3x3 panel grid. Jeez, they even tried to imitate Dave Gibbons' art to a certain extent, and it's pretty distracting.

The thing that annoys me the most, though, is the fact that they actually explained one of the themes of the original book. Ozymandias is just like "My superhero name is Ozymandias and now my empire is tumbling down, just like in that poem! Weird, isn't it?". To be fair, his whole character feels weird. He was supposed to be a morally gray character, and I'm afraid they will
turn him into a full-out villain. Only time will tell.

The only thing I can say I'm glad is that they didn't revive Rorschach nor they tried to make him look cool and edgy like Zack Snyder did in the film adaptation. The opening monologue, however, is the comic-book equivalent of when a kid in school asks to copy your homework and you tell them to change it a little so the teacher won't notice.

Doomsday Clock is trying to imitate Watchmen's structure, but it falls flat because the structure means nothing without context, and this comic skips the context, making the composition feel empty, bland and boring. It has nothing to say, nothing to convey. And like I said, Geoff Johns is a very talented writer. Just don't restrict him to copy the structure of the original comic, because it's not working. more

An amazing and funny ending for a very good minise-

I have been absolutely loving Aaron's run on Thor so it pains me that this one did not leave me more excited as I started the issue. The majority of the issue focuses on Volstagg as the War Thor fighting the Mangog as it makes its way to Asgard for judgment of the gods. The previous issue had left the impression that the War Thor had already been brought down so this was a bit of a surprise. After reading further into it I was more invested. It did have some moments that where worth it. We discover how Mangog is directed to Asgardia and exactly how Volstagg fell. My favorite moment would have to be the reuniting of Karnilla and Balder. It draws in the history of the book and signifies that the War of Realms has reached the land of the dead as well. Stakes continue to rise and the vast amount of characters available are utilized. The art of the issue certainly works. I found it fitting for the appearance of Malekith the Accursed and the scenes with Karnilla and Balder. It also had a lot of energy. I just wanted more beauty to juxtapose the violence. The details were lacking in favor of a more hectic pace. That stands as my only real criticism in a surprising chapter that I did not know was needed till I read it. more