The healthy approach to a comic book would be to have your expectations for it completely neutral, and your mind open. Obviously we're incapable of that, since we're only humans - driven by our prejudices, preferences and emotions. I was skeptical about this entire event, and I still am, but I'm willing to give it a fair chance instead of preemprively calling it a gimmicky publicy stunt. Even if iit kinda fits the description.
Point is, Dark Crisis seems like a competently told and drawn event and while I would not call it life changing and universe shattering, it may end up being a pretty entertaining blockbuster adventure. I'm glad I didn't have any expectations for it, for better or worse, because it managed to surprise me a bit and make a generally positive impression on me. So I say - give it a chance and see where it goes. It may implode halfway through, it may be quickly forgotten and retconned afterwards, it may be a beginning of a new era of DC Comics (again - for better or worse), or it may be just an entertaining popcorn spectacle and nothing more. We'll see. For now it was a pretty enjoyable read. more

This was a pretty good issue. I think a lot of the issue suffers from playing catch up. For those of us that had read Infinite Frontier and Justice League Incarnate, there's not much going on here that we didn't already know about. This issue promises the Death of the Justice League and... it delivers, and that's pretty much it. I wish there was more meat to this issue, as it's basically a glorified recap with deaths at the end of it that we knew were coming because it's in the solicitation and it's plastered on the cover. The only thing that keeps me from giving this a lower score is that I thought the art was nice and I am somewhat interested in where things go from here. Also, I'm slightly concerned this spoils how Action Comics wraps up its Warworld saga, but that's besides the point. Still better than anything Bendis could have done with a final issue. more

Remember Greta Van Fleet? Talented kids, for sure, but it's not the band itself I'd like to compare this comic to, but rather remind us all of one quote regarding their debut album, which was labeled "boomer fetishism". Whether it was an accurate criticism, or just a journalist hackery, I'll leave for personal interpretation, but either way it got stuck in my mind, and came back when I was reading this book. You know why? Because I felt like it actually commits similar "crime", but instead of fetishizing boomerisms, it fetishizes Crisis on Infinite Earths.

Now, there's nothing wrong with referencing classic comics nor trying to take what's there and tell your own continuation. But if you decide to do so, you should focus on YOUR story first and foremost, and there's very little of it to be found here. Granted, it's just the prologue to a bigger event, so I can't be too critical of it, but when I think about it, there's nothing outside the Dark Army itself that seems like something new. And even then, it's not something that would feel... inspiring and complelling, you know? Oldest trick in the book - when enemies get strong enough you can't think of anyone stronger, just make them unite and strike the heroes together. Dark Nights Metal worked, because it gave us good antagonists, even though most of them ended up being wasted. Crisis on Infinite Earths got a big memorable baddie too. Sinestro Corps War and Blackest Night? You bet there was something more than just armies of endless cannon fodder.

But that's not really the worst part. What hurts me the most here is that I felt little to nothing while reading this book. Characters die, and that's it. It's not as terrible executed as, let's say, Superman's laughable death in Batman v Superman dumpsterfi... movie, I mean, but still, I cynically smirk thinking that they're going to come back to us very soon. It's comics, after all. We've seen Death of Superman, so no publicity stunt like this will work again, I guess. And even if they're dead for good in the main continuity, there's countless elseworlds that sales-wise perform better than main-line DC series.

Finally, considering the scale and "stakes" of this event, I dare to say its art left me pretty disappointed. Sandoval is a good artist, but he clearly needed more time to properly detail all the panels here, because overall, they look pretty rushed. Surely, glory days of DC's big events with Perez or Reis really doing some insanely intricate work are over.

Overall a meh/10. Nothing that would blow my mind either story or art-wise. It works as a semi decent prologue and its value will be measured once the story unravels properly. For now, there's not much of it other than obsessive fascination with Crisis on Infinite Earths. more

Truth is, hardly anything matters in comics. Every now and then publishers reset continuities either because they became convoluted, messy and often self contradictory, or sales dropped alongside readers' interest. DC'a last big official reboot was Flashpoint, which sadly opened a new universe of grimness, boredom, poor writing, edginess and straight up butchery of beloved characters (Lobo, Harley, Wonder Woman and Mr. Freeze all send their regards!). Flashpoint itself, though, was pretty fun and I still like it all these years later. Sure, it may not be the best event of all time, and its collected edition consisting only of the main 5 issues, ignoring all the tie-ins may be a straight up insult, but I can't deny that its dark and hopeless universe and characters had potential. Seems DC's editorial had the same thought, because they brought back Thomas Wayne's Flashpoint Batman in Tom King's oh-so-awful Batman series and now he landed his own series. Good for him, I guess, but is the comic any good?

First two thing that striked me after opening it, was how much baggage its story carries, forcing you to read Flashpoint (preferably with at least Batman's tie-ins), King's Rebirth Batman series (including The Button event, which sucks no less), Doomsday Clock and Justice League Incarnate to actually understand everything. I get it, Geoff Johns likes to use references, easter eggs and throwbacks, but hot damn does it make it hard for you to get into this particular plot itself.
Plot that isn't even particularly compelling, if I have to be brutally honest. Granted, mystery is there, as well as some weird omniversal shenanigans (because multiverse is not enough for DC these days), but I can't say I'm hooked. Maybe next issue, the actual #1 will be better, but for now I... yeah, I'm not excited about this project.

Art-wise the comic is below mediocre. Eduardo Risso illustrated Flashpoint: Batman Knight of Vengeance miniseries back in the day, so on paper he was a good pick to do this one as well, but his panels lack details, dynamism and often look just empty. It could be passable if only it had some unique quality to it, artistic identity, but nope, it's pretty generic and uninspired. Best panels here look okay, worst like they were drawn by a 16 year old in their bedroom. Maybe it's a matter of taste, like with Tim Sale whose art I'm not very fond of personally. Or maybe it's a relatively low effort book made this way to avoid delays that plagued Doomsday Clock's run, and ultimately the end result didn't feel worth it to a solid portion of the fanbase? Don't look at me - I liked it a lot, actually, but can't deny that it was a pretty irrelevant event in the large scale of things. more

Solid start. As always with Murphy the art is the star and this is a beautiful showcase. It's dark and his use of space in the darkness especially his shadows on the walls is amazing. The opening isn't much to write home about other than seeing Terry don the suit. I'll agree with those who have mentioned that it could have been written better there. The only other example I could find was the most egregious example of expository dialogue I have seen in a while during Bruce's conversation with Duke. Bruce and Jason interacting is everything I could ask for, main continuity or not and this take on the mythos is a fun reimagining. more

Main continuity DC comics may have not been enough to awaken me from post Future State slumber, and I sure still feel more than burned out with comics because of it, but more White Knight? Hell yeah I'm gonna read and review it, you betcha.

The series starts on a rather lower note compared to previous two stories. Remember the opening scene from the original White Knight, so reminiscent of The Killing Joke? Or a completely detached flashback from Curse we've got to wait to fully understand? Here we meet Terry, who in a true deus ex machina fashion finds the Beyond batsuit prototype, because no one ever found it before him, apparently. This could, and should have been written differently, no joke.

Good thing is, the comic gets better from this point on. We meet Bruce and Harley, see how their lives look like now, and their personal character arcs are set up. Jason, whom we've first seen on the last page of Curse, serves to dump some necessary exposition and establish his relationship with Bruce. He's not your typical Red Hood, mind you, and I welcome that. Murphy, so far, knew how to take beloved characters and give them unconventional little spins, keeping them familiar and recognizable, but also fresh and unpredictable. Less angsty Jason Todd may end up being a very fun elseworld reinvention.

What are my overall impressions after reading this issue? Good, but I'm not blown away. Hopefully Murphy will accomplish that in the next chapter, but for now I'm willing to give this comic an 8/10 - it's fun, it's promising, it's touching in certain moments, and I absolutely can't wait to read more. Pick it up if you've read its predecessors, and if not, then what are you waiting for? Get yourself a TP of White Knight ASAP! more

After Tom Taylor's fantastic series last year, this one feels like a return to the tired old thematic status quo, and I think it is a huge step backwards.
It's not a bad comic - in fact it looks and feels like a high quality product, but if you've been following the pre Future State Suicide Squad affairs, yeah, you're most likely going to be let down by this. If you haven't... well, I'd say try out Taylor's #1 first, and return to this one once you finish with his story. more

When you think about it, the concept of Superman's descendants going through superpowered family struggles is pretty dope. There are good apples, there are bad apples, family drama in mainstream media generally has tons of potential. The Borgias, Sopranos, Corleones and Lannisters among many others have proven that time and time again. So it's somewhat surprising comics didn't necesarily pick up this idea and run with it, spicing everything up with superpowers and capes.

So, in theory it's all good. In practice the concept derails significantly, because one comic is hardly enough to introduce several new characters and establish them. Yes, we learn their names and some of them seem to have little problems with others... but I can't say I feel invested and immersed in all of this. Maybe it's the result of so many characters appearing for the first time all at once, and each requiring few minutes in the spotlight? Or maybe it's the result of a bigger conflict and a villain I don't know yet? What danger does he pose? What can he do? Is he completely bad, or just misguided/misunderstood/has some redeeming qualities?
So many questions, and so little pages to address even 1/10th of them. Heck, it's not even enough to properly introduce the main cast.

For now I'm skeptical and personally will approach the next issue with some caution. It may end up being a pretty solid and refreshing read, but it also can collapse under its own weight, because yeah, that's how much this book actually contains. more

You know what annoys me? The fact that Tamaki wasted the entirety of issue #1 of this series, leaving us with only 3 to tell a story that clearly needed more time to unravel and offer us a satisfying conclusion. Funnily enough every Dark Detective comic dragged at times and featured overwhelming amount of stagnant filler. Even this one, which makes its ending even worse than it actually is, because if it wasn't for the nauseating amount of exposition and filler, maybe it could have dealt with actual consequences of Bruce's actions throughout the series. Where did it all lead? To one big bang, and that's it?
Imagine A New Hope ending with Death Star blowing up. That's it. One gigantic explosion and nothing more. No conclusions to main character arcs, no (temporary) happy end, no feeling of relief, because the galaxy is (temporarily) safe once more.
That's how I feel about this short run. Complete and utter waste of time which had potential, but ultimately was wasted due to writer choosing exposition over much needed content.

As for Red Hood's additional story, I can't say I cared about its first half, and I certainly couldn't care less about this half either. While it's not the worst comic I've ever read, it just feels... cheap, like w low budget indie title made to promote a TV sitcom or something. Both art and script wise. more

Please. No more Legion by Bendis. Let this be the end.

What could have been a decent start for the series turned out to look and feel like a typical cliche infiltration segment in a blockbuster movie, featuring several super popular tropes like hiding in a side corridor while guards run through the main one looking only ahead. Digital first comics more often than not have rather cheap feeling to them, and Second Son is not an exception from the rule, sadly. While DC tried to market The Next Batman as a premium comic, they apparently forgot to give this one the same treatment, resulting in a very "meh" work that doesn't give me much confidence in them strengthening the brand of The Next Batman, establishing it as a quality, premium elseworld line. Like what DC managed to accomplish with Batman White Knight or DCEASED.

I'm very underwhelmed with this one, and honestly, I think I'd skip it for now and wait for a full trade paperback version of it. more

White Knight Harley may have lost some of her initial momentum, but the book still is an entertaining and immersive read worth picking up. The main plot thickens every issue, and focuses only more on the theme of maternity, serving us more than few parallels between the main characters involved in the story. There is this triangle of mothers, each impacting their children in a different way. On top of it, Collins brings in the concept of masks we all wear depending on situation, which makes me think of Ferdydurke, except contary to it, it's written in a way accessible enough not to require a shot of LSD to make something out of it.

Overall I enjoy this comic. At this point it's pretty clear what and how it is. If you didn't like the previous issues, or maybe even the entirety of Murphy's worldbuilding to date, this book won't change your mind. But if you're a fan of the Murphyverse, sit down, grab a cup of tea and enjoy the ride, because it is exactly what you expect it to be. No more, no less. more

With this Future State -nonsense DC has been releasing these past months, this book is currently the only one I'm really invested in. While I really liked this one, I'm a bit annoyed hopw miss-leading the cover is. As a huge Red Hood fan, it's a bit disappointing to see Jason here when they aren't really doing anything with him. That seems to change in the next issue.

And the biggest annoyance is that due to Murphyverse being so different, I'm really interested to see Jason's backstory.

But that problem aside, it's still a really strong series. Collins writes Harley so well and this version is so much better than the one we have in the main universe. more

I keep asking myself was there any point in shoehorning Legion into Future State to begin with. After all, the series tells stories with pretty much countless protagonists - some returning, others being merely one-offs. It is kinda baffling to me that such a giant ensemble comic ended up with 2 issue long micro story. And one that I think fails on every possible level, at that. The script is boring and since it's written by Brian Michael Bendis, it's way overtalked. It also lacks depth, direction, tension and purpose, due to its length. Meanwhile its art is, to put it simple, repulsive, although feel free to disagree with me here - our perception of beauty in art is purely subjective. Me, personally, truly dislike Rossmo's style, and think it does not fit the tone of this comic. On second thought, I can't think of a comic where it would fit in, but that's just a little digression. more

Politics are a very tough subject to write about. Not only because they're so complex, dirty and interconnected, but also because most people are completey ignorant about them and prefer easy answers to questions that can't be answered easily. Think of any big political crisis, and ask yourself is there a simple explanation to it. What caused Brexit? And the 2008 Great Recession? Or 9/11? Or both world wars? It is impossible to simplify these subjects enough to explain them in one, or even few sentences. They require extensive explaining which may explain one thing, but will spark a dozen of new questions and uncertainties. And sufficed to say, average people don't like that. They prefer easy answers. Hey, it's the Russians, or Chinese, that's all there is to a problem, no convoluted professorial explanations needed.

Now, obviously, it's not hard to write such simple fictional narrative. Isn't that what western comics have been all about for decades? Good vs. evil, all day all night. Superman is good, Lex Luthor is bad, no extra layers of depth and complexity needed, because they'd confuse readers who are used to not thinking at all. That was the Silver Age mentality. And then came the Bronze Age with writers like Alan Moore, the man behind Watchmen and V for Vendetta - tho incredibly deep political comics, ones that actually provide us compelling narratives with super complex backgrounds. Take Adam Susan, for example - the fascist ruler and the main antagonist of V for Vendetta. He is a monster commiting monstrous acts... but he's also a human with believable psyche and decisionmaking we can understand.

Compare that to Luthor here, who turns 180 degrees in the span of one panel. We've got a chance to understand the typical totalitarian way of brainwashing the masses and controlling them through fear, poverty and desperation, but instead Mark Russell abandons the deep and mature storytelling this comic could have featured for a simple good vs. evil fight, ending with a cartoonishly silly twist which fits the tone of the rest of the book as much as Tom King's Looney Tunes references fit Batman comics.

And look - there is some decent lessons and point made here - take the concept of ruling, according to Lex, saying it's not about giving people what they need but rather what they want. As a cynic, I'd say in reality it's convincing them they want something you claim to be for, and then convincing them you're the only one who can give it to them, just to get elected and not do anything. But hey, politics is a complex bitch, as I already said, and anything related to it can be continuously explained further and further. Russel, contrary to Moore, doesn't delve deep enough, BUT the little depths he reaches still contain something worth remembering and understanding, even if ultimately it's kind of a two dimensional wasted potential. more

I don't get how people get to claim that "Superman is in good hands" when this is the third story from PKJ when SUPERMAN IS BARELY IN IT. How can he be in good hands when he's not in the story? It looks like PKJ got a note from Bendis and he's applying the same system: doesn't care about Superman at all, he just tries to build other characters that maybe will pay off one day and he'll get the money for it. more

And so Future State officially ends. Well, there's still going to be few related releases next month, but the hectic two month long event finally reaches the finish line, and I couldn't be happier because after 8 weeks of reading (and reviewing) every single comic from it, I feel drained and exhausted. It's been a very rough and uneven ride, with some good comics, some terrible ones as well, with their quality shifting faster than time signature in a Dream Theater song.

This comic is my last to review. Why this one? Dunno, honestly. If I was to make a punchline regarding this event, I could have chosen a better fitting title, but by sheer accident this one's the last, and there's no real big analogy concluding Future State. Because it is a consistently decent comic. There's no big shake-ups, there's no revolutions, it's just a fun little escapist read. Gene Luen Yang plays very safe, giving us a pretty good mystery, albeit predictable (which I really can't criticize him for - after all it'd be near impossible to write something truly surprising AND 2 issues long), and setting up the reason why fascist controlled Future State Gotham City is on its own.

And probably that reason is what left me with somewhat bitter taste in my mouth. It's just... a rather forced, won't you agree? Yeah, I get it, it was necessary and all, but the explanation and Bruce's reasoning are pretty off. I can't say I enjoyed this sudden and radical turn of events. I believe this could have been handled better.

Overall not a bad comic - probably one of the safer and most digestible entries from this horrendously uneven event. more

Creating a good mystery is one thing. Leading the narrative slowly unraveling it is something entirely different. Suicide Squad's bigger purpose revealed at the very end is a pretty solid twist, problem is path leading to it. It's a bumpy one, constantly switching POVs and trying to surprise us with typical "ha! I knew what you'd do so I did this!" twists. Such precise chess-like game can work if done right, but it is very easy to under or overdo it. Look at Death Note if you don't believe me - incredibly solid start followed by constant drops in quality due to the aforementioned chess-like twists, and ultimately it turned into a parody of itself. Waller's convoluted reasoning covered in this book works similarly, and is equally dysfunctional.

As far as the additional Black Adam story goes, it's a non-entity to me. One that feels like an afterthought, something that is here just to add a little bit of volume to the book. And honestly it could use some more content. In form of better developed and longer titular story.

Not the worst book from Future State, but one you could confidently skip, since even if you read it, I guarantee you you'll forget it in a week. more

Aquaman ends on a high note. Maybe not as high as #1, due to one legged plot twist we've never seen coming which made everyone talk about the comic, but it still is a very, very entertaining issue I would recommend to anybody AND would like to see being continued, actually. Out of all new faces introduced or established in Future State, Andy is definitely one of the S tier ones I'd love to see again in the foreseeable future. Jackson too, but it's Andy who runs the show and gave this short story personality and emotional drama.

Another thing worth commenting and praising is most definitely Daniel Sampere's art - it's consistently stellar and fits the tone perfectly. It's an amazing book through and through - worth reading, worth looking at.

Solid recommendation from me. more

This is one of the stand-out Future State titles for me. Andy and Jackson will be sorely missed. I wish I could read some more about their adventures in this future setting.

Their dynamic reminds me quite a lot of Dick Grayson's and Damian Wayne's in Morrison's Batman and Robin run, but their familiarity with each other gives the sibling relationship between them enough of a twist to not seem like a copy.

Andy continues to struggle with her stubbornness paired with her powers in a way that feels natural to me. She can be mean when she doesn't get her way, but it's clear that she wants to grow and be better, even struggles with her decisions.

The ending was incredibly heartfelt. I hope we get to see Jackson and Andy interact as their younger selves once the Aquaman comic returns.

Daniel Sampere also delivers on the art. It's a beautiful book that showcases cool character work and smooth action. Adriano Lucas' colors elevate it even more.

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Dark Detective "Finale" (eye roll) Issue #2 (I mean #4) ends with a bang, but no real conclusion (of course), after stretching out 2 issues worth of story into 4 issues at $6 each. Was it worth $24? DC and writer Mariko Tamaki thinks so. And we have gotten interesting art from Dan Mora and great coloring from Jordie Bellaire. The lettering is intended to be "futuristic," and Aditya Bidikar continues the same annoying lettering from previous issues.

It wasn't as bad or as expensive as "The New Batman." So there is that. But of course, there was never any intent to have a "story" with any real conclusion.

We have a Bruce Wayne who is struggling with uncertainty, guilt, self-blame, doubt. The same Batman who defeated countless world threats, organized teams to defeat threats to entire Earth, struggles to find the resolve to defeat the punk of The Magistrate regime.

Bruce Wayne continues his efforts to undermine The Magistrate and stop its surveillance system of nanobot drones everywhere. Supporting character Hannah ends up aiding Bruce and has been secretly recording The Magistrate's own work. She believes she has information about The Magistrate that will help to prevent "the end of all democracy in Gotham." Peacekeeper-01 wants to fight "scum" like Bruce Wayne to the end.

And the carnival barkers tell us "Bruce Wayne's adventues continue anew next month in Detective Comics #1034."

When the key is the art and coloring, you are losing your reader, but we need to be honest, there really is no serious intent to engage the reader. Just push them forward, get along little doggie, towards buying the next issue in the latest "event."

Part of the broad story line (beyond just Future State DD) is that the struggle is much of the people WANT The Magistrate, they want security at whatever cost that regime will bring. DC describes the Magistrate regime as being all-knowing and powerful, being able to clone (Batman/Superman 2) parts and versions of Superman, as a rationale to keep Superman or any other powers to stop "The Magistrate." The sci-fi storyline is intended to suspend disbelief, because the only real goal is to drive stories to the next "event."

We have writers with lean plots to serve as carnival barkers to gin up suspense and enthusiasm for the next "event." Because that is really all that DC wants to sell, "events."

In the 20th century, the events were in between periods of storylines. Now the events are really everything, and storylines are just placeholders or road signs to events. This allows DC to hire inexperienced writers to learn on the job writing major comics, because they will keep fanboys coming back with a hint that another "clue" in the next "big event" will be there. This is especially valuable for AT&T to keep internal costs down of knowledgable DC Comics talent.

This is a trick television has been doing for years. So you end up going from mysteries like Columbo (with beginning/middle/end) to semi-soap opera, constant cliff-hangers like The Blacklist. Exchange interest with plot and mystery, and replace with brutality, value abandonment, and constant "shock" value. So those of us really expecting stories will be constantly disappointed.
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I really liked the art of this series. At least the first part. But that's about it. Stuff does happen, Bruce's inner monologue is shown to us, but I really just don't know if anything happens. If this is the end, it's a very bad ending. A big bad boom is not a good way to end the mini-series, if we don't have enough time with these characters. I really didn't care about anything and I was confused if we should know who Peacekeeper One is. It was a disappointment, I really wanted it to be better because I loved the artstyle.

As for the Red Hood story, eh. Just eh. more

This whole event starts without a solid story, with a chronological disorder, a lot of bad new characters with the exception of Yara and terrible unfinished endings. Which brings us to the story of Bruce THE REAL BATMAN.
The idea was really good, a Bruce without fortune, struggling to survive, a Batman in the dark doing the impossible to end a fascist government and Dark Detective started very well, it even looked much more interesting than what it had been doing in its usual series. But then the writing becomes sluggish and like the other books it doesn't get anywhere "Much ado about nothing."
In return we have the counterpart, the backup story despite a lousy art the twist was not bad, Red Hood is playing a dangerous game with a mysterious character are trying to unravel what is behind the magistrate, obviously they had to give him impetus to the FS Gotham. Still it has been a story devoid of emotion and the pretty bad art doesn't help.
FS was a complete disappointment for me. more

Superheroes took the place of mythological gods. They're the ones we tell stories about, not Thor, not Zeus, not Chernobog, not Ra. They're the ones that teach us the timeless lessons of doing what's right, of never giving up and always trying to improve and overcome what life throws at us, beating demons both external and internal. Yeah, these are simple lessons we all are familiar with, but their power doesn't lay in their originality. It's in their universality. Anyone can pick up a comic like this one and find some deeper meaning in it. FInd inspiration to stand up and be selfless. We see that in Superman's actions, but we also have a chance to read one of his articles running paralelly to the actual main arc. One that shows how he, himself, was inspired by someone else just like many of us were by his tales. It's simple, but beautiful, and works really well as a self contained mini comic. It is effective.

You know what isn't, though? Mister Miracle's short thrown in here... because. Similarly to many other Future State titles it doesn't really end. It just cuts, leaving things unresolved, and worse of, leaving the audiences completely indifferent to their fate. Whether or not this story ever gets picked up again by someone at DC, I can confidently say that I don't care.

Same applies to Midnighter's tale, which actually will continue. Can't say that I care, nor that I'll be there to witness its future chapters, but I guess if you do, more power to you.

Finally, Black Racer - the last of the three supplementary shorts' protagonists. Similarly to what I mentioned in the first paragraph, talking about modern gods, her comic tries to establish her as one. Does it work? Not particularly, I would say, mostly because it's a simple "blockbuster" type of a comic - spectacular looking, but ultimately hollow. Just like all these superhero movies and main continuity DC series. It falls flat, but at least it has an ending of sorts. One that wouldn't leave you pissed if that's the last thing with Black Racer we've ever got from DC.

Overall I would definitely recommend the titular comic here. Worlds of War is solid, really. What lowers the score is the supplementary unnecessary filler material added to it. more

I try to be as open minded as possible, and even, or especially when I encounter something I don't like, I try to give it a fair chance, and understand why I don't like it if I still don't like it after giving it said chance. It was the case with post I Am Bane Batman series by Tom King, which I grew to dislike only more and more with every passing issue. Enter Batman/Catwoman, which made, to say the least, a very unfavourable opinion on me with its first two issues. And here I am - giving it the last chance to capture my attention and imagination, make me see something more in it, because as of now, I'm completely conscious about what I dislike about it.

All my good will was gone when Catwoman says "I became a cat. I met a bat". I shaked my head asking myself in disbelief why am I even exposing myself to this trash? But yet, I proceeded. I continued reading this comic, just to find some action in it. Yeah, that's new, isn't it? Action. Too bad it features more inarticulate meowing, growling and hissing, making me shiver in disgust and cringe, and rather comically oversexualized fight sequence, which whilst not bad, reminds me of the infamous panel from Heroes in Crisis featuring half naked Lois Lane being half naked for the sake of being half naked. 90's called, they want their porn influences back.

I'm done with this series, it's time I stop wasting any second more on it. I've seen too much already. Screw the bat. And the cat. And my life as well, because I could have read something half decent instead. more

A satisfying ending offering phenomenal art once more. Onomatopoeia added some nice comic-relief all throughout this pretty grim-looking Issue, while never feeling out of place. This Issue ties up some loose ends and establishes where Dark Detective takes place in the framework of FS. It seems as if the Future State timeline DC published isn't quite accurate, which most readers already guessed.

The characters are handled well, their actions flow seamlessly together. That's how I have felt in general when reading this mini-arc. It's seamless, both the art and the writing, but that doesn't make it boring, in the contrary. more

I expected to see Death of the Endless make an appearance in this, I'm glad to have been wrong. It wasn't a bad ending by any means, but two issues were not enough to drive home the emotional impact I think this was aiming for.

Diana's story at the end of time looked phenomenal on paper. At least to me. I like stories that explore immortality and the "at the end of time" is such an ominous setting. What I want to say with that is, I wanted to like this story, hell, expected to like it, but Immortal Wonder Woman fails to explore the themes of immortality and the ceasing of existence in a meaningful way.

While the art is beautiful and invokes a feeling of isolation, it appears almost blunt in certain situations. It's too static. Pose after pose instead of movement.

The action in this book suffers a lot, but that is not the sole fault of the art. At times it really shows how mighty the lasso and Diana are, but then sth else is missing for example a warrior's scream.

I'm still looking forward to Cloonan's & Conrad's run on Wonder Woman, especially because the scenes with the Spectre were the best ones in this book, but I am not as excited as before. Especially because this title could have done more with the Amazons but ends up putting the focus on Clark and Bruce regarding Diana's relationships.

Nubia's story, on the other hand, is a very solid story, and the only reason this rating reaches a 6. While the art isn't as phenomenal as in some other FS titles, it has no obvious weaknesses either.

The story sets Nubia up with a clear direction, something the character desperately needed, and that I hope will be used in-continuity from now on. It would be sad to see Nubia disappear to limbo once more. more

It was good, but I didn't like it. Much better quality than that of more than a year ago of course. But who really saves the day are his companions, he focused a lot on the relationship with the new Batman feeling something false here.
Another thing I hate is that there is no connection between this nightwing and the nightstroke that comes out in titans I hate that they put characters to the fool, as this dick was related to the one in Teen Titans. It is a decent number but then the gaps what happens with that? more