Jeff Lemire turns in a fairly strong script, but it’s non linear nature doesn’t serve a first issue well. It’s definitely executed better than in his recent JSA #1, and it works for the most part until the “one year later” jump at the end. It’s entirely unnecessary as there’s plenty of mystery and intrigue to go around without it. There’s a lot of characters, and like all the Absolute titles so far, part of the approach relies on the reader already knowing the traditional mythos of the title character. Like Absolute Wonder Woman, the concepts introduced in this issue would work better as an entirely new character as opposed to a variation on a classic DC Comics hero. Also, like the other Absolute titles, it’s hard to find a reason for the existence of any of these Absolute characters out side of being different just for the sake of being different. If the Absolute titles have been for you then this will probably land, but there’s nothing grounding breaking or really compelling about Absolute Flash #1, in fact most of it is something you’ve seen before. This is a solid above average to good, much like Absolute Superman #1 placing these both over the above average Absolute Batman #1 and the mediocre Absolute Wonder Woman #1.

The finale to this three issue storyline is rather mediocre. It feels very by the numbers, and while you can tell it’s supposed to be some sort of moving, “gray area” thing to “challenge” Superman it comes off very pedestrian. There’s no real insight, it just feels like something you’ve read before. Had the characters involved been more significant it would’ve had more impact. It’s not something that can be pulled off within three issues effectively without a deeper connection for the reader.

The basic premise for this Superman story is solid. Getting Clark to take Lois’ assignment for the Daily Planet is a neat idea. Unfortunately, Lois and Clark don’t sound right. Their interaction is awkward as doesn’t feel genuine. It almost feels like a caricature. There’s also a bit of disrespect towards Clark ability as a journalist which feels like a modern attempt at making him the butt of the joke. It feels as if this is an adaptation in another form of media that is playing with different iterations of the characters and pulling in disparate aspects that don’t quite mesh. The arctic camouflage Superman costume doesn’t make any sense. The art is decent, but almost feels like it’s going for an animation feel instead of a mainstream Superman comic. There is a timeless quality to this story, but the characterizations keep it from elevating the experience.

Cassandra Cain is not a character that I’ve followed closely over the years. Batgirl #6 appears to require a deeper understanding of her history and tutelage under the Batman. The strongest aspect of this issue is the relationship between Cassandra and Shiva. There’s some deep stuff there that plays well, definitely stronger than the Unburied. The end of this issue feels a bit like it’s taking place out of continuity, or it’s just simply misdirection that doesn’t really work in today’s comics. Next issue promises a history of Lady Shiva and that in itself is tantalizing. Can this team bring it all together? We’ll have to see.

Wow. Sometimes feeling like you’ve gone back in time when reading a comic is good. While some are hoping that Jim Lee and Jeph Loeb’s return to the pages of Batman for a sequel to their seminal “Hush” storyline will be a return to great comics of 20 years ago, it actually does more than that. This comic manages to grab the feel of Batman comics from even further back to the Bronze Age. There’s some Denny O’Neil and Neal Adams here as well as Gerry Conway, Len Wein, Jim Aparo, Don Newton and Doug Moench. This is a great start to a storyline and while it references recent status quo that has happened since the original Hush story, it blends it into the classic much more effectively than Batman or Detective Comics has in a while. There’s no B.S. in this issue. It’s just great comics. There’s Batman as detective in this issue, the Bat-family is firmly in play, and Loeb has an angle on the Joker that’s certainly not seen often. Jim Lee is doing some great work in this issue, he’s never been a favorite, but his storytelling is quite good here. This is going to be a special storyline and I believe it will live up to hype and expectations. Don’t be surprised if Batman surpasses Absolute Batman as the sales juggernaut for DC!

The worst part of this series is the fight, and with issue the brutality is highlighted. It’s not only pretty gross, but it attempts to make you think the brutality is cool. Clearly King doesn’t understand how Dinah sees her fighting prowess, it’s not to hurt people which is what she does here. Not only is the fight between Black Canary and Lady Shiva contrived, without any context for the reason for the fight it makes the brutality even worse. The over narration continues to slow down this series, and now Tom King seems to want to rewrite the history of Dinah, Wildcat and Oliver Queen because it fits his story. King has Dinah as Ted Grant’s coach as well as Oliver Queen’s before he takes up the Green Arrow identity. Talk about contrived! Additionally, the stereotypical hard drinking “tough girl” doesn’t really fit Dinah or her mom. It’s very awkward and feels like King is writing them as a couple of “bro’s.” This issue solidifies that this isn’t taking place in the DC Universe, but only in Tom King’s head. It’s as if he asked himself the question, “wouldn’t it be cool if Black Canary and Lady Shiva fought?” The answer is, “no, it wouldn’t- not from King’s pen.” Gail Simone explored all these relationships in a deep and nuanced way in Birds of Prey nearly 20 years ago. I suggest you seek out those comics, because that’s what you’re really looking for- Dinah and Ted Grant? CHECK! Dinah and Lady Shiva? CHECK! Dinah and her mom? CHECK! Black Canary: Best of the Best #4? PASS.

There are two things that are good about this issue and for that matter the entire series. After some awkward moments in the first issue, I think Ryan Sook found his way with this book. The cover to this issue is especially nice and the interiors are good as well. Seeing both Canaries together looks great. Some of the moments with Dinah and her mom are solid. Were they told in a different context they would resonate more. And, if they seemed to fit in better with previous versions of her history. Unfortunately, King’s go to move of “misery” and “unhappiness” sucks much of the fun out of seeing the two together. Black Canary I training Black Canary II is something King has added and it works for his story so he can emphasize the misery for both of them. Originally, the younger Dinah sought out training on her own against her mother’s wishes. The older Dinah hating cops is weird too because her father was a cop (Secret Origins #50). King has made Dinah, Sr. about as unlikable as possible, but hey, that’s what King does. King also is ignoring the great character work between Shiva and Black Canary that Gail Simone developed in Birds of Prey about 20 years ago. Not having any context for this fight continues to bring down this series. It’s just violence for violence’s sake. If you are into that, I suggest seeking help, not read this series. Like all of King’s work, he’s in his own world with his own set of rules and continuity. Everything you want to know about Black Canary has already been done better (see Birds of Prey) and and this doesn’t add anything of value. Visually it’s entertaining and it has some nice short bits with Dinah grieving, but other wise, you’ll wish you hadn’t let King mess with Black Canary.

This run by Torunn Gronbekk attempts to give Catwoman a mysterious past that’s never been explored. Gronbekk does it by placing the story in a wholly different genre than what is usually associated with Catwoman. This isn’t a street urchin learning how to survive on her own, this is firmly in the realm of espionage with a distinctly European flavor. I’ve compared it to Modesty Blaise or Diabolik previously, and it’s hard not to recapitulate that comparison. For as un-Catwoman-like it can seem, it IS working. Perhaps, when Gronbekk is done, this chapter in Selina’s life will fit seamlessly into the bigger picture. Right now it’s a fun enjoyable ride and it’s hard not to like.

I suppose this comic is fine for its intended audience. Like its predecessor, Fire and Ice: Welcome to Smallville, it’s not for Justice League International fans or for fans of the characters who want to see some genuine character work on Tora and Bea. It doesn’t feel like a mainline DC Universe comic at all. The fact that it references Absolute Power, DC All In Special and Justice League Unlimited is really weird. It comes across as a YA Graphic Novel (except for the part where Bea spends the night with a guy). Putting out comics that are tonally and stylistically diverse in their line is a good idea, but I don’t think DC knows how to get this into the hands of the intended audience. Coupled with the fact that the comic itself isn’t really sure what its audience is will definitely pose a problem. There are too many characters in the series for Tora and Bea to get any quality attention, there’s too much time wasted on bad jokes and the ancillary characters. We’ve been here before with Welcome to Smallville, so there’s no reason to do it again. But, I guess there could be a small niche audience for this weird take on the DC Universe.

Well, this issue ramps things up as everything intensifies. There’s just a couples between Odyssey and Kon-El and it immediately does more for him than everything in the past 10 years- what HAS been going on with him, maybe Jeremy Adams will tell us?!?!?! Plus, Adams doesn’t forget Carol and Hal. The new status of their relationship continues to develop and it continues to be captivating. There’s a super-villain surprise at the end of the issue that doesn’t take long to develop. It’s an idea that could’ve left things open ended, but Adams wisely brings it to the fore immediately. There’s a lot of action too in another well balanced issue. What’s not to like?

This debut issue is great. It catches up readers on the Lanterns and their current status. We get John Stewart, Jessica Cruz and surprisingly, Sinestro featured! There are appearances from Jo Mullein, Teen Lantern and Simon Baz. Jeremy Adams incorporates a lot of history as well as getting things going with the Sorrow Lantern. Brining Sinestro back into the Corps is an interesting idea and it’s done wonderfully in this issue. There are lots of little bits that make this a great issue. Only one thing stands out as a possible concern…is that Shayera (Hawkwoman) Hol on the last page? She’s on Oa as a royal ambassador to work with John Stewart to help salvage what’s left of their homeworld. It doesn’t look like Shayera’s hair color. Her body language and facial expression certainly indicate she has history with John, and John doesn’t want it to be her. As the kids say, she looks thirsty. Unfortunately, it appears that Adams is trying to incorporate the DC Animated Universe relationship between John and the random Thanagarian Hawkgirl from that show with a name that never made sense. This would be a huge mistake…. The DCAU was very unkind to the Hawks and there’s no reason to make the same mistakes in the comics. Additionally, the status quo of Hawkman and Hawkwoman established at the end of Robert Venditti’s Hawkman series was both elegant and beautiful and it just doesn’t make sense that Shayera would show up looking “thirsty” for John Stewart. Since Fernando Pasarin drew that Hawkman issue as well, you’d think he could’ve pointed out that something’s not right! Ok, it’s a small concern for this issue, but a huge concern moving forward for Shayera.

This comic is well balanced between plot, character, action and emotion. Jeremy Adams work has been strong at DC, and this seems to be the case in this title. Paired with Morgan Hampton on writing duties doesn’t appear to hamper the deeper elements. Even the John Stewart/ Shayera “relationship” front benefits this issue. There’s nothing specific mentioned, but John is displays a sincere sympathy for Shayera as she comes face to face with the ruins of Thanagar. It suggests that even if they go ahead and make the mistake of introducing a previous romantic relationship between the two, there’s a good chance it will be done well.

This is a solid issue. There’s a good amount of action as the story progresses forward. It doesn’t feel quite as contrived as some of the previous issues have. There’s a moment where it feels like it’s about to be too much, but in the endit’s not overstuffed Waid finds a way to make it all fit. Mark Waid is trying to connect some of the ancillary titles like The Atom Project and does a good job with it. Bart Allen-Impulse gets a nice moment this issue. The final page brings into focus the upcoming crossover with World’s Finest.

Mike Perkins’ art is the standout of this series so far and this issue is no different. There’s an interesting concept in the mini-series, but writers John Ridley and Ryan Parrot are trying too hard to be clever with their story. The surprise on the final page is indeed a shocking turn of events, but the path there is far too circuitous and it diminishes the impact. Sometimes being more straightforward is a better storytelling technique and this issue, indeed this whole series so far would benefit from it.

This series continues to be very entertaining. There are some genuinely humorous parts and some of them don’t rely on being over 50, having read this comic in the sixties, or being familiar with the parlance of the Go-Go-Check era. That said, there is something missing. I can’t be sure of what it is, but this comic needs something. It’s close enough to being brilliant that you can almost taste it. Definitely worth checking out. It’s something unique!

This is a mixed bag of an issue. Part of it progresses as one might expect, but the fourth wall breaking Zanni is a little strange. The supernatural element doesn’t fit Nightwing very well and it’s a huge jump from the street level story that’s been unfolding with the street gangs and Dick Grayson’s concern for the kids of Bludhaven who’ve been caught up in the violence. The relationship between Dick and Barbara is still depicted well and is still the basis for the title. Dan Watters continues to develop relevant themes around Dick that evoke thoughtful consideration.

This comic leans heavily into horror. It has some classic EC Comics elements as well as an obvious similarity to DC’s own Swamp Thing. It feels unique even as someone checking it out for the first time, it is compelling despite it’s obvious debt to its influences. What’s going on is interesting even if you are unfamiliar with the larger storyline or Poison Ivy as a character. This series has soldiered on for nearly three years, and this issue demonstrates why.

I don’t think anyone ever wanted to know this much about Resurrection Man. If this is a character you’re into this is probably one of the greatest things you’ve ever hoped to get on the character. I don’t know that this will pull in new readers, it doesn’t feel accessible to those unfamiliar with the character. There are some real over the top moments and the parts that might resonate widely don’t last long enough. The overall concept is fairly bizarre and I feel like this makes it even weirder.

The strongest part of this issue is Jon’s concern for Jay. Like Jay or not, like Jay and Jon as a couple or not, the concern Jon feels for Jay is something that is relatable to everyone. Despite having no affection for Absolute Power or Amanda Waller as a major villain, the mystery is of her escape is pretty strong. There are aspects of this issue that feel very niche and that will play differently to different people, but in and of itself it’s not a bad thing. One of the things that does stand out is that Nia, Jay and Black Alice (and the barely seen Catman and Deadshot) all seem to be played with a sense of the anti-hero…or “broken” hero (yes, some of them are 100% anti-heroes/ villains). Jon’s place with them is fairly awkward. He demonstrates his concern for Jay and his trust in Nia, but the whole positioning of the group (except Jon?) just feels weird.

Jon Kent hasn’t been relevant since Brian Michael Bendis aged him up in Superman #6 (2018). He’s unable to carry his own series, and has become a tag-a-long character with the Super-family. With that move, Bendis eliminated all the potential for stories of Superman and Lois raising their biological son, an idea that was unique, different and fresh for the Superman franchise. In addition, he had Jon unbelievably pass through puberty and those important formative years without any guidance and produced a Jon Kent with perfect morality and a social conscience. Shazam! #20 serves both in story and in a meta way to reinforce the fact that not only will we never get a young Jon Kent, but that the sole reason for his existence is LGBTQ+ representation, and token representation at that. Real representation comes from characters care about because they are great characters and just HAPPEN to also be inclusive. Michael Holt Mr. Terrific and Kate Kane Batwoman jump immediately to mind. After the reader is drawn in by the compelling aspects of these characters the reader realizes, “oh, this really awesome character is black/lesbian/hispanic/asian…whatever.” Jon Kent’s appearances have devolved into niche romance fiction. He has no purpose any longer. He’s not Superman and he’s not Superboy, he’s just redundant and useless. This is obviously a fill in issue and an issue designed to stick it to fans of Jon Kent and the Super-Sons.

This final issue definitely feels a rushed and heavy handed in its message. It’s clear last issue was a fill in, but it seems that Josie Campbell was also required to wrap things up in just one issue. There’s a suggestion that this story arc could’ve gone on for a few more issues. This series started with a lot of promise under Mark Waid and Dan Mora, and they made some changes that were exciting for readers who prefer a classic take on the character. Subsequent issues seemed to lose the momentum and go in a different direction. Maybe the mediocrity will finally convince DC to take CAPTAIN MARVEL and the classic Marvel Family to their own Earth where they can be the most important characters and thrive in a classic iteration instead of prolonging the pain with Geoff Johns’ always misguided version that’s been the standard since the New 52.

There’s nothing wrong with revisiting “Greatest Hits” every one and a while and that’s what Terra and Deathstroke bring to this issue. That coupled with some of the interpersonal subplots make this series feel more and more like the New Teen Titans than it has in a very long time. Of course, that’s sort of the point, that’s why people like these characters together. It’s taken some growing pains but, this series seems to be on the upswing, even if the art feel more YA Graphic Novel than mainstream comic book.

Well, Daniel Sampere continues to deliver great art on Wonder Woman. This issue feels a little stronger than most of this run, Diana feels like she’s featured more than most issues. However, that’s not saying much. It’s a classic case of “too little, too late” to improve the overall assessment of Tom King’s run on the character. Too much of the issue relies on buying into Tom King’s weak approach to the entire story and lackluster use of Diana. He also finds it necessary to throw in a “poop joke.” It almost feels like this would’ve been a good place to start the story so that the blanks could’ve been filled in as things progressed. The script has a “by the numbers” feel to it. Even though King’s tenure on the title is supposed to go beyond issue #19’s finale of the Sovereign storyline, one can always hope it won’t go much further and Wonder Woman fans can put all this behind them and move into a legitimately good era for the Amazing Amazon.

There’s a huge shift of gears with this issue moving past the Sovereign storyline. It doesn’t mean it’s any better, just different. Batman feels way out of place. Diana seems far too vengeful and quite detached in an odd sort of way. Guillem March depicts her almost as a femme fatale as she appropriates Batman for this mission to find out who killed Ares and clear Hippolyta’s name. In some ways it feels like it exists in its own universe more so than the previous 19 issues did, and boy did they ever! Tom King creates a strange moment in which he attempts to give Bruce and Diana a more personal connection, but it just ends up being awkward. Elements of the actual investigation are solid, but it all feels like something manufactured around that dagger we saw last issue, which also happens to be the murder weapon here.

As enjoyable as issue #1 was, this issue may be even better! There’s a good mystery-and it deepens, things progress with the plot and the cadre of magic/ supernatural characters we see are fun. Madame Xanadu and Blue Devil not only connect things with Justice League Dark, but also Madame Xanadu’s Vertigo solo series, Demon Knights from the New 52 and Blue Devil’s original series from the ’80’s. There’s just a slight desire to see Zatanna on her own instead of in an ensemble, but the ensemble is compelling. Additionally, I don’t think we needed to see Bruce Wayne show up on the last page, but there’s a lot going on to sort out and it’s 99% not straightforward. There are a couple of surprises along the way that confirm the fact that Jamal Campbell is a solid writer.

Jamal Campbell delivers another fun, interesting, exciting and creative issue of Zatanna. It’s not simply the magical aspects, but the mysterious quality of the Lady White as well as the inventive use of Bat-characters Bruce Wayne and Basil Karlo/ Clayface. Furthermore, Campbell taps into some real emotion and there’s even a surprise with one of the supporting characters. There is still the feeling that there’s something else going on beyond what we know. This is series is proving itself to be damn good. It’s nice to see a character like Zatanna get quality treatment!