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 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.

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.

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.

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.

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.

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.