I don't remember the last time I felt as if a DC comic had such a good handle on a team of characters. Bruce and Clark might be the main stars but even so it's obvious that Waid respects the characters he uses and gives them moments to shine. Take notes, Titans and Young Justice writers. Since Amazon messed up Comixology (especially for international customers) this is the only comic drawing me back to monthlies right now. It's colorful and bright and I don't have to be afraid that a character I like ends up being portrayed as utterly useless. Plus, Dan Mora's crisp designs are perfect.

World's Finest has been reading like a Sunday morning cartoon, connected with this very Golden Age-inspired story, this Dick-focused issue becomes a great feel-good story between arcs with stunning art. While I was a bit disappointed that Mora wouldn't be drawing this issue, Moore is a great artist in his own right. His soft drawing style, paired with warm colors by Bonvillain, really brings out the good vibes. It's good to see Robin!Dick investigate and being back in a circus setting for a moment without too much tragedy befalling the poor establishment. I certainly got what I wanted out of this.

A miss for me. So far, World’s Finest has felt like a Saturday morning cartoon but this flashback feels like a Sit-Com with too many fake laugh-tracks. The beginning was fine and the awkwardness was great, but then characterization got betrayed for the same old boy-meets-girl tropes. Some stuff also didn’t seem thought through in a way that to me looks like Waid forced himself to write one thing because it is the trope and then tried to back-paddle. The way death was talked about in this issue was weird and not in a funny way.

The only reason I picked this up is the Nightwing story by Jamal Campbell, and I have no regrets. Even if I hadn't enjoyed the other stories the price would have been worth it for me. Campbell's art suits Dick Grayson and it was a cathartic tale through the character's life. I would love to see Campbell write Dick again. 9/10 As for the other stories: The Bruce Wayne & Damian Wayne story had a lot of heart behind it as well. It was a fun insight into how Bruce instills fear how Damian might not entirely agree with his father's perfect planning. It's a lighthearted father & son story. 8.5/10 Jim Gordon's story focuses on old regrets. I have a feeling I would have enjoyed it more if I were more familiar with Jim's character. I feel like I missed something. 7.5/10 In the third story, Gilda Dent is the focus. I actually didn't expect that. While the writing is good, the art seems too stiff to bring the appropriate feelings across. 6/10 Edward Nygma takes the reader on a "choose your own adventure", which is cool but hard to read as a digital copy. 7/10

I didn't expect to like this as much as I did. The art is great, the characters are engaging, and the story progresses well. While Thompson uses some tropes that could have hurt the story, she subverts them enough to make them work. There's no unnecessary drama in these first 5 Issues, and I am looking forward to the next trade.

Once more Fernando Blanco draws an issue that is all around beautiful to look at even if it is very much Gotham. Together with Jordie Bellaire’s colors, he makes the city feel truly alive, whether it is during broad daylight or during the night. It’s especially noticeable when their art is allowed to breathe in big panels. The issue starts off with Selina on the defense, which makes her look and sound like the leader of an organized crime organization she kind of is. It’s an aesthetic Selina has worn often and well. This is no exception. The tone shifts considerably once Selina is Catwoman again. New groundwork is laid, Ram V wasn’t kidding when he said he likes to leave seeds for storylines along the way, but the story still satisfies all on its own despite being mostly build up.

I'm falling more in love with Fernando Blanco's Selina Kyle each Issue. She looks wilder in these first few pages, then transforms into a fashion icon the second she goes undercover. Blanco's Catwoman is sexy and sensual. She is comfortable in her own skin and her transformations throughout the pages exist for her comfort and her advantage. It's simply enjoyable to look at. Green is once again used to showcase what has been happening to Ivy. It's simple but effective and is incorporated in one of the coolest splash pages this Issue has to offer. Ram V continues to weave an intriguing tale that leaves the reader on his toes and I am seriously amazed by the steady introduction of more characters that are friend, foe, or both. I can't wait to see all those threads come together and some reach into the next arc. While Ram V and Fernando Blanco are treading somewhat familiar ground as Selina has been heavily involved with organized crime under the pen of both Ed Brubaker and Genevieve Valentine, those three stories are barely comparable even if Brubaker's run initially introduced Alley Town.

Things are getting heated! I didn't expect an in-media-res beginning and for a short moment, I was wondering if it would work. Thankfully it did! Jordie Bellaire's colors truly shine this Issue thanks to the number of colors involved. Especially the later pages featuring both Shoes/Lian and Ivy are a very refreshing look for this title, which has mostly used muted and understated colors. Blanco's rendition of Ivy is nice and some of his panel layouts just work so well, it sometimes feels like "reading a movie". Ram V continues weaving an intriguing story that he advances quite a bit in this Issue. The Magistrate is on the move but so is Father Valley and a new (maybe old?) player has emerged to help Selina. Thanks to the Wight Witch, I am also now at least a little interested in Simon Saint. The character moments are also nice. I hope Ivy will stay for a while.

I loved it. It's a great character-focused Issue that walks the reader down memory lane. It offers a look into what of Selina's long history Ram V is going to include. After all the care Selina has shown toward the people of Gotham, it's chilling to see a colder side of her, that she might need to survive Father Valley and Fear State. The art worked well, had an almost dream-like quality to it that vibed well with the characters' retellings. The only thing I missed was Ivy. While I am not looking forward to an event interrupting the storylines Ram V has been threading together for the last months, I am almost certain he will handle it well. Maybe he'll even make me like BatCat again after King's run completely burned me out on their relationship.

The Magistrate is upon Alleytown and the plot of Catwoman must bow to Fear State. Ram V has built up the Magistrate in his run quite nicely, and while I am looking forward to a return of the Wight Witch and the Sirens, I am still far from excited for the event tie-ins. Selina and Valley clash in this week’s Issue, but it is not quite as focused on them as I hoped it would be. Valley continues to haunt Selina, and he will possibly continue to do so past Fear State. There are some surprising villains that Selina is working with and going to work with against her enemies. I hope they will be satisfyingly included going forward. Especially a certain villain connected to Shoes. Blanco’s art is stunning as always, and the last spread of the Issue is simply gorgeous storytelling. Sadly, the showdown between Selina and Valley felt rather static. Next month Batman and Catwoman reunite. That would have filled me with joy once, but DC killed their relationship for me a few years ago, and I’m not sure I’ll ever enjoy them together again.

Ram V knows how to write Bruce and Selina together. I'm glad he is going to handle the return from their break-up or rather is already handling it. What a thrilling end to the Father Valley arc. As always Blanco's double-page spreads work incredibly well for fighting scenes and this Issue offers a wonderful final fight between Valley and Selina.

A heartfelt ending that ties up Ram V's run on Catwoman neatly. Sadly, Fear State doesn't add much to this otherwise great run.

This is a pleasant surprise. What a great first Issue. Nico Leon draws a wonderfully expressive Selina Kyle and a great Catwoman. I love the fashion Selina wears while investigating Trixie's and I like the upgrades to her costume. There's a bit of a Zoe Kravitz vibe to this Selina that I don't mind at all. What I thought I would mind are the seemingly movable cat ears, but they work quite well. Bellaire's colors enhance Leon's drawings and are simply gorgeous. Howard's voice for Selina is a bit more tongue-in-cheek and less sophisticated, but I like the more playful side of Selina, especially when it doesn't keep her from being a headstrong badass. The one thing I didn't like at all were the censored curse words. I just can't stand it if more than two of those appear in one Issue. Valmont seems like a nice addition, but he doesn't have my interest quite yet.

This is a great part two. Tini Howard and Nico Leon make Selina Kyle's war against the mob throughoutly enjoyable. Bellaire's colors help a great deal with that. Valmont is also turning out to be more than just another thief with a pretty face. They are much more interesting now.

Howard and Leon continue to create a great comic. The first arc has been a blast so far, and I truly didn't expect that. I'm very much looking forward to the finale next month. Let's see how Selina deals with the danger and her new stray.

I didn't expect Valley and the Order of St. Dumas, completely forgot they were mentioned in the solicitation. Overall an enjoyable Annual that shows well how Father Valley turned into the religious fanatic he has become. I wonder if his involvement with the Order will be explored even further in a future arc if only because Selina does her own research. It was great to have Blanco back for a few pages, and I am looking forward to seeing him return fully next Issue. While Hotz art heavily inky art and the more gnarly appearance of characters fit with the vibe of the story, I prefer the more simplistic art of Blanco. Because of Leo and now the ending Father Valley certainly has Selina's full attention now. Their showdown will be interesting.

I went into this ready to love it, but the fight turned out feeling very anti-climatic and the narration fell flat at times. I know some people lament that there is less and less text in comic books but I think this one should have let some of the art speak for itself. In true Snyder fashion, this is more a beginning than an end, which should work but it doesn't.

Painfully average. We have been here before. The plus sides: - The Constantine story is a fun one. - The Penguin story is so bad that it's also kinda good.

A great foreword. Some great stories but also some that didn't quite hit the mark. I enjoyed Cassandra Cain's, Kenan Kong's & Connor Hawke's as well as Shoes' the most. Seeing Grace Choi again also makes me happy. I've missed her.

A great anthology. I enjoyed all of the stories except for one, which is more due to the characters involved than the actual story. Overall the art was solid, and it's great to learn about so many characters, some of which I didn't even know exist.

Wow, Rosenberg doesn't get Damian's, Dick's or Bruce's character at all. It's a shame this is so generic, I was looking forward to an in-depth exploration of what Dick's betrayal would cause. What a way to squander their dynamic. Makes me miss the Reborn era even more.

I only picked this up for the backup. It's an intriguing first look into how Dick got involved with the Vampires. Vieceli gets Dick's voice right and Haining's art conveys emotions very well, and the Vamps look amazing.

I checked this out with barely any expectations. While that Annual leading up to this was okay, it didn't really impress me. This Issue on the other hand has me intrigued! Ivan Reis on art duty is a huge plus. His Kate looks amazing and his storytelling is great. Ana looks appropriately dangerous and like the evil Donovan talked about. I expected a slow start given the beginning, but I am pleasantly surprised that it's not. Mariko Tamaki writing more tense action seems to suit her, so I hope we don't skip around time just to go back to the beginning next Issue. I would love to find out how this all escalated through the investigations that have been promised in the solicitations. I'm not really interested in the backup right now, but I always appreciate Fernando Blanco's art.

A solid Issue with some nice character moments, that gives readers a taste of what the Shadow of the Bat event is going to entail. The art is quite good - except for the faces and some strange static movement. Dick looked as if he was sitting in the air in one memorable panel, which is strange because overall the action scenes are done well!

A nice ending that opens up possibilities. The Viking League (Black Adam, Hyppolita, Swamp Thing) continues to be the selling point. The art is alright.

Jemisin and Campbell did it again. Far Sector is one of the best titles DC Comics has been publishing in recent years and this Issue showcases why. It starts in media res, brings us up to speed quickly, and tells an action-packed sequence that is fast but not rushed, and we aren't even at the middle point of this Issue. Campbell provides stunning visuals all around. He is a master of drawing emotions and knows how to let his characters make a grand entrance.

N.K. Jemisin and Jamal Campbell have created a world I love to return to every time an Issue of this title drops. While I wish it had been able to stick to a monthly schedule, it's a compliment to the otherness and freshness of Jemisin's and Campbell's style that I remember what happened before. As always the art and colors are great. Something I truly appreciate is that Campbell uses the constructs in a creative way. It's the little things that make great storytelling art. Esthetic isn't enough. Since the last Issue, the narrative has picked up speed and it continues to do so as different threads come together. The City Enduring has only been enduring in a lot of ways, and @BlazeofGlory too lives up to her name. #11 is an action-packed Issue with some emotional beats. I can't wait to go back and read it all together once the last Issue drops in June.

The ending of Far Sector is solid through and through. All storylines are tied up nicely. Jemisin and Campbell have created a great universe and cosmic adventure.

Hell yes! Yara is a fun character and the foundation for something great has been laid. Joelle Jones' art is amazing. Colored by Jordie Bellaire even more so.

This truly has an "at the end of the world vibe" and I enjoyed it immensely. It's not a deconstruction of tropes but rather an insight into them that I appreciate. Very solid start. The art by Mike Perkins fits the uncanny vibe.

Deathstroke's and Nightwing's connection has been all but erased on the comics' side for years now, so seeing an amalgam of them had me intrigued and worried. After reading the Issue I still feel that way. The questions raised in this Issue are plentiful and that wouldn't be bad if some of those questions had been answered, instead, the reader is left with breadcrumbs of information that do not even add up into any picture at all. The integration of Red X into Dick's history has potential and will possibly be explored in Teen Titans Academy, which is a perfect example of what this Issue seems to be. A Prologue of sorts that is a glimpse into the status quo that will begin in April. Sadly, that does not mean it's a good standalone story as of yet. I would go as far as to say that the new Academy characters would have been served better if they could have had a classic introduction before getting thrown into an apocalyptic world. Despite its intrigue Teen Titans feels like a comic we have seen before, and the combination of tv show elements with comic elements raises more questions than it answers. That said, the art is outstanding if one can forgive that Kory has almost normal eyes, and despite leaving me confused at first, I want to know how the Teen Titans will proceed.

Enjoyable all the way through. Getting two whole Issues for $5.99 is a bonus. Justice League introduces a whole new dynamic for the League members, or does it? Well, that probably depends on how one views the JL, as people that simply come together to prevent disaster or one that acts as friends. While I am more of a fan of the co-worker League (for me the family feel belongs to the Titans), I enjoyed this new-old angle. How the Leaguers interact with each other, especially under the new rules the former League set up is the highlight of the Issue and I hope we'll get to see another glimpse into the relationship of Aquawoman and The Flash. But new rules aren't the only thing that changes how the Leaguers interact. Gone are the days in which Flash and Batman are the detectives of the team. The villains are set up in a very Legion of Doom way and the art really does them justice. They are bitter and frustrated with this new League so, of course, it does not go well for them, but that only leaves the heroes with more trouble. The twist Williamson introduces is refreshing instead of frustrating, which I applaud, and Robson Rocha on art delivers throughout the Issue but especially one of the best Justice League establishing shots feat. their former villains. Justice League Dark isn't just a back-story. With twenty pages of its own, it is as much of a story as it would be standing alone. The Issue starts with a mystery like many of Ram V's stories, which is partially revealed throughout the Issue and then complete with a literal boom at the end. Compared to JL, JLD takes us on a journey with familiar characters but also unexpected ones. For anyone who has been a fan of DC's Mystics, it won't be a surprise that Merlin isn't a great guy and this dark future really hits that home. Ram V plays with what the reader knows and that makes it so satisfying to read this Issue. Marcio Takara's art truly shines in this book, especially in quieter and more forlorn panels that speak of Merlin's destruction and brim with magic. The colors make his art all the more vibrant when it needs to be. As unlikely as it seems, Etrigan is one of the two beacons in a world of darkness and the art reflects that.

Catwoman combines elements of an apocalyptic future and has some clear cyberpunk elements. Maybe it's simply the cold weather and the train, but I was reminded a little of the video game Metro. Because Catwoman is written by Ram V, who has taken over the regular Catwoman title a few months ago and will continue Catwoman in March, I knew what to expect and was looking forward to the Issue. I have really enjoyed his Catwoman. What I wasn't sure about was Otto Schmidt's art. While I enjoy his sketches and commissions, his actual comic art has never quite convinced me. I think he tends to draw women better than men. But he surprised me. Every character used in the Issue has a great design. They feel futuristic but still like a version of themselves. And the coloring is simply amazing! Even more so because Schmidt did the coloring himself. But back to Ram V. A Catwoman train heist is nothing new. But stealing the train adds a different element to a heist Selina has done before. It's a natural progression. Especially for a Selina that has nothing else left to lose. I'm looking forward to Future State #2 and am excited for what else Ram V has in store afterward.

Would I feel the same way about Future State Nightwing if there hadn't been an awful storyline before it? I don't know, but it was no less than great to finally see Dick Grayson in action again without the baggage and mishandling of the last 2+ years. Constant showcases what makes Dick so competent. His Dick is permitted to be smart and a leader. And that's about all fans have been wanting to see after so long. Scott's art is as always nice to look at, and she knows how to tell a story and showcase fluid motion. The only design I don't enjoy is Dick's costume. The chin strap and the shoulder armor makes him look scrunched up. This Issue sets up a neat dynamic between not only Batman and Nightwing but also Nightwing and the over-all resistance. And I hope we get to see a little more of those relationships in #2.

Immortal Wonder Woman tells two stories one is of Diana and one of Nubia. Diana's story takes place at the end of time as was shared when the news about Future State first dropped, and it feels a little like it? The art conveys a very melancholic and magical feel as Diana seeks closure among the ruins of Man's World. More specifically speaking the Bat Cave. Jen Bartel does a good job on art but her weaknesses show when it comes to action. At times poses look clunky and short-cuts are taken with the faces that seem more anime from time to time. Which isn't bad itself but not consistent with the overall look. Her strengths lie in the quiet moments, the atmosphere, and expressions. Cloonan and Conrad manage to tell an intriguing story that leaves open quite some things. Why does Diana have a Green Lantern Ring? What or who exactly is the cosmic threat that has been destroying worlds? I hope we'll find out in the next Issue. I'm not familiar with Nubia even though I have always wanted to get into the character. I really enjoyed her in this story. When the Amazons left, Nubia remained in Man's World. And what a world it is. McKinney jumps right into the action and then mixes Wonder Woman lore with Urban Fantasy, which is a great mixture. Martinez on art is a joy. Especially Nubia's hair, no matter which style she happens to wear it in. Martinez's and Bartel's styles have some similarities that fit together well, but they also share their weakness. While Martinez can keep her art largely consistent, some of her fighting scenes look clunky too.

Aquaman is the surprise I didn't know I needed, the title wasn't initially on my Future State pull-list, but Andy's portrayal in Justice League convinced me to try it out. I'm glad I picked it up. Brandon Thomas explores the relationship between Andy and Jackson as they fail to capture a villain and is then strengthened when they find themselves in an impossible situation. A whole new world (or rather a whole new ocean) to explore is revealed that forces them onto an adventure they didn't want to go on. Daniel Sampere on art is awesome. There is no line that feels out of place, no awkward poses, and no space wasted. This is one of the most beautiful titles Future State has to offer. Adriano Lucas on colors enhances the art perfectly. Clearly smitten with this Issue, I eagerly await the next.

I immensely enjoyed the first Issue and the second one packs a punch as well. Joelle Jones keeps on delivering beautiful art, interesting layouts, and good character moments. That being said, the story flows awkwardly throughout this Issue, and I can't quite put my finger on why. Sometimes just one more panel seems to be missing, the dialogue sounds clunky toward the end and some expressions, especially on Yara, do not seem to fit her words. Despite that the story makes me want to read more, especially now that we have gotten an introduction to the other Amazons of the Amazonas.

I went into this with a bit of apprehension. While I have enjoyed everything Ram V has so far dished out during his time at DC, I didn't know if I was quite prepared for one of Future State's gloomier and heavier titles because right now real life is gloomy enough. But I wanted to see how this story concludes. And I'm glad I decided to read this story today. Despite its darker themes, hope spreads through the book like the branches of a tree.

I'm surprisingly alright with this Issue. While the first one left me entirely confused for a few days, this one doesn't. Maybe I just don't care anymore? Or maybe now that I know this story takes place over more FS titles, I expect not to get all the answers? What saves this book is solid character work. While the Titans aren't at their strength, there aren't any grievous missteps. I'm tentatively looking forward to Sheridan's and Sandoval's Titans Academy because there are a few ideas I hope will be explored, but it won't be a title I'm going to pick up monthly.

What made Justice League #1 so enjoyable to me were the characters' relationships and interactions or lack thereof given the rule the previous League set. While the narrative spun around the rule is still supposed to be front and center, it doesn't truly feel like it. Instead of seeing that most of the Leaguers don't know each other, the readers are told so. This is an anti-climatic ending to a story that had potential because it needs to give too much of its focus to the external threat and even the pages that deal with our main-heroes fall flat. Their conflict plays out like something we have seen a thousand times before, and Jace is the worst offender. In this, he is no more than a carbon-copy of Bruce. The art seems rushed. There is no panel that stood out to me while reading the story. Justice League Dark impresses more. While it is obvious that the story would have benefitted from a few extra pages, the different conflicts play out well, and I loved to see Ram V use the "possible Future" aspect of Future State to his advantage even if only in such a small way. It's a great idea to connect this short JLD run with the up-coming one through Etrigan. The art remains consistent but it truly shines whenever Takara is drawing magic, whether that be Etrigan and Chimps mindscape or Enchantress using her powers.

I'm speechless. This is the Dick Grayson I love to see. After I read #1 I wasn't sure whether I would like this mini-arc if it weren't for the mess that came before (aka Ric Grayson, may I never speak of that again). But this Issue cements that Future State is is one of the best one-and-done arcs Dick has gotten in the last years. Dick isn't only highly competent, he also feels like himself. There are some more hardened edges, a certain paranoia, but for long-time Nightwing/Dick Grayson fans that will hardly be seen as out-of-character. And I enjoy that he is allowed to remain himself while leading the Resistance. His team-up with Jace is a lot of fun. Their characters complement each other well, and I hope we will see them team-up again in FS: Gotham. Seeing the resistance in action is also fun. The art has improved from #1. There aren't as many small panels that make Dick's suit seem unnecessarily clunky, which was my main gripe art-wise when reading the first Issue. I'd say Future State: Nightwing is for all those who want to see a return of Dick's technical skills and are interested in a cool team-up between Jace and Dick.

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.

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.

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.

An incredibly powerful and colorful read with so much genuine emotion that I couldn't stop reading. It's one of the best ONGs DC has published to date.

I'm not a big Green Lantern fan. The titles I have read are few in-between. If not for Jessica Cruz's involvement in Darkseid War, I would have probably never picked GL up at all. This honestly wasn't on my pull-list either until I saw the Interviews Geoffrey Thorne did and was made aware of him through DC's Truth & Justice. I'm going into this fairly unbiased and not that involved with Green Lantern lore. I like John and Simon, but I don't consider them my fav Green Lanterns. While reading this I feared a little that Thorne would fall into the trap of using tired old tropes. He didn't. As much criticism as the Corps gets, the narrative never makes them bow to that criticism. They come out stronger. Especially the last third reads powerful to me. Teen Lantern is very much an eleven-year-old. Her presence might still rub some the wrong way but compared to how other teen characters are handled in superhero properties, I found the take refreshing. The art though... It's not bad but... hm. I know Dexter Soy has been complimented for RHatO a lot, so much so that quite a few readers see him as the ultimate artist for Red Hood. But apart from some panels, I don't see that same level of care here. Panels feel rushed. And maybe they were. Marco Santucci is on art duty for a few pages. 14, 17-18, and 29-31 (on digital) as far as I can tell. Thankfully, their styles don't clash, and Santucci is limited to drawing what happens inside the Conclave.

Well, that Issue ended with a bang. Not really sure what to say here. I'm still at a loss of words. I enjoyed the roles all characters played in this. While the first half is very fact heavy, the second is incredibly emotional, which keeps this Issue very balanced. If it weren't for some art hiccups at the end, this would be a ten for me.

The art is a little rough this Issue. Tom Raney jumps in for Dexter Soy and while his art is a little more like Marco Santucci's, it is rougher than both Soy's and Santucci's. While it makes the environment and the very xenomorphic characters look cooler, the humans - especially their faces - suffer for it. Why does this still have such a high rating? Because I love everything else about it. The story is gripping, emotions are high, the dialogue is natural, and I love how the characters are used. There is also certainly some playing with expectations.

While I'm getting used to the art and it sure is dynamic, the now and then comically large heads of the characters harm the overall charm of the title quite a bit. To continue with the negatives: This time around there was a bit too much untranslated Spanish for me. An editor's note would have been appreciated. But the Issue offers a lot of intrigue as well as plot points to think about. Even as a fairly new GL reader, I enjoyed the reference to Mosaic. I've always been a fan of using pre-existing continuity because it makes me want to learn more about the characters. I also appreciate how effectively art and narrative show the trauma the characters have experienced or are experiencing. Especially the transition from John's to the other Lantern's story was very effective and incredibly smooth.

It’s Keli vs (some of) the Yellow Lanterns. Which I enjoyed a lot. It’s always nice to see creative constructs and that’s what the fight brings to the table. Adding to that, it was recognizable who some of those constructs were before the narration explained it. The yellow lantern narrating Keli’s attack confronts her just as the United Planets arrive. It was fun speculating who the narrator is. On John’s side, the slavers have been defeated. Now the Sergilon population has to escape their planet before others can find them. There is some nice character work in John’s section of the title, and it makes me wonder how different Thorne’s original pitch was. From what I have heard, I assume John’s time on Sergilon would have been a lot more fleshed out. The art is good but there are some inconsistencies. This time three artists are on the Issue. Raney and Santucci are joined by Andy McDonald, who draws I think the second half of Keli’s part. While Keli’s hair has changed since #1 quite a bit, it is jarring to see a change from straight hair to curls from one page to the other. It would be great if editors kept obvious details like that consistent. While I enjoy the art despite some flaws, Santucci is the one I like the most. Seeing him on only ten pages lessens the quality of the art a little.

Great work by Rosenberg and Schmidt. Enjoyed every second of this fun, brutal and heartfelt series. Hopefully, there'll be a sequel eventually.

A good glimpse into the Future of the DC Universe. This is strictly something for the fans that enjoy knowing where continuity stands and what the overall narrative of the DCU is supposed to be for now. Maybe even for those that aren't sure whether to pick up a title that is represented here. What makes this so enjoyable are the easter eggs woven into the story and the sense of grandeur that comes through. This is an Omniverse odyssey after all. Overall the art and the writing are good, but as in every anthology, some creators fall short compared to others. The dialogue feels very stilted and unnatural in the beginning but grows stronger once the next writer takes over. The Flash story has art that takes a bit of getting used to and some of Diana's expressions don't quite fit her words while he is in the God's Sphere. The art on Justice League and the Amazon story is very powerful, though, and most art fits the tone of the story.

It does what it promises - taking the JL off the table - and that's it. There's no emotional impact so far. Also, as a Wonder Woman here is my obligatory "Why the heck didn't Diana use the lasso?" comment. Srsly, dear creative team, don't just make her pose with a sword when the situation clearly requires the Leaguers to convince the villain and make the villain see the truth.

Thorne writes a very self-contained story about Wakanda that gives T'Challa, Shuri, and Okoye time to shine while also introducing a new character with a great design by Peralta. A throughout enjoyable comic that keeps the stakes high until the very end.

A gothic horror story that almost feels too short. The art is equally as gorgeous as expressive. The characters are intriguing and tragic. I enjoyed the parasitic/fungal theme and am glad that Andolfo is not yet finished with the Mercy universe.

Reading this again after Taylor and Redondo have taken over Nightwing, I only find more to like about it. It's a great one-off Issue that showcases who Nightwing is in a great way.

I’ve been waiting for this, and it delivers well. Every line in this Issue shows that Taylor and Redondo know Dick, that they prepared for this gig! Something I can’t say about most other creators of the past three-ish years. It’s finally the new beginning fans have been waiting for, ever since Dick officially stepped back into the back-and-blue. Maybe even with some old additions? Now that Dick has a certain building from the pre-Flashpoint days back (a yay to bleeding timelines!), I hope Taylor and Redondo will reintroduce some old friends that I already wanted to see back when Rebirth started. Overall, the Issue is character-focused. Dick’s motivations are placed in the foreground together with his relationships with Alfred and Barbara. But the story also sets up a new mystery by introducing a new foe. Not to Nightwing, but to Dick Grayson, it seems. One component of this story I wasn’t sure about is Babs. Especially in the last months, their interactions have been written rather… interestingly, meaning it leaves them both look bad in extremely different ways. Thankfully, Taylor writes them better. Adriano Lucas’ colors really showcase that neon feel of Blüdhaven Seeley introduced in his Rebirth run, and I am glad it’s staying. Considering Blüdhaven is right beside Gotham, it needs to be different. And Dick is much better suited for a Las Vegas-like city in my opinion. I wouldn’t say this is “Leaping into the Light” quite yet, but the story is preparing for take-off. Edit: I feel as if people didn't realize that the Issue never stated that all of Alfred's fortune went to Dick, but ok...

Oh boy... this Issue left me cold. Taylor wasn't lying when he said his Nightwing would be a lot like Friendly Neighborhood Spider-Man. The problem is, imo, Friendly Neighborhood Spider-Man only worked because it is NOT the flagship title of Spider-Man... But back to this particular Issue. The first few pages are a good entry point. Dick's and Bab's banter is nice and the appearance of a homeless man with his kid is believable. What feels forced is Dick's reaction to it. Especially in the way, it's presented. I cringed. I downright cringed and I thought I wouldn't have to do that again in a Nightwing book for a while. Dick of course ends up helping people. Then is the butt of a joke much like in the first Issue because that's always great, but at least this time it serves a purpose. Kinda. A very forced purpose. This feels all over the place. While the other archiving storylines will be what Dick will do with the money, Melinda's involvement, and Heartless, they aren't truly gripping at this point. Dick's grand epiphany of what to do with the money feels like something he should have realized at the start. Apart from some nice character moments, this feels like a slapstick comedy.

A solid chapter that makes me hopeful I might enjoy Nightwing after all. Bringing Tim's and Dick's brotherly relationship back has been long overdue and there are some reveals going on about past and present which makes this a good read. Sadly bringing Dick's time studying law and being a police officer back, makes the decisions he made in #79 look even more naive. It still doesn't quite feel like a solo Nightwing comic, and I hope more than nostalgia and bats await.

No strong feelings about this one. It exists, I guess. Dick still has to deal with the Ric stuff because DC can let everything go that pertains to continuity except for that thing no one wants to see anymore. I thought Melinda might turn into a compelling character, but it seems more as if she is just there for the cheap drama. The cartoonish skill showcases really aren't my thing. It makes them look as if they aren't part of the story and almost diminishes the skill quality wise.

This will contain SPOILERS. This is all falling further and further apart for me. It's great that Taylor didn't make Dick's past and his parents' less wholesome than they were before but the thin excuse of "They weren't together yet" is just that. A thin excuse for a sister that has no reason to exist. Considering Melinda is of Cobb's descent, where were the Owls? And Zucco targeting Dick's parents all along adds nothing of substance to Dick's origin. For a moment there I was excited to see who was coming knocking at the door, but the reveal sucked all of the little enjoyment I got from this Issue out of me. I have zero interest in Nightwing vs Blockbuster a-fucking-gain. The Titans simply appeared to fill a page. Maybe Donna will help out next Issue? She hesitated at the end there. Not sure how I'd feel about that. I would like to say I can't wait to read the next Issue, but I would rather read another Nightwing story. At least it was fun to see Rick Leonardi back on a Nightwing Issue.

This just all feels extremely hollow. Instead of learning about Dick's great revelation all there is, is some fluff that falls apart the second it is looked at a little more closely. I thought I would come back for the next not-a-tie-in arc, but at this point it is clear that Taylor does not write a Nightwing I enjoy.

I haven't enjoyed Redondo's overly clean and to me pretty flat art on the main Nightwing title, even if I can admit he draws an aesthetically pleasing Dick Grayson, which means I enjoy seeing Dick drawn by Daniel HDR and Cian Tormey. They bring a sense of gravitas to the movements of the characters that has been missing. Rian Beredo and John Kalisz colors enhance the inks with gritty and lively colors depending on the time in Jason's and Dick's life the Issue is focusing on. While I was surprised that I enjoyed the beginning of the story, (I've admitted before that Taylor's characterization and voice of Dick Grayson isn't for me) the longer the story went on, the more it became lacking. There is a conflict but barely any tension. Jason isn't allowed to go batshit crazy in his anger for more than two panels and Dick reacts as if he is about to fall asleep beside him. Also, could someone please stop using Clayface for every "stolen face" story? It's getting extremely boring. There are more characters with that skill set all over the DCU. (Though Hush wouldn't have been better.) I already sighed when I read "between Redondo and Lucas" but then I had to find out that Bylsma isn't a Red Hood or Robin Jason villain but someone else associated with Taylor and it was time to quietly close this Annual for me. Despite that, I enjoyed the art a lot.

A wonderful first Issue. Themyscira hasn't felt this lived in for a while and the story has set up enough intrigue to keep me hooked. I already enjoyed Martinez art on Nubia's Future State: IWW back-up, and while her style won't be for everyone, I truly appreciate that she does not suffer from "same phase syndrome". That would have made following this story extremely difficult.

This title continues to establish new Wonder Woman lore left, right, and center, and I'm here for it! The worldbuilding Ayala, Williams, and Martinez are dishing out is much needed and comes in a great package with gorgeous art, mystery, and a compelling threat from Doom's Doorway.

Stanton's art is a bit of a letdown, especially when the Issue offers Martinez's right beside it. Even though the story comes to its first climax, the fight between Nubia and Medusa lacks some much-needed tension. It's clear Medusa has plans for Nubia, otherwise, she would have tried to petrify her but the reason for that is a bit too nebulous for me to enjoy right now. What the book still does very well is showing life on Themyscira and the tensions between the Amazons that naturally occur after a change of leadership. There is some criticism Nubia is going to have to address, and I hope she does.

Nubia and the Amazons is spinning its wheels a little with the council but narrative threads are coming together and Alitha Martinez is allowed to show off how well she can draw fighting scenes. The backstory finally revealed how Andromeda and Nubia are connected and Bia certainly has a point about Medusa being initially the same as the souls waiting for their rebirth on Themyscira. I'm looking forward to seeing how Medusa's storyline is going to be resolved and to what mayhem that undoubtedly leads in time for TotA.

Despite the amazing art and even though I enjoy Alitha Martinez's fight scenes there was some impact missing. Medusa was so amazingly drawn, I expected a brutal fight and while some scenes work well, like when the staff transforms, I wanted a bit more. But even with that complaint, the story works and especially Doom's Doorway looks amazing. The tensions are rising and I can't wait to see how everything comes to a head in Trial of the Amazons.

Despite Medusa's appearance, this is in no way an ending to the story Ayala, Williams, and Martinez set up in prior issues. I'm not mad about that and it has been indicated clearly in the solicitations, still, this should have ideally been a one-shot because if this gets collected into the NatA TPB people are gonna scratch their heads. Martinez's art is enjoyable as always even if a proper fight scene is missing. Doom's Doorway is acting up further and Medusa might be able to give some hints to Nubia. I enjoy the spotlight on Cassie this sets up and hope Donna, who has sadly only been a silent bystander, for now, is going to get the same treatment. Hyppolita's death ceremony is handled well, but I was a little lost at first because there are too many things implied about her death in parts one and two that aren't clearly spoken about until the middle of this issue.

Poison Ivy: Thorns doesn't hold back. It's a gorgeous graphic novel that doesn't sweet-talk any of its topics. The gothic-horror fits Ivy incredibly well.

Incredible work. This is everything I wanted out of a first Issue. Every loaded conversation (and all of them are loaded) carries a punch and so much personality. The theme of Dick wondering wether he has found himself part of a fantasy or a nightmare fits perfectly with Nguyen's art. I'm looking forward to the other two Issues.

What a fun Issue and then it delivers a gut punch again! Dick getting to interact with the other sidekicks is delightful, and Alfred's conversation with the dean where he defends Bruce makes his disappointment in him by the end of the Issue even more tragic. I usually don't enjoy a Bruce who is obsessed with seeing his adopted children as soldiers, but it works here, and I still expect Lemire to give Bruce's and Dick's relationship a little more nuance now that Croc is coming into play. At times Nguyen's art felt a little inconsistent. It's nitpicking but it still caught my attention because everything else is so good. I'm not ready for this to end next month. There seems so much story left to tell.

Not quite as great as the first two parts but still a good ending to an enjoyable comic. I immensely enjoyed the introspections of the last two parts as well as their slow pace and the punches they carried. This Issue had to deal with more - at least it felt that way - and as a result came across as less focused. The themes Lemire introduced were tied up, just not as neatly as I hoped they'd be - especially in regards to Dick's and Bruce's dynamic. Nguyen's watercolors were gorgeous as always but it does invite a lack of consistency that's very noticeable when looking at Dick's face from panel to panel.

A strong debut for a Scarlet Witch story that sets out to finally move on from the past. I'm not overly familiar with Wanda but her characterization here is very pleasing to me. She feels like a modern witch and I appreciate that while moving on from the past, Orlando doesn't just ignore continuity. The character appearing at the end is an intriguing surprise. I didn't expect her and had all forgotten about the circumstances surrounding her "birth". Orlando also introduces Wanda's current status quo well, I'm curious how much focus the shop'll get. Sara Pichelli's characters are very expressive without coming across as too cartoonish, making the reactions of the characters genuine and when Wanda turns a truck into water, it looks quite impressive. Wilson's colors really set the tone. The color palette is quite harvest without being dark.

As a digital-first Sensational Wonder Woman #1 suffers because it is so short and only one half of the story. Despite that I think it's a nice beginning, featuring not only one of Wonder Woman's villains but also Hawkgirl. I'm looking forward to the next two parts. It helps that the art is stellar.

I am reading two digital comics right now, this and Truth & Justice. Sadly, Sensational Wonder Woman did not start with a bang. While the digital cropping format can take away from the story that is not why SWW has not hit the mark yet. The story is not engaging, it simply goes along the motions despite a strong beginning, and while astonishingly beautiful at times, the art appears inconsistent. After Agent of Peace, I simply expected more, but I will give this one more shot. It's an anthology book after all.

A much better story than the first already. This prelude combines action and showcases the complicated and often uneasy relationship between the Amazon tribes. Redondo shines on art, and while some might not take too kindly to how the Bana-Migdall and Artemis are characterized, I will reserve judgement on that until next week when the story continues. There seems to be going on more here.

A satisfying conclusion with stellar art that not only makes the characters look gorgeous but also showcases personality. In my mind, this is set in the earlier days of Wonder Woman.

A fun comic that reintroduces (spoiler) and uses some interesting layout choices to keep the reader intrigued. It's a story of its time.

Another fine addition to the stories of Sensational Wonder Woman and the first part of two. This time Diana is dealing with Blue Snowman, one of WW's many underutilized female villainesses. The Issue deals with climate change and new technology to set up Blue Snowman's involvement and while the villainess is only seen in the last pages, I think the set-up turned out well. Strips art will not be for everyone but I enjoy her lines and think her art style is well suited for the story. Together with Mike Spicer's lively yet washed-out colors, they give the story a slight old-timey feel that is very visually pleasing.

Chapter 8 continues the two-part story about climate change in which Diana battles with Blue Snowman and a certain corporation. While there were some beautiful panels, the art takes some shortcuts that are visible and take away from the story. Furthermore, the dialog seems too scripted at times even if some good moments arise. A very average story that only shines for a few moments.

Starting with Chapter #9 I am approaching this series differently. While getting content every week might be nice, I think the stories can have more impact when they are read together. The way they are actually meant to be read in the case of two chapter stories. That's how they get physically released. SWW #9 and #10 tell a tale of Katie, an elderly woman that was saved by Diana and has a view tricks up her sleeve. It's an enjoyable issue and shows how Diana's new/old origin can be used narratively in a great way. We see the world mostly through Katie's eyes in this story, which makes the reader question whether some of her tales are even through. Honestly, this is so wholesome I don't even know what to say. Sanapo's art is cause for that too. Her sometimes pin-up-y art works well with the WW2 aesthetic, mixing some golden age WW vibes with the modern colors by Wendy Broome. The characters' emotions are conveyed strongly as well.

Starting with Chapter #9 I am approaching this series differently. While getting content every week might be nice, I think the stories can have more impact when they are read together. The way they are actually meant to be read in the case of two chapter stories. That's how they get physically released. SWW #9 and #10 tell a tale of Katie, an elderly woman that was saved by Diana and has a view tricks up her sleeve. It's an enjoyable issue and shows how Diana's new/old origin can be used narratively in a great way. We see the world mostly through Katie's eyes in this story, which makes the reader question whether some of her tales are even through. Honestly, this is so wholesome I don't even know what to say. Sanapo's art is cause for that too. Her sometimes pin-up-y art works well with the WW2 aesthetic, mixing some golden age WW vibes with the modern colors by Wendy Broome. The characters' emotions are conveyed strongly as well.

#11 and #12 are a two-part story once more. While the dialogue suffers at times because of over exposition, the overall story makes up for it quite well. Pelletier’s art isn’t quite to my tastes, but it truly shines once #12 kicks off a couple of fights. Not the strongest story of this anthology, but not bad either. I wish this could have been a true arc, where moments could have been fleshed out. Overall, it’s a nice showcase for various Wonder Woman villains. Maybe a modern Villainy Inc., is finally in reach.

#11 and #12 are a two-part story once more. While the dialogue suffers at times because of over exposition, the overall story makes up for it quite well. Pelletier’s art isn’t quite to my tastes, but it truly shines once #12 kicks off a couple of fights. Not the strongest story of this anthology, but not bad either. I wish this could have been a true arc, where moments could have been fleshed out. Overall, it’s a nice showcase for various Wonder Woman villains. Maybe a modern Villainy Inc., is finally in reach.

Sanya Anwar tells her story from #13 to #14. Narratively the story is one of the best so far. I dearly love the slow built-up in #13 that sadly falls short once the story continues in #14. The emotional depth comes across nicely in the case of Nina/Natalia Close. Sadly, the same can't be quite said for Wonder Woman. Often Anwar falls back on a heroic pose or smile instead of true emotion.

Sanya Anwar tells her story from #13 to #14. The second part falls a bit flat. While Nina's/Natalia's transition to "The Mask" is great, the whole narrative shifts to make her into a Bond villain. And not the compelling kind. We get surprise goons. A helicopter getaway... and once more Diana can apparently not fly? While a certain emotional depth is still given, it is largely taking the back-seat to Action. Though it sadly doesn't truly feel like action. What the story and many others do though, is, show Diana's deep and continued connection to the people she saves, which is a part of her lore I greatly enjoy.

It's an enjoyable first issue, but I attribute that a lot more to Campbell's art and visual storytelling than Williamson's writing. Campbell has always been good and creative, but he stepped up his game even more this time. I enjoy Clark as a mammoth of a man, lol, and he gives those visuals perfectly. The way he draws action and uses panel borders makes Clark feel incredibly powerful. He's also a master at showing emotions in my opinion. As for the plot points, it's alright. A focus on Lex and Clark working together is fine, but I don't need it, while I think having Lois as the Editor-in-Chief is a great idea but not a good job for her. I hope there'll be a Lois subplot about it. I'm looking forward to Clark taking on Paraside and am curious how Marilyn Moonlight will enter the story.

Ram V(W), Mike Perkins(A), and Mike Spicer(C) know what they are doing. I already immensely enjoyed Future State: Swamp Thing at the beginning of the year. The team continues to show they have what it takes to write a Swamp Thing title. Gorgeous and grotesque art, big ideas, and humanity tied to the horror of existence.

A good one-shot for fans of Duke Thomas and Dick Grayson. The other characters are allowed to shine as well. It's a spiritual successor of not only Metal but also Williamson's Justice League that appeared as a Death Metal tie-in this fall. The art manages to showcase the surroundings beautifully and the pages are structured well but the human character designs fall short. The monsters are great, though.

This story was surprisingly addicting. I didn't expect that at all. The art varies from incredibly strong to kind of awkward when faces are involved. Ultimately that doesn't do any damage to the story, which is unsettling in its own right. The art fits and the colors are vibrant. This makes me want to get back into the Valian'verse. It's cool. Only thing I'm not a fan of is the constant swearing. Or rather constant censured swearing. If a character says fuck every page, let em say fuck.

An enjoyable view of Dick's life in the circus. This book speaks about growing up as a magical theme that shows that some people have to be let go, that things change. It's a nice tale about family, community, and love. The story brings a smile to my face every time I think of it, and if it taught me one thing, then that I would love to see more magic in Dick Grayson's life.

Other History remains a title that won't be for everyone. It's simply not a classic superhero book. Mal and Karen narrate their lives as if they are writing into their diary or telling a family member about some turbulent years of their life. That narration style offers a unique insight into DC's long publishing history that doesn't shy away from addressing the creative decisions that screwed over the Teen Titans, while addressing these decisions as in-universe choices. The minimalistic art fits the narration. It seems old but in a good way.

What an Issue! Other History is not a classic superhero book. Tatsu narrates years of her life. Just like the prior Issues the narration style offers a unique insight into DC's long publishing history. Ridley doesn't shy away from calling out creative decisions, which he addresses as the in-universe choices they ultimately end up being. Two of the major topics of the Issue are Asian hate throughout the 80s and 90s as well as victim-blaming. The latter he addresses by showing several DC occasions while the conflicts between Asians, Whites, and Black Americans showed through real-world events. Especially the first half of the book felt like a gut punch to me.

Trial of the Amazons #1 sets up the dynamics between the Amazons in an enjoyable way. Faruka is clearly the stand-out star but Yara isn't easily overshadowed and Nubia's and Diana's interactions continue to be a delight. It feels good to finally have the Amazons in one place and this feels like an event that is actually gonna bring change not just promise it. The art is enjoyable for the most part and fits the occasion but, even though longer issues often have multiple artists working on it, I wonder if 40 pages really needed this many artists and if it couldn't have been divided better. Another technical/editorial problem that appeared while Nubia and Diana and then Diana and Faruka speak is that speech bubbles were seemingly positioned wrongly. It just leaves a bad taste that this happened despite TotA #1 being delayed for a week, not to mention that this should be *the* Wonder Woman showcase.

It's a good conclusion to an event that wasn't as good as it should have been but is still miles better than the other events DC has brought out in Q1 2022. I would have enjoyed more cohesiveness and more natural progressions. Trial of the Amazons sadly tried to do too much.

This so far is the part of Trial of the Amazons I have read through the fastest and I am left wondering what even happened to make it worth the money I paid for it. I didn't keep up with Wonder Girl, so I appreciate the flashback but it went on for way too long. The story progression is minimal at best. Cassie investigates but I have to agree with Artemis that Nubia should have chosen someone better because her skills in this leave much to be desired. The mystery of Doom's Doorway doesn't progress here or maybe minimally if one wants to be generous. Joelle's art is pretty and she certainly draws gorgeous women but her panel-to-panel storytelling is still mediocre at best and sometimes the emotions depicted do not match the words spoken.

A great start for Truth & Justice. It is wonderful to see Vixen again. Thorne re-introduces the Global Guardians. Mari is a likable character and Thorne knows how to showcase her abilities well. I am looking forward to the next two parts of this story.

Chapter Three is a solid ending that makes me wish for more. The Global Guardians are a team I was not familiar with but I believe they work well with Vixen. This Issue showcased Mari as a powerful but relatable heroine. The small things the writer and the artist include truly elevate this book. Sometimes the art can appear a bit clunky, especially when the perspective becomes a bit more experimental. Overall Criss Cross's art is dynamic, though. Attacks have an impact and emotion is conveyed. Definitely recommended to fans of Vixen.

Great start to a new series. The mix of mythology and urban adventures is exactly what I wanted to see and Joelle Jones's character design remains stunning. As in her Future State debut, Yara's more unconventional character - as far as hero characters go and especially Wonder characters - is refreshing and amusing to read.

Starting with this Issue Wonder Woman is now a double feature, and even though the main story and the back-up have very different vibes, I think it adds more to the book than that it takes away. The main story is written by Becky Cloonan and Michael Conrad with fantastic art by Travis G. Moore and Tamra Bonvillain. Moore on lines and Bonvillain on colors have proven time and time again that they work great together and that's once more visible in this story. I hope we'll have the pleasure to see their art for at least two dozen Issues more. While I wasn't as impressed by Cloonan's and Conrad's storytelling when I read Immortal WW, their work here - and on Infinite Frontier - shows that they can weave an intriguing and fun story with a mystery. That said the dialogue sometimes feels like pure exposition and therefore unnatural. They make it up with some great banter, though! I haven't laughed so much while reading the main WW title in quite some time. The back-up story written by Jordie Bellaire, drawn by Paulina Ganucheau, and colored by Kendall Goode is about a young adventurous Diana. It's a very bright story that seems to aim at kids, which makes the 13+ rating on the Issue pretty ironic. While I can see why some readers might not like the tone-shift, I see it as getting both sides of the same coin. Being shown a glimpse into Diana's childhood, instantly made me compare her then to how she is being portrayed in the main story. That in turn made me appreciate both stories more. I'm pretty sure anyone that likes Diana on Themyscira and is always ready to see a Kanga and the Amazons will have fun with the back-up story even if it isn't necessarily aimed at their age class. But I am wondering why DC decided to include it. Are they hoping that parents reading the title, will feel inclined to show it to their kids? While back-ups appear in a couple of New Frontier titles, Wonder Woman is the only one that has the same main character in both stories.

This is the first comic I have been truly excited for in ages. And I loved it. The first Issue already showed a welcome shift into a mystical and fantastic direction for Diana. The second Issue of Cloonan’s and Conrad’s run brings much the same and ramps up the fun. Ratatosk is used more. The intrigue continues. An old enemy appears. This Odin, I absolutely love. The art has improved just a tad more and the colors are positively vibrant. Apart from nit-picks, the main story brings everything to Wonder Woman I love to see. I am looking forward to how Cloonan and Conrad will write Diana once she has regained her full memory. The backup story gets into the meat of things too. I am grateful that this exploration of Amazon history is in continuity. I can’t wait to see what awaits us. The shift to an all-ages story is less surprising this time around and I think both stories enhance each other.

Enjoyable as always. The art and banter continue to impress while Diana comes nearer and nearer to reaching her goal: Confronting the Valkyries. Odin is just great. I like this version a lot. And I already know I will miss Ratatosk once he is gone. The backup offers a nice look into the Themysciran ocean, and I hope a part of the forgotten history will be revealed in the next Issue.

The conclusion of the Asgardian story sadly isn't as strong as the story overall has been. Travis Moore continuous to impress through his artwork. There are a lot of beautiful panels inside this comic. Sadly the story doesn't quite carry the same beauty. The ending feels rushed. There is too much going on. While there is an explanation for the Valkyries' absence it feels forced in a way that says "We couldn't come up with something better." The reappearance of Dr. Psycho is nice, but what he has been doing doesn't seem to matter all that much because after his influence on certain Asgardians is lifted, they do not change their behavior. What gives the Issue a slight edge is that Gundra is part of Wonder lore again and there are other references to canon I enjoy seeing. I'm still excited for what the future will bring, especially now that Diana is sure about herself, and I hope the next arc will have a more satisfying ending. As for the backup: Developments are finally happening! And by now I don't know who to trust in this story. Diana might not be on the path of truth at all. One of the stronger parts so far that elevate the rating for this Issue.

Enter Olympus. Diana is finally in the right afterlife, but things aren’t as they are supposed to be. The mystery is set up quite well. Janus is an intriguing villain, and the appearance of one of them is familiar to readers of this run. Instead of Travis Moore (who will return in September), Andy MacDonald is on art. While the art is a bit of a step down in quality – especially when looking at Ratatosk, who has an entirely different vibe – it’s by no means bad. I actually like Diana’s design here better. Fitting with the return of all her memories, she doesn’t look as young as when drawn by Moore. And on the topic of her memories: Diana feels more like herself in this Issue. Especially when she has to go down into the depths of Tartarus with Boston Brand. It feels as if the backup story is starting to near its climax even if there are still five Issues of it left. I can’t wait to see who the big bad is.

The Olympic adventure comes to an end. While there was quite some exposition once more, I appreciate the fleshing out of events. Diana’s choices are interesting, and how Zeus reacts to them even more. This Issue also connects to what is happening in Wonder Girl quite well. I can’t wait to see how both titles synch up later this year. The art seemed more clunky than in the Issue before but the few dynamic poses looked good and The Keeper has a cool design. I'm a sucker for plague-doctor-inspired designs. Can't deny that. I also enjoyed the brighter and warmer color palette of Olympus. Diana showing the Satyr his place gives this Issue an extra point. Such a cool sequence of panels. I've come to enjoy the backup a lot. The start felt dull but it has come into its own. Can’t wait to see if Circe is truly behind the attack or if there are other powers at work. Like the other parts before it, this one too brings back some great Wonder lore I can't help but appreciate.

One of the weaker Issues. Being in Elfhame for a bit longer would have surely helped flesh the story out more. There was quite a lot of showing instead of telling. I still enjoyed some of the story beats. Especially the connection between Odin’s and Elfhame’s magic. I didn’t expect Cloonan to draw the last two pages but they were a pleasant surprise. While Thompson’s art invoked a Vertigo feel, Cloonan’s art really brought the characters' emotions to life. The backup story didn’t excite me as much this time. While there is some progression, the revelations aren’t anything new. I still want to know what it is all about, but if I could skip to the conclusion of the backup, I would.

While I thought this needed a little more over-the-top fighting, I enjoyed this Issue far more than the last two. It feels as if the story is truly moving again. Janus isn't only a shadowy figure waiting to overpower Diana. She is a danger and she is here. I enjoy the Multiverses quite a lot, so I've been looking forward to Diana visiting Earth-11. Even though I would have enjoyed staying there a tiny bit longer (same as in Elfhame), the story there did what it is supposed to. It was also a joy to see all the current supporting cast of Diana once more in one Issue. Deciding to add Deadman to Diana's adventures through the god sphere and the multiverse was genius! Emanuela Lupacchino is on art this time. I've already enjoyed her art on DC Bombshells. A perfect fit for Earth-11. The backup has gathered up speed. While the revelation is surprising, I have lost interest in it since the last Issue.

There is a certain dynamic missing for me, but the hopping through the multiverse is still enjoyable, and Travis Moore's return on art is welcome. The backup is decent.

An enjoyable ending.

A great return for Diana. This feels a little as if the writers are coming into themselves. While I enjoyed the first arc plenty, there were still some stilted moments that are completely absent from this Issue. Especially Diana speaking to Hippolyta and Nubia was excellent. I can't wait to see where this is going.

Marcio Takara is taking over the art of Wonder Woman for the foreseeable future and it'll take a bit of getting used to, which isn't to say his art is bad, I've just gotten too used to Travis Moore's Diana who has a very distinct look even outside of the costume. The New Arc is very connected to the last, which I like. Loose ends are being tied up but that's not all there is to it. I'm excited to see where Cloonrad are taking this story. Dr. Psycho doesn't seem to be the only bad lurking in the dark and I'm guessing Sigfried's grave will hold quite a few mysteries. As someone who has always been interested in the Bana Mighdall, I enjoyed the back-up far more than the Young Diana ones. Artemis too is a compelling character. Patridge's strong lines give the Amazons an appropriately fierce look and I think people that are picking up Nubia and the Amazons will find it interesting to compare how the different tribes welcome new members.

I'm enjoying this arc even more now. Cloonrad have found the right voice for Diana. It's great to see another Wonder villain enter this story, and despite guest star Deadman, who continues to have fun and heartfelt interactions with Diana, Diana's Man's World supporting cast isn't forgotten either. Takara's art is even better than last Issue and Patridge's art fits the Bana-Mighdall so well, it's almost a crime that she doesn't have a proper Wonder book to work on. Ayala continues to flesh out the Bana well. The worldbuilding is great, and I enjoyed the focus on Faruka's and Atalana's difference in leading style.

Marcio Takara has really gotten a feel for Wonder Woman. The fights are fantastically illustrated and the quiet moments work well. Especially with the featured villains, Takara's drawings shine and he really puts a lot of work into the mirrors. I hoped for a bit more development given that this is the penultimate Issue before the arc ends, but I still think that it flowed well. Now I only hope the last part of this arc ends on a high note before the book enters Trial of the Amazons. Deadman left me scratching my head this time. Cloonrad kinda forgot that he is a ghost, at least as far as I know he shouldn't have been able to destroy the dupes and Etta shouldn't have been able to see him at all. Apart from that, I still think it is an engaging story. Diana is a bit more aggressive this time as well but I think it fits because her stress levels in this arc are rising to quite the height. The backup continues to flesh out the Bana-Mighdall and their grievances with the Themyscirans. Atalanta and Faruka especially shine in their roles as queens this time. The small revelation here also makes me even more excited for Trial of the Amazons. Skylar Patridge continues to impress, especially with the spread page of the Oracle's vision.

Except for some stilted dialogue I loved everything about this. The revelations of both the main story and the backup make or break this finale for both stories. For me, they worked. I appreciate how connected everything is and how Trial of the Amazons has been built up. Cloonrad continue to play the long game. I am looking forward to the stories they are going to tell after the event is over because it doesn't look as if there is time for Diana to slow down.

The third part of Trial of the Amazons focuses on Diana as expected. Sadly she felt a little off and as did the way to her ultimate conclusion. The introspection didn't feel as smooth as it should have been. But I very much appreciate the tie-back to the WW Annual that was said to set this event up and it was good to see Diana and Cassie interact. The art by Rosi Kämpe is either extremely strong or quite weak. There are definitely some panels that are beautifully executed but some things just get wonky and that is sad to see. At least for an event, they should have been able to give a consistent artist to the Wonder Woman flagship title. Adventures of Young Diana makes a comeback with this Issue and seems to be staying. I'm not sure if it is going to tie into TotA properly - as I had expected - or if it exists to shine more light onto Hyppolita's and Diana's relationship. As a reader who was quite glad that AoFD ended, I'm not excited to see it back.

The resolution of the Altuum plot spilling over from TotA pulls down an otherwise enjoyable issue. Steve and Siegfried are an absolute delight, Dr. Psycho is creepy af, and Diana has her hands full of problems already. Thanks to Antiope the Young Diana backup feels more relevant to the present-day story than its past iterations.

Things are happening! This is the best issue in a while and the beginning of Diana's true confrontation with Hera. Cheetah gets an excellent showing and it is simply fun to have so many supporting characters in one issue. One thing Cloonrad knows how to do is make the Wonder'verse feel alive. Lupacchino's art starts out a little rough but she grows into the characters. Especially her Diana looks great.

The stage is set for Trial of the Amazons. While I am looking forward to the event, I let out a sigh at yet another secret organization (or in this case group of people) coming out of nowhere to set up an event. Still, the Enki people seem like interesting antagonists. I enjoyed Andy McDonald's work while Diana was on Olympus but this time his art was a little too rough even for me. Or rather too inconsistent. Some panels look beautiful, othertimes characters are immensely out of shape. Despite that it's an interesting set-up and it's nice to see Etta and Diana spending more time together, or rather trying to.

A wonderful book that lives up to the mythos of the Amazons and enriches it beautifully.

A wonderful conclusion to the tale of the Amazons. I hope there'll be more Historia in the future.