Liked the art but hate everything else.

The fundamental plot is easy enough to understand - it just seems to be laid out in the most deliberately convoluted way possible. A juddery chore of a read. While DC may be convinced that Morrison is some kind of supreme genius, not all of us are equally convinced.

No, you are not.

This issue serves as a microcosm for Tynion's run: some interesting ideas buried beneath inconsistent pacing and characterisation. The honeymoon period following the final issue of Tom King's atrocious run is over.

It wasn't meant to Bea...

Remember, kids: stealing is OK as long as you feel you deserve it. Heck, you may just end up being rewarded for it by having all your needs handed to you on a plate by some self-righteous moron with more money than sense. If you're going to attempt some kind of Robin Hood story relating to acquisitions and the vesting of IP, it is unwise to omit detail.

Solid one-and-done story.

Had a blast reading this.

The epitome of filler but it's not bad.

Good art but not much else to say. It's not bad but is unlikely to live long in the memory.

Great art. Is deliberately making the storytelling as unorthodox and convoluted as possible considered to be some stroke of genius? I understand the plot just fine, it's just a chore to work through and smacks of the Morrison tendency to over-indulge himself.

Mostly good art and some enjoyable interactions. However, as has come to characterise Tynion's run, the plot is the biggest weakness. By this, I mean things tend to unravel if you apply any degree of critical thought to them (case in point: the way 'tens of billions' of the Wayne fortune has been by held as cash-on-hand and passed around like a reefer at Coachella). I'll be sticking around for the new arc and am hopeful it will represent an improvement on what has come previously.

It's good that the 'Ric' saga has all but ended but I didn't really get a whole lot out of this book. If Bea is going to be sticking around, I hope her character gets fleshed out more, as she is currently devoid of any distinct or memorable traits. I liked some of the stuff with Dick working through his Alfred-related mourning and am looking forward to the confrontation with KGBeast.

Solid instalment with good art.

The early promise of Tynion's run has culminated in a damp squib. Art from Jimenez is brilliant as always, though.

I get the criticisms but I still had fun.

I'm enjoying this in spite of it all being something of a retread. Jimenez's art is astonishingly good.

Glad Dick is back but this issue was an absolute clunker. Hoping that being free of the God awful Ric plot enables Jurgens/future writers to make Nightwing a solid Bat-Family title again.

I was somewhat disappointed by this. I like Joe Quinones but neither Batman nor Gotham looked or felt right. The generic cityscape, populated with bland, cuboid skyscrapers, was not a worthy substitute for the gnarled, crooked, smog-ridden city which provided the unforgettable backdrop for Burton's films. Additionally, Batman's competence seemed deliberately downplayed to enable plot progression. I'm still intrigued enough to keep going but I have the nagging feeling that this is shaping up to be a wasted opportunity.

A transitional issue that does its job well.

A pretty satisfying ending to Williamson's lengthy run.

Enjoyable ending to a very solid filler arc. Terrific art from Rocha and hope to see more of Loveness.

I liked the art but cutesy-pie, ditzy Deadpool isn't doing much for me.

Art not as good as usual and the plot is ponderous and meandering. I have no doubt, however, that AMS will be must-read when things finally get moving!

Very good issue.

Great art let down by obnoxiously on-the-nose Twitter politics.

All 3 points are for the art. It's amazing how malleable long-established characters become when you've got some sophomoric Tumblr politics to shoehorn in.

Not a bad book but very much a tedious one. I would be thrilled if the Rogues and Turtle don't appear in another Flash book for a long time.

A mercifully snappy read which marginally improves on the previous issue. This arc must surely close off this horrific amnesia malarkey, surely?

Intriguing stuff. Art overall is fine but a little wonky and rushed in places.

Brilliant.

By-the-numbers Flash storytelling. Going back to monthly and bringing a new writer in could give this book the shot in the arm it so sorely needs.

Over-indulgent this time around.

Joker was fun but the rest amounted to absolutely nothing. The last issue of 'Ric' must be close now? I liked Cliquet's art more than I have in previous issues.

Solid if rather unoriginal. Walker's art steals the show.

A quick read that succeeds in its aim of making Gog deserving of sympathy. Ottley's art remains strong and well-suited to ASM.

I probably enjoyed this more than I should have. A very standard JL caper but I found that rather refreshing. Would've been nice had my boy Eradicator not been disposed of so easily but he was still reasonably menacing in the lead-up. Mahnke's art is always a welcome sight and it was a pleasure to flip through this book.

Make this end soon. Please!

Best superhero book on the shelves. Despite picking up the single issues, I will most certainly be getting Zdarsky's Daredevil omnibus when it inevitably hits the shelves!

As good as the previous issue but elevated by Checchetto's mesmerising art. The main reason I read comics is the eternal hope that I will get to experience books like this. Everyone owes it to themselves to read this series.

A somewhat amusing one-and-done story. I sure as hell hope this wasn't anyone's first comic though, with Morrison flexing that esotericism he so loves. Art by Sharp was good as it always is.

Good art to gloss over a mediocre end to what could've been an interesting arc. I would posit that 'Unmemorable' is a more appropriate name for the Unparalleled and am therefore not thrilled that Sky is tagging along. I live in hope that her character develops during her stay on Earth...

Morrison is hit-or-miss for me but I enjoyed this issue a great deal. Sharp's art was fantastic as ever.

Slow-moving but a solid and intriguing issue overall. Harley Quinn is at last not a cloying jabber mouth, in contrast to how she is usually portrayed these days, which was most refreshing. The art was fantastic throughout. Bring on the next issue!

Another tense, gripping, and well illustrated issue in this brilliant run. Bring on the next one!

I liked Bachalo's art better in this issue than the previous two, which bodes well. Much of the humour just doesn't resonate with me but the book in general isn't bad at all. Will keep going in with the hope that things improve as the plot thickens.

Love me some Eradicator but this a very basic, safe Justice League issue (not all that surprising, given that this is a filler arc). I liked Lopresti's art.

Mostly a re-tread of previously covered ground with Joker War set-up abruptly shoehorned in. The Court of Owls trying to recruit Dick has potential as a concept but the execution in this arc has just felt forced, clunky and wafer-thin. Literally cringed at the 'Identity Crystal'. You could remove Bea entirely and there would need no impact on the plot - totally unnecessary character. Love Jurgens but this is complete and utter garbage that I just want to condemn to the memory hole. Also, still not a fan of Cliquet's art

Solid issue overall. The plot is gathering pace, albeit at a leisurely pace. New villain sounds intriguing, as well as finding out what the 'Perfect Crime' is all about. Penguin's powers of bribery seem a little too extensive to be believable. March's art suits Batman and remains very strong in this issue. The arc seems like standard fare for Batman, which is somewhat refreshing after the pseudo-literary nonsense King served up for 3 long years.

Well, that happened. A lot of slogging for no pay-off

Pretty solid issue overall. Main plus point being the welcome lack of cosmic gods and the associated zany nonsense which came to characterise Snyder's run.

Free of 2099, there's more breathing room and focus. Solid set-up issue that has me excited to read on.

Excellent stuff again. Only real complaint is the relative lack of Fisk. I like Fornes but Checchetto is *the* guy when it comes to drawing Daredevil books. People will be buying the collected editions of this run for years to come - a classic in the making.

Solid but unspectacular. Intriguing mystery brewing, accompanied by glimpses into Bruce's mental state following all the recent events. Didn't love every panel but still thought the art was good overall.

A largely decent end to an enjoyable arc. Would've given this an 8 if not for the last page, which I'm hoping is just some kind of misdirection.

Another strong offering from Cates. Eager to see how this all plays out. Mark Bagley's art is great as always.

Solid, intriguing book with fantastic art. Feels great just to be reading a proper issue of Batman again, now that everyone's favourite divisive 'auteur' has been herded away to finish off his Bat/Cat fiasco under DC's Black Label.

Another great issue all round. I think Kingpin's story was more gripping in this issue than Matt's but both threads are clearly leading towards an intriguing denouement.

Meh. Some of the humour works but most of it just doesn't appeal to me as it's just a bit too cutesy-pie millennial for my taste. Bachalo's panels are very busy and I'm still having trouble discerning what's going on most of the time. The story is very simple but has potential to be interesting. Hope the art improves and that Thompson's version of Wade doesn't just remain a wittering nitwit.

Issues' worth of build to just go 180 in one rushed issue. Dan Jurgens is one of the greats, so it's a real shame that he's been tasked with undoing the all the 'Ric' damage. The end of this fiasco can't come soon enough;

The few points go to the artist because the story was wafer-thin nonsense. Miguel's death served no purpose other than to provide emotional shock value. Batman believes Miguel at face value and punches out the orphanage administrator before he can explain himself. Taylor appears to have forgotten that the word 'Detective' is on the cover. Also, I could be wrong, but I couldn't shake the feeling that the whole point of the issue was to provide some kind of social commentary. Worst issue of 'Tec I've read in a while. What a waste of time.

Alfred didn't die for this. Nice art though.

A solid start but little more than that. It's difficult for a writer to satisfy everyone when it comes to getting Deadpool's voice and humour right. I think most jokes at least roughly hit the mark but I do hope we don't go too far down the 'silly billy' route. Wade's interactions with Bellus and Elsa Bloodstone were definitely the highlight of the book. Chris Bachalo has built up a portfolio of work that is rightfully venerated; however, I found some of the art in this issue to be messy and difficult to distinguish - oftentimes feeling like too much was being forced into individual panels. Given Bachalo's 'superstar' status, I expect he shall only be on the book for one arc at most, so I look forward to seeing what he does in his remaining 3-5 issues.

Weakest issue of the run so far. Agger comes across as more of a Biker Mice From Mars villain than a Hulk-level threat: Generically evil megacorp CEO with a vague plan to profit from the resource scarcity that would allegedly follow Earth's failure to be sufficiently 'green'. I pray that this doesn't devolve into a tedious, on-the-nose lecture on the environment. Bennett's art is strong as ever.

Jittery pacing but an improvement on the previous issue. Will never cease to be spellbound by Pat Gleason's art.

Very much treading water here. Art was a big step down compared to Gleason. Looking forward to moving away from the current juddering arc.

What should be a profoundly emotional event is cheapened by King's self-indulgence. Hysteric tantrums and hoaky poetry do not a poignant issue make. Moreover, when you have an artist of Mikel Janin's undeniable skill at your disposal, why is so much text required? Oh, I know, it's because Batman is not about Batman, it's about King showing off what a literary virtuouso he thinks he is. Batman and Robin #18 of the New 52 is the apotheosis of a poignant, modern Bat-Family book (and contains not a single word of text).

"Hey, everyone! Tom watched Memento and got a real swell idea for his Batman comic!" Other than Fornes's art, this book is garbage. However, I am delighted that King didn't get the chance to spread his hare-brained plot over the 100 issues as initially planned. One. More. Issue. Left.

Zdarsky and Checchetto do it again. The art, dialogue, and pacing are all on point. I devour each issue of this run with increasing zeal!

As good a set-up issue as you will ever get. Another gripping issue from this creative team. Can't wait until this incredible run is bound as an omnibus!

The usual esoteric Morrison fare. Eclectic references to GL lore as is the Morrison way. Lots of different faces fly by in a blur but seldom do any leave much of an impression unfortunately. Can't see this mini-series being more than a somewhat amusing distraction until the main title resumes. Art by Xermanico is good throughout.

Weakest issue of the run so far for me. I appreciate that new arcs need set-up but I just found the amount of dialogue bogged it down, making it somewhat of a chore to get through. Bennett's art is fantastic as ever. Very much hoping that the political bent isn't going to be as ham-fisted and on-the-nose as it has been elsewhere.

Gleason's superb art is let down by an issue that is trying to set up a bit too much. Spencer has yet to convince me that all the threads he's trying to weave in are worth the effort. Hoping subsequent issues are more focused.

All 3 points are purely for the excellent art. The dialogue is CW levels of cringeworthy and the plot is the stilted, juddering nonsense that has increasingly come to characterise King's run. 3 issues of this bilge to go!

This has gotten so close to being a really cool arc.

Skirts the line between imaginative and pretentiously perverse (à la Grant Morrison). The diverse mix of scores indicates that how much you enjoy this issue will depend on your personal preferences and proclivities. Aw

A rock-solid issue that's very well drawn and provides just enough to sate my intrigue for the time being. It also accomplished all this while being a tie-in: something I am generally quite cynical about! Looking forward to the next issue.

Not wholly convinced by the 2099 plot but I have no such issues concerning the art - have loved Pat Gleason's art since I first saw it in New 52 Batman and Robin and pray that we will be seeing a lot more of it for ASM going forward.

This annual was more enjoyable than the monthly offerings, but that's not really saying much. The art was fine insofar as it attempted to emulate the Golden Age but I never found my eye lingering on any one panel for too long. The content, plot-wise, was sprightly but completely unmemorable. When I flip through my collection at various points in the future and see this, I highly doubt I'll be able to recall a single element of this book - it just didn't make me think or feel anything.

Probably the worst single issue of Batman I have read in the 8 years the book has been on my pull list. I'm glad the art looked like a burnt bag of turds that someone had put out with a hammer, as it meant that I could zip through the issue in about 5 minutes (5 minutes I shall never get back, I might add!). #85 can't come quickly enough.

Zdarsky and Checchetto hit another homer. Suspense and clever storytelling in abundance. For me, Daredevil remains the most consistently good Marvel ongoing and is in no danger of relinquishing that status any time soon. A great single issue should always leave you both satisfied and itching for more - this does that in spades.

Not even the rock solid Dan Jurgens can get any more out of this distended 'Ric' nonsense. Reading this book has just become a chore.

Great art let down by tedious plot.

The best thing about this issue is that it brings us once issue closer to the end of King's run.

Another strong if unspectacular issue... but only unspectacular in the sense that this issue is clearly designed just to inch the plot along and add to the build-up. Checchetto's return to pencilling is a big plus. Would love Zdarsky to write AMS one day - love his Peter Parker.

A bit all over the place but the build to the Qwa-Man confrontation is keeping me hooked. Aside from the odd panel, Sharp's art is still brilliant.

I felt this issue failed to build on the intrigue and other set-up aspects as laid out in issue #30. Was hoping for more momentum and for the plot to thicken at a quicker pace - instead, the issue gets a bit too caught up in dialogue. Solid issue overall but will be looking for issue #32 to inject some speed and movement into proceedings!

Clay Mann's art is worth the cover price alone. Which is a good thing, considering that the dialogue reads like it was randomly generated by an AI that's been loaded with every Tom King Batman comic ever written. An aesthetically-pleasing yet horrifically dull issue.

One of my favourite issues of the current JL run so far. Can't wait to read the next issue. Huge fan of Jimenez's art and, yet again, he does not disappoint.

Good art but the plot just isn't hooking me in. I have little patience for crossovers at the best of times and all I find myself doing is waiting for the event to end so we can just go back to the regularly scheduled programming of a Wolverine-focussed story. Not a bad issue by any stretch but certainly no more than mediocre.

A superb issue that I just didn't want to put down. Fornes's art kept the scenes moving while Bellaire's always-excellent colours created moods and ambience, especially the alternating and juxtaposed blacks, reds, and white when the suspense ratcheted up. Zdarsky has a very clear idea about what he wants to do with the character and is yet to hit a bum note.

A fun, breezy read with enjoyable art.

This will no doubt please those who enjoyed Superior Foes. There's solid chemistry between the characters and the plot is enjoyable. I'm just not convinced that the pages of ASM are the best place for this. Not to mention, the jabbery millennial banter just isn't to my tastes. Kev Walker's pencils suit the tone (cartoony and light-hearted) and frame the action pretty well. Glad fans of Superior Foes got their fix but I am personally looking forward to next issue when Peter's front and centre again.

The usual zany, indulgent Grant Morrison fare. Those who dislike Morrison's style are very unlikely to be convinced to reconsider here, whereas those who are on board will no doubt be pleased. I fall somewhere in the middle - usually careening betweening enjoying what I read and longing for something a bit more grounded. Conversely, I am always happy to see Giuseppe Camuncoli's art, which was highly enjoyable throughout.

Somewhat interesting premise that's bogged down with excessive pop culture references and cringe humour, and which creates a very jarring juxtaposition with the sombre subject matter. Art was enjoyable throughout.

We get it, Nick. You're woke. Congrats. Art was solid.

Unlikeable characters combined with ugly art are far beneath what a company like Image should be producing. Save yourself a few bucks and just go on Tumblr/Twitter if you like whiny, snarky millennials indulging in their bitter, resentful narcissism.

Despite staccato plot progression and underwhelming art (just not a fan of Scott Kolins, sorry), this is a pretty solid issue. Would’ve given this a 6 if not for the awesome cover art by Dan Panosian.

Coming into this unfamiliar with the creative team, I was very pleasantly surprised. Really digging the reversion to a darker tone, and looking forward to seeing where Mairghread Scott is going with Babs.

Pure comic book brilliance. This sort of work is the reason people fall in love with the medium. If I start gushing about Gary Frank’s art, I’ll probably never stop. Suffice it to say that the artwork is as phenomenal as it’s been throughout the whole series so far. The wait for the next issue is going to be excruciating.

Bizarre, thought-provoking, and downright creepy at times! I’m very keen to learn more about the titular character, with these first four issues only supplying a very gentle drip feed. I think the art complements/augments the perverse scope of the stories being told, even though I wouldn’t say I’m a huge fan of it. Overall, I recommend this to anyone with a taste for the offbeat, or just looking for something to get them in the spirit of Hallowe’en!

Having an absolute blast reading this series. Tynion’s intriguing plot is enhanced by the excellent art - combining to create a creepy, atmospheric thrill ride. Anyone remotely intrigued should do themselves a favour and give this a try!

Some issues with flow and pacing, possibly due to the need to set up the arc. However, this is an excellent book that’s more than convinced me to add the series to my pull.

I don’t give many books a 10, but this issue just hit all the right notes for me. I can understand why Kudranski’s art is divisive, but I absolutely love it, and it’s ably supported by the inks and colours. I didn’t want this issue to end and I’m now counting down the days until I can get my hands on issue #3. Really hope Rosenberg/Kudranski get a lengthy run.

Really enjoying the whackiness of this run. Great fun that I look forward to every month.

A bit of a hurried finish to what’s been a very solid arc. Shall be keeping an eye out for writer Bryan Hill’s other works!

For as long as I have been reading Batman, I never would’ve taken him as the type to allow his fee-fees to get in the way of his obsessive pursuit of justice. Clearly, Tom King has different ideas. Which doesn’t surprise me, as his favourite thing to do with the protagonists he writes is to emotionally deconstruct them, and build subsequent plots about how depressed they are. I’m not saying that Tom King’s approach to characterisation is inherently bad. However, I just don’t feel that ‘muh depression’ is appropriate for every character (especially those with long-established core traits). I will give King one more arc before (reluctantly) dropping Batman (as I’m aware he’s been slated for a run lasting 100 issues). Taking all of the above into account, I am all the more thankful for Bryan Hill’s supremely solid run on Detective! The main plus of the post-wedding issues has been Lee Weeks’s art.

The theme villain-wise appears to tread old ground, but does not detract from this rock solid first issue from Bryan Hill. Snappy dialogue, layered character work, and plenty of intrigue make this distinctly superior to the main Batman book by Tom King, in my opinion. As I type this, I believe the next issue hits shelves tomorrow... can’t wait!

Mawkish. Plodding. Illogical. Occasionally intriguing. Frustrating. Beyond reeling off individual adjectives, I am having difficulty in summarising my thoughts in prose. My only advice is to pick it up and read it for yourself. Folks who buy what Tom King is selling will no doubt agree with a lot of the higher-scoring reviews that have been posted here. However, if King's run continues in this vein, Batman will officially be off my pull list for the first time since it was put on with Batman #13 of the New 52 back in October 2012 (first issue of 'Death in the Family', as I recall).

Great art and very intriguing set-up. Also found that Venditti managed to condense the general history of Hawkman into a digestible nutshell - which was great for a first time Hawkman reader like me1

Bleh. I wasn’t a fan of the previous issue and this one did nothing to change my mind. Devoid of plot and featuring staccato dialogue that jarringly juxtaposes deadly sinister with plain goofy... I just can’t seem to get a distinctive feel for the characters or their voice. I have nothing against Tom King (in fact, very much looking forward to reading his work on Mister Miracle and The Vision at some point), but hope that whatever lies beyond this wedding arc takes a different tack. Again, those who think this run is the best thing since sliced bread will probably find a lot to like here.

Well paced featuring mind-blowing art. One of the best books on the shelves right now - do yourself a favour and see what all the fuss is about!

Very poignant and serves to add extra layers to our protagonist. While I appreciate that many reading this title (myself included!) are eager to get to the denouement of the Bizarro arc, this issue was certainly worth pausing for. This run has been excellent and I’m always excited to see what’s next!

Solid filler with enjoyable art.

Building tension and high stakes... when a comic leaves you desperate to get your hands on the next issue, it's doing its job and doing it well!

The pistons are starting to pump on this story - bring on issue #4!

Zipped through this in 5 minutes and forgot it in half the time. This cast of characters needs a major status quo change to rekindle interest, as this book is starting to linger very close to the ol' chopping block, Art looked like it was done in an afternoon. Maybe tack an extra point onto the score I gave if you read 'Venomized', as the events here may have a bit more meaning to you.

Very, very strong first issue. Very highly recommend to anyone, regardless of their history with the character. Can’t wait to see how this arc pans out.

I think this issue more-or-less confirmed in my mind that I'm not down with Tom King's Batman. It feels like I'm waiting for the issue where it's revealed that the 'Batman' who's hitherto starred in King's run is some kind of imposter from another Earth... A willingness to suspend one's disbelief in comic books is par for the course, but this version Batman, to me, is too much of a departure from what I regard as the character's core traits. I am going to refrain from spoiling this issue for anyone who's yet to read it, but I will say that there's an occurrence that I just don't believe the 'real' Batman would ever allow to happen... I really like Tom King as a writer; however, his take on Batman does nothing for me. The above notwithstanding, the issue seems to be garnering a lot of praise and I expect the folks who are enjoying King's work on the character so far will find plenty to enjoy here: so add a couple points to the score I've given if this is the case for you.

Intriguing plot and brilliant artwork - can't wait for the next issue!

Far from perfect, but Brisson and Malin’s run has been a blast from start to finish. No issue felt like a chore to get through and I was always left looking forward to the next issue. Shall be keeping an eye out for whatever these creators produce next!

This is a very solid issue. I'm looking forward to seeing the avenues this creative team will explore with the status quo being what it is. Will certainly be staying on my pull for the foreseeable future!.

While Snyder and Capullo's work tends to hog the spotlight, Tomasi and Gleason have quietly been putting out the most consistently enjoyable Bat Family book. The team of Patrick Gleason, Mick Gray and John Kalisz have been knocking it out of the park on this title for a while now, but they've somehow managed to take it up another gear here. Gleason's signature angular style and rich backgrounds are brought to life by well-balanced inks and some eye-popping colour work. They make Apokolips look truly hellish. The story itself progresses quickly, while not neglecting strong characterisation. The way Tomasi sets up what's to come makes you desperate for the next installment, while giving you every reason to truly appreciate the run-up. An excellent chapter in a compelling overarching tale. Tomasi, Gleason, Gray and Kalisz are masters at work here and have made this title stand out as my personal favourite Bat book by a surprisingly clear margin.

As a regular reader of The Flash, I greatly enjoyed seeing the stakes upped even further and feel that Venditti and Jensen have taken advantage of DC's temporal gimmick to pave the way for what ought to be a climactic confluence of Flashes (yes, plural!). I would caution new readers to do some background reading to get up to speed with what's going on, as you may find yourselves a tad confused - as the story here is so heavily linked to the current continuity established in the regular ongoing. The art is very much baseline as far as Booth's Flash goes. Some panels/layouts can take a minute or two to take in, with lighting bolts shooting off in any and all directions. However, I do feel Booth handles the kinetic nature of the title well. Another solid offering for DC's September gimmick.

Strong art and poignant, thought-provoking dialogue usually yield a decent comic. Throw in Billy Batson and you're onto a winner! Beyond this, I haven't read any of Jurgens' seminal Superman work, but I can now tell why he is held in high regard. Am also unfamiliar with Weeks' work, but very much enjoyed the kinetic energy with which is pencils were imbued. The fight scene, in particular, stood out. A very solid book overall and among the better offerings of DC's September gimmick.

Snyder and Capullo are so effortlessly able to blend blockbuster-esque fanfare with slick, brooding substance. Coming off the back of the rather long-winded, Zero Year, a story which percolated over the course of a year, we are thrust into the middle of the action in this issue. Snyder doesn't waste time as he sets up the primary focus of the next few issues, as well as offering a piece of last page foreshadowing which heavily suggests that something truly sinister is on the horizon. Excellent offering from a team who can do no wrong on this title. P.S. Delighted to see Kelley Jones doing some Batman art. His pencilwork will illustrate your nightmares!

A fun ride - the writers make great use of the leeway they've been afforded with Deadpool, insofar as gratuitous zany antics being considered par for the course with this particular character. However, as is often the case with annuals, the events that transpire are, ultimately, inconsequential - nothing new is brought to the Deadpool table. Therefore, anyone who has hitherto been unconvinced by Deadpool probably isn't going to have their mind changed by this offering. Moreover, if you take into account the $4.99 price point, this book is ideally suited to longtime Deadpool fans, or anyone who is up for a wacky, no-strings-attached chuckle.

A straight-forward offering, complemented by grim, but engrossing visuals. Sets up what shall surely be an unmissable denouement. Very solid issue - highly recommended.

The new creative team makes it clear that they are looking to blend the worlds of the print Oliver Queen and his TV counterpart. While they succeed at making it recognisable to those familiar with The CW's iteration, the book does suffer where the transition wasn't executed very smoothly. Some of the interactions just don't feel right (esp. Oliver, Luthor and Wayne) and instances where the creators have made changes just come off as forced. The art is passable at best - perhaps made to look worse because it's following the inimitable stylings of Andrea Sorrentino. All in all: an average offering with some potential - hopefully the upcoming arc will see the disparate elements in this issue begin to coalesce.

A well-drawn end to the volume that ticks all the boxes. Remender acknowledges the 'anti-twist' by having Sam brush it off with a pithy remark. Essentially saying what all the readers would be thinking. Most of the issue is, predictably, devoted to transition. We see how the landscape changes for the Avengers, while most of the intrigue stems from the separate epilogue - as we get a glimpse of the upcoming threat. Issues that have a lot of exposition and transition crammed into them always come off as a little bit clunky and this issue is no different. However, you'll quickly forget about it, as you are left to contemplate what the future holds for Sam Wilson. A good end to a good run.

Tense, thrilling, thought-provoking and leaving you desperate for the next issue. Then throw in some outstanding art (it's Mikel Janin, what do you expect?) for good measure. What more could you want? Outstanding comic book.

Clings stubbornly to the baseline established by the series so far. In addition to the main plot, we do get glimpses of the subplots - but it comes off as desultory at best, with no discernible progression. However, the last page suggests that a welcome shakeup to the status quo is coming - as I doubt I'm the only one who thinks that the Dr. Zabo/monster pills shtick is starting to overstay its welcome. The art will probably polarise the readership - personally, I disliked it and found it reminiscent of John Lucas' recent work on Deadpool through the Original Sin tie-ins. However, folks who like exaggerated and cartoony pencils will probably get a kick out of it. For those people: add an extra point to the overall score I gave.

A gripping story, told from an interesting perspective. Brian Wood appears to be having no trouble carrying the Ellis torch, as he deftly handles Mr. Knight and his ever-alternating personae. This is complemented by the art of Greg Smallwood, who opted, rather boldly, for a very distinct layout - filled competently, once again, by his pencil work. However, from an aesthetic standpoint, I feel it's Jordie Bellaire's colours which truly steal the show. Proceedings, since the first issue, have been steeped in a distinctly noir mood. A lot of modern comics have attempted the gritty street-level style popularised by film and many of them have fallen flat. Moon Knight, however, pulls it off with aplomb - courtesy (mostly, but not exclusively) of Jordie Bellaire. Possibly Marvel's best book at the moment - do yourself a favour and add it to your pull!

A heartwarming end to what's been an enjoyable series. In a nutshell, the series has reiterated Peter Parker's core motivations and the most fundamental aspects of his origins - complete with Ramon Perez's charming pastiche of 1960s Spidey aesthetics. Readers will no doubt notice that there is relatively little substance on offer. The new characters aren't fleshed out much and I can't envisage this little series having any impact on the wider Spider-Man narrative. Although, it would appear that this is how it was intended to be: a self-contained complement to the main titles, designed to deliver a dose of nostalgia to the longtime readers and a straightforward outline of Peter Parker and his world to newbies.

The gravitas of what transpires in this book is hampered by staccato dialogue (heavy use of ellipsis and seemingly truncated sentences) and below-average art. Not recommended to anyone who hasn't been keeping up with Superman/Wonder Woman - there's nothing here to offer new readers. A rare blotch on the hitherto excellent track record of Charles Soule.

Good stuff from Posehn and Duggan, as always. However, without wishing to sound mean, I cannot stand Lucas' art.