Good art and crazy story. I really loved the scenes with Clark and his family. The Superman-Superman-Superman story got wild at the end, but I do knock one point off this issue because the storyline gets a little confusing. Who do we call Superman? Who do we call Clark Kent? Clark White? Then the final reveal of the issue??? Can't wait until the next issue!

Obviously more at play here than what has been presented. Overall great story by Jurgens, great art by Bogdanovic, and great hook for what is to come. Only have to knock it for an oddly drawn face or two. Otherwise fantastic and can't wait to read more!

Pretty much about the best of what one can expect from an Action Comics issue. A satisfying end to the "Booster Shot" storyline, fun action between Superman and Booster Gold, nice action for Skeets as well, fantastic Will Conrad art with the help of Ivan Nunes and Rob Leigh, and a few fun quips about Booster's role in the Multiverse.

Really there is nothing to pick at in this true anniversary issue. It's a celebration of Superman and his many iterations over 80 years. Every story feels like a Superman story, and every page looks like a Superman comic. There are classic characters, hopeful (yet classically cheesy) dialogue, villain fights, touching moments, and absolutely stunning artwork. The only story I couldn't fully appreciate was the Snyder-Albuquerque one. It looked great and had an interesting concept, but I didn't fully understand the background actions near the end of the short story. Overall, very much worth every penny, and I appreciate that DC kept the price relatively low for such an occasion and the all-star talent.

5/5 for Ryan Sook's art. 0.5 stars for Brian Bendis' excellent writing of the Daily Planet bullpen and Perry White. I don't even care that Bendis wants to write a more independent Lois Lane, but I think it's the laziest type of comic book writing to throw out all the recent character development for this tentpole character. Everything Rebirth was built on was the hope, optimism, legacy, and love of its characters. Congratulations Brian Michael Bendis. You have managed to get me to drop Action Comics 4 issues after its landmark #1000. Learn how to play with the toys you've been given for once.

Clearly the focus of this comic is the stunning art by Helge Vogt. There is definitely a strong animation influence, and every gothic detail is given a warm glow and smooth edge. Scenes are drawn well, and characters are appealing. Alisik herself looks like a china doll. I really like Alisik's graveyard companions, too. The story by Hubertus Rufledt is simple enough, but quite enjoyable too. Alisik must come to terms with her recent passing, and this issue largely follows her first night on the town as she sorts it all out. With this being a translation to English, it is also worth noting that there are no obvious transaltion errors or odd grammar. And the lettering and extra text in the story all seem to have made it smoothly through the translation process.

I'm still not sure why this futuristic story had to be told at the end of this series, when the next "X-23" series will presumably continue the ongoing story for all of Laura's cast of friends. But that being said, it's still a nice story with pretty good art. I'm just disappointed that the series is going off course at its end.

An excellent start to Nick Spencer's Spider-Man run. While overly long and full of side plots, this issue perfectly handles the goofy Parker inner monologue, the banter, the maniacal villains, the friend drama, and the Peter Parker bad luck. I was skeptical of this relaunch after being disappointed by everything after "Superior Spider-Man", but there is plenty here to like. This is the type of story Spencer is born to write (go read Superior Foes). I was also unsure if Ryan Ottley would be a good fit, but this issue also eased those fears. The only fault, and it's a big one, is the price and length of this issue. Yes, you get a lot of pages for the price, but some of that is at the expense of padding out the main story. For that matter, we could have done with a few less pages devoted to Peter's failures in issue 1, or maybe cut out the roommate drama, or maybe save the MJ tease till next issue. And for a first issue, there didn't need to be a back up story. $5.99 really is a disservice to new and old readers. It starts out the series on bad footing and gives skeptical readers every excuse to ignore the issue. I had asked my retailer to remove this from my pull list, but they snuck a copy in my stack any way. In the end, I'm glad I read it, but my plan was to sit this out. So this review is minus 2 points for the $2 over charge and unneeded extra story. Next time Marvel, make your high profile relaunch accessible to any reader. Then upcharge with an annual, etc. once we're hooked.

I have to say I thought I knew where this series was heading - predictable takedown of the latest person to steal Atlantis's crown. But the plot twist of this issue promises at least a little more sinister action to come. "The Aquaman" and his band of rebels will certainly have their hands full come next issue. I was a little uncertain of the art in this issue at first. I think the coloring left a bit to be desired of Kelley Jones' art style in the beginning, but by the end of the issue things seemed to mesh a little better. And the tonal shift near the end also explains the choice to substitute in Kelley Jones' horror-style art for this interlude issue. There are some great scenes that play to his strengths, both with still shots and action sequences throughout the issue. Story-wise, we're provided a little more background for King Rath, while also catching up on some of the other palace intrigue going on. Next issue looks to plunge full speed back into the fight for Atlantis with latest regular artist Riccardo Federici. Abnett and crew are still keeping this book high in my read pile each month.

Story arc is off to a quick start with some interesting premises. It promises to be an opportunity to remind readers of who Aquaman is as he rediscovers his own life. The art though is drop dead gorgeous! Rocha has really outdone himself this issue. The layouts are cinematic and easy on the eyes, the characters are well formed, and the Cho coloring jumps off the page.

It feels like a few links are missing from the story coming out of last issue, but otherwise a still intriguing story. I love it that Aquaman can be the focus for this type of fantasy story. Robson Rocha art is beautiful again this issue, but I realize the difference maker is that he's got an inker - Daniel Henriques. Too many artists today have to do it all, and their line work suffers for it. This is really polished work here. And the Sunny Cho colors make it pop.

Mother Shark, man. Mother Shark! Such an intriguing new character with a creepy interest in Arthur Curry Aquaman. Viktor Bogdanovic fits nicely into the current art paradigm for Aquaman, and his depiction of the giant Mother Shark is the fantastic icing on the Aquaman cake. The ending cliffhanger is quite the twist that doesn't yet make sense with recent continuity.

Art continues to be fantastic from Bogdanovic, although here there were a few quickly drawn faces that detracted from some of the shine. Mother Shark seems to be an unreliable narrator, but if she speaks truth, then the continuity of recent stories gets even muddier. Can't wait for more, as Kelly Sue DeConnick weaves her Old Gods plot lines in with the previously ongoing storyline.

This oversized issue provided a much needed breather from the fighting of old gods, and it returns us to Amnesty Bay to re-center Arthur on his land roots. The issue also does a lot to further the royal court drama playing out beneath the waves. Kelly Sue DeConnick is spinning an interesting tale of our Aquaman here, and she's beginning to fill in some of the missing events from the last time Arthur was last seen in the DCU. Robson Rocha, Daniel Henriques, and Sunny Gho continue to shine brighter than the rest with the art on this series. That cannot be stated enough. The only ding on this issue is the seeming detour that's introduced at the end as Lex shows up to interrupt the series with his Year of the Villain nonsense.

Story was okay. Art was okay. I would have rathered we not interrupt the Amnesty story with Mecha-Manta, but it is what it is. And I didn't care for the art which seems to be rushed and split between penciller and inker teams.

Art and story were more coherent this issue. Robson Rocha continues to illustrate the action and sea-based imagery well in this series. Gho provides consistent coloring. The story is still a little off, but at least it continues where we were last issue. Wish we didn't have Mecha-Manta appear just to be blown up an issue or two later. No character or plot development here.

Art really took a step back from the usual. I see some aping of Sean Gordon Murphy's inked fingerprint motif here, although it is very striking and obvious when it is on the page. It doesn't match the less defined artwork elsewhere on the page. Characters say some quippy lines, and plot points don't all seem to line up. Why are we looking for a dog in the midst of everything else going on, and then oh suddenly there's a local festival, and Sea Daddy comes and goes without significance. Very scattershot, and not worth the extra dollar to read. -1 for the extra cost.

One of the new DC Giants I picked up to try. The basic deal is a good deal if you are interested in the character. For Aquaman, a good selection of new and reprint stories were selected for this issue. I liked the lead-off story written by Steve Orlando. There was the quick action, simple dialog, and twist of fate you might expect from a 16-page one-shot story. The art was clean and lively. If this was stretched out to 20 pages, it would have fit neatly in an ongoing Aquaman series with no problem. The second story written by Marv Wolfman was a bit more ragged though. I'm not sure if the intent is for a follow-up story to this one, but his story is more disjointed and feels cut short by the page count. And the art by Pop Mhan comes off a little more wooden at times. The 3 reprint stories were all ones I have read, and I quickly flipped through them this time. I personally would have preferred an older story than the New 52 to be included just for my own enjoyment, but these are all good stories I would recommend to anyone wanting recent Aquaman stories in addition to the ongoing series. Since I have read (and still own some of) the 3 reprint stories and the fact that one of the new stories was less enjoyable, I will not be buying any issues of the Aquaman Giant for the foreseeable future until they start serializing a different reprint story. Overall, I still recommend this issue and future issues if you've never read "Throne of Atlantis" or the early Teen Titans issues of the Rebirth era. You get a really good deal for your money with this.

Great art and great story! I did think this issue was a perfect summary of Aquaman's New 52 run and a good tease at the upcoming run. I liked the jokes and digs at Aquaman's expense, because I've come to appreciate the true hero that is Aquaman thanks to the last few years' of his book. But........Why so much text in this issue?! I really could have done with less of the repetitive narration throughout the issue. I'm still looking forward to where this story leads, though.

A really great issue in this Archie run. We still see Archie's regular struggles (I love his panicked runs around town), but the real drama here is seeing the escalating Reggie/Blossoms situation. I appreciate that the Blossoms actually have a meaningful family conversation in this issue. I did not see the end twist coming, and Riverdale will be rocked by its implications. There will definitely be high stakes and high drama at the upcoming Spring Dance.

I just picked up this issue because of the Hulk stuff, but I did find the rest of the story to be decent too. From what I know of the story, the "game" did not seem to progress very far in this issue. I'm really not a fan of the Paco Medina art here. It's hard to explain in words, but I find his characters sometimes are disconnected from the environment. There is always this thick black border around them that comes off looking like coloring book characters that throws me off. The Hulk return story was a little clunky and shoehorned in, but I'll take it for what it is.

Decent art and an interesting conversation between Jarvis and Bruce Banner. But the whole issue is all boring conversation. And I hate that any credibility is given to Hawkeye's "killing" of the Hulk in CW2. I really hope this era is forgotten quickly.

An okay ending, but seriously, what is up with Marvel's events ending with an overly narrated issue? Why can't we just watch the events play out without cheesy overly dramatic monologue text from Lightning? It's like a person talking to you in third person. Very off putting.

First, I'll just say I'm not a fan of Ed McGuinness's art style. People are too square, figures are boldly outlined and look like they could be added over backgrounds through digital placement, and panels run together without the kind of structure I prefer. As for the story, I felt like the second half should have been the whole issue. I could have done without a boring recap of every bad pre-Fresh Start storyline. Show me the taking Celestials, show me the punks picking on Jen Walters, show me the gang getting together to face a threat. Don't charge me an extra dollar just to have a drinking scene about editorial driven nonsense. Minus one point for the extra dollar on a number 1 issue. Once the last few pages happened, I was at least mildly curious to see what comes next.

Somewhat improved art, but I still don't like Ed McGuinness art, especially on this book. Lots of close ups, yelling characters, and posing. There is literally a double page spread made of 6 oversized characters overlapping each other on the page. Pacing is still off. Several pages are devoted to She-Hulk fighting Ghost Rider, all the while Earth is being ravaged (supposedly) by Celestials. I'm at least intrigued that Loki has joined the fray.

So many pacing problems and lots of terrible dialog. While the earth is in dire need of heroes, we get dialog dumps from Not-The-Avengers (seriously this is issue 3 of a book called "The Avengers" heavily featuring classic Avengers) and insignificant bickering. Thor had to yell at Iron Man and Captain Marvel to stop their "Civil Warring" (good grief) after Tony yells at Carol trying to blame Alpha Flight for not stopping a host of Celestials. Come on, does Jason Aaron think Tony is that stupid?! Then more splashy oversized characters filling boring panels from Ed McGuinness. Overall the story advances by about 5 minutes from the last issue. Still waiting on a hook apart from "discover the secret history of the Avengers." I just realized that Paco Medina shared some art duties. He certainly didn't improve anything over McGuinness, and may even be behind some of the mirky faces near the end of this issue.

The art is much more restrained and serviceable in this issue. And the action keeps a better pace with plot developments. Dialog was scaled back to let the action and characters breathe a bit better, but the rapid expansion of mythos causes more exposition than usual. And what are we supposed to make of the Eternals all being dead now? Seems kind of cheap to die off screen.

Look at the panels on this book and tell me what is happening. Read the speech bubbles and tell me you don't cringe. Just nonsense.

Story is complete filler, but we get more character motivation and relationship building than the last 7 issues. And why did Marvel keep David Marquez until this second arc? His art is definitely a step above the first arc's. We've got figures, backgrounds, and legible panel layout.

Batgirl continues to be a great respite from the heavier Bat titles. Barbara and co. are faced with another threat to Burnside, and it's fun to see where this case takes her. I love the Chris Wildgoose art, especially his scenes of the Penguin sledding through town and the later main fight. This issue calls back to recent stories with good payoff, and I'm excited to read the next installment.

I really enjoyed this conclusion to the Ethan Cobblepot and Penguin storylines. I hope they both make comebacks later as Batgirl villains. Nice art throughout.

The only mark against this issue is the fact that the first lady drawn in this issue looks EXACTLY like Barbara Gordon. It is needlessly confusing, and could have simply been fixed by giving her a different hair color. Other than that, this issue was an excellent distillation of what the current Batgirl is all about. It was fun seeing Barbara and her dad play so well off each other while solving the mystery. And great art throughout the issue.

Mostly a forgettable entry to what has been an enjoyable series. Things just seemed to happen in this one-off story that weren't really connected to anything that has been going on. Hopefully this is just a hiccup.

I've been enjoying this series, but this issue was the second to detour significantly from what made the series enjoyable to begin with. The story and art aren't bad, but the presentation is weak. Dialogue is replaced with narration, fun weigh grief, and plot development with quick unconnected story beats. And I'm not the biggest fan of the art style, but I could live with it if the story were more enjoyable. After hearing of this series cancellation this week, I know understand the rush to wrap up loose ends and the less detailed art. This series is done, unfortunately.

She's apparently a villain, as revealed in issue 50. Sorry. Spoiler.

She's apparently a villain, as revealed in issue 50. Sorry. Spoiler.

She's apparently a villain, as revealed in issue 50. Sorry. Spoiler.

Don't buy into the overly sappy story.

Awesome art, good promise, never paid off well.

5 of 5 for the awesome Jason Fabok art. Story and its payoff, not worth any more points.

Don't bother following any of these story threads further.

Even though I'm not 100% sold on Joelle Jones' art for Batman, the art is fantastic and presents a unique take on the Dark Knight and his family of dark and mysterious vigilantes. There's some humor, some fighting, and some relationship building. I'm curious as to how and why Holly Robinson has ended up under the protection of Talia, or for that matter why Talia and her "realm" are off limits to the Justice League. But I have confidence that this will all be told in the upcoming stories. Overall a good, solid issue of Batman. I can't wait to see the fight between Bruce's leading ladies next issue. And how will Damian react to his mom and dad coming to blows over Selina?

A fun and nearly perfect take on a double date between Batman/Cat Woman and Superman/Lois Lane. The art by Clay Mann was great too, with the only ding being the reused headshots in the last few pages of dialogue. I felt he could have added variety there, but I get that the focus was meant to be on the symmetry and dialogue in the couples' conversations. The end was simply perfect!

Argh, internet dropped my comments as I tried to post. Basically, I feel that there were too many leaps in logic or convenient details in this issue, but I did like the overall approach, characters, and art in this issue. I consider myself a fairly smart person, but I couldn't figure out how the kid in this story did anything. Was he the killer? Was the butler the killer? Why did Zsasz cut himself, if he didn't kill the people? How did the kid know the M.O. of Zsasz and Two Face? How did the kid seemingly know Bruce Wayne was Batman? Why does the butler jump out the window? Was he paid to kill or paid to be quiet? How did the 73 and 37 cuts suddenly become 41 and 14 which became a clue to the next murder scene? Why would the killer leave a clue to the next murder? All this, and in the end we are left with the kid's question to Batman/Bruce Wayne if Batman is just a sick, crazy kid. As readers, we know Batman is more than a sick, crazy kid, but it still made me roll my eyes. I feel like if Tom King is going to do another detective issue, he needs to go lighter on the technical details of the detective work. Or he needs someone to help him connect the logical details. Or spread the story over 2 to 3 issues, so at least the reader is not force fed 30 inane details and thrown a solution 5 minutes later. We might forget and forgive the leaps in logic if the conclusion comes weeks later.

I had to know. I was spoiled. I wanted to know how this issue turned out, so I sought out spoilers. Then I had to read it for myself. I won't spoil anything in my review, but to say that it's great. It's Tom King. It's Batman and Catwoman. It's some of the most beautiful Bat-Cat art you'll ever see. And then there is intrigue aplenty! If you love what Tom King has been doing with the Batman series since Rebirth, you will love issue 50 and the narratives he continues to spin for the Bat Family in Gotham. Side note: the little nods to past creators and continuity make for an enjoyable experience on top of the story being told. Now let's see where the next 50 issues of this run take us.

Eh. This all just seems so forced. The art is fairly good, although a few angles during the fight scenes stretched the characters in weird ways. The dialogue was C quality for most of the book, but it did improve near the end. Tom King subtly snuck in a few self-referential bits of commentary on his run into the background crowd noise. Eh. On one hand, the grunting Batman is tiresome, but on the other hand it is definitely in his character to be a man of few words when on a mission. Mostly I just don't see where this is going. I think it is a desperate move whenever writers resort to killing, maiming, or mind-wiping characters for shock value. One positive for Tom King's writing though: he is excellent at framing the story about the story. His use of crowd conversations, ancillary details, side plots, and subtle character choices does way more to tell the story than any of the "Bams" or "Pows." For me though, this all just is heading in a direction I couldn't care less about. There are no narrative through lines to connect anything going on in this series. You can assume how certain things connect, but every arc is just quickly forgotten. I fully expect to see nothing more about Nightwing beyond this arc.

Terrible premise, good execution, best art in the business! I can't speak for how much of the story direction is from writing or editorial, but this is about the most pointless Batman story arc ever. Yep, he's finding clues and he's punishing bad guys, but Batman is boring here. Some slightly cringy dialogue with Batman and Bronze Tiger makes the father-son Beast conversation seem compelling. Again, King's construction of the issue is the best writing asset here. But really 60 percent of my enjoyment is from Tony S. Daniel's art. That is just a spectacle to behold.

Again, some of the best art in the business, but the story is pointless. Batman travelled across the globe to break KGBeast's neck. Wow, that is why I buy Batman twice a month. Add in a Russian folk tale to distract from the main story, and you get 10 pounds of awful with your 5 puns of clever. At this point, I'm hate reading this series. At least Daniel's art was fantastic to look at. I could read a whole issue of Batman trudging through snow and punching bad guys if Daniel drew every page.

I've really tried to hang on. I really have. I'm catching up on the last few issues, and this start to the Penguin arc is a waste of a comic book. The Mikel Janin art is fairly good, although panel comment is sparse. And panels are few. So 3 points for decent art. The story is okay, but goes nowhere. We get poetry, and poetry that is so difficult to read. What was it written in the 1700s? Then the implication Penguin loved an actual penguin. Great. Except we don't just get an implication; Tom King feels compelled to explain and reference and explain and hint and explain again that Penguin really loved this penguin. The key to writing a great gag is showing it and then moving on. Tom King does not understand nor employ subtlety. There is also terrible dialogue. Characterless and disembodied voices. Sad characters. Pointless action (threaten Alfred just to have mobsters kill themselves). Hints at Bane (boring, saw that 8 issues ago). 1 point for ending all sentences with a period. I'm just tired of this boring nonsense. There isn't even intrigue too babe Bane pulling the strings. Dropped, but unfortunately I still have 2 issues I already purchased...

What a reversal! So much that was weak in issue 58 was corrected I this issue. Suddenly Tom King and Mikel Janin remembered how to tell a quality story once again. Top notch art, steady story pacing, intrigue, and less self-indulgent references from King this outing.

Stellar bounce back to the better days of this Batman run. Rather than focusing on one punch, or one poem, we get another nicely paced and intriguing issue filled with great art. The new paper stock bleeds with the vibrant color from Mrs. Bellaire, whether the line work is by Janin or Fornes. And speaking of the Fornes art, it was a good visual clue to distinguish between Batman's rage quest and the more plot oriented bits of story drawn by Janin. Faith restored for now...Wak!

Still makes no sense after rereading this one.

Lee Weeks with support from Fornes.

A middle finger to anyone that's ever read a comic book. This comic profanes the names of Jerry Siegel and Joe Shuster that are legally contracted to be credited if Superman is used in a comic book. Amanda Conner's art doesn't even save this because she is equally to blame for this nonsense.

Makes no sense even after reading later issues.

Recap with gratuitous back breaking. Time frame is uncertain.

One of the few comics I've ever thrown away after reading.

It had promise last issue.

Double the artists, minus a point on art. Minus another point for Bruce and Selina sitting in a cafe in Paris like the end of Dark Knight Rises. Minus a half point for Bruce looking up in that scene and saying sincerely "It will be... A good death." Minus another point for this stupid, contrived story where timing irrelevant. Catwoman takes Batman to Paris all while the U.S. government watches Gotham fall and Batman sleeps??? And just as Batman wakes and has coffee, Damian dares enter Gotham??? And then Tom King writes a scene where Bruce's alternate timeline father (still never explained why he's a villain now) watches bane "murder" Alfred Pennyworth??? Actually minus two points for that garbage. Plus 4 points for good quality art. Plus one and a half points for moving the plot forward.

While JR JR has had a wonderful past in comic art, it says something that King's run on Batman nears its close with some late career boxy Romita art. It's fair, but it's not Clay Mann, Tony S. Daniel, or Lee Weeks who have been wasted on frivolous dream sequences in this run. Coloring is excellent. Writing continues to be frustrating. Batman's triumphant return to Gotham is complete with obligatory punching of all the Arkham crew. And some incoherent dialogue from Gotham Girl who can't string together a complete sentence. The inevitable heel turn of Thomas Wayne Batman is now set, and Bruce Wayne Batman is apparently gambling on cross-multiverse familial bonds with his alternate universe father to save his hostage son. Bane will break the back of Thomas Wayne Batman in the ultimate plot twist. But where's a page or even panel of Bruce mourning or being angry or even mentioning the loss of his beloved butler Alfred? Not in this issue.

2.5 points for the art this time. It's about average thanks to a good deal of coloring work. I respect and admire JR Jr. for all his past work, but it's too squared these days and doesn't work as well with modern coloring. Also the art direction I this book is poor. Scenes of Batman and Catwoman are of them prowling. Scenes of the big "fight" are all off panel. And Bane, while looking like classic Bane at the end, looks nothing like he has for this entire run. 1 point for writing. Words were on the page in complete sentences this time, the characters got from point A to point B, and there was even some dramatic irony. But this plot is still the most contrived, dragged out, awful excuse for a mainstream superhero comic. Not only does it explain away everything from issue 50 on, but it makes every bit of story going back to issue 1 a waste. Gotham didn't know he was secretly buying Venom? Batman wanted to get lost in the desert? The bats have a punching language? Clayface is not only alive, but back and able to infiltrate Gotham as the Joker? All nonsense. Tom King pretends again that good storytelling is when you pull something out your rear end during the finale to explain away all the plot holes. The Gothams weren't on Venom in issues 1-6, we never knew how or why Batman was in the mountains after getting tossed in a desert pit, the bats don't have a mystical punching code language, the bats wouldn't be defeated by Thomas Wayne Batman, we still don't know how he's even in the universe or why he would align with Bane, and the world wouldn't sit back as Gotham is invaded by a foreign power.

Absolute perfection for a Batman story, especially an annual. Art mostly by Jorge Fornes and Dave Stewart (a few just as excellent pages by Mike Norton and Stewart) is clearly the main attraction here. But this is Tom King's writing at its best also. There's a gimmick (again, this is an annual), but it has a narrative purpose, is fully fleshed out, and is highly satisfying. We get no plodding dialogue or self referential narration. It's perfect. Jorge Fornes channels his best Alex Toth/David Mazzuchelli/Francesco Francavilla influences for the fine balance of realism and cartooning. The relatively flat colors from Dave Stewart provide a bold saturation to the art, which shines on the matte paper of the comic book. By only slight complaint about the comic is that the thicker page count and thicker paper has made the centerfold very loose on the staples of my copy at least.

Straightforward superhero faire. I haven't fully caught up with everything thing on in Metal, but apparently Duke Thomas and Gotham are dealing with consequences of the event in this miniseries. With Respectable art, lively action, and some new characters I can't quite fully buy into, I'm cautiously anticipating the next issue. So far nothing says "must buy" unless you're hooked by the idea of Duke, a.k.a. The Signal, learning how to be his own person in an unfamiliar world.

Perfect in just about every way. Good extra content for the event, superb Tony S. Daniel art, a killer cover, and a fun and twisted take on Bruce. I would read a miniseries about Bruce becoming Doomsday.

Perfection!

More perfection! A little character development for our trio of heroes as well.

A great entry point to the character, setting, and rogues gallery for Batman. The extra long format allowed for more of the story to be collected and established in one issue. Great Nick Derrington art is consistent throughout, but a character or two looked funny in the face. It's just his style. Downside is this is a 5 dollar comic, which will never attract a new reader for Batman. It's a dumbed down version of the character marketed to existing readers looking at the name Bendis as writer. And in that regard, there's nothing special about the story here that he's bright to the character. There's a few quips and background character comments, and there's a casual introduction of a new DC character. But otherwise it has all the hallmarks of an out of continuity, light hearted DC Universe story.

I knew the premise of this series going in, but I was honestly surprised at the very serious and literal approach the first issue took. Literally, this series is about a group of "Scouts" on special government assignment to to carry out covert missions. The danger is palpable, even though the mood is carefree. The real drama will come in later issues as the Black Badges come to terms with their actions and cast a light on real world decisions made by "adults." It's too early to say whether the author will cast judgement on or choose sides in the game of nations, or whether the judgement will be on the game being played. Tyler Jenkins' art, as always, is so unique and well suited for this type of series. If you're curious, read this issue and I think you'll know pretty quick whether the series is for you.

I wasn't actually going to buy or read this issue, because of the $4.99 price to start with. And the few issues I read of Coates' previous series were impenetrable. But I got this issue in a prize bundle with some other comics, so I read it. My overall impressions are: great art, competent writing, good pacing, sparse dialog, and an intriguing premise for the series. I'm a little skeptical of the premise (why do the names transfer across the galaxy, how did T'challa get abducted, etc.). As a reader "new" to this franchise, I did find it all very accessible though. It should be pointed out that Daniel Acuna displays a mastery over his craft, providing unique character designs, kinetic action, at least moderately detailed backgrounds that the characters fit within, and a diverse mix of panel layouts. If Acuna can stay on for art, and if Coates continues to drop in small bits of explanation to the mystery in each issue, then I'm in for the longer haul with this series. Only deduction is -1 point for the oversized and overpriced first issue. It's an impediment for bringing in new readers, and instead only gets a quick buck out of previous ongoing readers and first issue speculators. If I hadn't won this issue for free, I had planned on not reading. Instead, I got the issue for free and will buy future issues at $3.99 per month. Marvel would do well to consider affordability for bringing in new readers with future series relaunches.

I'm confused. Was there a time jump? The intro says that the Maroons added T'challa to their ranks 2 years ago. Was that 2 years since issue 1? Plus none of the questions from issue 1 were addressed here. Such as why do these characters have the same name as the earthbound Wakandan characters? If this is a mind wiped T'challa, how does this fit in with the main timeline? If it's not the main T'challa, why are we getting this story to begin with? And did the evil emperor just use a symbiote to kill his advisor? If so, then is this just one more Venom tie-in comic disguised as a Black Panther comic? So bizarre. Definitely feeling less jazzed than after issue 1. Still competent writing for this issue, even though the broader story is not coherent. And very enjoyable art by Daniel Acuna.

Eh. A 10 for excellent art. Like I can't imagine a better artist for Captain America right now than Chris Samnee. He's doing Darwyn Cooke level of nostalgia art for Cap right now, and it's great! But story-wise, why are we in the future? I just started picking up Captain America because I wanted to see him fighting for justice, and now we've suddenly swerved to the near future for some alternate dystopian future with radiation mutated people and animals. I found the Dimension Z stuff from a few years ago uninteresting, followed by Hydra garbage, and I thought we had finally turned a corner. Oh well. Eh.

Ultimately, this is a well told story that I'm just not interested in reading. As far as first issues go, this did a good job of seeing the pace and theme for the series ahead. The Leinil Francis Yu art appeals to me. It's just scratchy and shadowy enough to match the lurking evil in the story. But Yu definitely spaces out the scenes in this oversized issue by giving us large panels on most pages, and by taking many panels to cover each scene. Coates is as much responsible for the slowed pacing and stretched out issue, though. And good grief, I have had enough with the whining self-righteous narrating over Captain America comic stories. All the dumb stuff about the lessons "we" have learned, how hard it is to be "truly American", and how "someone stole my face." No, we were beaten over the head by Nick Spencer's whole run that it was truly Steve Rogers leading Hydra. A figment of the Cosmic Cube's imagination manifested to take down the real Steve. But now we're supposed to care about Steve. Sorry, but I didn't care for the Hydra Steve story, and I don't care to retread or deal with its aftermath now. Also, minus one point for launching a new series at $4.99. It's a low blow to gaining new readers.

Generally nice artwork, but I personally find Joelle Jones is too heavy on the inks. She does do a marvelous job on making her art kinetic, and she frames some of the best scenes beautifully. It feels like I'm reading a movie story board. And a major plus on this issue is the new paper stock. I much prefer the more matte finish and tactile feel I get here, rather than the overly glossy and harder-to-read blade coated paper used in most modern comics. It helps the colors stand out to me in a way that just isn't possible on glossy magazine paper. I really hope this expands to other series as well. The story here is quickly paced and compelling. Jones carefully spaces reveals and fills out the setting as the book progresses. While I wish a few more details had been provided, this issue does start to provide us with Catwoman's supporting cast, villains, setting, and initial conflict in a satisfying manner. I want to see how Selina handles her new environment and new conflicts in the issues to come. And honestly, I much prefer this Catwoman to the will they/won't they story that just ran into a dead end in the pages of Batman.

Joelle Jones turns in another fantastic issue with Catwoman #2. Now that Jones has been able to separate from the structured Batman story arc, this issue breathes a little freer. Art-wise, Joelle Jones has an eye for the action in even quiet moments - moonlight highlighting the silhouette of a cat, a ring box snapping shut, a menacing snarl at a cornered opponent. Her dynamic style is equally suited for these quiet moments and the action sequences. Perhaps it's the fact that DC has printed this on a matte paper stock similar to the reprint trade paperback stock, but Jones' use of solid colors and a heavy linework make this series look like an old-school Golden Age comic book. Even though the scenes change frequently throughout the issue, the pacing is a little slow though. I would have preferred to see a little more development of the governor and crooked cop stories, and we still don't have answers or many new developments regarding the questions posed by the first issue. We now know where the story takes place, but many of the other characters and motivations are still a mystery. Deductions on this issue are for the slower pacing. In summary Catwoman #2 is worth reading if you love Joelle Jones, you love looking at beautifully drawn characters, you don't mind the slow tease, and you're a fan of Catwoman. Either cover is worth picking up.

Kinda gross, esoteric, off putting.

Overall a good read. Expensive, but the per page cost is low and you get a wide range of dark short stories featuring fan favorite characters. And the art is all fantastic. I'd actually like to see a few stories expanded on at some point.

Poor Tim-21! Caught in the middle of so many factions, and facing certain doom, the fate of the galaxy will come down to him. Or will the Descenders bring down their wrath regardless? A+ for Dustin Nguyen's artwork as always. If you've never read this series, it's almost done, so go find the collections and read it now!

Gorgeous art! Great team dynamic! I love the possible storytelling with Clayface. He has played a good tragic figure in recent years. I'm also curious to see how the Batman-Batwoman dynamic works going forward. So far, so good.

This story arc has been firing on all cylinders, and this issue is no different. This is exactly what I'd expect from a story about the Bat Family dealing with an unknown threat from their very midst. They still don't know what they're up against when it comes to the one really pulling the strings here. The Alvaro Martinez art is fantastic and cinematic. There's a really great Spoiler splash page that comes out of nowhere and was a treat. The only ding against the issue is I'd like to have seen Eddy Barrows continue through the arc for a little more artistic consistency. Otherwise this is as good as it gets folks!

The pulse in Gotham has reached a frenzy in the latest Detective Comics. Control is slipping away from Batman and his team of vigilantes, and even his own teammates might be responsible for some of the craziness. I feel like I've got a decent idea where the overall story is heading, but Tynion and his team of artists are weaving an interesting tale right now. Small marks against the issue for style more than substance. I just can't shake a feeling of doom as the Belfry unwinds with Tim in the middle.

Great to see all the characters progressing as the Gotham Knights fracture. Not sure what this last arc of Tynion's run will hold for Batman and his family, but this series continues firing on all cylinders as we race toward the climax. I am most curious about the direction Tim is heading, but it makes for good conflict with Batman. Great art as always by Javi Fernandez. Detective Comics has had the best and most consistent art since Rebirth.

I love it when a plan comes together! Here we get to see an escalation of Ulysses' plan. And it's not good for the Bat family. I'm curious to read that happens next, especially with the return of some older DC universe concepts. What really sells this issue, though, is the art by Javier Fernandez and colors by John Kalisz. There is one page with Batman climbing stairs up to Kane Manor that is just classic shadowy Batman imagery! Detective Comics has had some of the most consistently good storytelling and art since Rebirth. Props to Tynion and co.

This issue brought a fun, satisfying, and dare I say charming end to the Gotham Knights plot line which began 2 years ago in Detective Comics. It also was a satisfying conclusion to the Batmen Eternal story, with some great character growth and launching points for all the characters going forward. The art was a little inconsistent at times, but I still love Eddy Barrows and Eber Ferreira most out of all the current run's art teams. Vibrant colors from Adriano Lucas make the complete package. The concluding vignettes were a little cheesy and overly sentimental, but like I mentioned before, they brought some charm and closure to this run's many Rebirth era plot lines. Now let's see where this series goes next!

Having recently been made aware of the "Batman: the Cult" miniseries, this one-shot return to that concept was nice. What really sells this issue though is the Sebastian Fiumara art. I love the style for a Batman story with mystical elements, and I've never seen his art with such polish. There is a lovely panel with Batman overlooking the Gotham skyline and a larger-than-life Bat Signal projected onto the night. There are some nice dream sequences throughout, but Batman's dogged struggle to emerge from the dreams and save the kidnapped boy was classic Batman stuff.

Off to a good start. I'm not sure where things are headed yet, but there's enough here story and art wise to get things rolling for a new arc.

Action Comics 1000 set an expectation for what the millennium issue could represent. It was a celebration of the character traits and eras of Superman. Detective Comics 1000 is a ten dollar Batman anthology comic. The art was all great (4.5 of 5), but the stories were mostly either forgettable or written confusingly. Even stellar writers like Geoff Johns could not properly structure their stories into a short story format. Panels and story beats were omitted to shorten otherwise longer stories. Even Tom King who wrote an ingesting Superman story in AC 1000, took another dump on Batman with a jumbled mess of immature dialogue passed off as a short story here in Detective 1000. And as far as celebrating the 80 year history of Batman, maybe 2 of the stories paid any tribute to the history of Batman. I most appreciated the Longest Case and Precedent stories in this regard. Again looking back to AC 1000, we got a Luthor story, a story about the mobster from issue 1, and a classic Kent/Superman time crunch dilemma story that reminded me of Superman's long history and varied types of stories. Here in Detective 1000, it all just feels like a random excuse to pair headlining creators together. So I give the mostly mediocre writing a 3 of 5. Lastly, this issue gets a -1 overall for being $10. A fantastic AC 1000 could be put together for 80 pages at $8, but DC used Batman as an excuse to get a little extra cash from its readers this go around. If you have the cash for a $10 Batman anthology, you might find some value for your dollar in this issue. Otherwise, look for the couple of free excerpts released to online news sites and skip to issue 1001 for the next regular installment of Detective Comics.

Not truly a "sequel" to Watchmen, but more the last chapter to a doomed universe. People worried that we'd get DC Universe in Watchmen or vice versa, but this first issue promises a desperate attempt to find hope from the DC Universe. I'm in bored after an issue of solid art, good writing, and clever hooks.

A wild ride so far. Absolutely love the Gary Frank art.

The DC Universe is on a boilerplate, and Doomsday Clock keeps dialing up the heat. The paranoia is tangible, the art is fantastic, and the battle lines are being drawn. Geoff Johns promised this series was going to be a philosophical debate between the the DC Universe and the Watchmen Universe, and I really feel like this issue is defining the parameters of that debate. If Watchmen's influence on the DCU is being personified as Dr. Manhattan making it a darker place, then we're finally seeing what the DCU is going to do about that. Bonus points to anyone who recognizes all the characters and placed mentioned in this issue alone.

Everything I wanted from this series. I love that last page!

Intriguing for sure, but I don't know what the functional purpose was for having this issue be mostly exposition from Lex and Ozymandias. With all the exposition, we still don't know how the Watchmen reality would be saved by Ozy's plan in the DCU being successful. The most compelling part of the story is seeing how the "real world" is responding to the superhero stuff in real time. I appreciate that Putin is taking advantage of the heroes going to Mars, etc. The art is almost flawless, as usual.

I have to process the conclusion and implications of this issue a little more, but it did address several outstanding questions and complaints I had with the series. The ending is a bit rushed, with some unnecessary confusion about locations and times with regards to the children mentioned. Overall, I give Doomsday Clock a B grading. Too dang slow on release, obviously changed directions midstream, but an excellent coast into the finish line. Killer art. Mostly tidy return of the Watchmen to their world. And a world of possibilities of further storytelling in the Rebirth timeline.

A promising start to this new Young Animals series. It comes along with all the trippy out-there kind of story elements you might expect, but Caroline Sharp is a unique and sympathetic character with unique struggles. It makes for a compelling story that I want to read more of. With art by Sonny Liew and colors by Chris Chuckry, the world and visions of Eternity Girl are a beautiful backdrop to tell her story. The only downside to this first issue is the effort it takes to get fully engaged in somewhat fractured storytelling. However by issue's end, I had a better understanding for the flow of the story.

Art is a bit too stylistic, but fits the purpose and tone of this story. Coloring is sufficient to delineate the various settings. The story is fun and clever, but could stand to be fleshed out more especially considering the price point and page count. Overall worth a read, but I would only purchase if you can do so for less than cover price.

It exists. The art looked mostly nice, the stories somewhat intriguing. I don't get why this wasn't a natural plot development in the monthly Batman or Detective Comics series. As a set of miniseries in an elseworld limited high priced book? It's pointless. I would love to read a real Tim Fox as Batman story, set where it really has an impact on DC continuity. Or an evolution of the Outsiders story to go where this series does. The limited, inconsequential nature of these stories makes them impossible to be entertained by.

Intriguing. Great art. Curious why this isn't a story in the monthly Wonder Woman series. It will be a shame this pocket of future world disappears next month. Ugly cover.

What happened in this book? Too much talking, not enough action, and not enough humor.

Trash that can't decide whether he wants to recap the Flash's characters or dump once more on a Wally West. Mindscape travel? What? I don't get this issue or the decisions that went into publishing it. Art mostly okay from Eaglesham.

A compelling first issue, although a few story elements are hard to grasp I the first pass. The creative team gets along well together, with great runs on Green Arrow and Old Man Logan in the last few years. Our two main characters obviously have their own issues, but it will be interesting to see how the two handle their inevitable meeting. There are some great horror elements here, and I really like Sorrentino's use of color to highlight and distract from the horror. Count me in for issue 2.

I've been tearing through some past issues of this series after stalling out after issue 3. I'm so happy I kept picking up the series though. Lemire is the master of weird and thoughtful comics, and this issue dials up the intrigue even more. Sorentino's art continues to excel as well. The composite image double page spread in this issue was fantastic!

Lemire and Sorentino continue to knock it out of the park. The visual storytelling on display here is top notch, creepy, and compelling. Lemire is evenly pacing the story while dialing up the tension to 11. I've got my theories about the story now and can't wait to find out what's next.

So many new questions. But hot dang if I'm not down for whatever is to come next. Compelling writing, great twists, chilling artwork, period. Now I'm all caught up though, so I'm back to waiting for the next monthly issue.

Competently made, and the art is decent, but this is not my jam. The story is one I've seen a million times - old grizzled killer is brought back into the business after his family is killed. This is only $1.50, so it's not a terrible read for the price.

I have been catching up on this run of Harley Quinn, and I have to say issue #50 is just Harley Quinn fun. Sure there is less of her usual cast of characters, or even less hammer smashing nonsense, but it's the kind of hijinx only Harley Quinn could get into. I love this comics jam format for this issue, and most of the art and story elements are enjoyable. If your mother was retconned from existence, you might just search the known multiverse for the culprit to seek revenge on as well. I don't think everything is perfect, but all the smaller parts making the whole are good to great. What other issue has the Justice League Multiverse, Jonni DC, the Continuity Cops HQ, and a Batman/Superman dinosaur riff?

Goofy, irreverent, and so over the top! Excellent art and writing by Skottie Young.

Just as violent, funny, and ridiculous as the first issue. Skottie Young continues to write and draw a fresh series so different from anything else on the shelves.

Al Ewing said I had to pick this book up. So I did. I'm now 6 dollars poorer and likely to never buy another issue of Immortal Hulk. I've kept up with the basic story so far by listening to reviews, but this issue had nothing to do with any of that. It's an end time story, but not really. It's a Hulk story, but not really. 3 points for good art, -2 points for the overpriced and oversized issue, 0 points for a story that doesn't make sense or seem relevant to me.

Mostly just a roll call issue to see what the League is up to. Even the Liam Sharp art is a little off. There were some good scenes, but I wasn't a fan of his take on Flash or Green Lantern.

2.5 points for middle ground art by committee. Each individual artist does well, but nothing inspires as a whole. This is when we bring out Jim Lee - for Rose and future Supergirl? 1 point for a mostly incoherent narrative and shaky logic, and...for no Legion when it's clearly in the title. Are we to believe the future Supergirl ages so much in Bruce Wayne's lifetime? Because Batman Beyond happens while Bruce Wayne is still alive, and Bendis says that happens after Supergirl has aged up to a great age and also after Rose's husband has aged and died. The dialogue is infuriating at times, with no single character able to finish a sentence without pausing, stumbling over words, or being cut off. This issue doesn't need to exist, and this is coming from someone who really was anxious to see how Bendis was going to tie all the future timelines together. All we get is a clip show of "and then" vignettes in Rose and Thorn's life.

Art is generally average to above average from each individual artist, but the various artists approach does nothing to clarify the fractured nature of this story. 3 points for art. And then...1 point for story. Bendis falls into "prequel trope" territory here, with Rose/Thorn inspiring several future characters to make a change in their destiny. We see Rose entertain a pre-Booster-Gold Michael Carter's fascination with the 20th century. And then... We see Thorn lecture OMAC about being just a cog in the machine. And then... We waste 7 (yes 7!) pages reading the sexual exploits of Rose and Thorn as told through her space journal. Still no appearance of the Legion by this point, I almost threw the book away at that point. Absolute trash. And then...some pages I skimmed over. And then...an awkward intro to the Legion of Superheroes that was just a group photo session. No characterization, no plot, no hook. Just Bendis samey, snarky teen speak while they all hang on each other worth starry eyed looks. And then... a promo page for an actual book about the Legion of Superheroes. Maybe. What's the plot going to be? Why is Rose/Thorn important? Who knows. And then... -1 point for the extra dollar.

First, I'll admit 2 things. I'm a DC fan first, and I couldn't make it through this whole book. The chopped up voiceover narration bits got to be too much for me, so I skimmed the rest and looked at the excellent artwork until the last couple pages. The B.C. story was interesting, then it ended. The Ghost Rider/Starbrand story was an odd choice to weave everything else around. And why did Starbrand look like an old man suddenly? Why did we have to read random S.H.I.E.L.D. agent banter? I thought the Avengers scene dialogue was clunky. Ironheart hasn't even met Jane Foster Thor, and yet she just appears on the mission with Thor and Falcon Cap? Honestly I was going for a more coherent story, but in the end it turned out to be a longer and more expensive version of the Marvel Now Point One type of preview issue. I guess the Infinity gems/stones will be the next event sometime down the line.

There is a title, and then there is a comic book. With Retcon #1, the comic book offers nothing which was advertised by the title or solicitation blurb. Our was an okay book with decent art, but the creators clearly hoped to confuse buyers to pick up the first few issues. Maybe issue 2 is different, but I'm not interested by the acid trip of #1.

This issue was a perfect introduction and perfect start to a series about kids being superheroes. We get introduced to the whole Shazam family with some action, intrigue, family bonding, sibling rivalry, and some quick back stories. And the Dale Eaglesham and Mike Atiyeh artwork is some of the best DC house style. Very dynamic posing and action, detailed backgrounds, vibrant colors, and a genuinely fun sensibility. I'm curious to follow the breadcrumbs left in this issue, and I feel there are a great many stories to be explored here. I also hope they continue with the back stories like the one on Mary at the end of this issue. Mayo Sen Naito did an excellent job laying out and drawing the few pages on Mary's path to the family, and it was a very polished look even for the manga style it was drawn in. Can't wait till issue 2!

I'm not fully caught up on Metal, so I can't speak to how this new series ties in. But as a new series of its own, "Sideways" hooked me with a likeable and goofy main character combined with awesome Kenneth Rocafort art. Rocafort's penciling art is some of my favorite in the business, and the changing set pieces in this first story provided plenty of opportunities for him to shine. I want to see where Derek's powers take us next!

I'm not too familiar with the Len Wein Swamp Thing run, but after reading his and Kelley Jones' story, I am sad we won't get any more from him. It's a Swamp Thing that's a little more reactive to the world around him. I really appreciated the inclusion of the script along with the unlettered story, as it made for a more meaningful tribute. I also really liked the first story by Tom King and Jason Fabok. It dragged on just a little, but I appreciate how it presented the disconnected, elemental version of Swamp Thing. The horror element in that story was Swamp Thing's cold realization of what needed to be done to defeat the Snow Monster and save his swamp.

Nothing compelling about this story, given the updated settings and tone of the recent Archie titles. This issue ditches the hokey teen band tour drama and random meetups, and it dabbles in silly nostalgia references from decades old television. Not terrible, but definitely a different approach than the last 3 issues. I glanced through this issue, but nothing grabbed my attention beyond the Allred cover.

Definitely not a book for everyone, but if you like fantasy stories, this has all of it. Mythical races, cursed men, warring factions, and hard to pronounce names. The Ricardo Federici art is top notch and fits the story well. His best selling point is the ability to create realistic, distinct characters. No same face problems here. And Philip Kennedy Johnson brings a creative, deep lore complete with myths and songs (with musical notation so you can sing along!) and an intriguing zombies-meets-dark fantasy hook.

Art holds up as top notch from the first issue. It's a perfect fit for this style of story, and I love seeing the un-dead creatures every time they come on panel. The names and places become difficult to manage, and I had hoped some of that might be easier after the busy first issue. For that, I think I can't fully engage with the story as much as I would hope. On the other hand, it is very comparable to any number of high fantasy novels, so I know I will get back on board with the story as we go further. This issue sets up some of the connections between characters a little better, and I feel like next issue will progress the story in some really interesting directions. I also appreciate the prose segment at the back and another song. Philip Kennedy Johnson, Ricardo Federici, and Sonny Gho play off each others' strengths well. I'll be back next month for more.

A meaty book for sure, but some parts left me a little put off. And the higher size and price tag didn't quite seem worth it. With only limited exposure to the character's past appearances, I did feel the comic properly introduced most characters and backstory if needed to advance this story. The art from Cowan and Sienkiewicz did have a bit of a throwback style, though I don't think it was by any means dated here. I very much appreciate the mid-80s comic era, and this issue brings a little of that to the forefront - hard boiled street vigilantes, rampant crime on said streets, and the master-student component to our hero's story. Honestly this could have been a 48 page regular sized comic and the art would have been just as clean and allowed the price to come down from its steep 6.99. And I might have actually had a place to store the darned comic.

I had no idea what to expect from this series, except for the fact that it was going to be John Romita, Jr. on art. The cover implies some sort of vengeful assassin plot, which is surprisingly not what happens in the story at all. Instead we are treated to a frenetic day in the life of Honor Guest, as she fights to keep her family safe from her hidden past. I went from skeptical to firmly on board for wherever this story takes me as a reader. I actually loved the John Romita, Jr. art here, as the story is very fitting to his action-packed style. His collaboration with Dan Abnett has resulted in a surprisingly fun story with some great art. Sssshhhhh...

Not really too much to say about this issue, except that I was pleasantly surprised. Overall I am not very familiar with any of the characters in this series, but this first issue did a pretty good job of introducing the characters and their predicament. I really liked the goofy personality of Plastic Man, and I thought Ivan Reis' art really magnified Plastic Man's presence on every panel. The art in general was great. I am looking forward to wherever the series leads.

I rolled my eyes a little at the "winter is coming" premise, but Donny Cates has laid out a solid foundation for his run on Thor with this issue. I am personally looking for a sense of wonder, mystery, and gravitas that can only come with mythic tales when I read a Thor comic. And Cates knows just how to deliver with complex backstories, interpersonal drama, and larger than life concepts. I'm thoroughly excited by the story. Nic Klein is almost perfect on art - in that just rough enough way where I know I'm reading a comic book. It's polished house style cartooning at a high level, and colored so comfortably by Matt Wilson. My only gripe was the extra dollar (though earned) and the dumb look for Thor with a diadem that looks like glasses/goggles on his face. It ruins an otherwise awesome cover, and loses a little of the shine I had gotten from the rest of the issue when that last page reveal happens. That said, I'm still on board this series until Venom or Knull appears! If Cates falls too far into relying on his own creations from previous works (Cosmic Ghost Rider, Venom, etc.), I'm out. The later half of Jason Aaron's run got stale with the shift from big concepts to gimmicks, and the art was awful and stylized for what should have been a book with solid art when Mike Del Mundo came on board. Let's hope this run has purpose and momentum.

Perfect art and competently written issue, but I just wholeheartedly disagree with this convoluted Dark Multiverse/Perpetua/Apex Lex story. It's a cancer in DC comics right now. Instead of telling compelling stories, they're chasing awful stories just to force another Crisis do-over. I dropped JL because it was always one threat trumping the last threat, and now we're digging up Batman Who Laughs just so HE can be the biggest threat. So dumb. -1 point for being overpriced.