pocketmegar's Profile

Scott Snyder is one of my favorite comic-book writers. What I enjoy most in his work are his inventive storytelling, his captions' polished prose and the thought-provoking themes he explores. So you can fathom how excited I got when this project was announced. Regarding Jeff Lemire's art, even if his covers often please me, I never loved his interior pages, which I find quite poorly detailed and rather strangely colored. <br><br> From the moment I opened it to the instant I finished reading it, I was utterly mesmerized. The concept of rotating between prose for the memories and comic-book pages for the present time works flawlessly. The former is mainly a showcase of Snyder's talent. Lemire's illustrations for these pages are sometimes useless and even unveil the end of the paragraph. But, in the latter, the art is splendid. Lemire's style brings a somewhat dreamlike feel to the tale and the colors are gorgeous. Moreover, it's important to stress the excellent lettering of Steve Wands, especially in the prose pages, where the text guides your eyes almost musically. <br><br> The story is highly intriguing and creative, but we don't know much about it yet, and that's the main weakness of the comic-book. I don't understand why they decided to divide the story into three parts. The ending doesn't feel like one and left me on my hunger. Nevertheless, the main themes have plenty of time to be developed, like death (obviously), family or memories. They had already been studied in Snyder's past works, notably in Wytches, and that reflects how personal this work is. By reading the protagonist's monologue, you grasp the writer's anxieties. <br><br> To conclude, while it's not genre-shattering and revolutionary, this comic-book didn't disappoint me at all and is totally worth the price, but, for now, I believe a publication in one single graphic novel would have served the story better. <br><br> I can't wait to discover the next issues!

While I enjoyed the concept of rotating between prose and comic-book pages in the first issue, it didn't work that well for me here. Indeed, most of the reading time is spent in the prose pages and I felt like the story being told is not "What if we found a cure for death?" but "Memories from an old man". What is more, there wasn't always a correlation between the length of the texts and the size of the illustrations. There are some few pages where the words overlapped the artwork. It doesn't cause much harm but it's a bit disappointing. I believe that the concept is not to blame but the execution and I'd love more comic-book creators to experiment with this idea.<br><br> Even if the plot doesn't move forward a lot, the story is still very interesting and thoughtful. As always, Snyder's prose is beautiful and Lemire's art is gorgeous. I'm quite eager to see how it all comes together in the last issue.

At last the revelation! It was completely unexpected and it didn't disappoint me at all. But the issue itself is also excellent and the form chosen (separating revelation and explanation) is very judicious. The art is gorgeous, specially those Doug Mahnke fighting scenes.

This event was a disappointment for me. What happened in the story is exactly what I thought would happen, but with very little explanations. Apart from the Clark Kent revelation in the second issue, nothing really surprised nor excited me. Still, the new status quo is interesting and I know that the best is yet to come for Superman.

I absolutely loved Snyder's run on Batman from the Black Mirror arc but this issue was a bit unsettling for me. The plot is quite weak and the past/present storytelling is more confusing than enjoyable. Moreover, I never liked Romita Jr.'s style but, here, White's colors save the day. Shalvey's and Bellaire's work in the back-up is the best part of the issue. I'd love them to be the main artistic team of a bat-book. I'll read this series in trades and I hope the next story arcs will be more inspired.

Riley Rossmo's art is the best part of this issue. The plot is quite good but the characterization and some dialogues are rather weak.

First story: It's elegant, perfectly paced and brings a nice addition to the Bat-family (9/10). <br> Second one: The story is original, thoughtful and relevant and the artwork is breathtaking (9,5/10). <br> Third one: I've never been a Harley Quinn fan, so I disagree with the delivered "message" (6,5/10). <br> Fourth one: A quite enjoyable story with an intriguing ending (8/10). <br> Fifth one: While the story is rather interesting, the best part of it is the lovely artwork (7/10). <br> Overall, it's a very good annual with new talents, like Tom King and Bilquis Evely, and experienced creators, like Scott Snyder and Neal Adams.

This is probably the issue I was looking forward to the most since the DCU: Rebirth #1 one-shot, and it didn't let me down at all. Seriously, two of my favorite creators working on my two favorite super-heroes investigating on a mystery related to my favorite comic-book ever... What could go wrong?<br> Tom King's storytelling, notably the use of a timer and symmetries, works masterfully with Watchmen's 9 panel grids. He already used them in his past works a lot, but here, they are more meaningful than ever. The dialogues are great, the plot is fantastic and there's just the right amount of revelations and teasing for a first issue.<br> Jason Fabok's style also fits Watchmen's remarkably. His line work is very detailed, his scene settings are judicious and his faces are expressive. The fast-paced fight is always perfectly readable. What is more, Brad Anderson's colors are, as always, gorgeous.<br> Can next week be tomorrow, please?

Another excellent installment in this outstanding event. The encounter between Bruce and his father is the most emotional Batman moment I've read in years.

This is a Rebirth one-shot, so I didn't expect much, but I got everything I wanted. Batwoman's story is recapped effectively and the direction of this new series is set. The teasing for what's to come showd me exactly what I am expecting. The art is gorgeous and fits perfectly with the character. Alas, my pull-list is already too long and it's not the most important DC series, so I'm going to read it in trades. See you in a few months.

It's an interesting first issue. This world that Jason Latour and Ivan Brandon present us seems fascinating. I'm not really certain because we ultimately don't learn much about it, and that's my main problem with this issue. The world building isn't successful. We don't even get the protagonists' name. I suppose it's purposeful because she's presented like a mysterious character but, still, it's quite upsetting and it's revealed in the solicitation (it's Zelda). Her voice-over guides the story with pseudo-philosophical thoughts but, again, we don't know her backstory at all and what she's referring to, so it's very puzzling. Also, the pacing is rather weird. The plot moves from time to time and from place to place (or dimension, or world?) in a confusing way. Greg Hinkle's and Matt Wilson's art is really great and gives the book a peculiar look, that's for sure. If I'm going to continue reading this series, it's thanks to them. Right now, I don't know.

This was the Young Animal title that got me most excited when they anounced the imprint and, today, I am disappointed. While Doom Patrol's weird side is daring and paradoxically controlled, it felt disjointing here. Moreover, I didn't enjoy the art, which I found quite sketchy and not original enough.

I didn't enjoy the first issue, but I decided to give this series a second chance. The flaws from the first issue are still here: quite confusing characters, lack of coherence and rather sketchy art. I guess I just don't get where the story is headed, and I don't really want to find out. So long and thanks for all the fish!

This issue is not as fun as I expected it to be. It's very introductory and struggles to deal with the consequences of Civil War 2 without revealing anything too soon. This series is not for me.

Quite pleasant but rather long, this issue feels more like a presentation of the Dark Knight's state of mind than a real story. Throughout the story, no moment really stands out and the feared "unnecessary one-shot" taste develops. Nevertheless, a positive surprise came from Romita's art, which I found greatly respectful to Miller's style.

Such an enjoyable issue! It's more fun than the rest of the series but less thoughtful. Most importantly, we can now consider that the Flintstones are part of the DCU (at least I will).

Pewfect

Perfection. All I wanted for this issue, and much more ! Johns shows us how much he understands and loves these characters.

Very well paced and with strong characterization, this issue continues heading into an excellent direction. This series is the most unexpected positive surprise from Rebirth and could become one of the best titles of DC, nothing less.

This issue is an excellent conclusion to an amazing arc and a perfect example of how to combine various plotlines in a mainstream comic without damaging neither of them. The only negative points for me lie in the repetitiveness of some interactions between the characters (for instance between Batwoman and his father) and in some odd page layouts (like the one where Batman reads the letter). This series is not only the most positive surprise of Rebirth, it's also the best current bat-book and the best work I've ever seen by Tynion IV and Barrows.

A quite excellent issue that juggles skillfully between the consequences of the last arc and the introduction of the new threat. As always, the art is superb, and I particulary enjoyed the small Watchmen reference.

I found this issue a bit messy, mainly because there were too many characters. While reading it, I had this feeling sometimes that I had skipped a page. Still, the Victim Syndicate members are really intriguing and I'm looking forward to discover their complete plan.

I enjoyed this issue quite a lot. The art is neat and the questioning on Batman's work is really well developped.

What an incredible issue! The concept of the crime syndicate is really great and the questions the antagonists raise about Batman, and super-heroes in general, are thoughtful. The characterization of every character (and there are a lot of them) is brilliant and the dialogues are neat. Finally, the art is breathtaking. The panel composition is at the same time original, surprising and perfectly clear. It guides the reader's eyes smoothly. I can't wait to discover how this skillful creative team concludes the arc and how they set the stage for the future.

This series is just incredible and this issue finishes positioning it, for me, as Rebirth's best. There's a rich cast of characters, an incredible portrayal of Batman, thoughtful debates concerning superheroes, gorgeous art, a whole lot of suspense and emotion... I can't wait to see what stories will grow from the seeds planted in these first arcs.

Batwoman is my favorite member of the team, so I entered this issue with great expectations. She isn't really spotlit in the plot for now but I'm sure she'll shine in the next issue. The story is really interesting and blends cleverly the consequences of two previous arcs. That was a nice surprise. However, the introduction and explanations of Victoria October are rather clunky but this new character is quite interesting. Ben Oliver's art is beautiful. His portrayal of Batwoman is perfect and he brings a unique look to the issue.

I enjoyed the small arc a lot. It skillfully managed to move the series' plot forward and, at the same time, set the stage for Batwoman's series. But what I liked most is how they explore the differences between her and Batman. She hasn't got neither the same experience, nor personnality, nor mission, and she's definitely not a secondary Batfamily characters, she's an independent and complete super-hero. The art is neat, but the two pages from a different artist unsettled me a little. I'm tremendously excited for the upcoming Batwoman series!

Characterization continues being the most impressive aspect of this series. In these three excellent stories, Tynion skillfully manages to develop his bat-team and introduces new intriguing threats at the same time. Nevertheless, it feels more like a "deluxe fill-in" than an "oversize anniversary special. I would have preferred this issue to be a stand-alone story rather than a prologue to the next arc. The three artists, Takara, Martinez and Barrows, along with their respectives inkers and colorists, deliver a very strong work.

This is one of the most constantly great series published by DC and this issue is no exception. The plot is original, the characters are complex and the artwork is beautiful. Still, in my opinion, the series doesn't improve much and struggles to surprise, even if I enjoy it a lot.

Another outstanding chapter! The plot moves forward, the stakes are high and the diverse cast of characters is unique. Ra's al Ghul is the first famous Batman enemy in this series and I'm quite eager to discover his role in this story. Also, I particularly enjoy how, in this arc, each issue begins with a flash-back. It works quite nicely. Finally, the art is gorgeous and, even if the first pages are illustrated by another artist, the unity of the issue isn't affected because the two different styles aren't very different.

A weaker issue than usually, both in writing and art, but still very enjoyable.

This arc, which the series has been building up to since its beginning, is disappointing me a little. James Tynion's plot is weaker than usual. The dialogues between Batman and Ra's al Ghul are lengthy, the other members of the teams are absent and the revelations about the League of Shadows are unsatisfactory. The cliff-hanger is very interesting though and I'm eager to read the next issue. Also, Marcio Takara's art is quite sketchy and some faces, specially Ra's al Ghul's, are rather odd, but Marcelo Maiolo's colors are beautiful. I particularly enjoy the way he illuminates the scenes and how he suddenly changes the colors of the background at key moments.

This arc was extremely disappointing. The story was uninspired, the art was weak and the ending was meaningless. If the series continues in this direction, I will drop it soon.

I'm utterly spellbound by this dauntless book.

I wouldn't have believed you had you told me my favorite page wouldn't be the Niles Caulder one but an hommage to Crisis on Infinite Earths in a comic within the comic.

After the weirdness comes the explanation.

An excellent issue, even though I expected something different for an arc conclusion.

With compelling characterisation and a quite intense story, this issue shows Williamson's love for the character, which is one of the most important qualities a super-hero comic writer can have. Moreover, the art is tremendously original and dynamic, thus giving the book a very distinctive look.

Since the beginning of the series, this is the issue that I liked least, mainly because of the new artist. Googe's style is very different from Di Giandomenico's. But what really bothers me is that Googe's characters are always smiling and happy, and that brings a childish style to the book. Also, the story is a bit weaker and the cliff-hanger is quite weird, but the characterisation is still great.

Another very solid issue, with compelling characterisation and very neat art. I was afraid this "day off" issue would be rather boring, but it wasn't at all. The cliff-hanger really surprised me and excites me for the end of the arc.

I feel perplex about this issue, I found it quite heterogeneous in quality. On one side, some really nice and peculiar moments stand out, but, on the other side, the flaws from the previous chapters, like some cheesy interactions or artificial explanations, keep broadening. Concering the big revelation, it was very foreseeable for me, even if I found it rather well brought up in the issue. Furthermore, the story arc is beginning to stretch too much and its pace is somewhat confusing. The art also disappointed me a little, since Di Giandomenico normally produces a stronger work.

As the story arc continues to stretch, repetitiveness grows and the plot weakens.

The dialogues are rather cheesy, the writing is really repetitive (I can't stand the "My name is Barry Allen..." thing anymore) and the story arc was way too long (1 rebirth one-shot and 8 issues). However, the art is quite unique and raises the bar. Now that the new characters and plotlines are introduced, I hope that the story will strengthen and I believe Williamson is able to make this happen.

I didn't enjoy the last issues that much, but this one, it filled me with hope.

The same dialogues, the same challenges, the same voice-over, the same interactions between the characters, the same reminders that they haven't forgotten about the other storylines, over and over again. I thought this new arc would correct the flaws of the last one. It did not, and that makes me quite sad. The new artist, Felipe Watanabe, is also a disappointment, mainly because of the expressionless faces.

There's way too much chit-chat in this issue. This arc is quite uninspired. Hopefully, there's just one more chapter until its end. The art is pretty great though, and it's quite shameful that the artist's name is incorrectly replaced by Felipe Watanabe on the cover.

This arc is an incredible disappointment. The first one was definitely flawed, but it was fresh and quite inspired. Now, the dialogues are far-fetched, the plot is almost nonexistent and the characterization is really repetitive. The artist has a nice style, but some panels are rather sketchy and he doesn't have the opportunity to show off his talent very much in this rigid story.

I expected very little from this issue and it surprised me a lot, both in writing and art. The story was fun and creative. Wally's parts were the best, but, as always, Joshua Williamson's pointless captions break the pace of these dynamic scenes. From the beginning of Rebirth, Barry's love life has been quite tumultuous and I really hope this issue is the end of this situation. Moreover, Neil Googe delivers a rather solid artwork, but some facial expressions of Barry and Iris are a bit odd. The cliff-hanger is very intriguing and I'm eager to read the next arc.

A solid start to the most promising story arc yet. The story is nice, the presentation of the Rogues is well achieved and it's enjoyable to see as much Barry as Flash. But Williamson's useless captions really annoy me. Most of the time, the characters say obvious things. These make me think of the thought bubble from Silver Age comics. The series would be so much better without them. Di Giandomenico is finally back and his art is fantastic. The way he illustrates Flash's speed is completely unique.

The Rogues are back and it couldn't be more enjoyable! This is the best Flash issue in a very long time, both in writing and art. It's an example of what Flash comics should be like: funny, creative and fast-paced. The dialogues are smart and the captions are finally correctly dosed. Each Rogue has its spotlight moment, espacially Mirror Master. He's always been my favorite one and I had never seen him so powerful and badass (hey, if anyone over at DC is reading this, I just want to let you know that a Mirror Master solo series is a dream of mine, thanks). Concerning the art, it's tremendously original and dynamic. The representation of speed is brilliant, with, for example, distorded panels, characters overlapping their borders, clever perspectives and blurred-sharp contrasts. I hope the next issues won't let me down!

This issue is very enjoyable and keeps the arc's momentum going. The beginning is quite slow and the cliff-hanger is rather odd, but the use of captions is skillful, the plot is great and the take on the Rogues is tremendous. As always, Di Giandomenico's artwork is splendidly unique and Plascencia's colors are vibrant. The splash pages are numerous and particularly gorgeous. So far, the arc is almost flawless. I can't wait for the conclusion in the next issue!

This issue is a satisfying conclusion to the best arc of this series yet, but it's not as enjoyable as the other parts of the story. The ending is quite rushed and the epilogue is rather too long. Still, the quality of this series is constantly improving. Another let down is that Di Giandomenico doesn't illustrate the entire chapter. The other artists are good, but not as good as Di Giandomenico, and the issue loses its unity.

The quality of this series is like a roller coaster. When it goes up, you know it's going to go down, and vice versa. The previous story arc was incredible and now we're in a descent. This issue is rather dull and repetitive. Most of it just reexplains what we already know and the new arc starts very slowly. The art is quite lovely, but I found Flash's "wing" on his head to be too exaggerated (it's a small detail, but it was big enough to unsettle me and take me out of the story).

While this two-part story wasn't very good (it really could have been told in one issue), the evolution of the relationship between Flash and Kid Flash is promising and the cliff-hanger is tremendously exciting.

I enjoyed this issue more than I thought I would. To be honest, I didn't expect much of it, but it surprised me. Black Hole's plot is beginning to get very interesting and the cliff-hanger is really unexpected. Joshua Williamson's writing is improving; the dialogues are rather realistic (except for that I-am-the-bad-guy-and-I-explain-my-secret-plan-to-someone-who-already-knows-it scene), the voice-over doesn't disrupt the story and the plot is quite original. Neil Googe's art is lovely and energetic, but I find the style a bit childish, and Ivan Plascencia's colors are beautiful. I can't wait to discover how this story continues, but first, the Button!

This issue is very different from the last one, and that was something to be expected. Joshua Williamson and Howard Porter have very different styles than Tom King and Jason Fabok. I was afraid that this second creative team would imitate the first one, but it didn't happen, and that's why this issue is excellent. Joshua Williamson and Howard Porter do what they do best. That means no 9 panel grids, no timer, no economic dialogues and no overly detailed inks. Instead, we get interesting interactions between protagonists, a dynamic artwork, original panel compositions and a lighter tone.<br> Concerning the plot itself, it moves forward nicely, there is a decent amount of anwers and new questions, and the cliff-hanger is perfect.<br> Again, can next Wednesday be tomorrow?

This event has been an amazing and satisfying interlude between the DCU: Rebirth #1 one-shot and the juicy storyline that Geoff Johns, Gary Frank and Brad Anderson are cooking us. The entire creative team involved in these four issues excelled, especially Joshua Williamson and Howard Porter, who have produced here their best work in a long time.

This rebirth issue is probably the most legit one. While some of them struggle with explanations of past events, The Flash: Rebirth #1 offers, in addition, a complete presentation of the characters (which reminds us why we love him), the continuation of the DCU Rebirth one-shot and the beginning of the first story arc. The art is original and dynamic but still clear and readable. This issue is very promising for the series and I'm really looking forward to reading more of it.

I've never read an Inhumans comic-book and I'm really excited for the upcoming Black Bolt series, so I decided to get this issue. I wasn't let down. It does a great job at introducing the characters and the status quo without being too dull or clumsy, but it sets up only the Royals series. I wish I had gotten a glimpse at Black Bolt or New Warriors. Anyway, the most interesting point I learnt is Black Bolt's complete name, and now I will never see him the same way. It's the silliest thing ever and I love it!

An amazing conclusion to the best story arc of this title. Always surprising, always epic, always brilliantly paced. Johns and Fabok at the top of their art. What more could you ask for ?

I have to keep in mind that this is just the Rebirth issue and not the real #1, but I was really disappointed. The characterisation is clumsy, the story is quite predictable and the art is far from memorable. I will probably continue (or begin?!) reading this series as a trade.

Here is a perfect first issue.

I enjoyed this first arc enormously. I was expecting a darker ending, but the one Brubaker came up with definitely pleased me. I'm quite eager to see where the story is headed. Above all, this series is masterfully driven by its compelling characters. It's a delightful feast, both in writing and art.

And when I thought it was impossible, this series just gets more brutal, more psychological and more thrilling. The storytelling in this issue is really masterful and the artwork is tremendous as always. I was surprised that the ending of the first arc didn't have much consequence, but I prefer to believe that it's going to pay off later than that they changed their minds. I was also surprised by the protagonist's voice in the captions. I found it addressed more directly to the reader than before, which makes the story more engaging and the character more compelling. In the extras, Brubaker reckons that this series is probably going to be the longest they've ever done and I'm so excited! After this issue, I definitely in for the long ride!

This issue is mostly set up even if it's still very enjoyable and masterfully executed. The art is great as always, but I found some facial expressions a bit odd.

A very surprising and unexpected issue, but definitely enjoyable and relevant. This series has the best characterization in all of today's comic-books, both in writing and art, so an issue like this one definitely has its place.

Paper Girls is finally back and with a very solid issue. The series is taking an interesting turn after the last issue's cliff-hanger.

The story's a bit slowed, but otherwise excellent, as usual.

I really have no idea of where this is heading.

Saving the best mark for the next issue.

Masterful

New story arc, new era, new surprises, new threats, new characters and still no answers, that's why I enjoy this series so much!

This series keeps being the one that surprises me more.

The middle of the arcs are the slowest issues in my opinion. Still, the writing and the art are excellent. I particularly enjoy the repetitions of panels structures. They're always surprising and fit perfectly with the time travel theme. And the ending is extremely unsettling!

Such a fun comic ! As always, Slott's dialogues are funny and Allred's art is stunning. The story is really sweet and the new direction of the title is interesting.

The story is quite slow and the characterization is a bit repetitive, but Allred's art is still gorgeous. Not really about the comic itself, I found it's a pity that Marvel ruined the cover and hid some faces with the barcode and the banner in the top (they could have placed them in the back like they did for some Civil War 2 variants).

This issue is good, not great. The encounter between Dawn and [spoiler] is somewhat unrealistic, the problem resolution is rather simplistic and Spider-Man's appearance is quite enjoyable. But, as the landmark 200th issue, it's definitively a letdown, because there is nothing special whatsoever, apart for the bonus 8 pages (that obviously raise the price), the letter column and the cover gallery. Regarding the "massive status quo change" the Surfer underwent, it's really unimportant and I feel like they're already turning back. Ultimately, the series' direction is confused. Nevertheless, the Allreds' art is A+++, detailed and colorful, completely worth the delays. I'm afraid I might drop one more Marvel series soon...

I'm really enjoying this series less and less lately, mostly because of the delays. It's written like a monthly series but comes out once every two months, it simply doesn't work. This issue is nice but ultimately quite pointless, because neither do the characters evolve nor the plot really moves forward.

For me, this series is a waste of Mike and Laura Allred's talent. I keep buying it thanks to them and I keep getting disappointed because of Dan Slott's stories. As these one-shot issues become more uninspired and repetitive, the humor and feel-good atmosphere continue to vanish. I don't blame the creative team though, I just believe Marvel should make changes in this series. For instance, it could be published once every three months (without delays) and be oversized.

All the wonder and joy that the series used to deliver have completely vanished and all that's left is repetitiveness and plot holes.

At last a good one-shot! While the last few stories were dull and repetitive, this one is entertaining, uplifting and even a bit moving. I particularly enjoyed the use of symmetries and original panel compositions to translate the relationship between Dawn and the Surfer. It reminded me of the extraordinary issue 11 (of the last series). The Allreds' art is incredible; their Galactus is impressive and powerful. Still, the series is not as good as it used to be before the delays. The overall plot doesn't move forward and the lack of "real" narrative arcs prevents the stories from being more complex and ambitious.

The series seems to be back on the right track, with a real story arc and no more delays. This issue is fun, entertaining and its cliff-hanger is very unexpected. As always, the art is breathtaking. For once, I can't wait for the next issue of Silver Surfer!

I enjoyed this issue much more than the Rebirth one-shot, but the story doesn't really kick off yet. After a couple of explanatory pages (again, but this time more emotion-filled), we finally get to know the family. The portrayal of the characters, specially Jon's, is very enjoyable, as well in Tomasi's writting as in Gleason's art. The direction of this series is tremendously interesting and I'm looking forward to issue #2 more than I was for this one.

This series just keeps getting better, everyone should read it.

Regarding the enemy, the Eradicator, I found the arc poorly executed. Regarding the characterisation, it was truly heart filled. Overall, Superman is in very good hands in Tomasi's and Gleason's.

This issue is excellent, mostly because Superman's perfect characterisation. The art is great, but Superman's costume is a bit inaccurate (for instance, the rhombus is normally detached from the rest of the belt). Overall, I loved it even if I didn't see anything I hadn't seen before. It's a typical and very enjoyable "Superman's day off" issue, but this time with his family.

Before reading this issue, I was quite skeptical about this new arc, and thus I started it bearing a serious expression. But, once again, Tomasi and Gleason quickly made me smile. I especially enjoyed Krypto, the trio with Superman and Jon/Superboy just works perfectly. Concerning the tribute to Darwyn Cooke, which is one of the things that scared me about the issue, I found it very well achieved. I don't feel that this means The New Frontier is now in continuity, I just believe that this particular part of the story also happened in the DCU, but let's wait and see how the arc continues. Furthermore, the art is rather great, detailed and colorful. Every superhero comics fan should read this series, not only Superman fans (which I don't happen to be).

Gorilla Grodd has a cybernetic eye? Seriously though, I found that this conclusion to this short story arc was quite rushed. Nothing much happens and no question about Dinosaur Island is really answered.

I didn't enjoy this issue as much as I expected to because of its rather weak plot, but it's really nice to witness theses fanstastic characters gather. The characterisation of the protagonists is the best aspect of this series. The cover is one of the best of the year and is sure to become iconic.

This arc quite disappointed me. While the art is beautiful and colorful, I found the story too simple and some dialogues rather cheesy. Still, I'm really excited for the upcoming Super Sons series.

The story is rather interesting and the artwork is quite enjoyable, but, in my opinion, it's not worth an annual.

I was really looking forward to this arc and I wasn't disappointed at all. Even if this issue is mostly introductory, it's very enjoyable to witness the encounter between our Superman and the characters from The Multiversity. It's not a surprise, but Reis' and Prado's art is fantastic and Maiolo's vibrant colors are beautiful.

After a strong introduction, this issue is a disappointment. Not much happens between the explanations of what's going on and the presentations of the differents Earths, but the mix of Superman Rebirth and The Multiversity is really enjoyable. Regarding the art, I didn't love the multiplicity of artists (pun intended) because it felt it was due to a time constraint rather than an artistic process. Still, every artist provides a very solid work.

This arc started with a great premise but ultimately fell flat. In this last issue, the plot is quite weak, the dialogues are rather clunky and the villain is very uninteresting. DC's multiverse is tremendously rich and it isn't exploited to its full potential in this story. The ending is intriguing but this kind of "Rebirth teasing" cliff-hanger starts being repetitive and I hope we'll begin getting answers soon. Regarding the artwork, Tony Daniel and Clay Mann deliver a solid work. However, in the span of three issues, six different (and excellent) pencillers worked on this title. I understand the difficulty of producing bi-weekly comics, but I greatly prefer when each arc is illustrated by a single art team.

This issue disappointed me. The first pages promise a Stranger Things-y story, but, the plot is quite confusing and the ending is rather rushed. I wish they had taken the opportunity of this one-shot to develop the relationship between Jon and Cathy more. The new artist, Sebastian Fiumara, has a lovely style, but I found some scenes oddly illustrated. My interest for this series is decreasing and I've been considering dropping it for a few weeks now. The Reborn arc, which I'm looking forward to, will be decisive.

This series keeps disappointing me. There are too much "I have to explain what's going on" dialogues, "we have to remind you of that situation" panels and "you don't understand but you will soon enough" moments. No question is answered and the story doesn't take off yet. In addition, I usually like Gleason's art, but, here, some faces are rather odd, especially Jon's. I'm still excited to see how this event unfolds and I have hope that the quality will improve.

This issue is very good. It's rather well-written and has plenty of enjoyable scenes, but the plot is quite simplistic and it's kind of stuck between the revelation of last issue and the ending in the next one. Also, Gleason's art is beautiful. I particularly love his Mr Mxyzptlk. Finally, the cliff-hanger isn't surprising (it's what we were promised in this event) but it's still very exciting and I can't wait to discover how the story unfolds in the last issue.

Now this is the Superman series I want to read! It's fun, optimistic and uplifting. Tomasi's and Gleason's writing is great, Gleason's and Gray's art is gorgeous and Kalisz's colors are vivid and bright.

Another excellent installment in this surprising story arc. The plot moves forward and the interactions with Damian are just extremely enjoyable. Even if some facial expressions are odd, the art is gorgeous, and it's interesting to see different inkers on Gleason's pencils. This series is so colorful and I love how Superman's costume pops out of the page.

In my opinion, a #1 issue beginning with an explanation of previous events is already a failure. For a jumping-on point, I found it rather confusing. I haven't read the "Final Days of Superman" story but I know the major plot points of it and, yet, I was lost... And the actual story of the issue felt pretty pointless and boring. But the issue gives me faith in this creative team and I am sure many of the problems come from the very nature of these "Rebirth #1" titles. So, I'm looking forward to the real #1.

Definitely a very interesting one-shot! The art is tremendous. It's dark and creepy, but at the same time perfectly readable and the action is always clear. I particularly love the hand lettered sound effects. The story is also excellent, with an unexpected twist at the end.

I realize the modern look might repel some readers, but once this barrier is broken, this issue is really enjoyable. Russell's humour is cynical and reminds me of Prez's. The art is very good and fun as well. My only concern would be of the lack of a real plot. I feel like we're going to get only one-shot stories, but that's not a problem if it is well-handled, and it's easier to drop the series if I get bored (I hope I won't). As far as I'm concerned, this looks like the best series from DC's Hanna-Barbera relaunch.

I really liked the first issue but I was afraid that it would be a series of disconnected one-shots, which is what issue confirmed. I'm disappointed... Moreover, the cyncial and satirical humour, which was the best part of the last issue, is weaker.

As the cynical humour continues to vanish, my disappointment continues to grow...

I finally understand the direction of this series. We will get each month a one-shot story that deals with a specific topic. Sometimes it will be relevant and funny (like this one), sometimes no so much (like the previous two issues). I particulary love how Mark Russell sometimes places a completely unexpected critic on a topic that's not the main one. For instance, in this issue that covers marriage, we get to talk shortly about schools' education.

Even if it doesn't replace the second Prez miniseries, I enjoyed this issue about democraty a lot. The double level reading works perfectly, and the fact that it's a Flintstones comic makes it even more enjoyable. What Mark Russell achieves to tell with these characters is truly remarkable. The art is also really good. It's detailled, with hidden jokes and expressive faces.

This is the best issue of Flintstones so far. It contains everything I love about the series. It's funny, it's thought-provoking and it's different from any other comic published right now.

Another excellent issue. This series finally has a real consistency in the themes it explores, even if each issue is a (more or less) one-shot story. A little let down is the art, which I found quite sketchy.

This is the most relevant comic-book series published at this moment. This issue tackles new themes, like feminism and economics, as well as the usual ones, like family and politics, in just 22 pages. It's unbelievable. The artwork is also excellent and goes way beyond merely illustrating the story: the facial expressions are hilarious, visual gags swarm in the background and the panel composition is always judicious.<br>When this series was announced, many people (myself included) were skeptical about it, but Mark Russell managed to turn the constraints into advantages. He uses this early civilization to underline the origins of our modern problems. I'm saying this because I just learned that issue #12 would be the last one and that Russell would be writing a new Hanna-Barbera series about Snagglepuss, which is a character I don't know. Obviously, I'm upset that Flintstones got cancelled, but I'm tremendously excited to discover what will Russell come out with.

This issue is less funny than the last issues, but it's still very enjoyable. This one is a bit different in the sense that all the story lines treat to the same topic and there are no "side-themes", which brings coherence but makes some of the series's characteristic spontaneity disappear.

Unsurprisingly, another brilliant and thoughtful issue. I don't have much to say that I haven't said in my past reviews. I can feel that the end of the series is approaching and that makes me a little sad.

I find this issue a bit less inspired than the last ones. It's quite fun, but that's it. I hope that the next one, which will be the last of this amazing series, will be unforgettable.

Masterpiece

This is the issue that introduced me to Thor. I had always considered him as a boring and irrelevant hero. I was aware that Jane Foster had taken the mantle and I was quite intrigued by why they had brought this change, so I decided to give it a try when I spotted that beautiful cover at my comic-book store. I was hooked immediately and it quickly became my favorite Marvel ongoing series (I'm writing this more than a year later).

Too long for this special story. The last issue got my attention, this one lost it.

It's so good! The story continues taking unexpected directions and the entire creative team keeps being tremendously talented.

It's a very good issue. The action sequences are quite hard to follow but still enjoyable. The last pages are really the best part, emotion-filled and rich in revelations. I can't wait to see what's coming up.

This issue is an interesting interlude with gorgeous the art. I love what Jason Aaron is doing with Thor, he's modernizing the characters like no one has ever done before.

Jason Aaron continues to surprise me issue after issue. A mainly female League of Realms to free Alfheim from Malekiht's yoke? I'm in! And Steve Epting's art is tremendously beautiful.

Even if this arc was rather enjoyable, this conclusion felt quite rushed. The new Kurse and League of the Realms aren't very developped (I hope we will see them again soon) and Malekith firing a beam from his mouth was a bit unsettling. But I understand this arc is just a prelude to the Asgard Shi'ar War, which I'm looking forward very much to.

This is one on the best Thor issues since Jane Foster took the mantle! This story arc promises to be amazing. The antagonists, who I am not familiar with, are reintroduced skillfully and the fight scenes are tremendously enjoyable. Moreover, I love how, in epic fast-paced stories like this, Aaron manages to bring calmer Jane Foster moments. I didn't expect that in this issue, but it works just perfectly. Dauterman's art is a feast for the eyes and always clear when there's a lot going on. Finally, Matt Wilson's vivid colors are gorgeous as always. As Kid Gladiator puts it, "holy supernovas"! My only disappointment is that [spoiler] appears on the cover but isn't in the issue, but I hope he/she/it will show up in the next chapters.

This issue takes an unexpected turn. The Challenge of the Gods is an interesting idea and I'm eager to see what will come out of it. The artwork is fantastic as always: dynamic, colorful and with very original panel compositions. Moreover, I love it that, since the last issue, they include concept art and letters at the end.

This arc is the best of the series so far. It's the first time that Jane Foster faces the fact that Thor is a God and her opposition to the Shi'ar Gods is brilliant and thoughtful. Also, the energy of this issue is just insane. So much ideas, so much action, so much colors! This kind of comic-book reminds me why I like this art form so much.

I don't read this series but, as a Computer Science enthusiast, I had to get this one. It's amazing, I loved it and I hope they'll make more issues with this concept! Everyone should read it.<br> Note: My rating is ten, not two in binary.

I got everything I wanted, and more: some answers, even more questions, the best space travel goat, fights where Odinson doesn't prevail, Beta Ray Bill... I can't wait for the next issues!

After two issues I still don't get what story they want to tell in this comic. They want to begin restoring Odinson as Thor, but it's quite clumsy as for now. We just discover a series of unfortunate events for Odinson with surprising characters passing by. It's very well executed though: it's never boring, the dialogues are great, the inner voice is perfect and the artwork is splendid.

The plot moves along nicely, Beta Ray Bill's return is really enjoyable and the addition of other vilains is interesting. The stakes of this story are definitely higher than I imagined them to be. As always, the art is neat, even if some panels are rather poorly detailed. Even if Odinson's goal and the purpose of this mini-series are perfectly clear, it's quite impossible to predict what is going to happen next. And I can't wait to discover Odinson's role in the Asgard Shi'ar War! <br>Oh, by the way, my fan-letter found its way to the issue and this is my 100th review on CBRU! Here's to a hundred more (reviews, not fan-letters)!

Another great issue in this mini-series. The plot doesn't move forward a lot, but, as Aaron continues thoroughly exploring the relationship between Thor the Mjolnir, the story finally gets its worthiness. What started as just an enjoyable tale is turning into an important part of Thor's saga. The different artists are all excellent and the idea to insert the guests' flashback scenes between Coipel's pages works flawlessly. My only disappointment in this series is, for now, that the story is quite messy, but I trust Aaron and I believe everything will pay out sooner or later.

A great ending to this story and satisfying answers (at least for me). I can't wait to see what comes next in Jason Aaron's fantastic run!

This one-shot skillfully captures the essence and main themes of The Wicked + The Divine with a different approach than the rest of the series while relevantly enriching its universe.

I didn't enjoy this issue as much as I would have liked to, because almost half of it was dedicated to (rather artificial) explanations of the current situations of the characters. I want it to be in continuity but I believe a series like this should be as timeless as its protagonists. Concerning the rest of the issue, I found the dialogues and the characterisation very well achieved. The reference to [that old and famous issue of Detective Comics] was nice even if it didn't slot perfectly in the story. Furthermore, the art is obviously gorgeous, but it's unfortunate that Cheetah's look on the cover is the old one.

<center><u>Behold a modern classic</u></center><br><br> In my opinion, it's Marvel's best comic-book ever. I could (and do) talk about it for hours, and I'll try to write the most comprehensive and spoiler-free review possible with 2000 characters.<br><br> Let's begin with Tom King's storytelling. It's elegant, it's original, it's perfect. One of the techniques that struck me most is the use of repetitions. Many times, two different characters pronounce the same sentence or a panel is reproduced later. For me, these symmetries highlight meaningful connections between moments in the story and also reflect dualities that are explored, like husband-wife, parents-children or even past-future. Another technique is the use, in each volume, of an omniscient narrator, that is an unknown character until the end of the story arc. He/she/it describes and comments on the story, or sometimes talks about something totally different but that connects with the moment of the story. Genius.<br><br> The story is relevant, thoughtful, entertaining and very personal. It begins as a social commentary as Vision decides to live a normal life, slowly adds many more themes, and finishes with nothing less than the "meaning of life". In addition, the writer makes reference to plenty of works, as comic-books, literature, music and paintings. Genius.<br><br> Gabriel H. Walta's art is gorgeous and brings a lot to Tom King's scripts. His edgy style can make a moment more emotional, tragic or disturbing. The character placements and scene settings are judicious. Michael Walsh's terrific art gives issue 7 a nostalgic feel. The comic-book has a truly unique look. Moreover, Jordie Bellaire's colors are delightful as always, Mike Del Mundo's covers capture the story perfectly and Clayton Cowles' lettering guides the reader's eyes smoothly. Genius.<br><br> I believe we can affirm that this is a modern classic and that it is going to be reread and studied during decades. Bravo.

I haven't read Secret Wars or any other tie-in series, but I wanted to discover this one because I love Jason Aaron's stories and Mike Del Mundo's art, and I wasn't disappointed at all.<br><br> It's an epic tale full of surprises and twists. The heroic-fantasy-style dialogues and characterisations are nailed, especially the protagonists' inner voice. Often in comics, hearing the thoughts of the hero breaks the pace of an action scene and thus ruins it, but, here, this technique is perfectly mastered.<br><br> The art is breathtaking beautiful. Everytime I turned a page, my jaw dropped. The action is always clear, the colors are surprising and the splash pages are delighful. It gives the comic a truly unique style.<br><br> I have mixed feeling about the ending. On one side, the story doesn't really end and is heavily affected by Secret Wars' consequences, but, on the other, it opens the doors for a new series. Maybe this should have been a completely independent mini-series. Even if Jason Aaron won't write them, I can't wait to read Arkon's new adventures.

After an incredible Secret Wars tie-in, this new series is a disappointment. My biggest surprised was the change of protagonist. I don't get why Akron was replaced by Becca. She's a nice character, but I want to know what happens to the hero of the first series.<br><br> Sam Humphries takes Jason Aaron's place as the writer and it's impossible for me not to compare them. The series is headed in a different direction. While Aaron wrote mysterious fantasy characters, Humphries presents more human and relatables protagonists with much backstory. Also, Humphries adds a dose of humor, which works wells with the tone of his series, and introduces human creations in Weirdworld (like cars and planes), which is quite odd. But the biggest problem is that Humphries mostly uses what was already created and doesn't surprise the reader very often whereas Aaron constantly imagined new creatures, enviromnents and threats. Still, the plot is rather solid, the dialogues are generally well written and the new characters are somewhat compelling.<br><br> The artist is the same, but delivers here a weaker work than in the first story, less detailed and more classically colored. Maybe it's because of time constraints, maybe it's because of the script or maybe it's because I'm used to his art style and thus the "wow" effect diminishes. But the book still has a completely unique look and the art is gorgeous. If Mike Del Mundo had also left after the first series, I wouldn't have read this one.<br><br> Concerning the ending, it didn't feel like one. I don't know at what point Humphries knew his series would be cancelled, but he didn't manage to bring a satisfying end to his story and I was left on my hunger. I hope someone will revive Weirdworld someday.

Even if it's rather well written, this issue reads to quickly and the story progresses to slowly. The art is beautiful and has plenty of details, but some faces look a bit odd. My interest for this series is in decline, I had big expectations for this creative team.

Very intriguing. I can't wait to see what Rucka has planned for Wonder Woman.