Possibly Snyder's best arc resolution in any book. Gaps are filled in, and an emotional/empowering message of change shines through.

A little something for everyone in this one. Some stories are memorable, and others are just a nice taste of other periods and approaches to the character over time. Jose Luis Garcia-Lopez stands out among a star-studded crowd here. A must-read for fans.

Maximal use of Mad Hatter, and advancing Duke's narrative is enticing. Not as emotionally gripping as the Ivy story. Snyder seems so free to create, and it shows every month.

Very Snyder - big ideas, refreshing villain plot, and maybe overly complex monologue-ing. Jock seems more rushed here, and the colors don't fit what we have seen from him in the past.

A little convoluted but it's shaping up to be an original story... The backup seems fresh as well. The visuals were amazing and memorable (Batman and baseball AND Miami???). I'm all in on this arc.

ASBM will undoubtedly read much better in trades/collection formats. There are several good ideas here but everything feels so disconnected. The 14 issue run ending seems appropriate, especially since the back-ups are limping to the finish line.

A very sweet end to the Alfred story. Though I thought the surprise was a bit hack-y, it's clear Snyder was really putting his all into this, which is impressive considering you know his attention had turned to Metal by this point. Can we take a moment to acknowledge how amazing Jordie Bellaire's colors are?? The backup story feels like it came to a merciful end.

America's current life needs to be more appealing than any time travel/cameos, and the fangirl group has me optimistic that the next issue will be more like the first. Her dialogue often seems like it should be in thought bubbles. The art is solid , and there is no excuse for ratings below a 5 other than agenda.

The art is well-staged if not a bit sketched-looking. The book is fantastic, and this basically reads like still images from the source material.

Art and cameos make it satisfying. Feels very "middle of the story" and doesn't quite stand out like the others in the arc.

Finch at his best, though the second arc nude Bane is noticeable step backward from Janin's. Tom King is a master of ending big arcs, and I only wish the last panel had its own separate page, as it feels a little abrupt. Almost perfect book.

Other than being a slow start-up, it really packed a visual, emotional, and Universe-spanning punch! King has his own voice - sign of a modern comic wave.

The only reservation being that we won't have everything solved in Part 4 - This was an emotionally resonant issue with fantastic art... And a key three pages had me reading that section over and over again.

Full of memorable moments, visually and in the dialogue, that will stick with me. Gerards always delivers, and King is having a lot of fun in this issue. Great turn on the parental storyline.

Wow. Regardless of whether I liked the big plot development, I loved that Bruce allowed Claire to really dig into why and what he is as Batman. This is the best use of multiple artists I have seen in a while - they play off of one another perfectly. Without any real action, it was still heart-pounding stuff. Great way to make a single issue not a throw-away. Can't wait to see what happens during and now AFTER the Jokes and Riddles arc.

Really immersive art. I loved that Batman did not appear until late in the issue - and I didn't expect it to relate back to issue 24 at all. Not laughing Joker is a clever twist and the multi-villain full page...I stared at it for a few minutes taking it in. Excited for TWOJAR.

I usually love King's dueling narrative voices, and it was fine if not a little distracting in this issues. Joker/Riddler ramping up in their rampage while humanizing the victims seemed pretty original, but less than the sum of the parts.

This one had a lot of good elements but it is the first of the King run that just didn't fully come together for me. Clay Mann did a solid job filling in on art, but some of the poses seemed a little stiff/not realistic - but the coloring and inks were up to par. I enjoyed the deep Kite Man dive and am looking forward to the second part of his story, mostly because it will almost certainly come together better.

Such an abrupt ending that it was disorienting. Good storytelling otherwise, but it lacked as many memorable moments as previous Jokes/Riddles entries.

One of my favorite issues to-date. Again, one of those "this is happening in a comic?" kind of issues. I can see people being disappointed that no one got punched, but this is an interesting story just so happening to occur inside of Batman. I laughed out loud at the Joker's criticism of the Riddler.

Emotionally resonant and a few good one-liners - read for WOJAR to really resume, though. You know how in some sports the athletes are judged on degree of difficulty? Well, I had to add a half-point just because getting this much story out of Kite Man seems impossible in concept, but is executed rather well.

My favorite art of the Janin arc. Batman/Catwoman in daylight is hard to pull off, and it definitely worked. Planning the break in and who served as its linchpin was a lot of fun, and the next issue is perfectly set up!

The issue really comes to the answer in a more roundabout way than I anticipated. Ultimately, the art and dialogue in the Selena scenes are so far superior to the J/R climax, and it makes it an uneven issue. While unfortunate (as this is maybe my least favorite issue of the arc), it does end on a satisfying note.

Don't get me wrong, I love Tom King's work - but there was a little TOO much of the monosyllabic/abrupt sentence stuff at the beginning. The way he wrote it in the Rooftops and arc was believable, but I am not sure even Bat/Cat would speak the way they did in this issue. On a better note, the plot is set up to go a million different directions, and Joelle Jones is a welcome addition to the artist roster. The Robins' reactions was one of my favorite comic moments in months!

Jones' art took a step up this week - and a few lol-worthy moments made this another solid issue.

"I'm getting there." I literally dropped my tablet because that page was so arresting. The two settings were almost so good as to warrant separate issues, but it came together wonderfully. Jones and Bellaire are at the top of the art form here.

A look at male friendship that I haven't encountered in comics reading. (The more negative critic reviews seem to only read it on a surface level, not understanding WHY each character is stuck/procrastinating) If others have seen this topic explored in a sincere manner, with the anxieties of how you will be perceived, please leave some recommendations! A promising start to this arc, and Clay Mann delivers.

SO many clever ideas that it's worth many re-reads.

This is the one King story (albeit one issue) that didn't stick the landing for a satisfying ending. Travis Moore did good work filling in for this issue, and some of the pages were downright difficult to look at, let alone linger on to take in the detail. King has range - hooray for Batman being a detective!

I understand the criticisms. However, this was a stunningly-drawn issue, possible the best in all of Rebirth. And what works as an interesting plot element does not translate as well in the execution. We will have to see how things resolve in the final part of the Superfriends arc. I am firmly on team Batcat, but I still enjoyed #39. Somehow, the issue feels worse/average because the rest of the run has been so stellar, grounded, and character-driven in a humanizing way.

Such sweetness and humanity...from a Batman book! Joelle Jones is a rockstar. These characters are growing together, and I feel lucky to witness it.

Janin has some quality angry-faced characters, but sometimes (Diana within the issue, Cyborg on the cover), it looks like a completely different person. A few clever situations and lines of dialogue are evident. Some interesting points about the environment (what if humans suddenly DIDN'T ruin everything). The contrast action/conversation doesn't work as well as some other issues - a serviceable entry with a meh reveal at the end.

I laughed out loud when I realized how much fans had overreacted. A second lesson to wait until arcs are complete and enjoy the ride. Janin's art seemed below his usual standard. The narration/dialogue overlapping on the same page didn't have its usual punch and instead was just muddled.

I feel spoiled by great issues, and now average/solid issues just feel meh. Joelle Jones' art is so detailed and striking that Janin's (admittedly difficult) task of traversing eras just does not hold up in comparison. I wonder if we will look back at the character nods in this as pivotal.

Hopefully we have all learned by now to wait until the end of an arc to fully judge. Booster was annoying, 25% in an endearing way, 75% in just an annoying way...maybe that ratio shifts in later issues. Daniel's art is definitely a shift, and reflects a more traditional approach. King has been criticized for being repetitive, but the tone of this one was very different, though uneven.

What an interesting issue - a surprisingly enjoyable one. Booster is written far less annoyingly, so King might be finding more of a voice for him. And Morey's colors give lots of life to the landscapes. The page with Bruce in the church was poignant prior to ultraviolent shootout madness that lurked a few pages later. For a second issue, Daniel gives quite commendable, B+ value art, that also just pales in comparison to the top-line work we have seen from King's run. Hopefully Grayson-Bat gets a little more interesting in part three - but if not, we'll always have Selina licking bloody claws from #46!

King found a way to make Booster amusing instead of annoying. Daniel's figures are so narrow that I can't figure out if it is genuinely weird or if comic-huge is just too normative. A totally serviceable issue, but it is below the bar set for two years of this Batman run.

I loved it! This is the most Joker-heavy issue King has delivered, and it was hilarious. Janin's overly rendered style continues to simultaneously pull me in and push me away.

Not your typical Batman issue, even for Tom King. We have decades of punching and detective work, but the Joker-Catwoman sibling rivalry is a new angle. Bring on 50!

While it's not the ending I wanted, it was a testament to the characters' histories and seemingly looks to tie together all of King's run. I don't think it'll help bring in new and excited readers.

This would be a great concept in and of itself, and then we throw in the wedding context - this is a fascinating time for Bruce. Add some classic and solid detective/mystery elements, and I am sold. Weeks is A-list and delivers in kind.

Incredibly detailed and focused, and amazing action sequences by Weeks, but it's definitely a middle chapter in the story's development.

Utterly fantastic - sentimental, yet genuine in its depiction of PTSD and post-relationship adjustment. Wagner is a nice change of pace...more enjoyable as a deviation from the usual style than as an ongoing artist.

Suspenseful, yet funny. Breezy, yet startling. Daniels (though his figures continue to be so thin) works the 9-panel grids very nicely.

Disappointing. Very plot-heavy, and the most interesting emotional content was [SPOILERS] KGBeast and his father. Daniel somehow works best in the 9 panel grid, perfect for pacing their conversations. And hat tip for Clayton Cowles on letters for the nifty snow-covering-the-dialogue trick...very clever! It's interesting that I thought Morey in Heroes in Crisis was some of the most gorgeous coloring I have seen in a long time - yet the colors in this were not engaging at all. I think it's in an effort to match/replicate Daniel's style, which...it just seemed below-par. His Rebirth issues have been wildly inconsistent - and that's fine for most books but I reiterate: we are spoiled on the main Batman book. B-minus art feels like a disappointment.

Some nice fight scenes and the fairy tale art was nice change-of-pace. But I will join the crowds and say that the arc could have been completed in one issue. King's primary objective in his comics is to manipulate time and therefore, the reader experience. He's allowed to not do it perfectly once!

The series is back on track! While something about Janin's figures has never clicked with me (it looks kinda...'90s CGI, right?) - I have come to appreciate his strengths: angles and storytelling. Plenty of intrigue in this issue and Alred's facial expression in one panel will stay with me. The series is back on track!

A lot happened to move the plot forward, and Janin's work calls back to Issue #9. King skipped any repetition or nursery rhyme tropes.

Fornes' art was a delight in that it was reminiscent of Year 100, and Janin's strengths were once again given the spotlight in facial expression/close-up angles. I enjoyed seeing that the nursery rhyme came to take on a greater meaning as the arc progressed instead of just being fake-deep.

This was honestly a very odd issue. The boy is certainly memorable but I often felt disoriented when the setting shifted...yet it felt like a stretched out plot? I don't know what to make of it. Reserving judgment until the arc is complete...

A polarizing issue, no doubt - so I settled for an average score. This is exactly what you'd want from a Gerads-Batman issue in terms of color and specific choices (ex: panel split choices). I actually enjoyed the inner monologue as well as Pygmalion story but over the course of the run there have been too many nursery rhymes (+ fables, myths, etc). Sheesh. Let the story speak for itself! Like the last Knightmares issue, this was disorienting and not in a good way, and it felt like a cop-out once again.

Eh. I don't know what to make of it. Less than the sum of the parts. Janin is solid, and Jordie Bellaire is FANTASTIC. King's Constantine monologues are well-written enough. But something about this feels inconsequential. I'm not sure if the Bat-Cat moments are giving fans what they want or a screw-you for wanting it so badly... This arc has not been either fun or compelling, reminiscent of the arc The Gift.

It lacked focus. I think Williamson could be a solid Bat-writer, but maybe the combination with March led to disjointed scenes/dialogue that took away from an otherwise interesting and potential-to-be-heartfelt connection. We'll have a better sense after all 4 issues.

I know it's Williamson writing this (Batman. Spoke. In extremely. Short. Cliches.), but is this what King had in mind for Gotham Girl all along? Good or evil, there was much more promise early in Rebirth. The panels also were not laid out in an easy-to-read format and often left me confused on setting and progression. Not a good sign for me that about halfway through I went from reading it to just getting through it.

Fornes will be a star but this had some inconsistent pages. King is truly on the "it's the journey not the destination" writing at this point, and it's not bad. It's just not that terribly compelling, though it is executed quite well.

Nearly wordless and an artistic feat with a meh final page (like the rest of this arc). Weeks and Fornes are a delight

It was fun enough and had some sly character insights, but overall didn't contribute much to the story or people behind the masks. A different visual take with Conner involved was kinda nice.

The thesis of this (....let's say difficult) arc, distilled into one issue, and it's pretty good! Some trademark Paquette layouts and fantastic Fairbanks colors in the the Bat-Cat dance across the decades are the highlight, with the Bane-Thomas interactions feeling secondary.

How can an issue with above-average artists, wonderful coloring, and a few good quips amount to an overall "meh"? By re-treading Batman v. Arkham. I am starting to question the bi-weekly series as it leads to padding out.

No nursery rhymes. No repetition. No nightmares. Yes Bat-family. Yes moody shadows. Yes emotional turmoil. Biggest minus? The last line was a little on-the-nose. My favorite issue of this run in a while.

All head and no heart. While poetically written, it felt mechanical to explain every detail about 6-12 months later than would have been ideal/coherent. The dual artist approach is deployed very wisely here, so credit to Janin and Fornes.

I cried. You cried. We all cried. A great addition to the Bat and Cat dynamic. Lee Weeks' work was downright impressive. It seems like every page and panel could be your next phone background or tablet wallpaper. Even non-comic readers would enjoy this one. If you manage to grab a physical copy, it could make for a great gift/gateway comic.

Otto Schmidt, everyone! I wondered if his style would only work on other books, but no - he can Batman as well as anyone. Taylor does a great job letting the art do the work early in the book to set the scene/world they build. Then, quips, details, complexity all come through via Taylor. This examination of their co-dependent but loving relationship just as memorable as King's decades-spanning Annual #2. A must-read.

Fun enough start to the series. Snyder technobabble balanced out by some refreshing Batman art.

Jaw-dropping art and a really cool take on Bat-Shadow mythos. Looking forward to more intrigue in this one.

Hill has an interesting story - and potential for more given that these characters have plenty of interesting areas to grow, however the dialogue feels stiff and clunky. Since Dexter Soy started on Red Hood, I have been a big fan - and Veronica Gandini's colors are bold and memorable.

I can't over-state how amazing Soy was in this - and kudos for Hill for crafting a story to let him shine. But the dialogue is so off-putting that I had to take the score down. A shame.

A fresh new voice noticeable in this first issue. We Are Robin is connected to this 3-issue series, and there are enough interesting characters to set up for more content than that. The exposition was handled in a decent manner but - does DC need recap pages?

Tony Patrick is definitely worth following going forward - his dialogue represents a voice not always seen in comics. However, some of his exposition is VERY Snyder-y, and did not mesh with the rest of the book. Props to Laura Martin for fantastic colors. In a series about light versus dark, this is essential and really shone through.

Parts of this are a 10, parts are more like an 8. An important thing to know is this is in NO way a Batman/Joker buddy issue like it has been marketed. The most enjoyable part was the Snyder/Capullo pairing is so immersive and it brought me back to the New 52 days, where you lose a sense of time just being drawn into their story. Pros: Utterly disorienting in the best way, loose connections at the start, and memorable visuals. Cons: Exposition, because Snyder usually goes that way at some point, and it didn't feel in Diana's voice at all.

Better than I thought it'd be. Definitely trippy, and the opening story device with classic tales on the shelf is incredibly memorable.

Don't let the negative reviews sway you from taking in what is absolutely fantastic art. Seeley delivers a clunky, convoluted goose chase that is forgivable in a one-shot BUT Jung's Batgirl is in top form. Even Otto Schmidt's epilogue is a sight to behold. I am all on-board for Jung in an ongoing.

Kinda surprising to see Anarky turned into a meninist but at least Seeley had some interesting things to say about underlying anger.

Sami Basri's art is worth the price alone. Its similarity to Otto Schmidt's work transitions into the epilogue nicely, which I didn't see coming, re: the ending tie-in. The story is straightforward enough and representative of what a 21st century Harley-Joker dynamic should be.

Best Batman art aside from Gerads in years. Completely new and nuanced take on the Joker and it ties in current events (SJWs, policing) without taking sides in a simplistic manner. Perfect starting issue, and ready for #2!

Not quite the same arresting world-building as the first two issues, but enough clever ideas and unique character angles make this one another solid read. Get on this series if you haven't yet!

The story and characters only get deeper in this issue. The only thing stopping it from being mid-arc perfection is the lack of Easter eggs that were present in the earlier issues. Get on this book now!

What it lacked character development, it made up for with an amazing Sean Murphy car chase that is not to be missed.

While it lacked some of the nuance of the previous issues, the art is as vibrant as ever, including a dynamic car chase. Revelations and character choices continue to make this an all-time great in the making, provided it sticks the landing in the last two issues.

Among the amazing car illustrations and striking Joker pages is one of the most emotionally arresting moments in Batman non-cannon. I miss the casual pace of the first few issues, but things are coming together in a way befitting of a new classic.

A dutiful enough wrap-up to all of the corners of characters and Gotham explored throughout the series. It was serviceable, but lacked the character moments that really made the early issues special. Let the Gordon-verse expand!

A wonderfully disturbing set of images and ideas come together to make for a very memorable issue. I'll look at his Robins in a whole new light going forward. Unfortunately, the card metaphor/language is so overused by villains and negatively impacted this book. That said, Rossmo's art was well-suited for some of the scenes, and it was probably my favorite work of his to date. Rarely do I take significant notice of the lettering, but this was a strength.

The art and Julia/Kate dynamics stand out. Too-frequent flashbacks detract from forward momentum.

The angles and lighting make every frame almost background wallpaper worthy. The script is too convoluted for its own good despite a compelling plot.

The ending narration is so poignant and a shot-across-the-bow that I can't help but be interested in the series. The commentary on the Secret Empire arc wad even more interesting than the villains to come.

A very bold and new direction, with shades of Gotham Central and the New 52 Catwoman run. Jones is so impressive.

Great issue! The series is becoming more than just fun times as the C's face struggles related to lack of organizational structure and corporate lurking. Top shelf Marvel art.

One of the weaker Champions issues, particularly because of obvious plot resolution. Kamala is written as more immature than the way Waid and G. Willow Wilson usually write her.

Just didn't engage me at all - maybe because of the event tie-in. I hope Champions can return to the fun of the first few issues.

Less than the sum of the parts, unfortunately...but the wasp/Viv dynamic was really nice. A good direction for the book when we're out of the tie-in.

It's been a while since Champions has had a great overall issue, but Waid executed a great character deep-dive in this one.

Waid does as well as you can do in the midst of a crossover, and art is as good as ever. It was nice to see a lot of major cities represented, but lots of variety results in a lack of depth. We were going to get the Champions-Avengers reconciliation at some point, but we're only on issue #13 - give me more actual Champions backstory and interactions!

What a shame. Ramos delivers, as usual, the Visions have sweet moments. But Champions is about the team and their connection, and none of that is evident here.

A frustrating book. The inconsistency in the art really throws off the story - with some amazing high highs and some clipart-looking lows. Not sure what to make of Semper - the story arc is fantastic, but the dialogue/inner monologues are out of a '90s cartoon.

Torn on this one. Great to see so many characters - definitely plenty of bang for your buck. But Duke's mom part of a grand scheme? There were a few things that seemed like forced Easter eggs. Spinning the wheel of (albeit great) artists within one book is personally always a little meh. Excited for Metal/meh start.

My reviews are usually pretty positive so I feel like I am missing something with all the praise for this one. The repeated "this could change the very fabric of..." blah blah has gotten very repetitive over the two preludes. Maybe it's just me but I haven't felt very...oriented(?) to this book, possibly because of the number of characters/artists/etc changing. Looking forward to Metal stability!

Great Wonder Woman action sets, but the art has never grabbed me. A few iconic-looking images don't fully compensate for some of the scrappier panels.

Well, it didn't redeem itself in the end. The Action Comics #1 backup was actually pretty enjoyable.

Well, that was fun! Definitely a slow read because there is so much going on. Hard to put into words how great it is to see Capullo's Batman at it again. Far better than the Forge or the Casting.

The ambition of this story is clear once again, and there are unforgettable images, especially at the end. I want Capullo on DC books forever.

Entertaining and memorable moments, but it feels like a slight step back from the first two books, maybe just because the novelty of how bonkers-fun it is has barely worn off.

Somehow grim and fun at the same time. This story is BIG and it's great to see our heroes pushed to their limited. Capullo's art always brings me back to the New 52 days, even if this issue hasn't been his strongest of the series. Still, there are memorable images throughout!

An instance of the sum not being greater than the parts. I bumped up my rating a little because there are unforgettable moments - visual, dialogue, plot, laugh out loud - that will stick with readers for decades. I've said it before, but there were just times where it was hard to even be oriented to the action/landscape. The scale is so large that what's happening gets lost - like an action movie with too much quick cutting and you don't get a full sense of the space. Metal was a worthwhile, fun adventure that brought in lots of casual fans. Bravo to Snyder and Capullo for the memorable moments.

Totally immersive. I got completely lost in this world. Top-notch clever writing, and I wasn't familiar with Lee Weeks prior but...wow.

A little tricky to rate a free (digital copy) issue that has A+ writers and A+ artists (Garcia-Lopez and Jimenez happen to be my favorites) but here goes nothing: Bendis made for an interesting enough premise heading into Man of Steel, and Snyder et al went FULL SNYDER in their JL team introductions, but King's incredibly focused tale is the highlight here. I am imagining little kids opening up a free issue with Batman on the cover and getting THAT ONE Clay Mann Joker panel, and the ending to the story and...(Joker voice) that's funny!

Wow! From the premise I thought it would be a little more contrived, but it was surprisingly organic and witty. The only points off come from a little bit of "sketchy/cartoony" looking art, but it's a step up from Taylor's Injustice, and the artists did a remarkable job with the "camera" placement to orient to all the different settings/people. Sign me up.

Definitely left me wanting MORE. Taylor has so many characters' voices down. The art style serves the story, but I am also imagining an A+ talent on the book and what could have been.

Wow! Not only is Mahnke making Gary Frank/Dave Gibbons classic-style epicness, but Tomasi brought his A-game. Save for one syllable ("my...Martha" I guess the idea is Bruce is so thrown off he is imperfect in the moment?), this is pretty much a perfect issue. Batman detective-ing. Batman hero-ing. Flashbacks that aren't tiresome. I can't wait for the rest of this arc.

Oof. I really wanted a few more pages - Bruce's reaction to the traumas he is witnessing is compelling and makes me want to pick it up again in two weeks. Mahnke wasn't as A-plus as #994, but there was great visual storytelling here. Tomasi (so far) is committed to the ground-level detective angle, which should be a crowd-pleaser for many.

You know Tom King often stretches one issue into three? Well this felt like two or three crammed into one. Maybe some will enjoy that, a throwback to '70s plotting, but it felt rushed and disjointed. Mahnke's linework appeared more rushed as well, potentially a function of so many characters and plot, leaving little room for detail. But my issue is the dialogue, which felt clunky. Good ideas with disappointing execution compared to the past two issues, but of course I am still on-board with where this is going. Biggest highlight? Reading HaHaNoraSoColdMarryMeBreakYou was a lot of fun!

Batman doing detective-y things. This arc continues to impress me. The coloring got a little too '90s late in the issue, but was beautiful early (water scenes). I never thought I would see SPOILERS Alfred's head rolling around, but here we have it. Cheers to Tomasi and Mahnke once again.

Frustrating...three key points: - The arc has escalated significantly from the methodical pace of the first few pages. - Some inner monologue text was not consistent with recent characterizations of Batman. - Mahnke seemed to go from hyper-detailed to completely flat backgrounds in panels, and it seemed to vary more than your average DC issue. David Baron did a *wonderful* job coloring the issue, however.

Good but it could have been great, right? I enjoyed Tomasi's dialogue and Mahnke went all-out, as some of the pages had more than even a 9-panel grid, each with the level of detail you'd expect from such a formidable penciller. Yet overall, the full arc and conclusion would read better as a summary of bullet points than in execution.

A surprisingly slow start from some of my favorite creators gave way to an avalanche of intriguing, beautiful, and memorable tales that highlighted different facets of Bruce. A must-read comic.

Well, Tomasi is now 2-for-2 in extremely strong arc set-ups. This feels both exciting and accessible for brand new comic readers AND also appeals to fans of the game series. Walker brings a back-to-basics design to Gotham and Batman, with some of the colors being a little TOO much on the basic side (lacking midtones?). I'm in.

Not as fun as the previous issue, but we do get Tomasi writing Damian in the Detective Comics line AND a reference to Aparo Bay. A fun read.

No one writes Damian like Tomasi. Walker's designs on Damian were very inconsistent and kind of distracting - but he made up for it with his Arkham Knight designs (helmet on AND off) and Fairbain made some interesting color choices.

If you're going to do exposition, this is how you do it. The full background that we don't often get in new characters. Also, Walker's rendering of Batman is really unique and I respect it - it looks almost like a different series from some of the other characters in a Neal Adam-ish way.

The least-enjoyable Tomasi dialogue I have read in a long time, and some of Walker's work seems rushed (other pages look great). The arc ended with a whimper.

A fun issue that was yet another throwback to the times when Batman could leave the country to pursue a mystery in the course of a single issue. Moore would be great on an ongoing book at this point! The final battle was a little '90s, though.

As is usually the case with this kind of anthology issue, its a varied lot, but distinct voices, art styles, and approaches to the animal characters make for a a fun read.

I haven't seen world-building this good since the original Watchmen (and maybe Saga). Johns' voice about current events is unifying yet grim. Frank's art is near-perfection. If you read this, you are guaranteed to want to see where the story is going next.

There's so much detail and thoughtfulness put into each page. It's starting to look like this will read even better in a collected edition, too. Keeping the focus of characters fresh across each issue has been invigorating. I'm fine with delays if this is the quality we get!

Just fantastic. Detailed panels. Character focus. Just enough DC universe nods to pull you in. This is exactly what can make this series special!

Lots of revelations and this was definitely the "everything coming together" issue we have all been waiting for. And yet...and I can't quite put my finger on it...but Johns didn't seen to channel Manhattan's voice. I think I took for granted how accurately all of the other Watchmen universe characters have been portrayed to this point, but this felt more like an imitation.

While some may disagree with Superman's choices in this issue, I think this is as much action and development as you can get in a mid-arc issue. Reading it was like holding a sand castle in your hands and it just crumbles and crumbles no matter how quickly you try to re-build it. What an intense ride.

Wow - this is why I read comics. Since DC's Rebirth, everything has been building to this issue, and the visuals (sure to create MANY lock screens on reader phones) are all-timers. If only it were truly monthly, but the trade of Doomsday Clock will be a must-read for anyone who has ever picked up a floppy.

This issue is an absolute feat - it deals with continuity without getting too self-referential/self-absorbed. Johns' conceptualization of the DCU is brilliant. I like everyone else have a comment about the delays - this makes the books that HAVE to come out biweekly/monthly more impressive, because a lot of work goes into that schedule, regardless of ultimate quality. AND it makes Watchmen seem even more impressive.

I am Bendis-neutral, and his strengths and weaknesses are on full display here. But it's really worth a read based on how great Maleev was in this one.

Emotional moments and great/long detective speak. Definitely left wanting more!

Some of the dialogue and narration were uncharacteristically awkward. Bumped up to an 8 (despite a quick character appearance and then death for...some reason?) because the last 3 pages were so King-ish and Moore-ish that it gave me a jolt. Bring on Doomsday Clock.

Surprisingly fantastic, in my eyes. Given that my biggest concern with the previous issue was the piecemeal approach to setting of the story, this issue was incredibly focused. A large part of the narrative dealt with the complexities of repairing friendship after a rupture, and Williamson captured it well. The Gothams made their presence felt and I am looking forward to, rather than apprehensive about, next week's installment.

Kamala's dialogue seemed to have a slightly different tone in this one, but the fish out of water element was definitely a lot of fun. Carol was mostly one-note, but had some interesting development at the end. I wonder how much impact, if any, this will have on Kamala in the ongoing book...? I enjoyed the art, and the muted colors were a really creative choice, though they did take me aback at times.

Sometimes when a book starts, there is a 12-issue plan. So I was skeptical it could keep momentum after the conclusion of the first two big arcs. This is a promising start for what's ahead - and surprisingly Conrad didn't skip a beat following Hitch.

A bold book with a bold topic gets a bold score. An unprecedented attempt to represent the logical consequences of our heroes' adventures. And this is the best Clay Mann has been - with Morey's colors actually being my favorite part of the issue. This is one I'll reread over and over again.

Mann has never been better. King has. But there are enough memorable moments and interesting character struggles (that are great in theory, but not execution) to solidify this series as a must-read.

Where is this going? I have learned to trust King. The pacing didn't feel odd-interesting, it felt odd-unpleasant. And Weeks' recent strengths have been urban environments, and I don't think he shone through as much in the rural settings. Was this supposed to be one of the two tie-in issues?

I don't want to be too critical (I genuinely love everything I had read by King until this series) - but this feels like a waste of Clay Mann, who is delivering some of the most beautiful superhero pages in years, expect for almost every woman being portrayed as a sexy Instagram model...? I find myself just wanting the words to be different on every page. The best I can say is there are great moments, but the story just isn't there - not in this form, in 30ish pages in 4 issues so far.

No strong cringe moments, unlike some past issues. I liked Superman's statement. I liked Mann's figures and scenery. I liked Booster/Beetle. YET I didn't walk away feeling satisfied, like the story has forward momentum. The last page felt somewhat gratuitous without more context.

This is absolutely the issue I had been waiting for. Gerads is typically great. The stories of the three characters are compelling in their own ways. King appears to be channeling his jilted idealism heading into military service.

Honestly, another disappointment. Usually I take King's minimalism as mood/ambiance, but this just rang hollow. Stupendous art, as usual.

We get the answer, but to what end? King almost always has great endings to short series so I am trying to reserve judgment. But it seems like one other artist or editor involved would say "hey is this a great idea after bringing Wally back, only to make him a accidental killer and then cover-upper?" I am not angry about this series, just disappointed regarding what could have been.

While sometimes things are not as satisfying as we'd want, what really hurts is how much this series has missed the point regarding PTSD. The art is phenomenal. Why would Hal Jordan question what will is? I think he knows. The panels running through DCU heroes teases what could have been a better series.

Snyder is going full-cosmic, of course - but I think the whole UV element is really fun. It's nice to see him playing with omniscience narration. Jimenez is THISclose to my favorite artist out there right now, and I am looking forward to him being on JL (even if his Martian Manhunter was odd...nobody's perfect).

Jimenez continues to be one of the top creators in the game, and while the UV light arc has taken a turn, it's still worthy of exploring. Snyder is giving us something familar and new at the same time.

Where to start? Snyder is killing it with the narration style - entire pages with no dialogue and straight narration. He's also seemed to have mastered the(forgive me for not knowing the name) few words onto the next page to complete a sentence thing...and makes it routinely horrifying. Jimenez is strengthening his grip as my favorite artist. But a lot of credit needs to go to Sanchez, who accentuates Jimenez's dynamic angles with GORGEOUS colors. What a great issue, with the only nit-pick being that the sum is less than the perfect parts. Sinestro's new, huge corps is intense! Every issue feels like an event.

I really enjoyed Tynion's narration, but the pages felt incredibly cramped with both lettering placement and characters. Something about the composition was off-putting, despite the super-fun content.

Snyder is wholly competent at writing a cohesive, yet epic, narrative. Cheung is making a case for top-shelf art rotations in DC! But holy exposition, Batman...

Tynion is paralleling Snyder's voice and style, and that's rather impressive. I also enjoyed Janin working with so many heroes/villains. Like most issues in the series, it could do with some editing.

The tour scene was a lot of fun, and Jimenez/Morey created one of my favorite Wonder Woman panels of all-time! Very good for a one-off issue.

This was a lot of fun! Firstly, Manapul deserves all the praise in the world for his pencils, but HiFi's the colors are exactly what a team/cosmic book in 2018 should be: vibrant, dynamic, and lots and lots of contrast and gradients. What could veer into being an overly convoluted plot is surprisingly clean and believable. Color me interested in this weekly series, and the JL #1 to come.

Color is used in such a clever manner throughout this issue, and the texture effects make it look classic. The writers found a cunning way to get me interested in JL #1 in June, even if the end of issue reveal is a bit meh.

A nice enough start is beautiful colors and hyper-stylized action. I like the alien framing device, and Abbu's secret leads plenty of intrigue to start off the series.

Pros: 3 headed boss battle. Potential widening of scope of the series (though I loved how ground level the past two series were). Action art. Cons: Narration from Bruno's perspective in the second issue? C'mon, let someone who represents so much otherwise not-heard-from voices get the narration for a little longer entering into this series. Also con - too-quick parent resolution.

Am I missing something? This issue has a positive reception, but what I enjoy about Kamala was stripped - relate-able, ground-level stories. Every point of escalation was executed well but it feels like a different character, accentuated by Jung's design of Kamala...who now looks East Asian instead of South Asian (though the layouts/"camera" placement/colors were fantastic).

The hype is well-deserved. Plenty of set-up, with lots of emotional rawness that had me thinking "this is happening in a comic - I am reading this - whoa." It flashed me back to The Sheriff of Babylon in the best possible way. Can't wait for #2!

Tom King is the master of time manipulation. Ex: the kneeling scene is paced just carefully enough so that we feel what it's like to be in that exact moment. Mister Miracle is King/Gerads in total control.

A devastating opening monologue and accompanying visuals. Gerads' backgrounds are more intricate, with more vibrant colors than previous issues. A perfect single issue.

The interrogation scene was so emotionally invasive that it made me tear up. I'll never look at a veggie plate the same. What more can we ask for in a mid-arc issue?

This issue contains moments, topics, and feelings rarely seen in mainstream books (at least for me). Gerads is always strong, but this might be the first time that the art served to outshine the writing, as I found myself lingering on backgrounds, colors, and most importantly, facial expressions, long after I completed a page.

I thought the conversation was dragging along a little too long, and then you see why. A shrewd commentary by King on how our childhoods affect our priorities as adults is a sneaky-important part of the narrative here, and Gerads' action-packed panels are the perfect juxtaposition for philosophizing and the seeming inanity of the conversation. Fantastic work yet again, King/Gerads.

THIS is how you integrate background lore and a modern narrative. Knowing that Gerads was having a child when this issue was being completed... It seems like it's written for the creative team, and we're just lucky to get to read it. Utterly spectacular in its mundanity.

Poignant. Sincere. Relatable. Brilliant. Any slight ding I would give to this issue for the disorientation that occasionally took me out of the book (which is also kind of the point of the whole series) is made up for by Gerads' amazing art, particularly the colors. The battlefield is so gorgeously composed that I lingered on pages long after I should have. This series has not lost any steam! PS: Three words about Batman will never leave my mind after this issue lol.

The usual MM black humor is here, and King is going FULL KING. Gerads really varied his colors both within and compared to past issues. Given the level of success of this series, he could just stick with what works, but he's clearly pushing himself. Usually, the slow pace reflects something deeper, but I may have just missed the underlying tone leading up to the final reveal.

The tightest/most grounded issue of the series so far - it never registered emotionally in the same way as previous entries. But Scott in the shower was INTENSE.

What I enjoy most from the series is tone and disorientation. This issue was more plot-oriented, but still quite enjoyable. It's as much as you can want from a big showdown. Only one to go in the future-classic!

The conclusion reminds me a lot of Catch-22 (maybe SPOILERS)...The only way to win for Scott is to let go. I thoroughly enjoyed this issue and this series, despite and maybe because of the lack of straightforward-ness. Extra time spent on the art, particularly coloring and backgrounds, made it well worth the wait!

Wilson again nails emotion, dialogue, and character development, with an original plot. The art services the script well, with occasional eye-catching details in the background.

Very nice opening half focused on Kamala - the big battle toward the end was a little rushed.

After last issue's emotional start, this is a bit of a break. It'll be forever known as The Bruno Issue...a fun side adventure with a special guest star. Serviceable art, dialogue, and such... Not bad.

Have we ever seen this story in a comic before? Complete new and unique.

A unique perspective in comics today, with an original story line. One of the must-read books out there right now.

G. Willow Wilson comes up with a clever analogue and tries to find common ground paralleling current tensions in American politics - a difficult task, executed very creatively. Her brother's character has gotten more of a spotlight of late and it works!

Kind of a flat ending but it served as a logical conclusion. The overall arc was fantastic - and I will say it again: we don't see so many of the elements of this story anywhere else in comics.

Wow! I unexpectedly loved this issue. I missed the previous artist for a few pages, but the anime-like style quickly won me over. The new addition is very exciting, and the family moments had a lot of heart.

This pairing flat-out works, and I loved Kamala referring to herself as "adjective-less." Hooray for occasional villain-less action issues!

Kamala has grown before our eyes and it'll be interesting to see where she goes from here...the Inventor has never been more bombastic.

The Imam scene is memorable, and according to editor Sana Amanat in the letters page, what she wished she heard as a teen. There were great moments throughout, with my main criticism that there was so much character development packed into the issue that there wasn't space for those moments to breathe. There was TOO MUCH good comic in here...what a strange complaint.

To me, this was a perfect standalone issue. Reminiscent of the early Ms. Marvel issues, this one was hilarious, heartfelt, and immersive. I'm sad to see Wilson go!

What a wonderful note to end the series. The guest writers' strengths are evident, and it's great to see some of the past artists working in succession here. The first page is a reminder of the universal appeal of this series, and I had to remind myself that a popular series didn't always exist that casually and regularly dropped a "Salaam" or a "Beta" into the dialogue. Not just a piece of nostalgia, this issue firmly looks forward. Oh, and one more Holla @ Kamala was great, only to be one-upped by the touching (and tear-in-my-eye inducing) final page.

The covers. The emotional depth. The character development. Only having a one-issue break in the art with a one-shot guest pencil-er prevented this from being a perfect rating. I read this after The Vision, so the standard for emotional resonance is probably too high, but it's an amazing book, even though I didn't know much about Rayner beforehand. Must-read.

Close to a 9. Completely immersive and original, and I'm excited to see what Jordie does with creative control of her own book. Very cinematic - you can imagine this on the big screen.

The art is perfect for the tone, and Damian is hilarious. This has to be atop any casual or serious reader's list.

More chuckle-worthy moments than I have had in a while - and I wonder if the new character will stick around. I can't imagine this book without Jimenez.

Probably my least favorite of this great series - too much Kid Amazo, not enough Damian/Jon. Jimenez is a superstar.

I was hesitant that SS would get too large in scope but it is managed well here. Jimenez has some of the best art out there right now!

Glad to see the next chapter beginning after this one, which was enjoyable but did not soar as high as the earliest issues. A good twist for Damian. Jimenez's Teen Titans were a delight.

Not quite as funny as previous issues, but new characters added a new dynamic. This arc just got interesting...

I liked it! The new fortress and Damian life change set up a new dynamic. It's unfair to compare anyone to Jimenez BUT - Ching did a good job with the Intermezzo and super suit scenes, but the first part was...something was off with the characters out of costume. Tomasi continues to channel Jon and Damian's voices well, so this was another delight.

Admirable work by Barberi, but I am definitely comparing it to Jimenez. Lacks the one-liners that made this a top-tier comic before...sorry to see it is ending but hopefully it means big things for these little characters!

There was some real tension in this issue and (SPOILERS) it ended with a serene moment that epitomizes the Super Sons run. After a few issues that had a little bit of a different tone, it tied everything back in. I continue to unfairly compare everything to Jimenez, so this art merely registered as serviceable.

A solid issue, with striking art, particularly in the underwater scene. It rivaled Jimenez's top moments early in the series. Seeing Jon become a little more self-assured (especially as I am reading baby Jon in Lois and Clark Road to Rebirth) is a delight.

I didn't know I needed this, but it was delightful. Imagining Tomasi coming up with all of the pet "dialogue" was excellent - and a certain detective cameo was unexpected and a shrewd move to include a character would could speak.

Paquette is so good in this, and though the art transitions to other creators was done in a logical manner, I just wanted more Paquette. There are some good ideas here, but it feels disjointed. Great set-up for Lois, though.

Sheesh. I really like Phil Jimenez but there are so many word per page it'd even give Scott Snyder a headache. The artists did what they could but it tanked my interest in the series.

Emotionally evocative and clever story-telling from Tom King. Emotionally evocative and a clever story-telling approach from Editorial in an effort to not step on Len Wein's toes but still communicate his vision for his next Swamp Thing saga. We're lucky to have this book available to us - it's what comics are all about!

Highs and lows. Snyder's prose on the first page is reminiscent of his ongoing Batman series, soaked with nostalgia and heart. A few crowd-pleasing moments are fun to read but land a little hollow. Jock is a delight.

It's almost disappointing to land on a 9 here, because it could have been perfect. The first page, complete with nostalgic Snyder prose IS perfect. I'll never forget that page. But two big-time cringes (page 3 with the syringes and leaning HARD into the Bullock science mumbo-jumbo) felt like glaring, albeit brief, missteps. However, the elevator scene and last page, bringing Snyder-Jock full-circle, is undeniable, irresistible, and tantalizing! PS: Batman briefly begging was actually pretty cool, and I wonder if he has ever been reduced to no options but to beg before? (Not that I want to see him humiliated or anything...just wondering)

A more straightforward entry to the mini-series, Snyder continues his detailed and grounded prose, and new character interactions (Gordon, Jr. is added; Penguin) keep this arc fresh. Though he created BMWL, Snyder has given him such a distinctive voice that's honestly a joy to read, because the writer is at the top of his game in his monologues. But colorist David Baron (see Detective Comics #998) again is the star of the show, bringing a wide variety of settings to life.

A round of applause for Sal Cipriano on letters, who had one of the tougher assignments in a single issue that I've seen! Some classic Snyder science-ing and this reads like a Jock indie that just happens to have Batman. Great series.

This dabbled in cliche than the rest of the series, but Jock delivers the evil Robins better than any artist since their debut. I wish he had more time for backgrounds, like in Wytches.

Plenty of Bat-history references and sides of Gordon that bring about both horror and respect for our favorite Commissioner. I'm no detective but it's fairly easy to tell when Snyder comes up with the plot points and Tynion comes up with the execution, and they continue to play well together.

Torn between 7.5 and 8. As a Ms. Marvel reader, Wilson had a completely different voice here, and it shows she's incredibly versatile. The premise is an intriguing jumping on point. Nord's "camera" angles are a strength, but the figures themselves left something to be desired.

Oof. This was a really rough one, almost exclusively because of the art. It's bold of Wilson to go with so little Diana early in her tenure. There were a few solid Wilson-isms in here, but there was so little background detail, and Diana looked off-model several times. I hope Wilson gets multiple arcs (and artists) to work out the kinks.

Disappointing. The art had more variability than in even the last two issues - with Diana looking like different people even within the same page sometimes. Two pages in particular, she looked rather Anime-ish...maybe Nord would thrive more on a Teen Titans-ish book. Wilson is doing okay, with fine but not memorable dialogue. Ares took a *very* quick turn. Where is this going...?

BIG improvement. Xermanico is a welcome addition. Diana is back to looking powerful and feminine, rather than anime-ish. What seems to be one of the harder things an artist has to do is depicting two people just standing and talking. I didn't love Xermanico's camera placement between Aphrodite and Steve and the dialogue felt very clunky. But the issue picked up immediately after - dialogue, camera angles, colors (including a glowing Aphrodite). Everything went from like a 6 to a 9. Overall, my score is 8. Looking forward to the next issue more than any other time since Wilson took over.

Not only was the move to Xermanico a positive step, but prolific colorist Romula Fajardo Jr. shines in this arc's final issue. Wilson again demonstrates a wholly different skill set from her relatable Kamala Khan dialogue, crafting believable grandiose lines between gods. Ares and Diana fighting more about means than ends was a refreshing take, and this run is back on track. PS: Was this arc about Syria or just overall interventionism?

Wow - Wilson loosened up quite a bit here, and it reminds me of her Ms. Marvel dialogue. Maybe it's just a function of the characters in the issue. Under Emanuela Lupacchino, the series has its best artist since the Rucka days - what a striking final page, as well.

Fine work - Jesus Merino has a classic style, and I mean that in a good, George Perez-ish way. Wilson continues to use a variety of tones throughout her short run, and I am impressed with her versatility.

This issue looked fantastic, and had my ideal balance of WW mythology and ground level dialogue (while also often serving as a metaphor for international interventionism). Possibly Wilson's strongest entry so far.

Definitely the best Nord-involved issue of the run, but Fajardo is the one who truly shines here. Diana looks inconsistent, so it's a little distracting.

This was a DRAMATIC improvement in Cary Nord's work, as the action scenes suited the artist's more kinetic style. This felt like a very new-reader friendly issue as well.

Pretty standard action fare that didn't seem to have much to say? Wilson is clever and I hope to more of that trait manifest in future work...

This is a very interesting idea for a conflict, and I like Wilson going out of the box. This is first issue of her run, though, where the art surpasses the story - Xermanico is on fire.

Disappointing. There are two artists but Diana looks like differently people literally in consecutive panels. Maybe Wilson is not being afforded top-flight art teams, but maybe she is not playing to the strengths of the artists at this point. I would love for an arc to fully come together at this point!

Highlights of the issue were Maleev's layouts, the full page Bane, and Snyder's story. But I cringe at the overall concept because (and far be it from me to tell Snyder how to execute a villain!) isn't a fundamental part of being a villain...not thinking that you are a villain? Maybe other than Joker. I hope we don't backslide into black-and-white good/bad dichotomies. Overall score can't be harsh at $0.25, though!