Manhke draws some amazing *********** in this story. Its easily the highlight of Superman Reborn. Fun Fact, he drew Superman for years on Man of Steel with Shultz

A fine bit of closure. The characters voices are very well handled by Jurgens. The Artwork is a delight with some delicious pieces. Artistically Superman and its sister title are some of the most ambitious titles in the Nu52. While Superman Reborn may be little more than a patch of the awful Nu52 Superman character, it is one of the most competently done patches in recent memory.

Nineteen issues in and there is not any way around it, Tom Taylor's x-23/Wolverine series is a failure. Taylor has a funny history. Give him a terrible idea, like Superman killing the joker, and he will ham it up. But give him something straight like this or GL and he can't pull it off. The book starts awkwardly and Tom buries his lead. After a lackluster finale in eighteen to his first outing, this was not ideal. Additionally, I never thought I'd praise Leonard Kirk as an upgrade artist but after some truly terrible artwork, Kirk is a godsend. Taylor eventually reveals his hook and it isn't bad. It just isn't enough to sell this book in a market place that includes the far better Old Man Logan. After nineteen I think I'll be stepping out. I've given this book too long to get better and that's because I want it to succeed.

No other way to put it, ANWolverine has lost its way. Its not funny, sad, or even cool. Its just boring.

A truly disappointing entry into what should have been a worthy successor to Wolverine mantle. Taylor proves he has no grasp of what made Laura or Logan popular and references past stories. By all means, buy the first Enemy of state. It is miles beyond anything you'll find here.

This remains the best Spider-man Title on the market. A fun read.

ASRYN, what an acronym, remains a worthy title, but the story is dragging. This should be wrapping up. Instead you can feel the decompression. The artwork remains tight with good back grounds, different body types, and emotive expressions. Characters are dynamic, never stock figures in pose but instead still frames of moving people. Pacing remains ASRYN's worse problem.

This issue frustrates. Its still well drawn and the characters don't make me cringe when I read the word bubbles. But there are some big issues. Why doesn't Mary Jane recognize Venom? How come Venom is 'evil'? Some of the moments in this comic are like being at a B horror movie. I'm standing up yelling at the stupid character, only to realize I'm invested. And isn't that good?

Rushed plots and wasted potential. its clear Marvel expected RYV to tank and when it didn't they started meddling. Now everything different about the series is being swept aside to make the book another Spider-girl book.

Okay, full disclosure. I wanted RYV 2.0 to be good. In retrospect I should have known it wouldn't be. They replaced a veteran writer with a diversity hire, traded Stegmen for Nick Roche, and employed that laziest of gimmicks a time jump. I can't recommend this.

Good artwork cannot save a rancid story. Yo Soy Americano is one of those books you can tell is going to disappoint. Most 'professional' reviews give it no small matter of praise. This is not surprising as the average comic book critic can be bought for a ham sandwich. However, I quickly realized that this wasn't a simple matter of quid pro quo. The review gushed, "a more timely hero there could not be", it proclaimed. Really. I scanned the rest of the article. Very little discussion of the story or its merits was there other than the reviewer assuring me they were perfect. I went online and found perfect 10 after 9. Most did the same, talking about the race, sexual preference of the writer. Very little of substance was discussed. So I read the issue. It took some time. By page four it was a chore to continue. Joe Quinones does his usual competent job. So the artwork is well done technically. Nothing revolutionary just the modern panel work seen today. I found very little to hook me into Amurica as a person. She comes from an alternate earth. Normally alternate Earth fiction is supposed to push us by presenting a warped funhouse mirror of our own. Her earth is not this. Still, America isn't the worst book at Marvel, that title still goes to Hellcat by Kate Leth.

(UPDATE) I initially post rating for most books before writing reviews. In this case, I find myself disheartened looking back at America and the public. Again the most important point the professional critics list in its favor is politics. I do not care about politics. You are not paying four or five dollars per issue of a comic book for politics or an agenda, you are buying a piece of art. Of literature. Those things can be propaganda, but there merit as art/literature is removed from their value to any agenda. The writing in America is fairly terrible. The author creates straw men for her POV characters to knock down. Never once will you feel a connection to the random antagonists that appear and disappear throughout #2. The plot continues to jump around, never achieving coherence. Being a visual medium, dialogue in comics absent a very narrow genre should be sharp, concise, and snap. That isn't the case in Amurica. Artwise the book suffers as it can't decide what style it wants. Overall America is a symptom of a larger problem. As comic companies attempt to listen to people who do not read comics or appreciate their history, they make bad decisions. One of those decisions is to hire artists and writers who neither possess an appreciation of the medium or an understanding of what does and does not make comics of a genre, here superhero, work. Marvel isn't the first company to look to outside parties to write comics. It is however doing so to an unprecedented level. Lost in all of this is the consumer, someone that deserves better.

I didn't know it was possible, but this comic broke me.

Some stories feeling too short. Others drag for ever. This one has begun to hit the latter.

A weak finish with a hook ending. Not the way to sell the title.

Underwhelming.

A decent story with solid art. There are better versions of this story, but by all means, you could do worse.

Easily the bottom of the Rebirth barrel. Still not as bad as Superwoman.

Tom King's dialogue grates...allot. Still, the book is well put together and the plot is decent.

Okay. So there was. There was this. What I'm trying to say is. There were these two guys. Did the above annoy you? Now imagine every page filled with that. King needs an editor to beat him every time he pulls that shit. Otherwise Batman is a good enough book.

Good ending, killed by crummy scripting.

Batman Rebirth hits its nadir...hopefully.

Bat? Cat? Cat? Bat? Just say the name King!@#@#@# And the artwork is brilliant, much better than this mess deserves.

I wanted to like this so damn much. Fuck King for ruining these two. He really is DC Comics Bendis.

Back to basics, sigh.

So far King's Batman has underwhelmed. This issue is the first one to live up to the hype. The plot is great, without a wasted moment. I won't ruin it. This is the sharpest King's writing has been. His obnoxious speech patterns are gone, replaced by sharp wording that crackles. More important, he's willing to leave space empty when words aren't necessary. A nearly perfect job. Fabok is the game changer artist. The book is filled with symbolism and callbacks. Shifting to a Watchmen grid format, to Dark Knight esque poses. The colorist deserves comment too. The color...well, I won't spoil that either. Just know that this is Allred level work.

Continues to be an excellent read. The artwork is well done. I fully recommend this. Everything is set for Flash #22!

Underwhelming

Is it wrong I just want to hit Waid and Ramos with a rolled up newspaper everytime they do something stupid and scream 'be better'. I don't think that's too much to ask from a team with so much combined experience. There is a level of professional quality and this has just sunk so far and consistently below it.

The main story is picking up steam. The artwork continue to be bold with a distinct tone. There are solid moments written in. One thing the masters of this story understand is that sometimes less is more. That said, this is the first time I feel the back up was weaker than the main story. I won't spoil in case someone cares.

Enjoy synergy, now with Bendis speak!

A rushed ending that does little to sell the coming reboot.

A decent start, but synergy kills what made the character so appealing for years before she appeared in live action.

The main story gets a three, the Dini backup a seven. Five represents the difference between

Harley Quinn is a mixed bag. the Dini back up is a solid 8 but the main story is snore 5. I've given it a seven, but feel it necessary to be clear.

The backup feature is an 8, the main book is a three.

Tom Taylor wrote an amazing Harley meets Lobo story. This, feels empty by comparison.

Atmosphere can't fix a book without a single moving force. What is Hulk? An action title. a horror. Maybe a comedy. I can't say anything except it isn't a Hulk comic

Truly repulsive, this 'story' continues to go nowhere.

While it looks like the She-Hulk might finally appear next issue, the storyline is so decompressed its non existent. The page is littered with clumsy thought boxes. Even competent art can't save this series.

Welp, at least the artwork looks like ass. She finally become She-hulk though.

Dumb, this is dumb and I cannot emphasize how much I hate this.

Old joke holds true. IvX entered the world dumb and it heads out dumb.

If you came looking for Magnus robot fighter, disappointment is all you will find. This may as well have been an original character, for all the ties it has to the gold key original. The main problem with these Dynamite reboots is that you can feel the disdain for the original concept. They can't help themselves, they have to tamper with the series DNA. Its why the last Dynamite reboot of these IP failed and its why I hold little hope for this one as well.

Disjointed.

A solid return to style with a more coherent narrative.

Mockingbird is a frustrating book. So much potential, so much waste.

This story drags.

Absolutely flubs the landing.

Solid story can't compensate for rancid art. What is going on?

Its a pity, this is Jeff Lemire's swan song. The idea was a good one as a transitional piece, but I question the endgame. If the theme of OML is moving forward, then traveling back to the future, heh, is the wrong way to go. Some of the blame can go to Andrea Sorrentino. Bailing on this last arc is not endearing. I'm of the mindset that if an artist can't draw five or six issues in a row, at least half a similar styled and talented artist accompany him. This isn't the case. Eric Nguyen is by no means bad, but he also isn't anywhere near Sorrentino's talent.

Spencer writes a nice villain with his Captain Hydra. Too bad it strains under all the leaps you have to make for Secret Empire to work. Death Camps? Sure, that works in America, never happened before but whatever. Cap takes down mutants, inhumans, and other 'undesirables'. Why not? He manages to somehow subvert Shield, Sword, all eighty some odd Avengers teams. Okay. At this point if you can handle the copy and pasting of Nazi Germany parallels onto the United States without adjustments for different cultures good for you. Harry Turtledove wrote a good alternate history series called the Victorious Opposition. That series details how a fascist america would look. This series does not.

I've criticized SE because it was largely generic. I had no idea how generic. At this point we are promised that this will not be just another crossover. Well, it isn't just another crossover, it is every crossover. See if you can't play a game. Does it involve a race for a magic ***pull? Does it feature uncharacteristic heel turns? Is it spread so thin over multiple, extended series? Congratulations, its every ********* crossover you've every read, only worse because it won't really matter in the grand scheme.

Itsy Bitsy is a delight, Mac's pencils sell the comedic tone. Still, this arc is going on too long and risks miring the title.

It was bad enough when the filler was being done by others, now we spend an issue by the main team treading water.

A weak filler issue. Kelly and Mac continue to take large pauses in between issues. This issue is a tie in to the quality Death do us part arc in Deadpool. Sadly, the story drags as it must wait for Deadpool to close things up.

Spider-man/Deadpool remains a sweet if intermittent treat. Kelly continues to show a firm grasp on Deadpool and Peter's voice. The occasional shout outs to Marvel's terrible status quo in the Spidey books can't drag this series down. Its Bitsy is a truly original villain that pushes both characters to their limits. McGuiness shows that he is one of the top pencillers at Marvel, with strong artwork and creative panels.

Great artwork and lotsa potential

little slow but still good

A solid piece setting future stories into place. Waller and the Squad must obtain something from Lex Luthor in order to advance Waller's agenda. Williams continues to do an outstanding job writing. He brings out a varied group of characters, each with their own agenda. The issue is well plotted, written without the convoluted mess the versus arc brought. This is controversial, but I missed JRJR. Daniels is competent and has a tighter style. Still, Romita's strengths fit into a role modern artists don't always succeed at. The back grounds are generic and the figures appear stiff at times. While I believe Daniel's was a better choice for this issue because of the increased number of conversation scenes, I worry what will happen when the book moves back to action. Overall, SS #16 confirms DC's commitment to the series. Hopefully that will continue.

Continuing to lack a strong hook, Supergirl plods along as a generic story told poorly.

I remain unimpressed with this series.

A solid return to form, hopefully this level of quality sticks.

The change in artwork is jarring. Also the storyline begins to suffer from decompression. Hopefully things tighten.

Some great moments combined with a good set-up for the next part.

A solid end to the first part. Superman is currently the best book in DC's Rebirth line.

Right up there with For all Seasons and other great Superman stories. This is the perfect jumping on point.

A nice two parter to honor Cooke.

Sure to be a classic, prepare for Superdickery and Batfoolery.

Jeff Lemire would be proud

Multiversity was a story that this fan could have done without.

While Jon and Cathy's adventures are fun, the issue leaves something to be desired in execution.

A tough nut for continuity fans. Get ready for an ***pull of Johnsian proportions!

getting to the end of the rainbow.. Warning this post may contain spoilers********************************************************************************* Bringing back the Nu52 Superman's rancid continuity would seem counter to Rebirth but whatever.

Easily the best comic out this week, Superman #20 transitions back to doing tight storytelling with superb artwork. This may just be the second strongest issue of this volume. Gleason provides imaginative pencil work, including a creative subtle artwork, from showing Superman's powers such as x-ray vision to shadows and lighting. There are some continuity references that might confuse newcomers. this issue takes place after kid Amazo in Supersons and Superman Reborn.

A good solid issue. I'm not going to go too far into details, pick it up, its worth it.

Easy to overlook with the Button crossover in Flash and Batman, Superman maintains its consistent quality. Gleason and Tomasi continue to deliver solid story telling. Lois is the star of this issue, and receives some A material. One criticism I have with Superman is the decompression that has become the hallmark of the current era comic writing. This story is a nice bit of filler, but exists to set up the next issue. Manke is one of the few artists who can fill Gleason's shoes. This is how you handle artist transitions. Superman is the second must buy book from DC comics this week!

As we come to the end I'm finally able to come up with a written review. I've held off on doing one for this series for two reasons. The first is the seething disappointment I have with Jimenez over how poorly handled this series was. The second because I wanted to get a clear sense of perspective over what all went wrong. Let's start with the writing. Every page is filled with text. Characters dump long exposition into every panel. You would think a life long penciller like Jimenez would no how bad that is. And worse, this isn't Jimenez first writing gig. He's done ongoing series for years and this is par for the course. He hasn't improved and he continues to ramble as the series goes on. And talking about dialogue, what is up with all the buzz words. Ordinarily, I care to be lectured by a comic as much as cleaning out a outhouse bathroom. And just like an outhouse every issue is filled with this crap. Still, crap isn't necessarily a bad thing when done well...but this is bad crap. An example, "Do you realize how big this would be, showing women can be heroes!" Really? You mean like Wonder Woman, Green Lantern, and Katanna? Or maybe just in Metropolis. After all, its not like a woman is a superhero there....Right Kara? Pacing isn't any better. The first story arc just got resolved after seven full issues! That's pretty ballsy for a bait and switch book. And speaking of bait and switch, does anyone like how we've gone from Super-lois to this? They haven't even revealed what's going on really. How does Reborn affect this? So much of it seems like a brain fart. Appropriate considering this series being full of crap Art The artwork is gorgeous. Lupecchino does yet another fill in. Its maddening to have gorgeous art on something this completely worthless.

This shows improvement, from unreadable to just bad. That doesn't sound like a compliment but it is. Its hard to justify Superwoman now. The hook DC sold the book on is gone. The first eight issues are the worst in the DC line up. The tone of the previous issues wasn't just insulting, it required a disconnect from reality. Superwoman #9 is fully aware it needs to sell itself. It doesn't succeed, but its good that it admits it has a problem. that's the first step to fixing things.

I'm disappointed to see the Gages off the book, they showed an ability to make Carol's terrible status quo readable. There is some potential, but I can't tell if Stohl can sell this shit sandwich.

So far so bad. Stool needs to find a better foil for Danvers. As things stand, the book is sinking fast.

Captain Marvel desperately needs a stronger direction. Hopefully Marvel's NotRebirth will ground the character and provide some much needed humanity.

Sadly, this Wasp is all too stoppable.

Gwenpool is a treat. Gorgeous art with a coherent story. The writing is surprisingly good. Humor mixes in perfectly with action and the book has a great cliffhanger ending. Why the eight? Beyruth draws a hideous prologue that looks terrible.

Arguably a strong finish to a story started by Remender several years ago. Fans receive closure on some much needed loose threads. There are some beautiful moments where the writer lets up and allows the art to speak for itself. I'll miss this title for its solid competence.

One of the toughest questions a series can ask itself, and the most important too, is what genre is it? Vampirella traditionally is a horror adventure series that has staggered into action from time to time. The thing that made Vampirella the groundbreaking horror character that stands with top figures like Swamp Thing, Andrew Bennet, and Ghost Rider is the cutting edge of the series lead. Vampirella was always pushing bounds, whether it was dressing in skimpy clothing or being a leading lady in the 70's. Over the years she's continued to go big. Since Dynamite purchased the character, they haven't done any of that. Rather, Vampirella has hit a rut. Domesticated horror, sexuality that meshes with the 21st century's on views. What the book has become is a classic genre book turned into a slice of life mixed with tame action storytelling.

Wildstorm is imaginative and inventive and everything else. One caveat I will make is that Ellis seems to be relying on nostalgia for his Windstorm work. Not others work mind you. He's fairly liberal with his treatment of the Wildcats, Deathblow, et al. But this book isn't aimed at 90's Windstorm fans. Its aimed at fans of the redefined Windstorm that Ellis ushered in with titles like DV8, Stormwatch, Authority, Planetary and company.

As we come to the end of Rucka's run on Wonder Woman, the overall problems that have plagued this series come to the fore. Its dull. There isn't anything of interest. ReDiana is dull and generic. So is Trevor and the rest. No humor or imagination. Just a pale redo of ideas that others have done better. The artwork isn't anything other than competent either. Lets of talking heads. Few splash pages, nothing really inventive. Compared to King's Batman #21 or Superman #20, the artwork is cookie cutter at most.

Underwhelming, lets hope things pick up in the various color teams.