I've really been digging this run and this issue is no exception. We get some solid action out of it, the culmination of one of the plotlines that's been layered through the last few issues, and the same great artwork we've come to expect from Ortiz (aside from that one feature panel of Molly lookin' a mess). I was worried that I wouldn't like Peacekeeper-01, as he is a bit tropey, but he works well as a piece of the puzzle here. This run probably isn't a revolutionary story that they'll teach in schools in 40 years, but it's at least as entertaining as a summer blockbuster, and the writer occasionally finds space to go a tiny bit deeper in ways that don't feel forced or hokey.

This takes the "three time periods" device that King is currently using in the highly praised Strange Adventures, and applies it to Batman, Catwoman, and the Joker. Like Strange Adventures, the time jumps here are a bit jarring at first, but you get used to it and it helps to build a sense of mystery about the events of the issue. Admittedly, it's a lot of mystery, and so it's a little hard to know if the story is moving in a satisfying direction at this point. However, the relationships depicted are interesting enough to keep me reading, and it doesn't hurt that the art is gorgeous I don't love the way Mann draws Selina's face in a few scenes, but there are multiple panels that could easily become iconic depictions of their subjects, and the splash pages would mostly make for book-selling covers.

It was fine. I’ve been enjoying this series overall, but this issue wasn’t a highlight. The dialog and artwork were great, as always. The plot felt pretty thin here, however. It seemed propped up by guest appearances that ultimately didn’t mean much, and a moment with Viv that felt kinda unearned. If I had felt this way about the first issue, the series probably wouldn’t have made my pull list. As is, I’m hoping it’s a fluke.

This was a really solid celebration of Darkhawk's history, and a little bit more. The three short stories are set in the character's street hero days, his cosmic era, and his future, respectively. The first is both written and drawn in the style of his early 90's issues, and even makes clever passing references to things that were going on in the series at that time. By modern standards, it probably seems a little cheesy, but as an homage? It's just about perfect. This is a story that really would fit in nearly seamlessly with the era it's celebrating. The second story does a similar thing with what DH was up to in the 2000's, paling around with Nova in space and such. I don't have quite the same nostalgia for that era, but the story worked. The closing story concerns me a little bit as to the character's future, but the conceit used to tie all the stories together was kind of neat. If I had come into this without much familiarity with Darkhawk's history, it probably would have felt like the sort of haphazard content I usually expect to find in something like an anniversary one-shot. As a longtime fan of Darkhawk, however, it exceeded my expectations.

This series has an unusual kind of long form pacing that seems to throw a lot of readers off. You can actually see it in the review trends. Now and then, it enters a deliberate cooldown period for a few issues, to let the results of the previous chaos sink in, to establish a new status quo, and to get a few new plots stirring just under the surface. On their own, they aren't the most exciting issues, but they're necessary for the magic trick that is Deadly Class. After a couple of those, just when you're getting comfortable, Remender and Craig hit you with an absolute madhouse of an issue; the kind of book that takes that comfy chair you've settled into and just kicks it down the stairs. This is one of those issues. I loved it.

A neat mashup of the Japanese and Marvel mythologies, even if the latter is used mostly for decoration. Though the Marvel dressing isn’t particularly significant, and occasionally even a little goofy, it’s still fun to see how familiar characters have been adapted to Momoko’s world. The story is well paced and engaging, and the artwork is playful, with a watercolor style that really makes the book feel distinct. You probably aren’t going to have your mind blown about what happens to your favorite characters here, but you’ll find a light, refreshing read that’s unlike anything else Marvel is doing lately. I’ll definitely be checking out the next of these.

I liked it. It's one of those stories that presents itself as more mature than it probably is, but it's an interesting enough setup that I want to see where it goes.

I liked it. The art is a little inconsistent in this series so far. The setup continues to be intriguing. I'm still curious to see where this goes.

It was ok. There's a ridiculous setup for a wholly underwhelming "big moment," and a whole mess of supporting characters wandering around that the writer hasn't bothered to get me invested in.

It was ok. What's keeping me here is my dwindling hope that the Kang subplot, at least, will bear satisfying fruit.

I liked it. I’m not very familiar with the Eternals, or with Gillen and his much-lauded works, but this has been an interesting introduction to both. The tone is kind of unique. It has hints of Hickman, but is somehow both drier and more lighthearted than Hickman’s usual style. I’m tempted to say that some of the humor isn’t landing, but I’m not always sure it isn’t intentional, given the inhuman (not Inhuman.... you know what I mean...) nature of the characters speaking. I’m not crazy about Ribic’s faces, which often feature unnerving, oversized eyes and exaggerated, almost grotesque structures. They’re a stark contrast from typically idealized comic book faces and, though the faces aren’t my favorite part, I do find his style refreshingly different overall. I worry a little that the surprise of this issue is going to mean this story isn’t as fresh as it seems so far, but I’m definitely intrigued enough to stick with it and find out.

This series continues to feel special somehow, and so I will continue reading it, but it does seem to be slowing down a little bit with this issue. Ribic's hollow, lidless eyes continue to weigh down his otherwise gorgeous art.

This series, which started off really strong, is starting to feel like it's circling itself a little bit. I was hoping this would really get me interested in a side of the Marvel universe I didn't know a lot about, and the opening issues really made me feel like that's where we were headed, but now it seems we're in "suspect of the week" territory and it's not quite as exciting. There's still something to it that I can't quite put my finger on. Dialog is really well done, Ribic's art would be top of the game if only someone would get him an eye reference that wasn't inflatable, and there's still a sort of interesting mystery going on here. So, I'm definitely going to be pressing forward with it, but I really hope things pick up a little soon. For what it's worth, it already seems like the next issue might be putting us back on track.

An engaging murder mystery, combined with the kind of thought-experiment world building I’d expect from a full length sci-if novel, somehow made to fit into a comic book. The art is pretty solid, the setting appropriately alien, and the characters intriguing. While Green Lantern fans may want more, I was glad to find that the story doesn’t depend on the Lantern mythos to carry it. Similarly, I found the detective story pacing and noir-esque running monologue somewhat refreshing, but the style may turn off readers looking for superhero one liners and space dudes who punch each other for 22 pages. There aren’t a lot of DC books that I follow these days, but I’ll be following this one.

Far Sector takes a step towards more familiar superhero stories here, but also declares pretty emphatically that it will be touching on social issues in the manner of much of the best sci-fi. This issue gets us a little closer to understanding Far Sector's alien world, and Jo's place in it, but not without raising some new questions. Parts feel a little rushed this time around, in contrast to the measured, noir pacing of the previous issues, and some of the art is a bit hard to parse. However, this book was clearing such a high bar already that these are hardly deal breakers. I'll definitely be back for issue 4.

There were a lot of things I didn't like about this issue. Uninteresting characters, an almost aggressive lack of meaningful conflict, accents and affectations standing in for personality, weakly delivered dramatic beats, and so on. But the most amusing thing I didn't like was that the author seemed really eager to work in references to dong, completely non sequitur. There are at least two here that have nothing to do with anything, and the trend continues in the next issue. If you don't already bear an unconditional love for the Lantern mythos, I can't recommend this.

This is what Death: The High Cost of Living might have been if Gaiman had been more excited to write about farts than to develop interesting characters or concepts. The art was good, the writing was kinda awkward, and the world building was thin. It was ok.

This story started out fine, but took a weird, unappealing turn for me. It was ok.

This arc (NM #3, 4, and 6) was pretty bad, and the conclusion here doubles down on everything I didn’t care for about it. It feels pointlessly, 90’s style edgy, and just to set up what might be the least interesting set of villains I’ve seen introduced in a Marvel book for some time. I’m ok if we just forget about these guys, and this arc, entirely.

Just for context, I’m not a regular Nightwing reader, nor even a regular DC reader, but the cover caught my eye and someone at my LCS described this as a good jumping on point, so here I am. Seems like there’s some weird brigading going both ways on this issue, but this ain’t that. It DOES make a good jumping on point. I’m honestly a little surprised that DC didn’t kick off a new volume with this. That does mean it doesn’t get too deep into anything, but what’s there is interesting enough to make me want to keep reading. It’s well paced, and leaves just the right number of hooks in place by the end. There are some bits that are a little predictable, or familiar, but they work well enough within the whole. There’s one moment that hit a little harder than I was expecting emotionally, but demanded I loosen my grip on some bat-universe conventions in exchange. Ultimately, I think it was worth it, and hope it was a sign of what this creative team will be able to pull off once they’ve established more local stakes for these characters and this story. I liked it. It’s not my new favorite series or anything, but I’ll be back for the next issue to see where it goes.

This series started strong and I thought it might have been some kind of mistake. This is Power Pack, after all. We’re now four issues in and it has consistently delivered perfectly paced, refreshingly fun, surprisingly clever adventure that, in my opinion, is among the best content hitting the spinner racks. If you’re looking for the gritty 90’s revival, look elsewhere, but this book does a great job of showing that thoughtfully crafted characters and meaningful stakes can be achieved with a lighthearted tone. I don’t love the premise of the “Outlawed” event, which feels a little bit too familiar, but this creative team seems to have figured out just how to make it work. I really like it.

I liked it. I grew up near the namesake Proctor Valley Road and was pleasantly surprised to find several authentic local myths about the place represented in this issue. The character motivations are a bit hokey, in keeping with a horror story tradition, but the art and dialog are solid, and the setup is enough to make me want to see where it goes.

This series has been fun so far. I’m especially digging the unexpected relationship between Silk and Jameson. However, despite a sort of Batman-esque vibe to the mystery behind them, the villains just aren’t really grabbing me here. I’m going to push forward with it and hope that the primary conflict can catch up with this one’s overall positive impression.

My pull list hasn't had a Superman book on it since the original Doomsday arc, but there's issue #2 now... The direction here is different and interesting, without being disrespectful of the character's history and symbolism. I can't help but wonder where it's going to go, given some of the.. let's say historical challenges to the goals these characters have set. I'm warning myself that there is a lot of room for this to go wrong, to get preachy or awkward, etc., but for now, I'm intrigued by the setup, I'm loving the tone, and I'll be back next issue. I really liked it.

Cates writes dialog with the best of them, but his story and character "developments" are very much not for me. The art is fine here, and there are a couple of neat nods to Venom's past (which has been kicked in the nads and then spit on over the course of this run) but, overall, this is an unredeeming end to what's been some of my least favorite work on the character.