Hex's Profile

"I will show you blood. I will show you death. I will show you madness." Can't believe I have never read this before. It's everything I've ever really thought about the Batman persona. This is the creature that controls Bruce Wayne's crusade.

Before anything, I need those reading this to know I'm not King's biggest fan. And yes it's because of Batman and Heroes in Crisis. I haven't read anything else of his aside from Rorschach and the first 3 issues of Human Target. I know he's an EXTREMELY talented writer. I still have a hard time touching his work. I even love his first two arcs on Batman. This though... This is simply amazing. Its opening is unbelievable. It's such natural, flowing human dialogue that you'd just have this kind of conversation with anyone. So much comic book dialogue is filled with too much gravitas, emphasis or exposition that nothing ever feels grounded and real. Pair that with artwork and paneling that puts you right in the shoes of the perspective character to literally see as they do, you get lost in the first few pages engulfed in the story. Transitioning to the camera feed and interrogation by Gordon, everything here just feels real. No Batman yet. Just a criminal and an officer doing his job. I don't think for a second, nor should anyone that Edward Nygma is telling the truth about Jack's 'One Bad Day'. He's the Ridder. He's supposed to confuse you, get you thinking, get off balance. Taking him seriously or at his direct words will likely not yield you the right answer. The only trope that King falls into here of his that I have one of the biggest problems with is his stammering, unsure, uncomfortable dialogue. I only mean that in characters that are in a sad or uncomfortable position as was Mrs. Oates when speaking to Bruce Wayne. He tries to create a real conversation that is stuttery, broken and intentionally sad. Someone in pain trying to cope. Reaching out with words they can't find. Sometimes it translates to the page better than others and this is the only time I noticed it. This Batman is the Batman I have wanted to see from King. This Batman is terrifying. A force. An immovable object that is undeterred from his mission to find the truth. I've not in recent memory seen such an imposing and cold Dark Knight than here and is amazing. It wasn't until I saw Edward's teacher and the interaction with him that I realized why his father looked so much like Kurtwood Smith. King gave Edward a new origin that is a beautiful amalgamation of the studious but unsure Todd Anderson and the tragic rebellious Neil Perry from Dead Poet's Society. It's not subtle. He wasn't trying to hide it and Gerads and King even included his name in the files Edward rifles through to find his teachers'. If you haven't seen that movie, a lot of this is likely not to resonate with you as well. King is known for his love of film and it would be a disservice not to recommend everyone who reads this to watch that movie. This book like that film is a masterpiece. To say otherwise is just a flat out biased, bitter lie. Something a child would scoff at because they don't understand writing. Good writing. Great writing. I need to sing Mitch Gerads' praises in here as well. This is honestly one of the most beautiful books I have ever had the pleasure and privilege to see. I can't really describe how perfect it is. The colors are perfect, the lines are perfect, the perspective, depth and scale of every panel giving everything weight. Simply the best. Oh and The New Batman Adventures Batmobile. That is all. If 'ruining' the Killing Joke with one line or that it's doing an homage to that story is enough to get you to call this bad, you like Edward, are an idiot. If Batman, breaking his 'one rule' is enough to get you to call this bad, you really didn't understand the book or the point. Edward knows more than you think. He knows more than everyone thinks. If Batman thinks that his family was in real danger. He wouldn't hesitate. And he doesn't. That's what Batman does. The city is his family. Batman believes in mercy. He was giving mercy to his city.

This is one of the most beautiful, well depicted Batman books. Miller is all over the place with his message and a lot of things are dated but this is still a quintessential Batman story.

This was great. I've never been a huge Wonder Woman fan but I love this spin on her. I loved the relationship between her and Circe. That strong bond carries through in just the first issue speaks volumes about the strength of the writing. The art on the other hand felt a little all over the place. It might have just been that the coloring had some flatness to the action scenes. But those scenes weren't the most important of the book. It was absolutely the connection and realization of who Diana is. Very powerful.

This is how you get readers into strong female characters. You treat them as such. Don't infantilize them. They can still show weakness and vulnerability. Softness like she is exhibits with Steve and easing him into his realization he's in Hell. This Diana is about as strong as I've ever seen her. She is sure of herself and her desire to protect those she can. To be graceful, confident and immensely powerful. A total badass. It's everything Wonder Woman should be.

This was the first issue I had ever read of Thor quite a few years back. The entire reason was because of a YouTube video doing an analysis of the God Butcher arc. It sounded really cool and since then, I loved Jason Aaron's Thor. Rereading this issue was such a treat and I was beyond excited for the omnibus to get printed to I could read it over again. Esad Ribić's artwork is originally what drew me to the book. I love the water color look, how soft all of the images are with a character known for his strength and stature. Not to say that Ribić can only capture a soft tone, he's a master artist and one of, if not my favorite artist from the 2010s on. I try (unsuccessfully) to jump on any book he does interiors for. He blesses the page with his line work, his use of space is astounding and creates images to great scale that make an imposing figure like Thor seem diminutive. Aaron's writing here gives you such a great hook. A mystery. A mystery with... Thor? Who is the God Butcher? Why is he butchering gods? How has be lasted for millenia spanning Thor's entire life? Questions that I never thought I would care about in a book about the walking L'Oréal commercial. I never thought I would have cared for Thor before picking up this book. Maybe you didn't either but this story is so beautifully written and drawn I'd be astonished if you didn't walk away as I did, jaw on the floor and rooting for the big dumb champion of Asgard.

Godbomb is the greatest Thor story of all time and this might be the best issue in the arc.

I genuinely don't know how many stories have been written as brilliantly or depicted as artistically as this since it's release. There really was nothing better than Aaron and Ribic's Thor during these first two arcs. Gorr is an amazing and simple villain. We need more of those. Villains without remorse, or plans but for the single purpose of nihilistic destruction. Along with that we need more heroes like these Thors who will never stop fighting.

"If he'd been a lesser god, Thor might have accepted that Gorr had won. And more so, that Gorr DESERVED to win. That gods were cruel and jealous creatures. That it was time for their age to pass. But this was no lesser god. This was the god of roaring thunder and raging storms, and even if he had been the LAST god left alive in all the universe... He still would have been god enough." -Jason Aaron 2013

The is one of the best runs of the modern era. Not just of Thor but of any hero and because it's Thor I still feel like after all these years it still flies under the radar. Similar to Fraction's Hawkeye. People know about it but it feels like few have actually read the arc leading up to Jane Foster's Thor. This came out of nowhere and delivered one of the greatest stories I've ever read. Gorr is terrifying. He's ruthless and Aaron and Ribic really evoke that on the page. You won't read a better Thor book, save for Godbomb, the arc after this. These are near perfection.

This is the Batman: Year One of Daredevil. I know that the same team did Born Again and I absolutely love that series but in terms of origins, this hits that same way that Year One did. Slight changes to the overall origin that can and have been retconned but it's solid. This is the height of Romita's talent and it's heartbreaking to see where he is now after this book. I've never been a huge Frank Miller fan but he's written three or four of my favorite series ever.

Elektra hasn't ever been someone I cared for but her inclusion in the origin of Matt Murdock is essential and I loved the way she was depicted here. A great continuation from the last issue.

There isn't much else to say that wouldn't be reiterating things I've already said about the book. It's gorgeous, well paced and gets you through all of the essential parts of Matt's life. The fights scenes here really have impact without excessive flash distracting you in the panels.

This is probably the second best issue in the series. Matt hunting down the man that kidnapped Mickey as he is attempting to kill him all leading up to the high point in the book.

The perfect end. Explosive, emotional, thought provoking. Everything that should belong in a meaningful Daredevil run in just 5 issues is amazing. I would have loved to see this continue but as it's just an origin story, you can't ask for better. Hell's Kitchen belongs to Matt Murdock.

There's nothing in here that isn't perfect. The tone, the dialogue, the paneling, the stunning art. Sale really stepped up his game for this project even though it was so long ago. The way he plays with shadows throughout the whole issue. Batman is an imposing figure in every panel he's in creating a depth and scale you don't see very often. He's a presence as well as a person. Aside from how well this story plays and how well it was adapted into The Dark Knight I think the best part is the very subtle framing on Harvey Dent's face from scene to scene. He's not always cast in shadow but when you examine the dialogue and his tone the shadows fill in to with the dichotomy we're so used to from him. He's running for DA but he takes exceptionally hard stances from time to time that make Gordon and even Batman have to reel him back. It's a wonderful book that actually carries a narrative and develops a case that Batman has to solve. There's nothing I like more than the World's Greatest Detective actually doing some detective work.

This is stacked with so many amazing depictions of Gotham and its people that a lot of the more subtle imagery flies beneath the surface and I'm so glad to be reading it again with a different lens.

It's one of the best Batman stories out there. It's on all of lists for a reason. There is always something new to see each time you come back to it. Damn near perfect.

A fantastic piece by two of the best to create in the comics medium. The subject matter here is dark, much like the paintings provided by Scott Hampton. It can be very hard to convey such heavy topics in short form content like a comic book and even a graphic novel doesn't typically lend you much more length for in depth exploration but Archie Goodwin fills every page with meaningful storytelling. So many threads about trauma, loss, classism, abuse and loneliness placed in a book less than 100 pages long. Truly fantastic and well worth a read.

A somber extension of Year One. While not Miller, his characters are delicately expressed by Rucka. He's always been a fantastic writer though this may be my first story of his I've personally read. He lives up to the hype and while it's a short and concise story detailing just one more moment with a young Bruce and slightly younger Gordon it fits perfectly into the Year One chronology. While you can't top Mazzucchelli's art Steve Lieber does a brilliant job in his own style that very closely resembles the simple lines that Mazzucchelli is famous for.

A beautiful depiction of Batman. Dini understands him completely. While short, Ross makes every page grand and spectacular. Very worth reading.

I don't really know what I can say about this that hasn't already been said. Almost universally, people sing this run's praises and it hasn't even reached it's conclusion. Zdarsky understands Daredevil. He understands Matt, and the point they were at when Man Without Fear ended, he decided to get up and be a hero again. Clearly, it was too early, he was still too angry to do things the right way. Checcetto was just the perfect choice for this book which just adds to the pedigree of Daredevil comics. I feel it's harder to find a lackluster artist on a run on DD than it is to find amazing talent. The entire book has a dark tone with it's story telling and Checcetto does a beautiful job expressing that. Even during scenes of young Matt in church, with light peering through the glass of the church windows, shadows are everywhere. His world for most of his life is steeped in darkness and it will only get darker from here.

I didn't hate the New 52 at all. I liked quite a few of the runs and overall I thought that it had its place. Now, with Rebirth, and the joining of the old and new we can get the best of both worlds. This being written so long after the issue was released does mean that I have more knowledge than we all did on release day and not everything worked out well. The older continuities and N52 are still in a muddy area but they are at least better. Events have made strides to change the landscape for better or for worse but Rebirth as a whole has been a treat for me as a reader. More than anything, this gave me the one thing I NEEDED. Wally.

This was actually fantastic. Decided to reread Spencer's run while waiting for more on Well's current run and this was such a great start and setup for a new status quo. That being said it's not really new but perfectly encapsulates the first arc, "Back to Basics". This is where we expect Peter to be. It's not where I would like him but this at least feels comfortable and not out of character. I don't remember Spencer being funny in his dialogue but this is great.

This is an amazingly well told and illustrated rebirth for Nightwing. I would love to see Paquette stay on a series longer and love how he depicts members of the Batfamily in particular. Seeley tugs on all of the right strings and weaves together both a fantastic end to Grayson and explosive new entry for Nightwing himself. I will always love Dick's dynamic with Damian, they play off of each other so well and balance both characters in a way that I wish we got to see more. This makes me yearn for more Dick as Batman stories but I will always welcome great addition to the Nightwing line like this.

I've never read a Brubaker book I didn't like.

This was really, really good. I've always been much more of a science fiction person than just about anything else but somehow I've never really jumped into a lot of sci-fi comics. Seems odd considering the medium lends itself very well to it because a lot of concepts at least in the physical aspect in science fiction is based on detailed descriptions of future tech. Here we get to see that future tech on full display and while Johns isn't delving into manufacturers of ships, the classifications of weapons, buildings and other tech by mega corporations or hegemonic governments, the minutiae of detail like a lot of traditional sci-fi does, he still creates a "lived in" world. Reminded me a lot of Wall-E but with people instead of robots. If Wall-E was the most generic looking main character ever but he's got a really cool helmet, commands crows and his buddy has a pet warthog named Pumba. Put that in most other stories not set in space and I'd call it stupid but it works well here. Fabok is great as he tends to be. You can tell he put a lot of time into this and I hope that Johns and Fabok continue to go that route. These guys aren't great with tight schedules and if this is more of a sporadic release, as long as the quality keeps up I'm down to read this whenever it hits the shelf.

Very interesting start. Even managed to have some emotional weight in there even if we don't see Barry all that much. The new interpretation of that old iconic imagery really hits home for the reader as well as Wally. Really excited to see where this goes.

I love this. I get that it may not be everyone's cup of tea but I love putting Wally back into the shoes of a younger man only now he's alone. There is no Flash-Family. There is no support system. He's worried his dad hates him and he's being hunted. He's a Wally West that didn't have Barry to teach him how to BE the Flash. That's his "Darkseid trait". Who is Wally without Barry's mentorship? A hero or a monster. Lemire has me hooked.

Wally and Grodd. Grodd and Wally.

Nothing much to say that hasn't been said but there is something comforting about reading a good Snyder Bat-book after so long. It's damn near perfect. A wonderful introduction into a new version of Batman that already feels fleshed out. I can't wait to see more from all of the characters in this interpretation.

It made my jaw drop and throw out explatives multiple times in 24 pages, it's awesome.

I don't have much to say other than this rocks.

For a two issue arc, this was really good. I loved how much Snyder is putting into this Batman's supporting cast. We only met matches for a few panels but we really feel the weight of his actions and legacy both past and present. Fries was terrifying, excited to see him come back.

Christ... that was intense.

This might be the most I have ever liked Clay Mann's art. And somehow I missed reading this issue until I hit #15. Don't know if that says anything because I never felt like I missed one or any key information. Still good.

Tragic

Can't praise this series enough.

Man, Gabe's bad opinions are so strong he is getting two reviews.

This pushed the boundaries of what I would expect and even want from a Batman comic. He went to the edge, did a gainer off it and still managed to come out being a good guy. Dragotta is amazing. Disgusting even. I don't know how another artist could do this script justice. There is nothing like Absolute Batman.

Jock always shines. I guess there is someone who can bring Snyder's script to life other than Dragotta. While not as grotesque and explosive as Dragotta's issues, this really leans into the macabre and horrifying. AS we slowly go through the lives of the Joker's ancestors(?) we're treated to increasingly terrifying depictions of the same individuals. His transformation is shocking to see and while I understand apprehension from readers whenever Snyder approaches the Joker, I'm more than ready to accept whatever insane thing he has kicked up here. We're in a new universe. The Laughing Man didn't work well in the New 52 because it seemingly erased decades of continuity. People don't want that even if it was never true, just what the Joker wanted you to believe. The same exact thing could be true here but since this is an all new world and all new form, I'm in for it. That reveal at the end was something else. Predictable maybe but shocking nonetheless.

This is probably going to be the best single issue all year.

Hickman and Checcetto are as near a perfect match as Zdarsky was. All three master storytellers in their fields. Checcetto really understands Hickman's pace. Fluid and graceful in dynamic or humorous scenes, rigid and dark when it needs to be in tense or sincere moments. I couldn't be happier with how these first two issues have been. I remember talking to some friends about what projects people would like to see Hickman on and a lot of them said ASM. I was pretty against that. Not because I dislike Hickman, I think he's one of the greatest writers of our generation. I didn't think he would fit because ASM has a much different voice and direction that I am not sure Hickman would slot into or conform to that structure. Which is a good thing. He does what HE wants and makes the stories pop against the other titles. USM has been exactly what was needed to put him on Spider-Man because the few times we've seen him dip into the well of Peter Parker it was always amazing. Now, ultimate.

I'm giving this a "low" score not because it is flawed in some way compared to the other two but this is mostly a setup issue. Very fun, very cool but light on heavy and important dialogue and light on meaningful action. It was still amazing and leaves us and Peter in a really interesting position that I am very much looking forward to in the upcoming issues. Also, big fan of the "call-back" suits. They were fun homages with new flair and appropriate razzing.

Despite the slow pace I really appreciated the opportunity to see more of the individuals we'd be seeing going forward and in a subtle fashion. Hickman is doing an exposition dump but not in the typical way you'd normally see it. We get our character motivations for Gwen and Harry and see how not completely on the same page they are as well as Harry and Peter's dynamic. It's all pretty nuanced and that might be why people are so iffy on it. That tends to go over a lot of heads and is definitely a trait that Hickman employs. I loved seeing how driven Gwen is in pushing the Parkers forward while Harry is very casually forceful to Peter specifically. Also an interesting circumvention of the norm to have Harry of all people tell Peter about great power and responsibility. The biggest detractor here is the art. I can't rate the issue any lower as it is as a whole is fantastic but the art is very distressing. Messina seems to heavily rely on reference photos for his faces and while that is very normal to use reference to get poses or even some faces down, none of them have cohesion between panels, most egregiously is Gwen. When she first appears she looks like Margot Robbie, then the next panel, someone entirely different, the next panel looks like some other model and the fourth panel she's in has her eating something. The hand in that picture is very odd. It either has five fingers or a really messed up thumb that is in the completely wrong position OR is turned the entirely wrong way around. It's supposed to be her left hand but it is facing the wrong way for that to work. Take a look at it yourself and it'll be a lot more clear. I don't want to accuse Messina of using AI generated art, I really don't think that's the case. I think he just over relies on reference and may have been a little lazy. I'd really rather it be the latter but considering the hands and poses throughout a lot of the issue it doesn't really make a lot of sense. Hands are hard and that could be it but as a professional artist on a very popular and important book you think you'd take a lot more care to raise the quality up a bit.

Stellar performance by Hickman and Messina. Where I was concerned with Messina's abilities last issue I really think this was a truer example of his talents. Sure he isn't Checchetto but he's still a brilliant artist all the same. I appreciate these slower issues building the world around the characters since we know that we're taking such big time jumps between issues. While almost completely absent of Peter Parker I'm just as interested in Harry and his role to play in this story. His ambition to take down Kingpin and the rest of the cabal that framed Tony. It's thrilling. Not something we get a lot from Spider-Man books. We're not sure yet how that is going to affect his relationship to Peter. Is this Peter going to be less inclined to pull his punches as a father who fears for his family? Is he going to completely agree with Harry? These are the questions that should be popping into people's heads as we see Harry employing some pretty barbaric tactics even if what we see on the page can only be speculated on future ramifications.

The only thing I'm left wanting on in this book is a bit more engaging action. Seeing as it's Peter still getting his feet under him as well as Harry, I can understand. It's their first big fight. Against an opponent they were both completely unprepared for. I just want my jaw to drop at some point from how amazing that will be. I know we'll get there. Before then, we've got some of the best characterization in Spider-Man that I could ask for. It's not 616 Peter and this still feels like the most genuine version of him we've seen in almost 20 years. Peter who cares about his family, Peter who doesn't WANT to hurt people or commit crimes if he doesn't have to. A real boy scout in the best way. Just a good guy doing everything he can to do the right thing. All the while being led by a man with a much more cynical and potentially sinister agenda. The inevitable confrontation between Peter and Harry will happen but the build up of their mutual trust being established and reinforced over time is a fantastic stepping stone into creating a satisfying and devastating falling out. I am also left wondering about Richard's attitude toward Peter's reveal. MJ's I can understand. She has clearly wanted Peter to really come out of his shell and be the person she knows he wants to be. And while dangerous she knows that this is his choice and will stand by him as this is a broken world without many heroes. It hasn't gotten to the point where it's TOO dangerous. We'll see if we ever get there and if that creates tensions between them. Richard however is a curious case. I'm interested in seeing what his real thoughts are. I'm sure we'll diver deeper into it. Hickman is the man.

God damn.

Every character is pretty much perfect. I was always wary of Hickman touching Spider-Man because I wasn't sure what he'd do with it. Not in a bad way but he moves things along in ways people don't generally appreciate until this story has reached it's end but here, he's got it down. How he packs so much heart and soul into a single page of dialogue between Jonah and Richard, two characters we've really not gone too in depth on in this series so far and tells you so much about them as individuals speaks volumes about his talent and care for this book.

Harry is very quickly becoming a very scary dude.

It's fantastic. The main character can take a backseat every once in a while and allow the world to fill in around him. making more than just him feel alive. The slow moving methodical pacing and in depth characterization of every player in this story makes this one of the most enjoyable books on the market because Hickman is playing it with finesse while giving us the occasional bombastic centerpieces we come to expect from modern comics. Also, that hook at the end? Brilliant.

Small reservations that I had early in this series in regards to MJ's casual acceptance of Peter's new lifestyle is given more depth. She was never going to be on board 100%. She has reservations. She knows this is dangerous. As well as Ben. The revelation tha Ben knows, makes so much sense and it just makes it more frustrating that we've never had that in the main universe. People aren't that oblivious. I love how involved every character is in Peter's life. Hickman has written this perfectly. Messina's art has also elevated and evolved very quickly and incredibly well. Couldn't ask for a better story.

A direct quote from Gabe's review, "Why on Earth does Jonathan Hickman believe Spider-Man fans are interested in the interpersonal dynamics between MJ, her sister, and her mother?" Because people have been asking for more from the wider Spider-Man family for years and now, that family is a FAMILY. If you don't create characters with depth, interpersonal dynamics or anything to do, you're left with what the main Marvel universe has. Every character going from one event to the next, no time to talk to Aunt May, Tony running the bodega, Jonah, anyone unless they force themselves into the story. Peter wouldn't have time or make time for anyone if the current 616 editorial team had their way with it so I'm sorry Gabe that I and the wider audience of this run seem to really like these character/world building issues you seem to have such a problem with. Maybe go back to reading the Golden Age where every human interaction was two panels of dialogue and 4 pages of action. Maybe that will clean your palette from your distaste for displaying human connection in a medium so devoid of it of late. Look at the overall user scores of USM. Take into account really just the ones where people took the time to actually review the book and you'll get a good gauge on the general consensus. Gabe is the odd man out but hey, being a contrarian gets clicks. It's a tried and true way to get foot traffic. I proved that myself in finding his quote. Getting clicks generates revenue for the site which in turn keeps the cycle going and allows reviewers access to more free issues, invites to events, exclusive interviews, etc. I don't generally believe in pumping up a book just because someone rated it poorly. I'm not even promoting it here but just because something has great reviews also doesn't mean that one has to try and balance things out. If a book is good, it deserves the praise. I believe in rating books fairly because otherwise, what's even the point? A 7 deserves a 7, a 10 is a 10, but the thing about that is everything is subjective. Someone could genuinely not like this issue but what baffles the mind is the complaint here is that you get more out of your characters and somehow that's a problem.

It just keeps getting better. And look at that, we've got Richard doing stuff! Everyone is getting the chance to shine and I love it so much.

This is just great. I only read the first few arcs of Snyder's Swamp Thing and only just started Moore's but this is a great take. So far it feels worthy of inclusion into the Swamp Thing mythos and I'm definitely picking this up the day issue 2 comes out. There is also nothing SPECIFICALLY stating anything about climate change being the catalyst for why the people are stuck on the island. People just like to make things up to fit their narrative. Even if there was and I missed the subtext, that's not a bad thing. Our planet is dying. I wish we had a Swamp Thing to knock some sense into us. I guess an argument wouldn't even have to be made to say that's the entire point of Alec Holland and every Swamp Thing's character. Remove the rot, even if it's humanity.

This is a near perfect introduction to a stellar team. Not just in the X-Force themselves consisting of a simple collection of X standouts and some fun tagalongs but in Remender and Opena. Fantastic intro filled with depth for each character (aside from Deadpool) and from past events. The dialogue flows effortlessly. Serious moments maintain their intensity and when broken for places of humor or action aren't jarring and land well.

Between the covers, interiors and excellent pacing so far presented in these issues this has been the best X-book I've ever read.

"Superman was a refugee." This is what people who are rating this series low are missing. Superman doesn't just stand for America. He stands for all people with hope. Hope of living in a country that surrounds them, adopts and accepts them as easily and happily as they did an illegal alien that looks like an unassuming white man. This series is political and I can't pretend that it isn't nor can I pretend that Taylor isn't heavy handed in his messages. They aren't metaphors, they are straight depictions of modern day situations from one side. That won't gel with everyone and I understand that but the messages in these books are so important and I believe that is the reason they are being made. If the world won't listen to the people, maybe they will listen to Superman?

Like most people have been saying, this is the weakest issue in the run so far. I've never seen the artist before but it seems like they are trying REALLY hard to emulate Ryan Ottley. Ottley is a fine artist but I don't think his style fits Marvel or DC very well and neither does this. I like seeing Jon interact with Justice League members (Wally!) so that makes me happy. The Guardians of the Globe/Teen Team stand-ins aren't my favorite. We'll see where things go. There is only "hot button issue" I will touch on. If you have a problem with Jon being bi-sexual, you are an overly sensitive, sheltered, phobic child. Grow up, this is normal. Jon is separate from Clark. When Clark comes back, he's still going to be married to Lois. To those complaining, "just make new characters, don't DESTROY established characters!" You bigoted idiots don't read the books that you complain need to exist. Tim being bi, Kate Kane being gay, the list goes on and they are granted, fictional but they are people. Get over yourselves. Respect them.

Much better art this time around. I like the continuation of this story and I love the jabs at Bendis. It's likely just for fun but it does bring a certain satisfaction in my lizard brain whenever someone calls him out. A person's sexuality is a journey. Just because, "he was never attracted to boys" in another comic doesn't mean he can't find himself over time. He aged what, 7 years in our 1? These are comics, he flies in space and people's biggest complaint is he's bi? Whatever. Story is good, sexuality shouldn't detract from people's reviews or enjoyment unless they are bigots. I agree with Psyc and Merlyn, more bisexual characters please! (And more Kate Kane because Batwoman is extremely underrepresented and should be allowed to marry whoever she wants.)

The point that hit home for me the most was this uplifting of man as gods. Something CAMP (not Hickman, who's messaging really likes to work with in his own writing) seemed to tackle well. Tony's inner monologue, journal entries and the direct allusions to his "success" on the seventh day, who do gods pray to? It's fantastic. The most surprising aspect of the issue is the reveal that despite so many of the origin-boxes being sent out, only a handful actually worked. This is still a very grounded universe because it is choosing not to be overpopulated with larger than life figures and is having to navigate it's own way to correcting itself. Humans being gods.

Cap has always been a true representation of what America and the American Dream really are. It's not political. But his endeavor to be a beacon to the world is what all Americans should strive to uphold. Fighting true tyranny and saving everyone he can. Be it 616 or this 6160 universe, those ideals stay consistent. All while taking down a cartoonishly evil Capitalist. The flashbacks peppered into the narrative we get to see more about how the world has changed since the Maker interfered. Starting from WWII he was the first man on the moon, involved in the Kennedy administration, met Galactus, there was an equal rights movement for mutants, allowed Roxxon to destroy the Savage Land, the Punisher is an actual mass murderer that inspires a gang of trigger happy idiots appropriating his symbol (not unlike the real world). This world is a mess. But they also have the Ultimates. And Captain America.

This is just so good.

Phenomenal. Fantastic even.

Not everyone is going to like this. It's a Batman that swears and hurts people so Dan Slott and his fans are going to say it's garbage. The story is intriguing, an interesting take on Bruce and how he dealt with his trauma and some possible underlying mental problems. I definitely enjoyed the exploration in that as it honestly makes sense if someone like him were in a more realistic world. The art is phenomenal. I didn't used to be a fan of Sorrentino but I have grown to appreciate all of his works that I have read. He is a master panelist and creates tension even between two panels that are connected. The pacing is fantastic. I am excited to see where the series goes. ALSO, psychiatry and therapy are VERY important. Batman, Robin, the entire Batfamily as well as the Justice League could do with actual therapy not some Sanctuary crap where Tom King murders legacy characters. If you or anyone you know suffers from bouts of wanting to dress as a bat and hit people even if you are making a difference, seek professional help. Not enough people do.

This was just great. Eddy Barrows is a pretty good artist that has some janky faces every once in a while but I was happy to see him on this book. I've never really seen him do any of the speedsters so it was pretty cool. As much as I don't like, "let's go faster then ever before!" from the speedsters it did have somewhat of a purpose and weight to it here in outrunning the Darkest Knight and the zombie Dark Multiverse speedsters. Seeing Barry accept Wally as his own person again was great but it should have been done years ago or never undone. Barry is milquetoast. Wally is all of the personality and growth that people know the Flash for. His entire Flash Family and Rogues stemmed from Wally's time with the Flash, not Barry. I'm glad Wally is far outpacing Barry. Finally.

This issue is far better than this event deserves. It tackles so much history with all of the characters involved but doesn't feel overly expositional. The main Amazing Spider-Man title is taking itself way too seriously whereas this is just having fun with the goofy premise and it works.

This event doesn't deserve how good the writing and art are here.

Finishing this just highlights that Dark Web should never have been a Spider-Man event. The only story worth telling was the one between Madelyne, Jean and the Summers brothers. The conclusion to their story is even in this book. It's all so satisfying and beautifully told. Best tie-in I've read in years and in three issues told a great story that Wells couldn't in five.

Gleason on art? Check. Spider-Man being actually funny? Check. Wells doing something interesting with good villains? Check. I liked all of this. Only downside it was half an issue long and will unlikely give us a lot more Gleason like we deserve.

Guy Gardner can only be portrayed as a giga-chad so I can live out my superhero fantasies of plowing Power Girl. 0/10

Always been a fan of Peter Pan and this is a very interesting and surprising take on his story. Fantastic art, great script. Everything feels very natural.

It's obviously more than an adaptation. Wiebe clearly has a deeper story to tell than just retreading both Peter Pan and WWII. It's the execution and plotting to get there with the little homages to the original story along the way that that elevates this book in such a gripping way. It's so easy to fly through an issue waiting for the next.

This is really good. The art isn't be favorite but it's not bad. Ferry really captures the alien-ness of the suit, giving it more tendrils and liquidity to it's form that I really like. Some of it just feels a bit scratchy but that's not necessarily a bad thing. On the writing side while it definitely feels like something I've read before Zdarsky really channels old Stern and DeFalco while adding his twist to it. It reads like an old Spidey book with a much darker ending. Familiar yet warped. Fantastic read.

Same as last time, it feels like I am reading an old book but it's somehow new. I love it. The art is even growing on me. It's somewhat of a power fantasy. All of the things you really thought Peter SHOULD do to all of the people who day in and day out that make his life miserable, degrade him, break him down finally getting what they should instead of Peter taking the route of responsibility. He's all power now. The luxury of this book is that it's a What If? because to see this version of Peter over a long period of time just wouldn't be Spider-Man anymore. Sure it's interesting to see your favorite heroes turned into something much darker, possibly even villains but there should always be hope. We'll see if there is any hope left for Peter...

Waid/Jimenez: 10/10 I wish it was longer. Flowed so well in both story telling and art. King/Lee: 7/10 Still don't think that King writes women well. It is nice that King thinks, like most of us do that Peter and Mary Jane should just be together even in a one off story of nebulous canonicity. Wasn't a huge fan of Lee's depictions of any of the characters save for Gambit. And he really only had a splash page but credit where it's due. It was cute but the banter between Lois and MJ felt so unnatural. Priest/Sampere: 6/10 The art is great, the meta narrative is cool but I HATE how Priest writes Superboy Prime. "Bruh, bro, simp". It doesn't work at all for him. Never been a fan of Priest since he ruined the Hobgoblin reveal by being a petulant child, don't like him now in not understanding how to write a younger person realistically with natural dialogue. Half of it is completely nonsensical. I might just be missing some context. The High Evolutionary comes out of nowhere, it ends abruptly I have no clue. All of the points are for the art. Sean Murphy: 8/10 Great art. I would love if Murphy got a full run on 2099 or Batman Beyond. This was just incredibly short. Nothing really to sink your teeth into. Fraction/Leiber: 10/10 Fraction is who Stan Lee would be if Stan could actually write. It's funny, wordy but fluid, packs the page with a really 60s-70s style goofiness. No notes. Lemire/Sandoval: 9/10 Short, sweet. I wish there was a little more weight to it, give it a more lengthy emotional punch between Johnathan and Ben saving people but it was only 5 pages. Sandoval is a fantastic artist. Rucka/Scott: 9/10 A very measured take on Jonah's perception of Spider-Man and his reasoning for portraying him in such a negative light in the Bugle. I really enjoyed Lois and Jonah's back and forth. Lois IS right about how the news needs to be better about separating the perspective of objectivity and neutrality. They aren't the same. Facts need to be the truth. Not the truth becoming what we make of it. The art is good but not my taste. Simone/Ortega: 9.5/10 Karen gives Frank a punk umbrella with hearts on it to keep him out of the storm? Check. Karen makes constant fun of Paul? Check. Karen and Punisher dole out some less lethal punishment to some bad guys? Check. Frank commenting on the boob window? Double check. Thank you Gail. And give Belen Ortega a regular book! Their art is amazing!

Hell is a slow, cold dream... a numb descent to absolute zero... a dead-eyed observation of atrocity.

Outside, life in hell goes on. Only now the insulation's stripped away, and the hungry wind of mortality gnaws at everybody's bones.

I appreciate having this little preview or setup for the tone of the book. Obviously we're going back. Back to Gotham, back to Harvey Dent, back to the Falcones, back to Batman and Jim Gordan but now it's darker. Falcone is Holiday but he might be released from his crimes, Harvey is Two-Face and no longer the DA, while both Batman and Jim have a degree of separation after the events of the Long Halloween. Gotham as ever stands as the sole constant, waiting for the night.

Issue 0 or the Prologue establishing what we'd be seeing allows this issue to really breathe and not have to dump exposition on the reader. We're quickly captured into the story introducing the previously absent Falcone brother, a classic Italian mob threat to Sofia, a disconnected Batman, Jim Gordon reeling from his obligations with his job and family, a somber and stoic beat cop who meets with a tragic end to round out this new mystery. Where is Harvey Dent?

This issue takes a very somber tone and slows the world down a little bit. Bruce lamenting not trusting Harvey with his identity sooner, Gordon trying to find companionship as his list of allies has shrunk so far, Bruce still seems dissociative when having Thanksgiving with Selina. The people of Gotham are still reeling.

It is starting to feel like too little is being said and set up without much goal to reach. It's a great read but rather nebulous.

There's nothing not to love here. The art and story flow and blend so beautifully. It's not the best rendition of the Daredevil origin but it's still fantastic. Sale's use of shadow puts you into the gritty world that Matt inhabits in Hell's Kitchen. The knockout of Creek by Battlin' Jack is also one of Sale's best spreads.

This is one of my favorite issues of Daredevil I've read. It's paced so well and Sale really brings everything to the table here. His sense of motion pulls you through pages and when he sets of something you understand the weight Matt is carrying and presenting to his opposition. While still being a simple retelling of the Lee/Everett issues, this is punctuated with the recurring letter the Karen and culminates with his meeting her. You know how important it is because despite what we know Sale draws the visual reveal out for so long that we feel the impact that Matt does when he first 'sees' Karen. It's a great read and a wonderful way to return to those older stories.

This entire run is an amazing read and is hauntingly forward thinking for the day it was written reading this now in 2021. Brubaker is a master storyteller and I wish I had read this all sooner.

The writing is decent. Sometimes it feels a little juvenile. Some jokes don't land and all of the characters seem a little too childlike but I still had fun. The art is not my favorite during the "current" timeline but the prehistoric sections with Wally look really nice.

Weirdly enough I think I like this issue more than the last but it was over a little too quickly. The humor was better placed but I had a hard time really caring about Wally in the future. None of the danger felt immediate whereas with the Speed-Raptor there was weirdly tension. His interactions with Gold Beetle were amazing though.

Nothing much to say other than, it was awesome. It reminded me a lot of Brubaker's Cap where even the art kind of evoked Epting's style and the ending is both hilarious and stupid.

This series has evolved very quickly in it's short run with Wally. All puns intended. Where the humor in the first two issues felt very childlike and out of place was remedied in the latter two issues and really prop up every character. It's not just Wally and Ollie being the known funny guys. Everyone has their time to shine while also being great representations of their respective characters. Mr. Terrific feels like Mr. Terrific. The animated Legion of Doom squad all felt like them from back in the day. I don't want to speak too early but I think Jeremy Adams has really found the voices for the story he wants to tell and everyone should jump on board. Even the end which takes us back to the place we all want to forget is entered with some hope. Just put one foot in front of the other.

This story speaks for itself. DC did the right thing and pushed Wally over the hump and placed him right back where he needed to be. The Flash.

It's not as good as Absolute Batman but that doesn't mean it's not great. Rafa Sandoval rocked this issue. The art here is phenomenal. Everything pops, colors are vibrant, Krypton feels alive despite it's decent into death. The story here is nothing wholly new. But it shakes things up enough that we see a Kal-El fighting for the people of Earth, at least those that are downtrodden, lower caste, workers of the population because that's what his family on Krypton were. It delivers a strong message that isn't new either but with time could be fleshed out to be something impactful.

I hope this is a Superman that kids will get to grow up with like I did with Superman the Animated Series. They aren't similar in tone or character but I got that same level of amazement and wonder out of this book that I remember having as a kid when that theme song came on. This Superman is heroic and we don't have to be told that he is. We are shown from not only our perspective as the reader but by everyone around him. Even his enemies are in awe of what he's doing. That is powerful. I don't need them to tie all of the Absolute books together and give us an Absolute Justice League because each series so far feels so distant from one another but that distinctness, that lack of cohesion is what is making these stories much stronger as a result. It doesn't feel like everything is building towards a big MCU level event. This is to Superman what Matt Reeves' The Batman was to Batman. This reinvention is jaw dropping.

I can't count the amount of times throughout all the iterations of media we've seen the fall of Krypton but this is one of the most heartbreaking.

I will lead with not being the biggest Brainiac fan. This was a little weird for me. A bit more grotesque than I want from a Superman book. Seeing an extremely cold, horrific and disgustingly brutal Brainiac is interesting but not what I would expect or need. That being said, it was extremely engaging and giving him a somewhat tragic origin endears you to him a little, you're immediately pulled back into how sadistic he is. I like it. This was really solid. One point of contention I have however is that I don't feel like Di Giandomenico's art is great for Superman. He was solid on the Flash but it just feels off.

Not sure why Ra's was picked for the villain. I like mixing things up but it feels so far separated from anything Superman that it's hard for me to suspend even my fictional disbelief. Sandoval makes the book look great though. I do like that despite a once again more edgy Superman, he is still not matter what, a good person. He's angry, he watched his planet die. He wasn't an infant. He saw how the corrupt and elite step on those they deem as lesser, directly impacting his family's life and will not allow that to flourish on this Earth. I love that. His rage feels believable and justified but no matter how rageful he is, he's still Kal. Not some future Super-fascist like most recent alternate universe Supermen.

It was okay. The Omega Men really just bother me. I get that it's to show that no matter which side Kal chooses, Lois who wants to be genuine but is beholden to Lazarus or Jimmy who wants to prove himself to Omega but is very naive about the world he is a part of. Kal is stuck between two factions of oppression or extremism and obviously, Kal is not that person. The message is a great one, the players to portray the allegory are not. One thing that caught me off guard is that he referred to Sol as he. My brain just had Sol speaking in a woman's voice. Like Lara based the consciousness on her or something. It made sense in my brain. That'll take some getting used to.

Guess I'm in the minority here. Not a big fan of the art overall, worried some might be assets lifted straight from a Star Wars comics or simply traced. The dual laser cannons that the Peacemakers are in are E-15 blaster rifles from Star Wars slightly modified but I know I have seen that exact image somewhere. Just disappointing to see and very lazy that it was used. Other panels are fantastic but not enough to make me think Di Giandomenico fits Superman well. This is the second time I have been completely thrown by a Talia reveal. First The Dark Knight Rises, now this. I honestly don't know how I keep forgetting she's a character until they reveal her. It should have been predictable but the story threw me off the trail and I will give it the credit. Just not a fan of the Ra's plot. It could be a subconscious personal bias of Batman stuff should be with Batman, Superman stuff should be with Superman but that's not even who I am. I thought the CW appropriating the League of Assassins in Arrow was fine. Emperor Joker works well. This just doesn't feel natural.

Oof. The tears are definitely flowing.

"There's a child in Thailand, body riddled with cancer. No family. She doesn't want to die alone, staring at the ceiling. I make sure she doesn't. After the child dies in my arms, I spend the next hour alone in the stratosphere, screaming so loud it knocked satellites from orbit." This is Superman.

This was a very strong start to a very small mini series set up event. The pacing is fantastic, the dialogue flows and while wordy feels perfectly balanced. I know a lot of people have a common criticism of Hickman that his dialogue is too drawn out. While sure he fills a lot of the space with an abundance of words it's not like Stan Lee's where it's just unnecessary word vomit. Hickman knows exactly what he wants to say and while it may seem daunting, absorbing all of it fleshes out the story infinitely better. Gaiman is much the same, or Moore. These heavy handed writers who inject as much prose as they can into their books and give them weight and it works here just as well as it ever did for Moore or Gaiman. I've never been the biggest Brian Hitch fan but his style fits with this entire cast of characters and compliments Hickman's storytelling immensely. I have really nothing negative to say about this book. Sure it's expensive, but with Hickman and 53 pages AND and "event" comes with a tax. One that I hope doesn't deter people too much as this is a stellar issue.

The story is great and I do think that Hitch blends well with this story but the colors are very flat and I could do without so many Dutch angles. It's tiring in film and it's tiring in comics. I'm excited to see where this is all leading to. It's clear that this is an all new Ultimate universe, not just a repurposed version of the one we've read before and in all honesty I really like that. The old well had run dry and in order to draw water again they've made another well. It's a smart business decision as well as a narrative function though we'll see how upset people get about that. I'd rather have something new that has it's own chance to succeed or fail on the merits of it's storytelling and not piggy backing on something established and essentially put to bed already.

The concept of carefully constructed conflict to mask peace for the sake of those individuals who can't accept true peace is as Stark put it, truly insidious. It's also brilliant in terms of storytelling and showcasing a possibility of our world. Who knows if that's actually what is happening in our countries around the world? Deception that induces conflict to hide the inner turmoil among states or countries is a long practiced tradition among the powerful or governing bodies. You don't even have to look that hard to find any record of it historically. It's dystopian but it's real. What is presented as crazy and fictitious in the pages of a comic book are very real occurrences while not being on such a grand scale involving superheroes and secret cabals (that we know of). Hickman continues with his deep narrative that I feel will definitely get lost in the expectations of people who just want a comic book about superheroes and the message will either be completely invisible or lambasted for being "political" or not "fun" enough for comics. Comics have always been a reflection of the real world and it's problems with those caped heroes to save the day with extraordinary conflicts but that doesn't mean our own ordinary conflicts can't be confronted by those with the power to change them in great numbers as the Maker pointed out. "It's not how it used to be in ages gone by. Back then it wouldn't have mattered--the powerful would just roll right over the powerless if need be. We could build an empire on their bones if we wanted... But now they are a COLLECTIVE--instantaneously aware of just how many of them there are--and how much they uniformly hate people like us."

"I know now that it is a false, fallen world that we paint as "good enough" but under its skin, we all know it is rotten to the core. And on reflection, almost all of the things I have made do nothing but support the systems that reduce men and women to pawns and playthings... to workers and consumers... to servants and slaves." "It's never too late to change the world around you... You just have to fight. And you have to win." If for nothing else but those quotes, this series while possibly too short for the story it was telling is like most of Hickman's works. Fantastic.

Taylor's writing doesn't always grab me but this was actually pretty damn engaging. I like the fact that Batman has something to actually solve though I doubt it will take that long for him to figure out. Writers tend to have issues creating lengthy mysteries without making it overly convoluted. As much as I love the Bat-family, not having them around allows him to just focus on solving crimes which I can only hope will be the focus for this series. Kubert's art is pretty hit or miss for me since Batman and Son but this was surprisingly solid here. I do feel a few panels were almost exact copies of ones he did for Morrison's run but since he's copying himself I guess he can get a pass as long as it doesn't persist. They are good looking panels. First issues are meant to grab you and this certainly has for me. I'm looking forward to this duo and the (hopefully) true detective aspect of Batman to shine. Long live trench coat Batman!

This was just cool. I wish it would stick but it's clear it won't. At least we will have it while it lasts.

Between his guilt, trying at heroics and scolding a parent to be better than he was this is one of the best turns for Norman I could have hoped for. Villains turning into heroes is cliché but only so far as they tend to be surface level and don't have them deal with their actual sins. This particular case manages to have those in a physical form but it's all very grounded despite that. Norman really wants to try even through the animosity he is met with from most he helps. I doubt this will even be a long term status quo for Norman Osborn and I was even skeptical when it began but it's one of the best things to happen to the character and the best thing happening in Spider-Man right now.

I'm really digging the art which is rare with Spider-Man spinoffs. As much as I love to story I'm getting more and more afraid of Norman's return to his sins. Which is good. The fact that I am actually concerned for this character to reverse course on this well written redemption arc is powerful storytelling. I also like this mystery that is forming from Norman's breaks with reality. What is Kafka responsible for and what is Norman doing that he's unaware of?

Okay overall, this story is great. I liked every issue and they were some of the only parts of the Dark Web event that were even worth reading. As Afre mentioned, I do wish that there was some sort of epilogue as it really just ENDS. Very abruptly. It's not bad, it just felt like the issue was over quite quickly and we won't get to know what happens for a while in Norman's life since this mini series is now over. Cantwell did a fantastic job giving us a serious psychological dive into what Norman is dealing with. While being somewhat generic with therapy and trauma it's an important message to spread and how while Norman's sins are his own, they have impacted countless people. This issue just stumbled on the finish a little bit. The fight with Queen Goblin was somewhat hard to discern from the art. I feel like there were some missing panels. Almost felt like a rush job from the creative team but that's not to say it's bad. I thought everyone was written very well and if it is ever a possibility, I'd like to see Cantwell take on Spider-Man. I really liked how he was written here.

I didn't read the last of Soule's run that leads directly into this but I know what happened. This was pretty good. Reminded me a lot of season 3 of the DD show though that is playing largely off of Born Again. This breaking down of Matt to his core isn't unique but the chase between him and his fear was cool. The art wasn't my favorite but I'm kind of used to seeing amazing artists in DD runs so they have spoiled me.

Yeah this was good. I liked the art more, though Foggy seemed off. The narration took a little bit to understand but you figure it out before the reveal. Everything here feels like a Daredevil story for better or worse. It is predictable but in a way that you are comfortable with. Matt can't choose to be happy and that's his entire problem, will always be his problem. The Man Without Fear fears the most.

This really hit it's stride. While it follows the same storytelling method throughout the series so far, its here that it reaches a peak. Matt's flashback to current time interactions and relationships perfectly parallel each other in a dark mirror. At the end of the flashbacks you see the Defenders' fear of Matt then cutting to the current time, how they pity him for his own fear. Matt's struggle is endless. Coello should have done the entire series. The art of this elevated it so much higher than the other books.

Fantastic. I've always loved Fisk's gravitas and the elegance of his speech until he falls into his rage. There isn't much better Fisk/Murdock dialogue out there. The peak from last issue is eclipsed here. While the art wasn't Coello's clean lines Villanelli is still phenomenal. Either of those two on this book for the entire run would have been a blessing to it. It's funny how Fisk can control an entire book with his words and all it takes is a handful from Matt to put the fear in him.

Overall, this series was fairly above the average while sticking to average tropes. The imagery and dialogue is what really elevated it. Breaking down Daredevil and Matthew Murdock is nothing new, nor is their internal struggle and eventual acceptance into the role of a hero. It's predictable and safe but something people come back for. I don't believe he has every been without fear and that's definitely what this story has told us. He fears for his city, his friends, his loved ones and that's the struggle of the every day person. Matt Murdock is just a person.

As with Do A Powerbomb I couldn't care less about the subject matter. I don't dislike Transformers but they have never been my go to for content be it tv, movies, comics or toys. But DWJ is on it. All of the dumb wrestling moves make it better not worse for my experience which if it were anyone else I would write off about how idiotic it all is. This is great. It's heavy, the human subplot seems to have weight unlike so many properties that have to have 'normal people' in it to sell tickets in theaters. I care about what is happening which isn't something I would ever normally say about Transformers. DWJ makes me invested in dumb shit and I love it.

I would never anticipate that Transformers would be the book I look forward to the most every month. Between DWJ's art style and writing he manages to blend a lot of things I don't care about into a beautiful and heartfelt story. Not the biggest Transformers fan, hate wrestling but put those together with a new, fairly dark take on Transformers that is so genuine it makes me invested into the deeper aspects. Such a great book by such a great creator.

Some of the action is a little busier than usual and hard to follow but it's still fantastic and emotional as DWJ tends to be.

It was still fantastic but didn't get as gut wrenching as it has previously. Kind of just flew through the sad stuff. Still powerful just not as devastating.

What felt like was winding down is picking back up here. I was worried that this series was losing steam as much as I have enjoyed every issue but after taking a small break it's just as engaging. Stakes are high, I think what has been missing is the emotional factor coming from the humans as they've been mostly background characters that added weight. This focus on Cybertron with the flashbacks and somber tones from every Autobot left them feeling a little flat. What carries this second arc are entirely the Decepticons and their unrelenting pursuit of Cyberton's salvation.

You really can't get attached to characters in this series but it still hurts regardless. Good writers will do that to you. Even though you may not know a character for a long time if developed well enough or given enough attention even as a background character you'll be heartbroken if anything happens to them. Not every writer is that capable.

This was amazing and heart breaking but I am SO angry.

Solid way to start the series. Love the personal quotes. Each really fits the Rangers' individual personalities. Cool to see early Dan Mora artwork.

The jumping back and forth prior to, and post Arrival Day is a little jarring. I think because it's all done by Mora, there isn't a distinct break to show much of a difference other than header text you can miss but the dialogue is great and everything really feels like teenagers in high school. It's genuine and that's not easy to nail.

I loved the small bit of backstory for Billy and Skull. Really adding stakes to these giant monsters with Kimmy's boyfriend getting hit makes this feel a lot heavier than the show ever did.

Finster explaining Homecoming rituals to Goldar is peak. Putty Matt sowing seeds of discord within the group is a tired trope but works very well when placed in a high school setting. Kids that age take everything at face value and hang onto every word their friends tell them as fact. It's all very believable.

The art is strong but a little busy. Sometimes seems messy and not in the sense that's not his style, it clearly is but a few strokes seem to be left on the page that could get cleaned up. It's a sweet story, with an impactful opening. Simple hero's journey beginning. I'm just not big on wrestling at all so it's not really my cup of tea in terms of the action department.

Yeah this was it. I liked the action a lot better here. There was even more emotion than last issue. I had a feeling that the reveal here would be what it was when I read issue one and even with that, it still breaks your heart and hits you like a truck. It's a whacky story but it's already loaded with heart.

I still don't like wrestling but this is really good.

The pacing was a bit off. The montages were awesome but the emotional moments were too often intercut by sporadic and quick matches that didn't have a lot of weight to them. The ending though. It's going to get intense.

This was predictable. Not in a bad way, it's still really cool but not as surprising anymore. I don't really have any problems with the art anymore, it all does a pretty great job at conveying every over the top detail. Some of the lettering and sounds effects get left to die though. Super fun.

That cover goes hard and I hate snakes. There is so much to like about this book. Even though it kind of blows through the other fighters and their backstories which makes it a little harder to resonate with all the parties but in the end the only one that really matters is Lona and Cobrasun. All they have to do is y'know. Beat God.

It's bittersweet and it's almost too bitter. By god was that stupid and fun.

Beautifully written and beautifully painted. I love how it adds to the Spider-Man mythos earlier in his life than we've seen without changing who Peter is or retconning too much. Just giving us more reasons for why Peter is such a great person. Showing more about Ben's influence on him and the lessons he learned in those first few days.

Beautiful. This is how you add to the mythos of Spider-Man's origin/early days without being obtrusive.

Nothing better than seeing Peter actually be a hero. Saving people from a burning building, saving fire fighters, beating the bad guy. This is what Spider-Man is. The neighborhood kid. "Why do I do it? Because I DIDN'T do it once, and the man who was like a father to me DIED because of it. Because I let PRIDE blind me to my responsibilities and a lifetime of MAKING UP for it won't be GOOD enough. I'm NOT a super hero. I'm just a kid with a little extra."

I don't know why I liked this but I did. It's not the best writing and I don't think this is Miller at his best on art but it was interesting. Characters I didn't know dealing with fairly heavy subject matter. People actually died. That says a lot considering the time this came out and even before Miller was writing for the book.

A wonderful story off the beaten path. Proof you don't need to have your superhero in costume in every issue and still tell a compelling narrative.

Gruenwald's writing was serviceable but Ditko's art was flat, lifeless and there was hardly anything in the background. There really isn't much depth to anything and lacks anything dynamic.

I don't know what this issue was going for in terms of the writing aside from reexplaining to readers what Daredevil's powers/talents are, who he is and what his mission is. Fingeroth references Born Again at the beginning as this turning point for DD (duh) but doesn't write him in anyway that is elevated or changed from that experience. Rather boring for a reader who even has a passing knowledge of Daredevil. It's honestly the worst issue of DD I have read. Constant exposition, thought bubbles, over crowding art with repetitive text boxes that don't lead the plot anywhere. It's all the worst tropes of older comics that I would have hoped had died out by the mid-to-late 80s. The art here is even worse than last issue. Ditko did the breakdowns and Danny Bulandi took those already very static panels and couldn't do anything positive with them. I place most of that blame on Ditko but overall the models look ugly.

It's the quintessential Superman origin. Everything you know about him elegantly told and displayed by two artists at the top of their game. Not much better than this for Superman. The only critique I have is that Gary Frank draws his younger characters like he's never seen a child before. They all look like they have tiny bodies with the heads of someone middle aged. Aside from that, it's great.

Just as good as the last issue. Same problem persists with the younger teenage faces looking a bit old but less egregious here. Really liked the short adventure with the Legion and Lex's machinations with his father.

This whole series does what it should and encapsulates who Superman is and why he's so important. From the citizens of Metropolis, those closest to him from his parents, Lois, and Jimmy and even his enemies like Luthor and Metallo, everyone here is shown how we know them to be. This could be viewed as a bit boring but the feeling I got when reading this was as if I were watching the '78 Superman movie with more interesting antagonists and a better pace. Frank even went so far as to make Clark look like Christopher Reeve which was a nice touch even if I'm not the biggest fan of the film. This is the best issue of the bunch and this run is the definitive version of Superman's origin. Do yourself a favor and read through it. It's just an uplifting good time.

This book is just great. Gives me the same excitement and joy from reading Waid's Flash. This, like his Flash is a must read. Robin's voice is perfect and really elevated the vibe for me. Dan Mora is one of the best artists in the industry right now and I'm so happy to have him on this book.

You just have to read it. It speaks for itself. It's Saturday morning cartoons on a beautifully illustrated page. Almost nothing better out right now.

As great as the duo this Batman and Superman has been, I really want to see more of Supergirl and Robin. Their dynamic and past history has been really entertaining.

No one can tell me that this this isn't the coolest shit they've ever seen.

Is the Phantom Zone a McGuffin? Yeah. Does anyone care? No. Because it's awesome. And it's used so sparingly that it's implementation has weight to it. Superman doesn't throw it around like a toy and that means something. Here it becomes something more than I ever thought it would be. Waid managed to do that in his writing during his Flash run time and again. I'm glad he is channeling that wonderful air of creativity in his storytelling. Just a fantastic book.

Another amazing issue in this series. Moore's art is fantastic and obviously a different style. If it still fits the tone of the story then comparing it to Mora's really doesn't seem fair. They are both amazingly talented artists and I think Moore's art fits here well. I am a sucker for Robin stories especially Dick-centric Robin stories. Dick using his detective skills, surrounded by a circus like he grew up in, simple fun. What else could you ask for?

Kingdom Come is lame and Waid is just being self congratulating.

This hurt to read. Not because it was bad but because of how real and relatable it is. It's unbelievably frustrating to see Dick be so distracted with himself and not notice Kara or anything she is saying. But we've been there. On both sides of the table. It's great, heartbreaking and cringey.

I love Dick chilling in the Batmobile listening to his Batmusic with his Batphones on his Batpad while undercutting obscenely rich billionaires. The irony is hilarious and you know Waid and Mora are clever enough to have planned it. I really appreciate the SatAm exposition for Metamorpho. As long as the character has been around, I've know what he does but never how he got his powers or what he had to go through to get them and become the person he is. Concise, beautifully rendered. It's like watching Justice League all over again. Plus we get Jimmy being Jimmy, and actual detective work. Who would have thought that would run well in a buddy-cop/Batman book?

"Try HAVING A JOB sometime." One of the best lines I have ever read only reinforced by Superman saying it to Batman only for him to come back with, "...I swear, that man would believe a HAM SANDWICH..." Even if you take out the rest of this story the first 6 pages are perfect. How Waid is able to pull from all of this backlog of characters and seamlessly integrate it all into one story is amazing. He really understands each of these characters that he pulls from and the sandbox he has to work with. I'm glad he's back.

Strong but kind of all over the place at times. I get the cut ins with all the other groups but some of it just felt like filler. Also having two brand new super villains to contend with in one book is a lot. It's just a dense issue that could afford to be stretched a little more.

I really didn't care about any of these stories, nothing felt particularly connected least of all to the main story. We get teasers in Annuals now and it's kind of a shame when they could be used to just make a longer engaging story as a one shot or something fun for the main characters to do but we're left with snippets of ideas we won't see for a while that are only tangentially related to this series.

I've never been a big fan of Kingdom Come so when issue 10 dropped the bomb that we'd be exploring that world I was really put off by it. However, this whole arc has been pretty phenomenal and makes me want to revisit Kingdom Come and apply this new prequel to that concept.

I weirdly wasn't super into this one. The Lex/Joker story really didn't do anything for me because it didn't really mean anything. It felt like something that would fit into an annual which oddly enough I had criticized because those stories felt completely separate from the main arcs but Lex and Joker at least are related in mirroring the heroes and would fit in the annual fine. Taking that story out leaves the little we had of the upcoming 5th Dimension tease which we already got a tease for so this issue, while entertaining just felt like ANOTHER annual. Fine overall but feels like a waste for the 25th special.

I don't really know what I read but it is way better than I originally thought it had any right to. Beautifully tragic and a great somber tone.

There is a lot to take in. Hard to grasp on a first read so you probably should give it at least two. Very cerebral and inwardly cosmic.

Out of nowhere I found the urge to read this. Can't really place why... Possibly something to do with cringey internet kids sparking interest. I feel like I'm going to like this a lot more than most. Does Paul suck eggs? No, not entirely. But I love Dylan dogging on him. The art is spectacular, the writing is solid and I get to see more Paul. This is my kind of book.

This is just a good time. I'm a little out of the loop because I didn't read the last Venom series but this has done a decent job of onboarding and expositing what needs to be. Dylan is great, I like the detective trio of Robbie, Luke and Rick. The mystery isn't even what I'm digging really, the story is just a fun ride.

Not hard to figure out who the host is at this point. Especially since they totally ditched the Trio and we know it's not Masque. Very parental tone. I like the misdirection used.

Wow something that actually made me think M.O.D.O.K. was cool. Gomez is a fantastic artist and I love how Ewing treats Flash and the supporting symbiotes.

Y'know if you actually READ the series, it actually makes sense why MJ would be Venom. If you don't read any of it and just act like a petulant internet goblin you might miss the subtle/not-so-subtle writing. Does MJ hate the symbiote? Yeah, historically she does. Is this an unlikely pairing? Absolutely. Will we find out why? I'm sure we will. Until then, we know that she wants to be a hero, she cares for and is protecting Dylan, and this is likely the closest we are going to get to a Spider-Jane scenario. This is great. More Paul please!

Oh hey, Mary Jane still hates the symbiote. But she can't separate from it because Paul created a stupid machine that Venom unlocked and killed her with. Now they are bonded or they die. Yeah that makes sense. They are not friends. They are host and symbiote out of necessity. "We are Venom... and we are Mary Jane Watson. Or we're dead." Love it. Venom's own personality in this series has been really great. I love that they keep going back to, "What would Spider-Man do?" What does it take to be heroic. They try. If there is the smallest chance of the slightest shred of the tiniest sliver of hope, they'd try. And if there was no hope at all, they try just the same. Also, Venom bang blocking Paul is pretty funny. Paul's emotionally erratic behavior is starting to slip more and more. Interesting directions could come from it.

Really fun. Don't let little incel internet trolls fool you. The art is phenomenal and the story is really fleshing out since the reveal. Rick having memory lapses from getting taken by Sleeper, MJ and Flash teaming up, Dylan and Paul hanging out. It's such a fun read.

Nice to see Otto being normal Otto. Art is solid, writing is top notch. There is no reason not to read this book. Every character is written well. Between this and where Spider-Man currently is fighting Hellgate, this is the best Spider-related series out right now and much more worth your time.

Stays consistent. Great dialogue, great action, plot moving at a good pace. CRAZY! And now that the thing happened, will people chill with Paul?

Solid start. Beautiful art. The story doesn't give us a whole lot in terms of direction as there really isn't a villain present. It'll likely be a commentary on the current militarization of the police and extra-policing forces that have been deployed. Poignant. I'm for it. What really catches with this issue though is the levity. Batman needs that every once in a while. The color palette is used very well. It was amazing seeing Batman be an actual hero to civilians, and how the little girl lit up when she saw him before engaging Croc. Fraction is solid and I expect good things.

Gary Frank's art I think is the biggest highlight here. He's kind of hit or miss for me. Superman: Secret Origin for example. The way he drew kids felt very disproportional, faces looked strange but its very clean here. He has some amazing panels like when Batman is standing in front of the Arkham house for the first time. There are other examples but they are subtle, small details that I just found really elevated the experience. Johns' writing is solid. Not really reinventing the wheel here. Things are new but I wouldn't necessarily say they are fresh. Nothing is so drastically different that it feels like a new origin for Batman or even a completely separate universe. I guess tweaked is the best word I could ascribe to it. Not tweaked as much as it really could be to stand out. Everything is pretty much wrapped up with a bow because from what it seems, these Earth One books were a testing ground. Enough of them sold well that a few got sequels and then sales fell off. Kind of sad because I am all for separate universe lines having legs. I don't need mainline DC all the time. The Ultimate/Absolute models can work. I think that Earth One just didn't have the fanfare the previously mentioned initiatives did.

It's Brubaker. He doesn't write anything bad. This is one of the better Joker stories and is up there with Mahnke's best work. This book looks fantastic. The story isn't overly complicated as it's just a first appearance story of sorts. Definitely better than Batman Confidential's Lovers and Madmen but what Lovers and Madmen had over this was length. Time to breath a bit. There was actually a bit of mystery to that story where here it's pretty much point A to point B. What does come through a lot better is subtlety in the story telling and art. Small things placed here and there that you might not notice and first but become more highlighted later. Lovers had some pacing issues whereas this knows how to give you a satisfying narrative through to the end. Funnily enough, though they contradict a bit I think this is a good follow up read to that story as well. The Jokers in both books are very similar in their extremely calculated and highly detailed executions so it's almost like reading a sequel when this came first.

Fantastic art, gripping story. Not sure where the story is going to go as it doesn't seem to tackle all of the horrors of firefighting and is going for something a little more supernatural but its very engaging. Real world traumas and fears with a layer of the fantastical. Works very well.

Even more gripping than the first issue. Hard to talk about the content of the story but it feels very real while still being fantastical. They way trauma and fear is depicted here is fantastic. The characters feel like actual people. Not paragons of society. People with flaws, baggage and weight.

Thrilling. While it dabbles in horror elements there isn't much to call this necessarily scary. That might pick up as we get closer to the end of the mystery but as of now things are a little too intangible to be frightening.

Chapter 9 is one of my favorite manga chapters ever. I love the bond that Ayase and Okarun developed, how cute the two are just wanting to talk to each other, then Ayase getting her feelings hurt because she thinks Okarun doesn't want to talk to her. It feels real. That's slice of life. That happens every day in high school. Another girl enters Okarun's life even if only briefly and Ayase is quick to be by his side again. It's amazing. The volume overall isn't as tight and contained as volume 1 but still an amazing series so far.

Oddly enough I think the anime had a much more impactful and emotional rendition of Acro Silky's story. If that level of expansion was here then this would be a 9 as that really hits you hard. This also splitting two arcs right down the middle feels like an abrupt end and beginning. The overall story is still great but this volume doesn't feel like it's own story.

ASM: Really intriguing and engaging for a FCBD story. It's nice to get a good hook though for those just picking this up because it was free, no one will have any idea what is happening. I wouldn't blame current readers for being a little lost. It could take place any time pre or post Blood Hunt really. The biggest takeaway here is the final panels hinting that Norman may be up to something or has been for some time. Ultimates: Really cool intro to WWII Human Torch. Seeing all of the lost heroes is kind of heartbreaking but Hickman loves his Easter eggs. I really enjoyed the dynamic between Cap, Doom and Iron Lad. Will definitely be picking up The Ultimates when it releases. Venom: Not really the biggest Venom fan in the world already and post Cates I haven't read anything. I've heard good things about Ewing's run but in general I am just not a big fan of Dylan at all much less Cable-Dylan. It could end up being cool but I'm not going to be venturing into that storyline in the near future.

I want to rate this higher because the stakes jumped way up. Tommy gets stabbed by Drakkon, we get introduced to the Time Force Pink Ranger and the Samurai Red Ranger. We get more development between Tommy and Kim but it's all undercut by really lackluster art compared to what we had before.

Just rating this for the Jimmy Olsen story. I haven't read Fraction in a while and this was just a ton of fun in a few pages which is more than I can imagine Bendis did with this entire run. It's also nice that this has nothing to do with Bendis' Superman so even more points. Leiber on art is also perfect. Great read.

Weirdly enough I think I liked Hitch's art more for the groundwork issues. Otherwise this is a great setup for what's to come. I really don't understand the negative reaction to Ultimate Invasion. We didn't get the old busted Ultimate Universe back. So what? Why try to repair something broken when you can make something new from scratch and have a chance to make it better?

It's not perfect, but it's damn close.

Everything feels right. The characters are amazing, the worldbuilding is slow but feels lived in. In two issues. Spider-Man can't even do that in the mainline and he's been in it for over 60 years.

This was so funny. Peter is perfect, I love the interpretation of Uncle Ben, Harry feels like a genuinely good guy. You want to root for these characters. You want to see more from them even when you know you won't. That's good writing.

Hands down the best version of Uncle Ben. I wish we got more of him.

Extending the great power sequence and Peter falling to pieces in MJ's arms is so powerful.

It's fast paced, funny and overall just good.

A great story. Tragic and well depicted from both storytelling and art. Sure it's cliché but clichés come from a real place. There's nothing funny or casual about abuse despite it being a common storytelling device and DeMatteis tells it very well here.

The art was fantastic, I love Mike Zeck's pencils more than almost any other artist from this era. His work really just makes me think, "This is 80's comics". On the other hand, wasn't a huge fan of the writing. I haven't read a lot of or any Bill Mantlo. He's a wordsmith like Stan Lee. He loves to fill panels with "complex language". It's not bad it's just an older form of writing that doesn't gel with me. The story itself was fun and crosses over with the FF. That issue was also fine.

This is my first Roger Stern issue ever. After reading issue 42 I flew through this one. It didn't drag, it was gorgeous thanks to Mike Zeck. The pacing was great, the introduction of Belladonna and Roderick Kingsley was just natural. As if they had already lived in Spider-Man's world and it makes for a really great transition into Peter's world. I really enjoyed seeing Peter in his college TA environment. Stern is an amazing writer.

Not as strong for me. It's a direct follow-up issue not written by Stern and it shows, not that Wolfman isn't a good writer. There are decades and multitudes of series and characters that have proven his pedigree. This is just a product of its time where writers bounced around a lot. I'm not sure how much involvement or input Stern was even given to this issue. The art as well didn't grab me nearly as much as Zeck's does. It's well paced just not written the same way. To give this some credit, the villain reveal was decently well built up and though I knew who it was from the crumbs laid throughout the book was still gifted with that rush when you see them which was nice.

Ben is back. That's all that I need. I like this idea of Pete "losing" the Spider-Man mantle due to the most idiotic, simple and capitalist concept possible. Marketing. I'm also into Ben's, "I am the lesser of two evils and it was my duty to take this," mindset. I will always love Ben Reilly and I love even more seeing two Spidey's teaming up and cracking jokes. I was actually a huge fan of Superior Spider-Man because while Otto wasn't a "good" person, he managed to do more for the city in a very short amount of time. Did people appreciate him for it? No. Did he do it as a hero? Barely, but he still almost completely stopped crime because he used his tools, resources and a team to do it. It looks very similar for Ben and I am all for it. Pete did the same thing with Parker Industries I know, and I really enjoyed that aspect of that arc as well. Spider-Man is evolving, Pete is growing and Ben is back. I could not be happier.

Not the turn I was expecting but that just made it more exhilarating. It's hard to talk about anything in this book without revealing too much. All I will say is that like Peter, I want Ben to be amazing.

This isn't a bad issue it's just not a Spider-Man issue and that is the only reason I gave it a 7, I get that it's a tie-in, it still bothers me. The writing is witty, well paced. I haven't read MacKay but this is pretty cool and I enjoy Colleen and Misty being included into Ben's world. The art is very mid 2000s Cartoon Network which might not work for everyone and I would probably not enjoy it on the main title but it's interesting here.

A lot better of a tie-in than the last in that it more directly follows the ongoing story. I do tend to enjoy a lot of those older throwbacks and this was a fun espionage story with May and Otto. I'll always miss Superior Spider-Man and the end hints to his possible remembrance of his past?

Decent story, GREAT art. Getting a little tired of Maxine telling Ben the same thing over and over again how much they have invested in him, is he really a hero, etc. I've said before that I really despise repetition and seeing it so often across so few issues is grating. Overall, Miles fighting/teaming up with Ben is fun to see. I haven't read Ahmed's Miles but he seems to get the character and mannerisms in just this alone so that makes me happy.

I have no idea what I read or how it pertains to the overall plot but it was actually pretty cool. Made me think of Black Mirror. Fornes is an amazing artist. If Ahmed doesn't normally do horror I would be interested in seeing more from him it just feels out of place but not unentertaining.

Fantastic and inspirational as most Gleason I have read. Harkens back to Batman & Robin and his run on Superman. I can't say which parts of those runs were more Tomasi and which ones were Gleason but this has enough of those that I was totally on board. While we see a vulnerable Peter from every writer, this is done superbly and I always get choked up when someone brings in Uncle Ben and teaches Peter a worthwhile lesson, someone that everyone can learn. Just a stellar issue.

I'm so tired of Maxine. She just regurgitates the same dialogue every time she is in an issue. "We thought you'd be better, maybe we chose poorly. Our investments, blah, blah, blah." She's not even a character at this point and that's really disappointing. Ben felt a little off here but Ben is someone I feel is pretty nebulous in terms of his characterization. I'm willing to allow for a change in personality as it has been a long time since we saw him for an extended period of time. I really enjoy watching his relationship with Janine. I was just as frustrated their date was shuffled off as they were. Like Peter, I just want to see Ben happy and successful. Otto felt like Otto and I couldn't really ask for much more. I thought the art was stellar. Very clean, the colors really popped. The only thing I thought stood out was Ben's symbol. It didn't look consistent with the interpretation we've seen so far but that is acutely nitpicky. Overall, a fine issue but the plot needs to move faster considering this story is going to be wrapping up soon.

Much better than last issue. We're finally getting somewhere! Though that place might not be the best for Ben and that is a sad and terrifying idea. Thankfully for this issue, Maxine didn't say the exact same thing she always does. Otto's inclusion has felt a bit forced but I loved his talk with Ben on the rooftop. Those slower character moments do more for me than a drawn out fight over too many pages. I'd give this a half point higher but there were some pages where the art was really inconsistent with the rest of the issue. Some things weren't as clean but overall, this was a good point to move everything forward.

This isn't the direction I was hoping for but it's gut-wrenching in the best way. We knew the whole time Ben was being lied to and the extent of which is much more than I was anticipating. Ben's memories are the only thing that makes him Ben. Without those, who will we have?

This cemented my complete disdain for Maxine not that it was trying to prop her up as anything but a corporate big wig trying to make a profit. They succeeded so she is a decent villain if only too one note. There isn't a lot of depth to her character and I don't really care when she's on the page. The story felt very fast. Not rushed, everything just transitioned very quickly I had a bit of whiplash at the end when Ben just dips leaving MJ. As cheesy as it is, I like seeing the two red head Spider-Girlfriends hanging out. I do feel really bad for who was forged into the Goblin Queen. She deserved better than to be a pawn of Maxine's.