Good A story with Superman, the DC Universe politics both terrestrial and cosmic, and watching Superman command a room. Warworld and Mongul feel like a threat more than they have been in recent years. I always just skim the B story just so I'm caught up, but the art just doesn't do it for me at all. The final splash page was pretty egregious in my opinion.

Loved the main story and the charming Martian Manhunter backup.

This was a fun romp with the future House Of El, though my one reservation here is that while no one El gets a complete focus on the story, it feels like we barely get to know most of the family. There are some decent character moments for each, and granted this is meant to be just one moment in time with these folks, but I certainly ended up wanting to learn more about them. I'm not sure how I feel about the expansion on the lore of the Phantom Zone. On one hand it's clear PKJ wants to try his hand at expanding the Superman mythos and I like some of the concepts here. However, the classic hopeless void of terror is gone here. I prefer having a PZ that's a desolate lonely place of wonky physics, basically Purgatory. PKJ keeps some of these elements and posits that the Zone is more of a consciousness. It's a heavy concept and bears exploring. But I like my classic Phantom Zone just the way it it's, with its already established rules. Overall, I enjoyed this issue and look forward to staying on the Action Comics train as I say bye to the regular Superman books. I like the universe building here where the concept of an El and Kent dynasty going centuries into the future is a hell of a proposition. I bet the original Kent parents never would have dreamed that their family name would go on to form a legend spanning millennia. I like the meta commentary made there - that no matter what point of time you find yourself in, now and forever, there will be Els and Kents.

The story and writing are great here, with stylized art that's not a direct caricature of the actor they're meant to represent, which is a choice I agree with. The only thing bringing this series down for me is how heavily compressed it is with a 6 issue run. There's a lot to explore here, and a 12 issue run could have fit the bill better. I know DC previously stated they were scaling back their printed comics and cancelled quite a few series before their prime (coughHELLBLAZERcough), so with a series like this where fans finally get a glimpse at what could have been with Two-Face and Robin, it's disappointing to get so little face time with either of them. That said, given how Robin and Two-Face are usually adversaries, this wrinkle in their relationship and their origins feels fresh and inventive.

I've been enjoying this series, as I have enjoyed the Tom King run of Batman, even the parts that clanged for me. There are some things as presented by Tom King I find tough to accept, but I appreciate the challenge nonetheless. The art is fantastic with moody colors and good facial expressions that convey inner emotions really well. I generally enjoy this comic's vibe, and I don't really give much importance to other elements others have lambasted in their reviews. We finally get to see more of Andrea/Phantasm, with her proclamation of doom, "Your angel of death awaits", which sent a genuine chill down my spine. Good creepy somber vibe conveyed very well by writer and artist alike. I've found that the key to enjoying King's Bat books - if it's more of a general vibe you're looking for, then this run offers it in abundance. It's a different approach for the most mainstream superhero of all time, and I appreciate the hell out of it.

A gorgeous, ponderous book.

an absolute blast from start to finish. Cowboy Superman giving Robin a ride on his shoulders? Yes please! I will miss this series/creative team when this ends. For now, it's a hell of a run!

A pure, fun time in a comic. A treat for fans young and old!

Whenever The Devil Nehza isn't on the page, people should be asking, where's The Devil Nehza? ;) Fun series buoyed with gorgeous Dan Mora art, but it's a bit silly in places. I expect slightly better from Mark Waid.

Comics rarely gutpunch lately, but this one delivered a totally unexpected surprise at least to this reader.

I enjoyed this two patter story that does a lot of work, and makes it seem breezy in execution: evoke the tone of the classic animated series, and hearken back to the classic Bronze Age tales of Batman teaming up with Deadman for a fun noir-tinged adventure, AND find a way to retcon a plausible twist on an erstwhile ancillary character from said animated series. I found this to be very well done, with some excellent art that captures the noir elements of this universe really well. My only minor quibble is no actual Nightwing vs Talon showdown as the cover would have us believe, but the good outweighs the bad here. You get to see Alfred do a flip! Come on!

A solid issue with a glimpse into Batman's past, mined perfectly by Alan Burnett and Paul Dini. The Burchett art is great but something felt off about the quality of the printing, at least the issue I had. There were jagged edges on panel borders and lines of art which I don't think were intentional. I'd like to chalk it up to current supply chain issues plaguing everything, and that this print run was rushed. Hopefully the next issue will not have this problem.

It's been a thrilling read so far with some top notch art - love the panel of Bruce's shoulder being stabbed, it's such a sudden page-turner of a closeup. I find the villains M.O. to be particularly calculated and nasty, so with two issues left to go, I'm looking forward to seeing how Batman turns the tables.

I won't say this series ends on a thud as it does slowly deflate on its way to the end. Much like DC's many other minis out there right now, the 6 issue treatment, plus a two month delay here and there, doesn't do wonders for its pacing. Overall an ok series but not exactly begging for a re-read. It's a rare misstep for Tom Taylor, and even the Andy Kubert art feels "boxy" for lack of a better term. Everyone looks and feels like a Minecraft character. I know he can do better.

I had an absolute blast with this.

Pretty enjoyable hangout comic, with a simple plot and goal. Art was great at being dynamic and also capturing good character expression. I'm all aboard the Blue & Gold train!

Not the best outing here. Bad art, and the social media commentary is really grating and distracting. One high point here is the return of Trixie/Terri all the way back from th old 80s Booster series. I wish we got more character moments like that instead of an incredibly boring villain with ho-hum dialogue. I feel that a Matt Fraction or a Mark Russell could have made hay from this setup.

Just really bored with the dialogue, the confusing action, and generally bad comedic material. Generally kind of regretting subbing to this, it's grown steadily more tedious by each issue. I skip the social media bubbles now entirely. There's only so many times one can read the word "deepfake" until it becomes clear the writer read it once and wants to work it in as much as possible. Plus it feels like the concept of the series - Booster and Beetle are taking on superheroics for "everyone else", whatever that means - is being repeated ad nauseam. It's 5 issues in an 8 issue series, yet every issue keeps feeling like the first. If this series is Ghostbusters with superheroes, then it's chosen a very strange way of pacing its plot if we're only just getting to their "clientele". We have 3 issues left!

Benjamin Percy left Green Arrow in a cool place where he has gone through a huge trial, bitter against the Justice League, and J'onn J'onzz leaves him with a mystery box that could possibly take down the League. Only for Bendis to come along and give us...all of this. GA relegated to yet another team where he feels placed in just for name recognition, not because he wanted to join the team or if he would make sense on said team. I dunno. I just want Bendis to pretty please stop writing DC Comics, it hurts.

Each issue offers surprising amount of depth to otherwise one-note characters, which is always an entertaining surprise. This issue is no exception. I dug the Bryan Hitch drawn origin backup story here as well.

Enjoyed this a bit more than I thought I would. It's kind of great watching Jon fall flat on his face, you don't get that a lot these days with everyone being super competent at all times.

Just a straight up banger.

Tedious is the word I would use to describe Tamaki's run this far on Detective. I really have it a shot but this is where I get off the Tec train. Dan Mora is MIA on the book and his art was a draw, though given how the story turned out, he wouldn't have too much to draw except bombastic action scenes. Given her Wonder Woman run and now this, I remain unimpressed by Mariko Tamaki. I gave her a lot of chances but this run took a nosedive for me as well.

Just when I had written this series off, we get a kickass issue like this one. Love that Dan Mora art as always especially on that sweet two page splash.

Between the excellent art all over this issue, and the return of Mark Waid in the third story, plus I gotta admit the Shadows storyline is keeping me hooked so far, I'm a pretty happy camper. The reveal at the end of the main story is for one of my favorite DC villains, so now we're cooking with gas. There's a hint dropped early in the issue that I guessed correctly, but I was still pleasantly surprised during the reveal.

Undercooked ideas, overcooked dialogue, underwhelming art, overwhelming boredom. The art is especially bad. No art cohesion with the main Tec run with Dan Mora. And what's with that main cover? Bogdanovic has turned in better work than this. Woof. With the final issue with Dan Mora art on the horizon, I'll be glad to be done with Tec for a while.

I'm a novice when it comes to Donnie Cates so I am not quite so used to his voice yet. I read about 6 issues of Crossover until I kind of lost interest, though the central concept came off pretty dynamite. I am sufficiently entertained so far in a seat-of-your-pants kind of way to see what happens next. Given what little has actually temporally happened since the first issue, it may be a bit too early to tell. So far, the explosion of that first issue continues to be felt in the second, and I'm curious to see it further, for now.

Underwhelming, to say the least. I really was expecting some sort of wild twist - as this IS a Hulk book and this IS a Hulk story after all - that Hulk would beat Thor and take his place as a god among the rest. But that would be a diversion from the overall story Cates may be trying to tell here. I'm still hoping for a longer game here, but overall the art is saving this series so far, and even then some of the action scenes feel muddled. The anticlimactic ending with Odin's literal deus ex machina was a bit much for me. I should be used to old fashioned comic book hucksterism but I have to admit, they got me with this one. What a bait and switch. Now they have my money! Still giving this series a shot since it's only about 8 issues in, Thor issues notwithstanding. But I feel like it's on thin ice at this stage.

This is a straight 10 totally based on that amazing single page splash where Icon walks out of the fire with that bastard's head in his hands. Baller.

A very satisfying conclusion with a solid taste of what's to come. I had my doubts going in but have emerged on the other side a little more excited about DC's cosmic tales going forward.

I enjoy anthologies, so this kept me entertained throughout. Highest marks are for the Psycho Pirate story, as I've found him to be possibly one of DC's scariest villains, and making him a human witness to multiple realities and universes, a meta character, is a very cool concept. I'm intrigued if DC does carry through and make him a New Gods level threat as they promise here.

I'm a huge mark for the DCAU Jusice League show and multiversal crossover tales. This is right up my alley.

Rrally enjoying this refreshed look at DC lore but through a DCAU lens, establishing new continuities for "current" characters who never appeared on either JL show before. Is Superman-D still President on his world? Looks like he's married to Wonder Woman? Earth-D looks like a combination of the seriousness of modern DC with the goofiness of an animated series, dig that great Whirley-Bat their Batman rides in on! Lots of good moments here, best of which is when the two Supermen recognizing each other's goodness. I just enjoy seeing President Superman show up in anything since his introduction, so it was cool seeing his DCAU equivalent here. Also: shout out to this amazing Dan Mora cover! A pleasant surprise just as I started pulling this series.

This comic never fails to delight in old school comic book cosmic scale, and I am here for it every time.

This was great from a story and metatextual point of view, but sadly not from an art perspective. The interior art really lacked detail in a lot of panels. It takes a bit of the lustre off an otherwise fine, serviceable facsimile of Grant Morrison.

Lots to like here. The different view of a "dead" Apokolips, Desaad's "summer home", the slightly tense campfire with our heroes...it's very much in the vein of a classic Western where all the heroes are tired and ready to hang up the spurs. I'm interested in seeing where everything goes.

I honestly don't get what Zdarsky was going for with this series. The tone shifted drastically by the final few issues, and going by the cover numbering, I was led to believe this would be an ongoing, and not a 7 issue mini/maxi series. So I thought there would be more of a drawn out, each member of the JLA eats it until maybe Superman remains standing or something to that effect, but instead we actually gain back one member. The ending here is definitely a clanger instead of a banger. All the interesting setup we got in the early few issues seems to have been forgotten and forgiven here, as all the characters end up acting like it's the end of a Star Trek episode. I'm just left scratching my head at what I just read, and how it fits in with the entire series if one were to read it as one solid trade paperback volume. Would it flow better? Would the story pay off better than waiting months for a so-so ending, with little emotional payoff? I'm not quite sure. I've come to expect better things from Chip Zdarsky, so hopefully this signals only a rare misstep for him.

While the art is top notch Darick Robertson, I feel that he comes up a bit short as a writer - or at least, the writing doesn't seem to match the art. Robertson's art is dark, moody, visceral, but his script reads like a very simple (in a good way) comic script from days of yore, so there is a mismatch in tone. I hope future installments will strengthen the snappiness of the dialogue, as that is the part I struggled with the most here. Overall a welcome return for this venerable Bat series.

A decent first entry, which I'm looking forward to seeing unfold over time. I have some reservations for the art though, which is hit or miss depending on the page.

I had a good time with this issue. Lots of Fourth World lore, an old friend of Mister Miracle returns, and our hero is at his lowest moment in the series. I've come around on this series as of this issue. I hope it sticks the landing.

Continues being a highlight in the current DC lineup, from the world building to the art that feels like a full course meal every issue.

A good issue where the action slows down a bit for a bit of backstory, an interesting retcon, and emotional beats Tom Taylor has mastered in the past few years on DC books. I don't think I've spent this much time with Dick's parents, which was good fun. This continues to have all the hallmarks of a revered run on this character.

Just a breathtaking issue. I do think the story needs to get going though. After being mired in Fear State nonsense for a while, I get that Taylor and Redondo have to restage their set a bit, but here's hoping for more story progression. But damn that art though!

Another great issue from this wonderful team. Love seeing the mentorship role get taken by Dick when it comes to Jon, since the former always looked up to Clark growing up. Very sweet issue, particularly the moments between Jon and Gossamer.

This series was due a big ol' clunker, filler issue and boy did it get it. Where to begin? I'll give the art about a 6, it's ok, but it's twee kawaii shit dialed up to 11, all to serve writing that is doing very much the same. There's a small rash of writers over at DC (thanks in no small part to Geoff Johns) on trying to add new characters and canon, but instead of something new and interesting, it's just taking what already exists and giving it a new coat of paint. It's not Bat-Mite, this is Nite-Mite, totally new character! What does he do? Um he's pretty much the same as Bat-Mite. Ok? Then add a smidge of meta defensiveness by trying to get ahead of the tweets within the same comic, and now we're just reading the writer debate himself. All of this is just to say, I find this issue to bring to bear all the embarrassing traits of Tom Taylor's writing to a very painful and prominent forefront. I don't know if his ego got the best of him after his many successes past Injustice, but this is just Tom Taylor indulging himself, to excess. I've been wincing lately at a lot of his writing in this and other series, but I took it with some good humor as I hoped to see some development. So while this issue isn't quite a deal breaker for me, it does amplify everything I haven't liked about his work lately, so I found it incredibly grating. Do better, dammit.

Great, scathing satire of toxic masculinity, capitalism, and the state of humanity in the 21st century.

One jaw dropping issue of this series. Both this issue, and the previous, really start to cook. It's like if True Detective had a season in the Watchmen world. Particularly the first season of TD.

This series, including this great final chapter, has been a great win for Tom King. Understated, noir-tinged, vaguely apocalyptic, nihilistic but with a sliver of hope thrown in - all part of the dark charm of this maxi-series. I enjoyed every issue, and I have a feeling that I will enjoy the entire thing even more now that I can read it all at once. In an earlier review I had compared this series to True Detective Season One. I would add that given the references (but never any glimpses) to Robert Redford, there is also a healthy dose of 70s political intrigue thrillers like Redford's Three Days Of The Condor. If you haven't watched that film, I strongly recommend it. It will only enhance your enjoyment of this Rorschach series.

As a casual reader, this didn't do much for me. It's a mishmash of characters I'm sure have greater significance for Spider-Verse stories, but I think this just isn't for me.

A perfect bow to put on a near-perfect series.

Controversial as it has been, I honestly do not understand the vitriol thrown Tom King's way for his treatment of "revered" characters, when alternate universes, realities, timelines, a literal infinite frontier is laid out before comic fans at all times. The second someone creates something iconoclastic, everyone reacts like their mothers got shot. Relax. The old Strange Adventures tales are still there. Batman has gone through a thousand iterations, some extreme, some traditional, some a mix of the two, and he's endured for decades. I found this issue to be pretty great, and the series as a whole works really well as a companion piece of King's Mister Miracle series. While in that series we see a marriage triumphing over trauma, in this series it's the dissolution of a marriage over one big lie. We should all be accustomed to being given a Big Lie lately and being told to support it at all costs, even when we know full well it's a Big Lie. How far are people willing to go to support a Big Lie? What justification do the ends provide for the means? It's a challenge to the reader, and I'm up for it. Folks grousing about these challenges are free to not read it and indulge in something else. It's not a knock on those unwilling to accept the challenge, it's not for everyone. But complaining about it like it's "ruined" a character or legacy or whatever, is kind of silly. It's comics. Relax. As ever, absolutely fantastic art on this issue, as with the rest of the series. Watching the two art styles converge on that one page with the 3 column Watchmen layout was nothing short of magic. Unlike Geoff Johns' Doomsday Clock, I feel that this series has been paced just right, with the climaxes coming at exactly the right time and not being rushed in the final two issues. I look forward to the final issue and then perhaps reading the whole series again in one sitting.

This has been a curious book so far. The art has overall been good, particularly most of the covers. This issue in particular was a positive step in the right direction, but consistency so far has not been the watchword of this book. I am missing the team dynamic I come to this book for (even a dysfunctional team has a dynamic), so suddenly seeing most of the squad benched for an issue that centers on Bloodsport (I get it, movie coming out, need some unit shifters out there, etc.) was a jarring shift. However with that said, I enjoyed this issue and the quick work it does to get the reader a bit more invested in Bloodsport, distancing ourselves from the weird stinkbomb that was the Red X issue. I'm a huge sucker for alternate Earth /evil dimension stories, and have been following the Crime Syndicate mini, so I enjoyed the proposed crossover here. I'd say this book still has my attention for now, but it better be going somewhere soon.

Bought mostly for the Ambush Bug cover, but didn't like the voice they gave him here. To be honest, if it's not Keith Giffen writing the Bug, forget about it. The Giffen/DeMatteis team on Justice League in the 80s were able to deliver a team book that also featured comedy with a relative ease. Robbie Thompson has not demonstrated a similar command over the comedic voice of his characters. Bad enough to have a cringe worthy quipster in Culebra, but now a Harley-ified Ambush Bug also making quips, referencing Bo Burnham songs? Don't remind us of someone much funnier than you, Thompson. It's not a good look. The art is where the issue shines, which is how one can describe many DC books these days (looking at you, Detective Comics). If anything, this series has given us lots of great art across multiverses of characters, plus that sweet cover. I really hope while this series attempts to pivot to comedy, it can also take pains to pivot to some quality writing as well.

This issue, and the one before it, both deliver solid action and an improvement in the comedic writing, it still rounds out a very uneven Suicide Squad run for me. An uptick near the end doesn't exactly help the average for the series. I'm not sure I'll be revisiting this volume, but the art at least has been fun (though why it takes this many artists to finish this one book is a little beyond me).

An intriguing first chapter for this mini series, with lovely art.

Really enjoyed this issue. I don't know if the concept of a Kryptonite sun has been done before but it's a great comic book concept. One thing that clanged for me in this issue was Kara's final burst of arrogance about how much of the punishment Kal was able to take, since it sounds like he was alone, and she has had Ruthye by her side the whole day. For all the forward steps Tom King takes with Supergirl, it's little weird barbs like this that take her development backwards. I like the concept of True Grit paired with a hero's journey story, but in some aspects Tom King tends to stumble and derail his own writing. Incredibly lush and appealing art as always from this creative team.

Definitely going the route of the unproduced screenplay for Superman V that had a pitch by Carey Bates to involve Superman, Brainiac, and the bottled city of Kandor, though with some changes to the structure of Bates' original pitch. I'm enjoying this quite a bit!

An all round delight of a comic. If you don't hear the John Williams score soaring along with Superman, you may not have a soul.

It was alright, but felt quite rushed. Phil Hester's art in the main story definitely falls short here and there with some confusing action, and a final splash page that just looks plain off with the faces. The story being told is mythic I nature but the art doesn't seem to go with it well at all. The Bibbo/Olsen story is also wrapped up in this issue and that one is also a middling story but with better art than the feature. It was alright, but a bit riddled with cliche. Overall a slightly disappointing "ending" to the Kal-El Superman books for now, with some hype work being done for Jon Kent, the next Superman. I'm not even sure where all of that will be headed, but it sounds like there's already a heel turn planned for Jon if PKJ's Action Comics and Future State is to be believed. Who knows. But for now, the main Superman book, when not in Peter Tomasi's hands, continues to flounder and look for a way to ground itself to a story, or emotion, or character. But as with the house of El, I still carry hope that things will improve in the future.

Fantastic through and through

Incredible issue. Super emotional and highlights the very best of what makes Superman and his family/cast of characters great.

I'd say I'm hooked. At least for a while. Tom Taylor has yet to disappoint me, as his is a style that at least consistently entertains me. I just dock a single point for the art, as it was a little awkward in moments, where faces don't quite come together. Overall the art does move fairly well, and gives us a cool, sleek new Superman in Jon. I'll be cautiously optimistic that this series can prove to be something special.

This is good comics. From that absolutely gorgeous cover, to the beautiful interiors, the excellent script, and the building of a new Superman mythos with a truly 21st century flair, I find Jonathan Kent's future in great hands after the questionable writing and editorial decisions of the past.

A really great, solid issue. A whole lot of super-rescues, and how Jon has as much of his mother in him as he does his dad. I loved the moment between him and Jay, just really sweet and vulnerable. Jon has way more confidence than his father did at that age from the looks of it. The youthful energy of this book is enough to put a smile on the most hardened faces. That is, unless you're a cantankerous, sour soul with no room for joy in your life. A great new Superman tale for a new generation!

An absolutely excellent issue. Jon continues to show how different he is from his dad, due to the tenacious influence of his mother. This is also some of the best Luthor writing I've read in a long time. The artwork is also amazing, I lov d that cover ever since I saw it solicited and am glad it's in my hands now. Seeing Superman with his feet up on Lex's desk is a perfect image to summarize how different his approach is to Lex than his dad's. This continues to be a don't-miss run and has all the makings of a classic. Don't pay attention to sad, pathetic losers on the internet who grouse at this kind of story, all because they chose to forego joy and empathy in their lives. Those louses are not worth our time.

I remember seeing that cover image of Lois holding a bloodied Superman in her arms, as the cape billows in the background, and my tiny 10 year old brain was shattered. They got me! 30 years later, the weight of the moment is still not lost, despite the wacky shenanigans we went through to get Supes back. I was sort of hoping we'd get a reaction from Jon to the Super Mullet his dear old dad sported soon after the event! All kidding aside, this was a nice special. A good walk down memory lane to a very memorable Superman story. It was good to see the different perspectives and the old masters come back for another yarn set in this period, including Roger Stern! I enjoy the Kents story told by Jerry Ordway and Tom Grummet the best. Long live Superman!

Heartbreaking and hilarious, the promise delivered by any Mark Russell book.

Such a rushed, meandering series, an unfortunate casualty of what never became of 5G. I had no stakes in many of these characters, and the lack of art cohesion through all issues has really hurt the promise of the series. It's a shame.