FuzzyCracker's Profile

A dull and trite story that goes nowhere in terms of character development for the main character.

Really bad fanfiction issue, where everyone is written horribly out of character.

A very deep and cleverly-written issue, that is a contender of one of the best one-shots written, and puts most of the overhyped Big 2 superhero comics to shame. The issue starts off with a major event, and each subsequent page reveals more and more about how things came to be, while also putting things in a new perspective. It's a shame that so many paid reviewers (such as from IGN and Newsarama) managed to blindly miss the mark on this one-shot.

Very strong character-driven issue. Janin's facial expressions and body language convey subtle character ticks. Dialogue is wonderful, and the ending leaves certain implications that are reminiscent of another certain superhero's origin story.

Manapul's art is wonderful. Nice character moments with Bruce before the case goes underway.

It just reads like overhyped (and overpriced) fanservice. It's not horribly written, and the art is passable at certain points. But it hardly tells a story worth reading, and instead just rehashes a few personality traits from the films.

Still pretty bad. Characters continue to be incredibly shallow, much like they've been for the whole series. Writing is flat, and the artwork is just lackluster. Not sure why websites like IGN and CBR drool over this so much, other than video game ad revenue, I guess.

All narration, and no substance. Reads like a Scott Lobdell comic. Wish Soule stayed on to see this through.

Writing is excellent, but the lazy art (especially when it comes to faces) is really hurting this title. Still one of DC's top 3 books, but it could be so much better.

Plenty of humor, and just a nice story all around. Even more enjoyable than Superior Foes.

Filler

Up until now, this series was a strong feminist book with smart writing, and a nice bit of humor. Unfortunately, this issue decides to drop its strong feminist message in favor of a cringe-inducing tangential rant on straw men that sinks to the same level as the misogynists on Fox News. It's as if Jason Aaron suddenly allowed a 13 year old Tumblr misandrist to write 5 of his pages. It's an embarassment compared to other great female-led books such as Ms. Marvel, Genevieve Valentine's Catwoman, Azzarello's Wonder Woman, Revival, Captain Marvel, etc. Hopefully, this series gets back on track from this ill-advised mishap.

More cringe-worthy and ham-fisted dialogue, more plot-induced stupidity, and more pointless deaths for cheap shock value.

This series has had a lot of hits and misses, but this was its strongest issue yet. Babs finally feels like a character, and the dialogue is no longer getting in the way of the art.

Endgame has been good, but reviewers are really overrating this to hell. Most of this issue is just building up for the climax, and it doesn't really stand on its own. It's still nowhere as good as Snyder's other works, like The Black Mirror, American Vampire, or The Wake.

It's a weird start to this new run. It tries to imitate Fraction's run in some ways, but also tries to be different in others. It doesn't really have a solid footing.

Starts off with a pulse-pounding pace, and ties everything together really well at the end.

Poor ending that wrapped up too quickly, and oversimplified the themes of this arc.

Well-crafted atmosphere and setting, beautiful artwork, and just enough of a hint of mystery to keep the reader hooked.

Pointless story, with bland dialogue.

Really well-executed story. Great use of "show, don't tell".

A great story that really gets to the heart of Superman... but JRJR's art makes it a rough ride.

The pacing and dialogue is still pretty clunky at times, but it's getting better. There's an interesting message about digital identity embedded in here. Overall, this new run had its share of flaws, but still shows promise, though it's not quite as good as some of the other "experimental" Batbooks like Catwoman, Grayson, or Gotham Academy.

There is actually a panel in which a villain tells the hero, "I didn't rape you. You secretly wanted it all along."

Pretty much a representation of this whole series. There's no real characterization to speak of, and the narrative structure consists of characters telling each other what the plot is, followed by random panels of explosions. There's no rhyme or reason. It's a problem that has plagued this series from the beginning, as none of these characters have any chemistry with each other, other than the narrator telling us that they're supposedly friends. Well, Starfire's getting salvaged, and I wouldn't be surprised if this Outlaw history is quickly forgotten. Jason and Roy will continue to run around doing nothing.

It's not bad, but it feels derivative of other similar books coming out around this same time. The art is nice, but the writing tries a little too hard to be "meta", and the humor doesn't really stick. What it really needs is a solid angle to separate it from other Spider books.

Fun and adorable story that still manages to add to the Joker's mystique.

Pretentious, and overrated. Shows that just because a comic is creator-owned, it doesn't mean it's good.

A well-written dialogue issue that brings some closure to Scott Summers's revolution. When Bendis is good, he is actually good.

A fun and heartwarming finale to the series.

Not a climactic ending, but still a very satisfying one. A couple of subplots are ended rather weirdly, but overall it's a strong transition to the next stage of the greater story arc. Lots of subtle characterization all around.

Seems like 20 pages of the writers trying to justify all the filler as well as last week's hamfisted plot twist, followed by one more "twist" that everyone saw coming months ago.

Best writing in a Teen Titan comic since forever.

Lackluster ending to a lackluster series with too many bad subplots. The Jason Todd subplot was just cringe-inducing.

Simone has a really good handle on these characters, and builds up tension for the upcoming conflict very well. She also dives deep into the psychological effect of the dome on the citizens of Gotham. One of the best Convergence issues this week. It's a lot more than just fanservice.

Art was awful, the character dynamics was flat and inconsistent, and kept going off tangent. The writing was unfocused. Everything felt phoned in.

The art was really inconsistent, and the writing was kind of all over the place. It was hard to establish voices for all of the characters.

Classic Rucka storytelling. Would love to see him back at DC writing these characters.

Strong, character driven book.

Would be a lot better if it weren't for the godawful Lobdell-inspired narration.

A decent ending; still doesn't live up to Snyder's Black Mirror, though.

Dull origin story

Typical overhyped "SUPER EPIC BACON EVENT" crap. Wish Hickman would stop being wasted on this sort of promotional pulp.

More bland tie-in material. WB should just cut the crap and sell advertisements for Injustice 2 instead. They'll get more 10/10s from IGN that way.

Tom King tells a heavy story through action and strong visuals. The story is layered with subtle developments, and the art is outstanding.

There's potential here, and the art by Chang is outstanding. But there's very little in the way of plot or character development here. It spends way too much time trying to recap Futures End, and that's the main problem with this book. Its premise is too convoluted and alienating to readers who didn't commit to a 48-issue weekly. And every future issue is going to have to justify how it has a Robin from the near future being flung into a far future that may or may not exist anymore. Compare and contrast what the writers of Grayson did: they distanced themselves from Forever Evil, and provided their own, much simplified, setup.

The Finches basically threw away everything that they had been building up. Not the worst choice, but it's hard to get excited about their future plans.

Fun, outlandish, violent, and features some rough trashtalk.

It was kind of fun, but the art is rather lackluster.

It leaves a lot of questions in the open, but it's a solid start. Far better than Convergence, World's End, or Tom Taylor's mediocre run.

Could see what it was going for, but James Tynion is just not a good writer. It was too dense with frivolous dialogue, and the layouts seem like they were done by an amateur.

Plays up the naive card a little too much, but it's fun and silly in a good way. And it's much better written than all the crap that was in Red Hood and the Outlaws.

It's slightly improved from the previous run. But it's still stuffed with cringey, awful dialogue, and an abundance of useless narration boxes. Still the consistently worst book of the post-Flashpoint world. After 41 issues, it's pretty clear that the "Red Hood as a main character" experiment is a failure.

Fun and adorable.

The pacing is really choppy and the sequencing of events is poorly timed. Not having Manapul on art hurts the book.

Lots of chess pieces being placed on the board. The art is a sharp contrast from what came before, but it does its job well. Slow, but strong issue none-the-less.

Excellent art, with a solid plot that introduces a cast of supporting characters, and an angle for a first arc.

Exactly what everyone wants: a Scott Lobdell book in which the main character has an in-story reason for explaining everything in narration boxes.

Gleason shows a lot of promise, and his enthusiasm for the character really shines through. This issue has a lot of heart mixed with non-stop action.

Top pick of the week. A unique art style, a highly relatable main character, and lots of Egyptian mythology.

Does nothing that justifies having another Justice League book.

Secret Six is back for good, and it reads just like how a Secret Six book should.

Tarr is doing her own layouts, which means that the book's story flows better. However, her art seems to have taken a step back.

Such a powerful and tightly plotted comic. There's nothing like it from the Big 2.

Mediocre event comic. You're better off wiki-ing the plot, and spending the money on a comic that tells a story instead.

The "political commentary" (if you can call it that) was exploitative and awful.

The art looks sharp, and the plot is slowing coming together. Shows some promise.

It's alright. Tynion seems to have a handle on the character (much moreso than anything else he's written). Still doesn't compare to the old Hellblazer, but it's better than New 52 Constantine.

Lobdell tries to be "funny", but the execution works just as well as how you'd expect an out-of-touch veteran writer's attempt to appeal to 13 year olds to be.

This is more in line with what I expected from Starfire. Kory is a fish out of the water, but she is empathetic and will stubbornly stick up for those she considers her friends. Already a much better characterization than the first 20 issues of Red Hood and the Outlaws.

It's nice to have a book highlighting all these B and C-list characters, but it fails to do anything interesting with them. Parker is a promising writer, so this is really disappointing.

Moves at a slow, but deliberate pace. This issue was mainly setup, but could lead to some very big developments.

A beautiful finish for a legendary run. Why can't more comics rise up to meet this standard?

Beautifully choreographed fight scenes.

It'll probably read better in a trade, but it's slowly coming together. The main things going against this book are its large roster, and its ties to World's End and Convergence.

Slightly better, but still a poor book. Plenty of unfunny jokes ("Red Arse dur hur hur"), and it feels like there's maybe only 8 pages of actual story stretched out giant panels.

Wrapped itself up too quickly, and the whole political/racism angle was just a cheap plot device. Artwork is excellent, though.

Excellent issue that reveals a lot about this new Bruce Wayne, and the tragedy behind him.

Powerful issue in which dominoes start falling into place.

There's a heartwarming meta moment in there, but more importantly, this book continues to deliver interesting twists and turns, while organically molding these characters together.

So many plot threads from earlier issues brilliantly come together, and even then there are some big nasty surprise twists. There's a nice deconstruction of Dick's jokey nature that's used against him.

A great issue about two characters opening up their insecurities to one another. But even beyond that, there are twists and turns within that keeps the reader guessing. It's a break from the action, but it's no less significant. This is the best writing Kyle Rayner has had in years.

If you thought that the writing here couldn't get worse, well, you were wrong. Lobdell tries hard to stir up emotions from these one-dimensional characters, but it all comes across as a 13 year old's first attempt at philosophy. Narration boxes full of fragmented and incoherent sentences are littered all over the page. "I am what I am. I am not what I am not." Cringe-inducing lines such as these are just the tip of the iceberg.

An interesting one-shot that takes a hard look at the societal problems in Gotham

A powerful issue that is not only emotionally moving, but also manages to cleverly move the plot forward. Some of the other Batfamily members have not been written this well since the New 52. It's also full of fun Easter eggs for long-time Batman fans.

There's been a surprising level of competence in these recent New Suicide Squad issues. There are distinct personalities and hints of character development. The plot is still lackluster, but there are seeds sewn throughout.

Big, powerful, and epic. Everything that an event comic wants to be, without the convolutedness.

Rock solid action sequences, and some good chemistry and banter for a buddy comedy team-up.

Seeley's dialogue flows a lot better than Tynion's, and he seems to have a handle on the different personalities. Art work looks really good in motion.

Surprised by all of these stellar reviews. This was an incredibly bland comic. Slott's Spider-Man has been bland ever since the previous re-launch.

A rather pointless issue with love triangle drama, and very little plot.

"Objectify me and you'll bleed, because I am a weapon." That line says all you need to know about the quality of the writing here.

Farewell to the worst comic of the last decade. Nepotism doesn't make for good comics, folks.

Best start to a Batman series all year, and finally a Joker story that isn't cliched drivel. Nice to finally get a good Batman story after how comically bad Three Jokers ended up being.

Not for those who need everything to be spoonfed to them.

If you give this comic a bad review or say anything critical about it, Sean Murphy will cry on social media.

Problem with comics these days is that whenever anyone does something interesting, all the fanboys who are used to the bland mediocrity of Johns/Bendis/Tomasi start whining because things go over their head. Grant Morrison would have been tarred and feathered today. And of course, the top "voted" review is whining incessantly about Batwoman being gay.

Reads like Twitter bait, honestly. Hard to believe that this snoozefest comes from the same writer as DC vs Vampires.

This whole event has been one big "ok". Lot of exposition and splash pages, but very little worthwhile happening.

Not a lot of good books this week, but this has been a consistent standout. By far the best Superman ongoing since Morrison, no question.

If this is a parody, then well done. If not... lol

A real standout title. Pretty sad that people who don't read comics are review bombing this

The writing is very inconsistent and heavy handed, but the art is colorful and expressive. It has potential to be very good, but the writers need to be willing to let the artist shine through.

Mediocre event comic with too many tie-ins, a convoluted plot, and Liefeld-esque art.

You know you got a pretty solid comic when you know that it triggers the diseased part of the Internet.

You'd think after 6 volumes, the characters would exhibit more than one dimension, but they don't. Still the most consistently bad series of the New 52.