Hussein Wasiti Comic Reviews

As you can see, there just isn’t much to say about the issue. It’s fun and the characters sound great, the art is fantastic, but the overall plot needs a few more issues to really win me over. Anyone who was a fan of the last book should jump on.

This is just required reading. It’s funny and charming, the characterisation is all there, and the art is more than superb.

Scott Snyder crafts yet another incredible issue, with even the back-up story impressing me greatly. Camuncoli's art was beautiful and Snyder's writing proves once again why his Batman is going to be remembered for a long time. The tease of the big bad of this arc kicks into high gear, as we will find out next issue.

While Snyder does a good job crafting these stories, and is even better at letting his indie book voice sing through this arc, he needs to find a way to balance this well-established theme with the more traditional elements of the character. This issue satisfied me overall, and I'm excited for the stories going forward.

Snyder impresses with this fun, fresh Batman story set in Miami. It fits in with Snyder's aspirations for weird stories set within the DC Universe, but does so with a more accessible story and accompanying artwork. The back-up piqued my interest, and I hope the writers can pull it off.

Snyder continues to prove that he's the best Batman writer of the last few years, tying together Alfred's past with a new threat here to haunt Batman. Albuquerque's art was stellar and the story is very engaging. Buy it for the main story, ignore the back-up if you want.

In a somewhat down issue, the back-up outshines the main story in some respects, but not all. The art on both fronts is pitch perfect but the story for each felt a bit lacking, despite the excellent fun to be had in the initial pages.

Snyder's wrapping up his story, and I'm in for the ride. The ending has me excited and I'm invested in the characters. The colourist change irked me at first but Peter's art seems to be a better match for Albuquerque than Bellaire. Also, people should be singing praise towards Fiumara, who is producing some of the best Batman art out there right now.

In the final issue of the series, we get a bit predictable with a villain revelation but we get a decent enough ending to wrap it all up. The back-up tries too hard to make itself relevant but the art is just too great to completely write off. Whether or not this series was successful will be up to the format Snyder is interested in exploring. Until then, we got a mostly consistently good series.

AMERICAN CARNAGE is a stunning book, one that feels necessary and timely but also straddles that line by presenting a gripping and hopefully long-term story. The art is fantastic on all fronts as well.

This book is just stunning and gorgeous. There was some confusion over a strangely-placed page, but otherwise the writing is strong and the art is even stronger. This is definitely the best Vertigo book you can pick up.

I do think this is an issue worth picking up. It tells one over-sized story, and fans of Aquaman and Mera should pick this up since their relationship is at the centre of this story. People who saw the JUSTICE LEAGUE film and who were interested in Aquaman should also pick this up if they want a one-shot story to jump into.

We get a slightly horror-themed issue of Aquaman here, and it worked very well. Abnett teases an intriguing mystery and his mature, confident storytelling rubs off on the main character. Briones' art was excellent as well.

There honestly wasn't much wrong with this issue. Abnett's story keeps building and building, with the writer excellently using the horror elements he presents and crafts a tight, very human-driven story with Aquaman making sporadic appearances here and there. The art was fantastic and the mystery deepens.

While the art wasn't as strong in this issue, it still delivered with well-drawn dialogue scenes. Abnett seems to be having a lot of fun with this story, which looks to be the best Aquaman arc since Geoff Johns' conclusion in the New 52, despite some of the shortcomings in this issue.

This was stronger than the last issue in every way, restoring my faith for this creative team. Aside from a glaring lettering issue, the art was extremely solid and the ending has me fantasising about where the book might go after this arc is done. Pick it up!

This is a disappointing issue, and I wholeheartedly recommend you skip it. It's just a catch-up issue, and what little happens here will definitely be explained in the next issue. Save your $4.

This is a very tight issue on the story front, but some of the art was lacking for me. Sejic continuously impresses me with his character work but some of the shading that he's well-known for isn't present and the art is depicted as somewhat undetailed.

Everything about this issue is mediocre; the story is at a standstill, the art is crossing into bland territory, and even the lettering doesn't help the story. This series needs another jump-start soon in order to get me back on board.

As has been the case with this book as of late, nothing much is happening here save for a semi-important moment at the end of it. I'm a big fan of Federici's art and hope he stays on permanently, but Abnett really needs to move this story.

While the story does pick up near the end of the issue, it's still mostly running in place. The art, however, is fantastic and should be a point of discussion more than the story.

All in all, I'm not very surprised. I gave the previous issue a 6/10 in anticipation of an eventful story, but I'm spending time with characters I have no connection to. The story makes a genuine detour to set up the upcoming Mera miniseries. I've had it with this story and this series, it's time for a writer change. The one saving grace of this comic is the stellar artwork by the team.

This is yet another mediocre issue. Abnett chooses to investigate the character of Rath but I think he comes up short and doesn't provide anything interesting. If you haven't dropped this yet, please do. It's a waste of your time and money if you're seeing things right.

Despite my enjoyment of the art and some of the plotting, not much happens here which just continues to anger me. It's odd that we have almost an entirely new art team save for colourist Sunny Gho. Even the letterer is different! I can't help but find that curious.

This thirteen issue story could have been condensed into a four-parter and it would have been much more enjoyable. I have to knock this issue down because of this, despite some of the fun I had with it. The art is great and I'm curious to read the upcoming Suicide Squad crossover.

Overall I was mixed on this. It's beautiful, but I need to spend more time with the characters before deciding if I like it or not.

I was willing to give this run a bit more leeway after last issue but I was disappointed yet again. I'm sure someone out there will find something to like here. Other than the art, which itself felt rushed, there wasn't much for me to enjoy here.

Oddly enough, there isn't much to discuss here aside from how amazing the art is and how wide in scope the plot is. If DeConnick can continue with this momentum, then we should have something special on our hands.

This issue was a decent conclusion but I still feel a little lost when it comes to this new direction. It feels both new and exciting, while also feeling unnecessarily synergistic. The art is incredible and a joy to behold.

This new arc continues the creative refocusing of Aquaman, and I'm here for it. This was a fascinating and gorgeous read and I can't wait to read more.

If you've been reading this and haven't been liking it like I have, I really recommend this issue as Snyder mostly ties everything together in a decent-enough little bow that, while not redeeming this event, is a fun read on its own.

If anyone needs an interesting, often dark, but thoroughly entertaining DC book, then this is for you. Scott has nailed the voice of the character and is putting her through the ringer right now. The art is fantastic as well.

This book is something every Bat-reader, or reader in general, should be checking it. It's likely the best Bat-book being published, without question. The art is stunning and the character work and overall plotting is fabulous. Buy and read with confidence.

As far as the entire DC Comics catalogue goes, this is one of the best books they're publishing. Scott has finally pulled Batgirl out of the trench she has been in for years and is writing the most compelling version of the character in years.

This was just a solid issue. This series has very quickly become one of those good ol' reliable reads that come in every month. It's a tiny joy to discover that a new issue of BATGIRL is on the way when I prepare for a week of books. The art is something I've enjoyed dissecting and studying, which I truly appreciate since anything to help me understand sequential art more is valuable to me, inherently. The story is very good and this is simply one of the best books published by DC. Please, read it!

A Bane-centric issue is what we needed to really add more dimensions to the character, as well as fleshing out his perspective of this story. I can't help but understand where he's coming from based on his story. Finch's art was beyond excellent, but King continues to add little details with his dialogue that I didn't feel mattered in the end, and somewhat detracted from the overall story presented here. I shouldn't be giggling when Bane is very seriously crushing bones.

In what could be the worse issue of the arc so far, King gives us an extended dinner scene which was riddled, no pun intended, with problems. The pacing was off and Batman's plan didn't make much sense to me, especially since he should have been able to stop this war the moment in began. The art was excellent though, and that has always been the best part about King's run on the book.

King needlessly continues his incessant tropes that disconnect me from the characters I'm reading about. I don't think he's going to stop anytime soon which is why I've decided a lot time ago that this run isn't for me. I don't ever want to see a reference to the Gentle Man and his plight ever again.

I'm confused by this story in terms of its placement, mostly because I was under the impression that King is building towards the eventual wedding in #50. This doesn't have anything to do with that except for the appearance of Catwoman. The art is fine and the colouring is even better.

This may be one of the worst Batman issues of the last seven or eight years. The plotting is simply incompetent, the dialogue is stiff and uninspired, and whatever questions we have of the story will most definitely not be answered since we have one issue left in this mess of a story. Speak with your wallet, people. Drop this book. Stop talking about it. We need a writer change and sales are the deciding factor. Despite what you may think, you can make a difference.

So this issue is frankly kind of dumb. King appropriates characters to benefit his run and it doesn't make any sense. The art is mostly good but has some low dips in quality.

This is just another uneventful issue of the series. It reads like a reminder of the two actually being in love, since the series has been so weirdly directionless despite what Tom King wants you to believe. The art is a split for me since Janin's work disappoints.

Not much happens in this issue aside from some mild character assassination. Booster Gold is a much more intelligent and honourable character than King realises, so fans of the character should stay away from this. For those of you excited for the wedding, stay away from this as it is barely referenced. Fans of Batman and Catwoman should stay away from this. Fan of Daniel's art? Check it out once it hits a dollar bin near you.

This is just awful. Awful dialogue, awful plotting, and less-than-usually-stellar art makes for probably the worse Batman issue of the last few years. I've said this before but King reaches an entirely new level of low quality.

Honestly, I'm not sure if I'm doing a good enough job at describing exactly how terrible this issue is. You have no idea until you've read it. This is by far the worse issue of the series yet which is kind of incredible because there are some truly awful, awful issues in this series. This is worse than anything we saw in Jokes and Riddles! It's worse than that Swamp Thing issue! This is such a low that I really hope that Tom King can't top this.

This whole thing screams shenanigans to me and I don't like it. The art is good but the story didn't do much for me in the way of properly justifying its existence.

This is just very misguided. There's nothing much wrong with this issue technically, but nothing makes much sense as Williamson is left to juggle old Tom King plotlines that were never well-explained to begin with.

BATMAN AND THE OUTSIDERS #1 is pretty and fun to read, though there isn't much new to be seen here. The potential for future stories is great but we get a pretty bare-bones introductory issue here, especially for those who haven't read Hill's preceding work. I had some issues with Soy's depiction of Katana but otherwise the art is good.

Doing little to advance the story forward, this issue spends time with the characters getting back to the way things used to be, which makes for some satisfying moments but doesn't feel as memorable as the last arc. The art was lacking as well.

In what should have been the first issue of the arc, Terry acts like an idiot while Bruce sheds some emotional light on his absence. Chang's art was good but felt lacking during the action scenes.

If you're not picking this book up, you should start now. The story is fun and ties back into Batman's current status quo in a really fun and inventive way. The art is fantastic and the final page will make you want more.

If you're not picking this book up, you should start now. The story is fun and ties back into Batman's current status quo in a really fun and inventive way. The art is fantastic and the final page will make you want more.

In the strongest issue of the arc so far, Terry and Damian battle it out. The fight has a certain symbolic significance and I'm glad Jurgens recognises it, as he and Chang craft quite the showdown. I'm really excited to see where the story goes from here, and I'm curious to see what other story Jurgens and Chang will tackle next.

I was having fun with this arc but it seems to be two issues too long. I guess the next issue is going to be the arc's final issue, but it needed a severe cut down for the sake of pacing. Bernard Chang's art continues to stun, but the story was severely lacking.

In a repetitive and rushed finale, Jurgens fails to finish this uncompelling story and doesn't manage to make it satisfying. Chang's art is still the major highlight of the book, and I wouldn't recommend coming back to this title until the regular Jurgens/Chang creative team returns in November.

There are some annoying aspects of the story and the art, but I mostly enjoyed myself and I look forward to reading more. The artwork won’t be to everyone’s tastes but it scratches an itch that modern comic art doesn’t anymore.

There are points near the end of the issue that I would call unexpected, mostly from an artistic standpoint. I didn't think Jones would be able to properly convey Scarecrow's trippy fear hallucinations properly based on the opening few pages, but the last few really changed my mind. This is a gorgeous book, check it out!

I really don't have much to say about this issue other than it's fabulous and I loved it. It's so weird and different that I don't know if a general reader would enjoy this, but it tickled all my spots and gave me what I wanted from just a story I want to read. Kelley Jones is a mastermind.

Check this out if you haven't. Or pick the trade up when it's out. This is a really fun and beautiful story that every Bat-fan should check out.

This is just fantastic. Everyone should be reading this; Peterson's dialogue is expert and Jones' artwork is some of the best of the year.

While there were some clunky elements, namely the dialogue and plotting, this was still a solid finish to this weird little series. I think it'll read even better collected, and the art by Jones is some of the best I've seen in a while.

This is well worth checking out. This is a fantastic example of letting a long-running creative team tell their story in the only way they know how. The art in this book is fantastic and I'm bummed we won't get more of it.

I've been enjoying the one-shot tie-ins, but I must recommend to skip this one despite how much I liked the art. The story just doesn't make much sense and I hope that the next few writers have a better grip on the characters than Humphries does.

If you've been buying these one-shots, this review probably won't stop you. If you're interested in checking them out, I recommend skipping this one and waiting for the next and final one-shot in the series, which focuses on the Batman Who Laughs. This issue was light of a tight story but the art was simply gorgeous.

I like what Abnett did with this character; I felt more of a connection to her than I did with other Dark Knights, probably because of her perspective being the focus of this issue. Tan and Kirkham's artwork impressed me, particularly Kirkham's. Despite my enjoyment of the issue, I wouldn't rank it high on the list of these one-shots.

This isn't the strongest issue of the series of one-shots, but it looks absolutely beautiful, save for the instances where Manapul had to draw boring scenes not involving the Merciless Batman.

I was very impressed with this issue, and I'm going to recommend going out to pick this up. Scott Snyder publicly said that it isn't necessary to buy the tie-ins, but these issues seem very integral to the whole event as backstories to the villains and I don't see anyone truly appreciating what's going on without this knowledge. The writing is strong, the very foundation of the plot is creepy, and the art is thematic and great.

Aside from a few pacing issues, this origin tale impressed me and has me even more excited for the upcoming one-shots. Based on the strength of this issue, I hope DC markets these one-shots more aggressively. The story was fresh and creepy, and the art was stellar.

This is the one-shot I was looking forward to the most, and it didn't disappoint. The story horrified me at multiple points and the art was impressive, especially from an artist whose work I don't connect with. Even the lettering is done exceptionally well.

Bennett and Tynion IV clearly care about the character of Batwoman and want to do right by her, but the very nature of her story here is contrived, mostly because of the Night of the Monster Men story looming ever so ominously over the title. Kate's mysterious past lacks a spark, and the story wasn't engaging. The one saving grace was Epting's art, which was genuinely great.

The Monster Men story seems to be on hold, as Batwoman has her sights on liberating Coryana, resulting in a pretty typical, white saviour plot. With two issues left in this opening arc, I can't see how this storyline will conclude in a clean, satisfying manner.

The ending to Batwoman's first Rebirth arc was a severe disappointment. It certainly tied things together, but the story being told isn't very interesting and can sometimes be very convoluted. Epting's art was great but it's doubtful he'll ever contribute to the series again.

In one of the most skippable issues I've ever read, Bennett and Tynion decide to go back to Coryana for yet another story featuring Safiyah and Tahani. Hans' art is worth looking at but you should avoid this issue entirely.

If you're reading Detective Comics, I recommend you pick this issue up. If you're not and are reading this title on its own, stay far away from it and come back next month.

This issue is better than what we've been getting recently, but there's still a ways to go before this book becomes the book we want it to be. I understand the hesitation to set the story in Gotham, which is why we're location hopping a lot, but this book needs an identity and the messy plot doesn't help. Blanco does a great job with the art, however, and I'm excited to see more of his work.

From a strict comic book buying standpoint, does this issue interest me enough to read the next one? The answer is, unfortunately and frustratingly, no. I'm probably not going to read the next issue. The storytelling could use some work and more care needed to be given to the main character to get me to care about her.

I recommend this to anyone who wants a fun, easy to get into Captain America story. The art is fantastic and the writer is worth looking out for. Check it out!

Jones and Allred continue to impress. The story is slowly building and Jones shines a bit more light on Selina’s perspective on the wedding. The art and colouring are excellent and, for me, are enough to check this book out.

This book really needs to come together more for me to truly get on board. I see the pieces that Jones is setting up, but it's taking a lot longer than I would've liked. The art is incredible and, in all honestly, is worth the price of admission alone.

After a solid two first issues, this book has really lost me and I attribute my problems with simple story padding, unnecessary flashbacks, and a generally uncompelling story. I really want to like this book, but it's existing for existence's sake.

I find it hard to find the motivation to keep reading this. If I wasn't reviewing it I would have dropped this after the second or third issue, but I'm here so that's that. This book has a strong artistic identity but not much in the way of a solid plot.

This just failed on every level for me. I'm sure someone might find somethings to enjoy about this, but the lack of Jones' artwork really goes to show how strong her storytelling gets when she's completely in charge of the story. The plotting was weak and there wasn't anything to really enjoy about this.

I think everybody should check this out. The art is simply brilliant and the writing is a lot more fun and breezy than Bendis' recent Jinxworld material.

This issue surprised me. I had no expectations and the story that Simone and Staggs are telling looks to be a lot of fun, with Staggs' art in particular being a standout.

I really do recommend picking this book up, as well as checking the last issue out. It's such fun storytelling and is thoroughly refreshing, and just a lot of fun. The art is so good and the writing is some of the best I've seen in a while. Buy this!

This is the most satisfying issue of the series yet, expanding the scope of the story, which got me excited for the future. According to the November solicitations, the sixth issue is the final issue, so we're at the halfway point here.

This is a great issue, and I'm confident Simone and Staggs will stick the landing come November. The story is fresh and deep and the art is simply fantastic.

This is the weakest issue of the series, but it's still quite good. The final few pages will make anybody want to pump their fists in the air and scream in triumph, but the early focus on Cruz's menace as well as the magic behind the story fell flat for me.

Simone and Staggs conclude the first arc of their series in a very satisfying manner. I'm not sure exactly where the characters can go from here as I like where they end up by the final page, but I trust the team to do some great things with these characters in the future.

Overall this wasn't too bad. There were a couple stinkers, but anyone who plans to read this alone on Halloween in the dark with only a flashlight to light the book might find a bit of enjoyment, wholesome or otherwise.

The art is extremely strong but the story is more or less paper thin here. Ethan and Jonas have potential as characters and as rivals but the driving force may be the action.

This was a strong and action-heavy issue that progressed the story along quite nicely. I'm bummed that Daniel is off the book so I hope the story compensates in the future. This may be the best New Age of Heroes book out there, so get on it.

This issue was boring and disappointing. The art simply isn't up to snuff, and that itself reveals the staleness of the story. The art itself isn't bad but plotting is just so generic and awful that I simply can't condone anyone reading this series.

The true star of this book, and the main reason why everyone should pick this up, is the Snagglepuss story by Mark Russell and Howard Porter.

Were you ever going to check this out? If not, move along. If so, maybe you should do some re-evaluating.

If a comic can make me laugh and think at the same time, then it's a comic worth buying. Rush out, get this, and read it. It plays up to King's strengths and I wholeheartedly recommend it. Ignore the back-up, the Fudd/Batman story is worth the price of admission.

This is the Batman/Elmer Fudd of this year's crop of crossover books. It's hilarious and deep, and required reading. The art is fantastic and the back-up looks great.

This took a lot of energy. A lot of these stories were forgettable but there were some gems in the bunch that I really enjoyed. However, is it worth the massive price tag to read three or so good stories? That depends on you, so go into it with an open mind.

My favourite story is a tie between the ones I mentioned in the first paragraph: "Memory Hearth" by Steve Orlando, Brad Walker, Nathan Fairbairn, and Clayton Cowles was fantastic. Orlando really nails the wide, beautiful awesomeness of this line of Superman, and the pairing of Brad Walker and Nathan Fairbairn was a dream come true for me. I heard from the grapevine that these two in particular have an upcoming collaboration, so I'm excited to see that. My other pick is "Last Daughters" by Tom Taylor, Yasmin Putri, Tom Derenick, and Deron Bennett. Taylor provides possibly the most hopeful plot of the whole book and I ever so loved it. Fantastic job to everyone!

This was a fun and brutal start. Fans of these characters should check this out because the team is clearly taking a no-holds-barred approach to this universe. The art is incredible and the script sings.

Despite the horror marketing, this was a delightful time. The characters are spot-on and Hairsine delivers on the issue's emotional moments exceptionally well.

This is a weird story but it's my kind of thing that might not be for everyone, story-wise as well as artistically. Williamson and Rossmo need to impress with the next issue to really keep me on board, but I think this will be an interesting story that'll bring some people over to Vertigo.

While this annual fits in nicely with Tynion's story, it unnecessarily changes the origin of Clayface. However, it's still an emotional and powerful enough story. Combine this with Barrows' stunning art, and you have a fun read.

This was a joy to read. The banter between the characters and the gorgeous art make an already stuffed week even stuffier.

This issue is a promising start to this new Azrael-focused arc, but Tynion's persistent dialogue and pacing problems arise again here. The art team of Martinez and Anderson shines here though, and I'm looking forward to what they do with the story.

This isn't the best issue of the arc, but it tells its story well and the art was incredible. I was very pleased with the way it ended, which was a bit more unconventional than I expected, and I hope Tynion continues his slow winning streak.

This issue mostly consists of filler, but isn't bad by any means. The art by Carnero is absolutely gorgeous and if you're excited for Tim's return, it was nice to see him for even this brief time. However, Tynion and Sebela cram the book with filler, so if you're looking for obvious set-up and weak pacing, this is your issue.

There simply isn't much to talk about here since the story is bare-boned. As I said before, this isn't a bad issue, so I recommend picking this up if you haven't been following the Anarky/Spoiler storyline previously.

It's great that we have two Mr. Oz stories going on simultaneously in both Action and Detective, which it seems the latter simply has the more interesting story. I'm not saying to stop reading Action, but the story presented here is much more personal and compelling than others. This seems to be more integral to the series itself rather than the whole Rebirth initiative, which I admire.

This is a very disappointing issue and a hard left turn to what we were promised. We don't learn anything new about the prison nor its inhabitants, and Tynion is instead using this issue to set up his next arc in the series. It's a confusingly obnoxious choice, and it resulted in a mess of an issue.

In a claim I'm not afraid to make, this is the best issue of the series. When Tynion is good, he's really good, and everything shines here, from the dialogue, to the humour, to the art, despite some inking and colouring inconsistencies I found troublesome. Tynion is building up to something special, so get on board.

There simply isn't much to talk about since this issue revisits many beats, themes, and conversations from previous issues. It's still a good comic, but the arc has gone on for an issue too long which shouldn't really be the case in a four-issue arc. The art is pretty great, though.

I'm mostly bored with this story, and it's disheartening to know that it'll continue for at least a couple of months. The Victim Syndicate needs to go away and Bennett's art isn't as good as it should be.

I'm hard on this issue, and it is the third part of an arc so the next section of the story needs to be set up, but this story should have ended when the Victim Syndicate first went away and I need this book to move on and be fresh again.

Tynion has finally given me something to care about with Clayface's heel turn, but he doesn't delve into the other dangling plot threads as much as I would have liked. The Victim Syndicate just needs to go away, but the art is really fantastic.

Despite some issues I had with the story, I really enjoyed this issue and I hope it's a sign of better things to come. The art was really strong but this book needs to find a consistent artist rather than artist-swapping every other issue.

I was hoping things would be better but instead they're just mediocre. Tynion is just hitting the wrong notes for me; I'm actively rooting for this team to disband so we can get on with our lives. Briones art is mostly nice but he's stuck drawing simply boring conversations.

There truly isn't much going on in this issue, despite it being over-sized. I wouldn't go so far as to call it a scam, but it's pretty bad and whatever happens here will definitely be recapped in the next issue if that helps. However, the art is simply magnificent and it alone may be worth the price of admission.

This is an alright issue. The story is interesting enough since Tynion is leaving the book soon, but the art isn't very good. Fernandez isn't a good fit for the book at all and I wish Tynion's closing arc just looked better.

In a remarkably story-light issue, the art as a whole fails to impress once again. Tynion is showing us that he doesn't have much to work with since his stories have been very thin since the beginning of the series, so whatever we're seeing is pure padding. Just avoid this while you can and jump back in with June's issues by Bryan Hill.

This issue is just a bore. The art isn't bad at all but the story feels so completely unearned and rushed. I'm sure there are fans of this book but whatever identity it once had is now out the window. A creative team change is exactly what I need to get excited about Batman again.

This is easily one of the most gorgeous issues of the series yet, and also one of the most fun. I wish we'd spend more time with Brother Eye Tim but alas, the next issue is Tynion's last. Scot Eaton steals the show and I can't wait to see what comes next.

I have overall negative feelings about this run but that didn’t stop me from enjoying the final few pages of this story. I’m ready for this book to move on to better things. The art is mostly nice too.

Come for the art, skim over the story. The solicits describe Segovia as a "rising star", and I think that might honestly be the case here. His work is fantastic, and worth looking out for.

Aside from the oddly paced scenes, this was enjoyable enough. The dialogue is fun and the art is pretty stunning. I just wish I cared about what was going on.

There just isn't much to this issue despite some of the fun I had with it. The story only seems to be picking up, a mere three issues away from concluding. It's pretty typical of current Robinson, but I digress. The art is fantastic, though there are two too many double page spreads for my liking.

This is such a mess I can't even describe it. I liked the first issue enough but I was cautiously optimistic, since Robinson runs these stories into the ground anyway. I was right, and I hate that. This is beautiful but I'd seriously consider simply waiting until Tomasi's run starts in December to pick this book up again.

That's it, two paragraphs dedicated to critiquing this issue. I point this out because Robinson certainly hammers home the fact that Two-Face is very obsessed with duality and the number two. Number two is, ironically, the proper term I would use to describe this issue.

Robinson clearly doesn't have a story here. There's an insane amount of double-page spreads in this issue, and I attribute this to them simply taking up page space. Not much happens in these spreads that warrant the use of a wider format of storytelling. The page space economy is clearly being played with here. Even regular pages have big, wide, and few in number panels that don't do anything in terms of proper storytelling.

This was pretty wonderful. The pace and execution of this arc has been problematic but this issue was very well-executed and has me excited for the future of Tomasi's run on the character.

This was very boring and very odd but incredibly gorgeous. I don't know who to recommend this to since it'll be way too heavy for some readers while also being out of nowhere for others. I personally wouldn't recommend it to anyone despite my appreciation of the art.

While some of this issue sets up some of the goings-on in THE FLASH this year, there isn't much here worth the big price of admission. You're better off buying THE FLASH #63 at your store instead of both of these issues.

Williamson provides the very best issue of this series yet, as he teases us with the presence of Reverse-Flash in a creepy and brilliant way. It's nice to have Di Giandomenico back on the book since his artwork is always sublime, and I'm so pumped for this summer's big arc.

I'm really excited for this crossover, and I have high hopes that it'll be one of the best things to come out of this event. It seems to be telling a more traditional good vs. evil story which I think this event needs right now. Williamson impressed me on the writing front and Porter hit it out of the park.

This was a fun prelude issue that has me interested in the Flash War arc in two weeks. I'm glad that DC is finally bringing Wally back to the forefront and the art was really nice. Pick this up in anticipation!

If the first and last pages of this story are any indication, we’re going to get the most interesting Flash story in years. This feels like another piece of the Rebirth puzzle, and the art is fantastic to boot. I’d recommend this to new readers with access to the last few issues, however. The exposition can be a bit much.

In a fun but slightly filler issue, Williamson doubles down on the massive argument between the two Flashes, which also includes some fun appearances from other DC characters. The art is so very gorgeous and with one issue left, I think Williamson really hit it out of the park with this arc.

This book has been really fun recently and the fun doesn't stop here. Hopefully Williamson can keep up the momentum and deliver more great stories down the line.

This was a quick read and a good time. I'm glad to be enjoying this book again and it's coupled with some incredible art.

This was just a whole bunch of fun. The art was incredible and I had a blast with the story. When it comes to the Flash, that's all I need.

With this issue I'm officially reading this for the sake of reviewing it. I no longer care about anything happening here. The potential is there but Williamson is constantly shooting himself in the foot when it comes to getting me excited about this book. He has a great idea here but it's truly sad that he isn't doing it justice.

This was a lot of fun. The artwork is stellar and the story is finally moving in the direction I've been wanting for months now.

I really enjoyed this. Lapsed readers should pick this up and get back into this book, as I think Williamson is finally telling the story he's been wanting to tell, and it shows; the characters are working in sync with each other and the art is fantastic.

We meet another Force character, and he's another in a list of fun characters that Williamson has recently introduced. The art is fantastic, and I'm genuinely looking forward to reading the next issue.

The art was great and the story twist had me excited for what's to come. It's another solid issue of THE FLASH, and I'm becoming more and more impressed with Williamson's growth as a storyteller in this series.

The fact that this crossover may factor into King's run on BATMAN as well as HEROES IN CRISIS is kind of aggravating. The storytelling isn't particularly exciting and while the art is good, it has a rushed quality to it.

As I said before, this whole story is just exploitative. Pure and simple. An issue's worth of story has been accomplished in four, and I'm not even sure when we'll see the ramifications of this issue. The art was simply phenomenal, which certainly helped things.

I highly, wholeheartedly recommend you check this series out when it hits stores on March 7. The art is unlike anything Sorrentino has done before, and Lemire crafts a solid mystery with just the right amount of severely creepy bubbling underneath.

Aside from the art and the recap, there isn't much to this issue. We know a lot of the information given to us, but this set-up has me excited for the story going forward.

If anything, this series is a vessel for incredible art. Otto Schmidt is great but Juan Ferreyra's scope cannot be questioned. The story moves along nicely and we get to see how Ollie is affected by the Ninth Circle, which may or may not drive his allies away. And they're who he needs right now.

The story picks up quite a bit here, which feels rawer and more earned as Oliver begins to fall to the mind games Broderick and the Ninth Circle have been playing. The art is near perfect, which I'll never get tired of saying.

I'm looking forward to where the story's going but I felt a bit sour when I finished this issue. I didn't exactly feel cheated by the ending, but I expected more. Going into it further will result in me spoiling it so I'm curious to know what people think of it.

This over-sized issue is light on new developments and heavy on exposition. While not necessarily a bad thing, it does get in the way of providing a proper epilogue to The Rise of the Star City storyline that just wrapped up. Schmidt's art was missed and it's as gorgeous as ever.

This was one of the most fun issues of the series yet, which was slightly bogged down by the art. Byrne isn't as good as Juan Ferreyra and Otto Schmidt, although his art had moments of greatness. Branching out this book to have Oliver interact with a bunch of DC heroes is something I'm looking forward to see, which will make for a nice Green Arrow summer read.

In a very politically-charged and gorgeous issue, Benjamin Percy and Jamal Campbell join forces and team Green Arrow up with Wonder Woman. Their banter and relationship is a lot better established and genuine than Oliver's relationship with the Flash in the last issue, and the art was pretty gorgeous.

Green Arrow's stop at Metropolis was a fun one, and is definitely the best issue of the arc yet. If you're not yet convinced of the awesomeness that is Juan Ferreyra, then pick this issue up and see for yourself. Aside from some minor story problems, this is a great time.

There's not much here in terms of story, but this issue is an absolutely joy to behold. Excellent panelling and great character designs are what you'll find in this issue.

Despite some of my criticisms, the story is still fun, and it's genuinely nice to see these two characters together once again. The art was pretty stellar and, based on the ending, it looks like this story is going to continue in the next issue. Which means we might not be rid of Hal Jordan just yet.

While I admired the endgame and the execution of the ending, I didn't think it felt particularly earned despite how much Benjamin Percy clearly thinks it is. The art was stellar as I expected.

The final portion of the story is a whole load of fun, but I had to slog through the initial story beats before getting there. The divide between these two sections feels very evident in that we have two writers credited here, but the art is just so fantastically stellar.

As you can tell, this series just keeps on disappointing me. Percy's insistence on keeping the Ninth Circle around and attempting to pay off weird storytelling decisions he made earlier in the series don't come across as satisfying in the slightest. The art, however, is absolutely great.

This isn't a bad issue by any means, but it does nothing special at the same time. The art is almost mediocre while the story is fun but not as deep as I thought it would be.

In yet another slog of an issue, the first monthly issue of GREEN ARROW does little but show you that Percy still gave in a script for a biweekly story. Nothing really happens save for the final few pages, and even they don't do much to peak my interest.

While Ferreyra's art has never let me down, I was surprised to find that I was satisfied with the story as well. Percy does a keep job as maintaining my interest and the final page has me excited for the next issue.

This was a fun, quick, but also light issue. Ferreyra's art is pure magic but a big part of me is really excited that Percy's run is finally ending.

While I haven't been a fan of this run, I enjoyed this issue. The art is stunning and I couldn't help but feel some emotion during the last few pages. This just might be the best issue of the series, so kudos to Percy and Ferreyra for ending on a really high note. This truly feels like a culmination of the entire run and it's satisfying on that level. It's cheesy and fun, check it out.

This was a boring issue and it should be skipped. It's clear this is just nonsense filler work so you'd best save your money until the Bensons and Fernandez jump on. The story is paper thin boring, and the art is even weak.

Anyone with a passing interest in the character should check this out. The art is stunning and the writing is tight and fun. This is the beginning of what could be a good run on the character, so jump on!

My excitement for the book has essentially vanished, so now it’s up to the Bensons to really wow me with these next few issues.

There isn't much to this issue. If you're reading Heroes in Crisis and feel the need to read this in order to get the full story, then I'm here to tell you this issue is completely unnecessary to the main event.

Overall this was pretty fun. There are still a few kinks that the writers have to work out but they're on the right track here. The art is a massive improvement and is one of the best-looking issues of the week.

The Bensons certainly end their run on a high note, featuring some incredible artwork by Peralta and Kalisz. I'll miss this creative team, which is odd considering I haven't been too hot on this short run.

Kelly and Lanzing jump on for the final arc of the series, and they do a great job at making an old villain feel new while also embracing Ollie and Dinah's relationship.

GREEN ARROW looks like it'll end with a character-focused whimper rather than bang, which is a good thing in my opinion. The art here was problematic but the plotting was executed very well near the end of the issue.

This is worth reading. It's fun to think about what could have been in store for Green Arrow under this creative team, but this little three issue run was overall a success for me. Strange choices were made, the storytelling didn't always make sense to me, but there was a clear passion for this run and this character and for that I need to give it props.

While my emotional investment in the story was stunted as a result of the rushed ending, I still somewhat enjoyed the read. The art is fantastic and it's clear that while Humphries didn't know what to do with the story, he still poured as much heart as he could into the character of Simon.

This is the much-needed boost the series has been lacking the past ten or so issues. A fun story taking advantage of these characters is what makes the book shine, and we get this here. The art was fun and seeing beloved characters from the perspective of the rookies was handled very well.

While a lot of fun, Volthoom's plans stopped the issue from reaching full greatness. Seeing Guy and Kyle train the rookies was very fun, and I wouldn't mind having either of them show up in this book down the line since they were such a fun presence here. Pansica's art was missed and looked great.

This book provides to provide surface-level fun but nothing else. The characters aren't changing, they're being tested in the most menial ways, and they continue to have no solid identity as characters 24 issues in. Barbieri's art was a welcome breathe of goodness and I hope the story can finally move on from here.

In a somewhat middling issue made more tolerable by its ending, Humphries finally moves along his Volthoom/Rami story by injecting some tension into the mix. Rocha's art was fantastic as usual, and I hope to see more of his work.

This issue really picks up the series, as it almost seemed like Sam Humphries didn't know what to do with his own characters. Here the pieces he set up begin to make sense and fall into place, though I wish he did set everything up in a better way before. Cliquet's art was fantastic too.

There simply isn't much to this issue. It moves quick and is kind of fun, and has some nice art to boot. I just take issue with Humphries' sometimes laughable dialogue and pacing problems.

At this point I'm just counting down the issues until Humphries leaves the book. His bafflingly slow pace is unparalleled, surpassing the pacing issues of even Bryan Hitch and Tom King's Batman. Pansica's art was a treat to look at, but I'm afraid it was the only saving grace of the issue.

This issue is incredibly disappointing on many levels, particularly with its ending. To call the issue boring would be an overstatement, as the art really helped me get through this issue. I'm tired of this story and I'm very excited to see it end.

Sam Humphries isn't done with this book yet, as his next issue is his last. If this issue was his last, however, I would be immensely pleased with the way it ended. This issue, however, was a lot of fun to read and looks gorgeous to boot.

In a weirdly bad issue, Humphries ends his run. As far as I'm concerned, Tim Seeley should do a better job with these characters and their stories.

Seeley impresses with his debut issue on this series. These are great characters with limitless possibilities and it's nice seeing a writer making it a point to further grow these characters in order to tell new stories. While I would have preferred a new artist to also make their debut, Pansica's art was fantastic.

Seeley mostly impresses me yet again with this issue. You can see the seeds being planted for a bigger story down the line in addition to him already picking up on some very recently seeded threads. Barberi's art was a joy to behold as well.

Seeley's run on this book has been fun but nothing more than that. I hope he hits a stride and begins moving pieces in order to tell fuller and more interesting stories.

Despite its flaws, the third instalment of the Quest for Hope storyline fleshes out the universe more while reuniting former friends.

Robert Venditti and Ethan Van Sciver craft the best issue of the series so far, which is unsurprising given it spends most of its time focusing on the characters, their relationships, and the bigger Rebirth implications presented here.

While the ending was very interesting, the slow progression of the series has really gotten to me. Everything that happened in the first half of this issue, all of the conflict between the Green and Yellow Lanterns, should have been resolved by now.

While there wasn't anything really wrong with this issue, it didn't do anything to wow me and seems to be setting up next issue's big action scene.

I've found myself not knowing what to say whenever a new issue of this series comes out. Not much happens in each instalment, which makes for a slow pace and an uninteresting story. The art was brilliant, but it needs to tell a good, fun story with these great characters.

While this issue doesn't exactly fizzle out, it deflates the story being told with how quickly and easily the threat was dispatched, making the past few issues almost seem like filler. Marion's art was great though, and I'd like to see him on the book more.

While this issue doesn't exactly fizzle out, it deflates the story being told with how quickly and easily the threat was dispatched, making the past few issues almost seem like filler. Marion's art was great though, and I'd like to see him on the book more.

Despite it's weirdly stuttering start, Venditti told a smaller scale story which I think this series needs more of. Ethan Van Sciver's art is the cherry on top, and the cliffhanger got me really excited for what's to come.

Venditti chooses to frame this murder mystery in the mindset of John and his desperation to keep the two Lantern Corps united. Despite this, the story was still on the predictable side and I wish it could have been more dynamic. Van Sciver's art is still epic, though.

Aside from a rushed ending and a confusing heel turn, Robert Venditti dials up the tension and adds some much-needed adrenaline to the series.

If you're thinking about picking anything up this week, this is it. The art is extremely strong and Robert Venditti fills this over-sized issue with so much story. I had a few problems with some story beats that weren't properly resolved not set up, but this is the best issue of the series so far.

This book has seen an upsurge in quality with the entirety of the last arc, and this issue is no different. The story was engaging and fun, and the art was incredible. New Gods fans will want to check this out as well.

In one of the most stunning and fluid issues of the series yet, Venditti and Sandoval tell one of the premier New Gods stories at DC right now, one which still has some New Gods goodness left to tell.

Get this issue. It doesn't matter if you've been reading this series; just pick it up. It mostly explains what's been happening. If you're any kind of Green Lantern fan, you'll enjoy it. The art is stunning and the story is great.

Despite my enjoyment of the issue, there simply isn't much to say. The Corps fight the giant mechs and it ends. I appreciate the ending and I wouldn't mind seeing Orion in this book a bit more. Sandoval's art was just incredible and I can't wait to read his next arc.

This is a brief interlude, but what a pleasant one it was. I like these smaller stories and it also benefits from actually continuing a story set up in another book. More Zircher art is something we all need and he gets to shine in this issue.

While light on the story front, the art really impressed me in the conclusion to this two-parter before the big METAL crossover.

My excitement for this crossover is officially dead, no matter how excellent the art we've been getting is. Seriously: Porter, Sharp, and Van Sciver have gotten the short shrift when it comes to the quality of writing here. This issue focused on the wrong things when it had this big sandbox to play in.

This issue was somewhat light on story but the art was simply magnificent. The characters are all going through something right now and it's intriguing, so I have faith the pace will pick up.

I had a pretty solid time with this issue despite its focus on the action rather than progressing the story. Things are sure to get crazier in the next issue, but this was a fun ride.

This book is such a beauty to behold, but it's relatively empty. This story was definitely stretched out, and the lack of tension and proper pacing is a big indication of this. Skip this issue if you're buying.

This is a story that doesn't really need to be told since there's a far more interesting one just waiting on the backburner involving the Guardians, but this issue sure was pretty to look at.

Despite my enjoyment of the issue, there isn't much to write home about. I think I'm excited to see where the story goes next, and the art was pretty great.

As you can tell, there just isn't much going on here. This issue is an entire action scene and is despicably the fourth part of an arc which I assume will go on for another two issues. As is the case with this book, the art is incredibly strong and the action looks simply gorgeous. Venditti's plotting just sours me on the whole experience, though.

Please, don't buy this comic. Robert Venditti has announced that he is leaving the series with #50, so please, for the love of all that is good in the world, don't be fooled by him. He's going to throw some moments at you which will trick you into thinking that he's had a very eventful run. It may be a long run, but nothing memorable has come out of FORTY-ONE issues, and that's a rip-off, plain and simple.

I had some serious problems with Venditti's methods of storytelling but I'm still intrigued by the hook of the story, and the art here has never been better. I can't wait to see what this art team does next if they leave the book with Venditti with #50.

I’ve said what I have to say about the story. I’m not going to go so far as to call it a ripoff, but it’s pretty damn close. This issue is beautiful however, and I hope that this art team goes on to do incredible things in the future.

This book, unsurprisingly, stinks. If you’ve been reading it, then you’re part of the problem. Oh, I’m kidding. Or am I?

This arc has so far unsuccessfully juggled three different storylines all at once, and this issue also falls prey to the muddled pacing. However, the bits involving Harley were a lot of fun, unlike the vampire and the future story, which we get in such small doses that they seem like filler.

Paul Dini's back-up was fun but couldn't save this slog of an issue. The cannibal/homeless people storyline fizzled out in the previous arc, so it failed before it even technically began. The art was passable and the story moved very slowly, even at 15 or so pages.

Aside from the way over-the-top sexualisation of the Batman: The Animated Series version of Harley, this issue provided a lot of fun on both fronts with some nice art and wacky characters.

The series continues to go uphill as the team finishes up the storyline in a clean, satisfying way. The art on both ends impressed me greatly, with both artists adding more dynamic imagery that spiced up the story, with the first story in particular looking fantastic.

This issue falls flat with the little story it provides, and what story it does provide simply isn't interesting or hasn't since the beginning, such as Harley Sinn's whole job. The art change bugged me a little too.

This issue really does a good job at making me care for this story again because the last issue simply fizzled. The story was fun and the reveal is sure to get people talking. Still, the art inconsistencies are unforgivable and they detract from the overall experience. The back-up provides such little doses of fun that I don't really see the need for them anymore.

The only saving grace of this issue was Bret Blevins' back-up art. In all other respects, the issue was dull and boring, presenting storylines that aren't interesting in the slightest while ignoring plot beats ripe for awesome stories that can be a lot of fun.

I do have some issues with the repetitive nature of the plot, but the art is a serious win for me. The detail and the colouring together produce one beautiful book, and one that should be read by a lot more people.

This is a very simple issue; it's got some pacing problems but the characters and their dynamics are great, and the art is stellar. I'd still recommend picking this series up, perhaps even for the art alone. Good thing the story is some fun too.

This issue is gorgeous and, I hate to say this since it's almost a blanket statement at this point, worth buying just for the art alone. The plot helps move the art along and the ending will certainly excite someone.

Not much happens here. The recap annoyed me but Bryan Hitch's art just sends a jolt through my body. His pencils, along with inks by Andrew Currie and Andy Owens, coupled with Jeremiah Skipper's amazing colours, give us one of the best-looking books currently being published, hands down.

I'm disappointed with the plotting of the issue but the art is amazing. I still want to see where this story goes and I'm sure Hitch and Venditti will deliver.

Do you want to see some of the best artwork currently being published? Do you want a definitive, character-defining story unfolding before your very eyes? Then HAWKMAN is the book for you.

Visually, this is one of the best books you'll have read this week. Hitch, Currie, and Skipper are getting better and better each month and the result is plain to see. Venditti's story is great and I'm personally excited to see how this story concludes.

HAWKMAN #12 is a worthy conclusion to this character-defining storyline, and delivers a proper send-off to Bryan Hitch who has provided his best work in years. The ending is an interesting indicator of where the story is going to go from here, and I'm genuinely looking forward to it.

This is a perfect place to jump onto the series. If you've heard great things but have been on the fence or hesitant to jump on in the middle of an arc, this is the most opportune moment to acquaint yourself with the character.

What I'm about to say is very mean-spirited, but I think this is kind of pathetic. Mann is trying to appeal to people with his sexy characters, and King is attempting to appeal to hardcore DC fans with such scenes as the reuniting of Booster Gold and Blue Beetle. There's simply nothing here, and I hope that the success of this book doesn't send DC the wrong message.

To sum up, this isn't worth anybody's time. I can't believe Tom King sat down to write this, I can't believe Clay Mann sat down to draw this, and I definitely can't believe that DC and all of its editors and various heads of publication read this issue and okayed it for publication. Reading this, and hearing about the few layoffs that were in the news last week, make me seriously wonder about the state of DC Comics and if there is anyone truly competent running the ship.

Gerads' art is amazing, as he stretches his artistic muscles and works his pages in a way that I haven't seen him do perhaps since his PUNISHER run. His figure-work and colouring is amazing. It can he hampered by an extraordinary amount of works, which is uncharacteristic of King's usual writing style. Does spending a vast amount of time reading a single page constitute as a bang for your buck?

I'm sure there's an audience for this book but it isn't clicking for me in any way. The art is visually pleasing but it doesn't do much in the way of storytelling or accurately delivering on what the plot is. It's painfully unfunny and very clunky.

This is a gorgeous comic book but the ludicrous story pulled me back. This isn't as emotionally investigative or genuine as Tom King thinks, and that's unfortunate.

Ultimately I can't find anything more to say that I haven't said already. This comic is unsatisfying, contrived, pandering, and boring. Other, better comics delve into their characters' psyche in a much more profound and unique way. Seek those out.

I do think this is worth checking out. Aside from it being very boring at times, the art was gorgeous and the story starts and ends incredibly well. The next issue will be the true judge as to continue reading, but read this anyway!

This is an intriguing debut but much of the character introspection I've come to love about the character feels slightly misguided to me. The art is very strong and is the highlight of the issue, but the plot needs to be more substantial to get me interested.

I genuinely feel a bit shell-shocked after reading this book. I'd go so far as to say that this is the best book that Marvel is currently publishing, hands out and without a doubt. If you didn't believe that this is actually a horror book, then this book will truly convince you. Pick this up confidently.

This is exactly the kind of issue the series shouldn't have put out at this point in its life cycle. It's too early to experiment like this, especially since certain people can be totally put off by the constant art changes. The first few issues of a book are critical since you need to maintain your tone, but Ewing breaks his streak and as far as I'm concerned, needs to earn it again with the next few issues.

This was a bit of a down issue since we've understandably shifted focus from Banner to some other characters, but the ending grabbed me and I'm excited to see more. The art is stunning as usual and I think this remains one of the best Marvel books of the past few years.

The final few pages are what I wanted out of this issue, but the rest is filler and genuinely boring. The art doesn’t help either, as it’s muddy and not exciting to look at. If I were buying this I would have stopped right after that Prime issue, but the ending might interest some readers.

Aside from the final few pages, there isn’t much going on in this issue. Most of it is confusingly plotted and the art as a whole isn’t very good. I didn’t have high hopes for this event but now I’m walking into it even more weary.

The arc is almost over but, given the strength of the earlier issues, I'm genuinely curious as to how this story will end. The art was mostly nice save for the horrendous faces, but the pacing was off and pages were wasted on completely meaningless storytelling.

Hitch ends the best arc of the series so far with a fizzle of an ending, and not much else. There are some Rebirth teases here and there, but they offer nothing new that we don't know. A major plus was that the art was consistent across the arc, which is something DC should strive for when it comes to the rest of their series. What this book needs is a new writer, plain and simple.

With both the art and writing off-kilter, Hitch proves once again he bases these stories on these giant-scale ideas that don't move nicely and don't feel satisfying once they're over. While there was a certain degree of fun, the typical Hitch nonsense still finds it way to irk me.

Another arc, and another disappointing story. While Hitch's art wasn't bad and the story had a bit of a different structure than his previous stories, it still didn't deliver on character and plot. Things have been conveniently wrapping up recently when it comes to this series, and it needs to change.

Shea Fontana and Philippe Briones come aboard the series for a simple one-shot story, and manage to fit a slightly chunkier story into one issue. The smaller moments are the ones that shine and the artwork was consistent throughout.

In this tie-in to the current Aquaman storyline, Dan Abnett deflates Mera's journey in this unnecessary action-heavy issue, which is made up for by Ian Churchill's awesome art.

With this issue, we're given a stark reminder as to what evil we've been dealing with for the past year: Bryan Hitch, an immortal being who can't write dialogue to save his life. This over-sized issue is poorly paced and makes little to no sense, and is genuinely one of the worst issues of the series.

I'm personally very divided on this issue, which I think is impressive. I want to see where the story goes yet I'm hesitant to the very idea of these characters hating their parents. The art was quite fantastic and I'm cautiously looking forward to the rest of this story.

This is already the best arc we've seen in this series. This is a story I want to see told and I have a genuine trust in Hitch to deliver it to us in spectacular fashion. Pasarin's art is the most appealing its ever been and I look forward to where the story goes based on the small hints Hitch drops.

This arc has been impressing me, and this issue is no exception. The art is mostly strong and Hitch goes much deeper in the story and there's some immediate payoff to it. I'm genuinely excited for this story to continue.

In yet another awesome issue of this series, Hitch and Pasarin amp up the tension as well as the action. While I would have liked to see more of the children in this issue, the other plotlines kept me interested and I can't wait to see where the story goes from here.

This is the weakest issue of the arc so far, and I won't lie when I say I'm pretty worried. Some of Hitch's trademark grievances make an appearance, yet it's also balanced by some of his character work, particularly his focus on Cyborg Aquaman. The art looks good but some pages simply confused me with that they were trying to portray, and the last few pages looked quite rushed.

Hitch closes out his run on the title with a great issue. This is most definitely the best non-METAL Justice League story we've had since the Darkseid War. The art was a bit more jumbled than usual but was more than readable.

I'd wholeheartedly recommend this issue based on the art alone but the story is so very weak. This might be the worst written issue of this event yet, which is a shame since I've been enjoying a large amount of the output.

This crossover ends on a mostly high note, though I do think it's sole purpose was to simply set up the next issue of the METAL event. It delivered some fairly satisfying character moments as well as extremely cool art by Kirkham and Janin.

Priest and Woods are telling a completely new and fresh story in such a unique way. I recommend anyone to jump onto this issue in order to experience something they really haven't before if Priest is a new name to them; the story is compelling and the art is stellar.

Priest and Woods have outdone themselves with this instalment. I think this is an important story that everyone should be checking out; the writing is so unique and the art is simply superb.

I'm not a fan of this issue. Not much is explained and Aquaman felt really out of character. Priest chose to focus on the wrong things which really detracted from my enjoyment. Woods' art almost makes up for it, but I can't shake off the flaws.

This was a confusingly written and off issue. While my appreciation for this run has diminished with the release of each issue, I still see a nugget of an overall story here that Priest is telling, and he needs to return to that initial hook in order to win me over.

This was just a fun issue that is necessary reading for this entire run. The art is beyond amazing and I can't wait to see what comes next.

My thoughts on this issue are complicated but not nearly as wordy and bloated as this issue is. It's gorgeous and the two artists that worked on this should be damn proud of their good work, along with the colouring and lettering work done by Sunny Gho and Tom Napolitano, but this issue bored me on such a fundamental level that I truly can't even describe it.

This issue was pretty great. This is highly recommended for regular readers of the series as well as those interested in THE BATMAN WHO LAUGHS book, out next week. The artwork is brilliant all around and Tynion has proved himself yet again.

Anyone burned out by the crazy action of the last few months will find a lot to like here. The overall pace worked for me and the characters were handled very well. The art was very good and this seems like a good point to jump onto this book.

I enjoyed this issue as a whole. Despite loving the art, the transition between Segovia and Cheung was massive given the two have entirely different styles. There isn't even any effort to mask the transition and provide a seamless change, which is quite odd. Nonetheless, I liked the ending to this issue and I hope that the series can move at a pace like this from now on.

I was let down by this. The art was amazing and Cheung needs to do as much work on this book as possible, but the story felt like it was stalling, and since we're getting another Legion of Doom issue this month, I don't think it'll be going anywhere until the next couple of months.

I liked this issue a lot. It's slow and very conversation-heavy, so it may not be everyone's cup of tea, but it's the shifting of a relationship that I didn't expect to see. It subverted my expectations, and I'm pretty excited to read more.

Snyder and Jimenez deliver one of the most satisfying issues of the series yet. There's a bit of exposition overload, but I hope it's out of the way so I can just enjoy the ride from here.

I'm really loving this story. Multiversal time anomaly stories are hard to manage but Snyder and Jimenez navigate with ease, hitting every beat really well and building a fascinating world I want to know more about. The art is incredible and this is shaping up, easily, to be the best arc of the series yet.

Snyder and Jimenez, and the entire art team, are doing a great job with this arc. Each issue is building and building to a massively larger story and things certainly get really interesting by the end of the issue. I'm looking forward to what's next.

Another Legion of Doom issue interrupts the story at hand, but it's hard to be mad. This issue was pretty enjoyable and is essential reading if you want to understand the story behind Perpetua and the Source Wall. This issue was lucky enough to be drawn by Francis Manapul, so it's one of the more gorgeous releases of the week.

This is another solid entry in this arc. The story is unpredictable and hits all the right notes, and the art is stupendously beautiful. This is well worth checking out.

I'm trying to appreciate every morsel of this story. This is the penultimate issue of the arc, which has easily been the best arc of JUSTICE LEAGUE in at least three or four years. The artistic force of Jimenez and Sanchez is one that literally blows me away with every page turn, and Snyder's story has been fun and compelling.

Martinez and Tynion impress and have me excited for the rest of this series. The characters are all present and look awesome, and it’s just up to Tynion to continue giving Martinez weird things to draw.

Pick this up confidently. Fans of the magic side of he DCU will enjoy this, as will fans of the individual characters of the book, particularly Wonder Woman and Swamp Thing fans. The art is incredible to say the least and I can’t wait to read more.

The story ended, or rather didn't, very abruptly but this is one of the most gorgeous stories of the year. Do yourself a favour and pick this up.

This was a fun issue with a killer opener. This new art team should be welcomed with open arms as they are simply fantastic. This is a two-part story so I'm looking forward to seeing how Tynion paces this story overall.

This was a disappointing issue from a plotting standpoint. Tynion's experimentation simply didn't pan out, but the entire art team, from the penciller to the inker, did a fantastic job.

This should be an enjoyable issue but I found myself slogging through it. There's too much of everything, but the art is amazing.

This was an enjoyable and exciting issue. The art was amazing from everyone involved and we're finally being shown the stakes that the characters have to face.

Orlando somehow wrote one of the worst issues of the series here. The story is overlong, boring, and took a lot more time than it needed to get started. Jones' artwork is mostly unsatisfactory though there are some bright spots here and there.

This issue digs the series' grave one step further. A boring read and an uninspired story, coupled with disappointing art, made this issue a tough one to sit through.

I hope this series finds itself next issue. It has all the necessary elements for good stories with fun characters, but Orlando felt the need to drill it in our heads that this team is progressive and exists for the good of the people.

While obviously made with good intentions when it comes to social justice, this issue sacrificed important storytelling for the sake of hammering home the point of the JLA being a more human and personal group. They seem to completely ignore the villain in order to conversate. The art was good but Reis' involvement seems to be for the sake of name recognition alone.

While this was a better read due to the character moments, the story and art still frustrated me. The villains so far haven't been compelling in the slightest, and the inconsistent art is making it harder for me to be invested in the story. I appreciate Orlando keeping it fresh by utilising different characters for these confrontations, but they need to be more developed.

Steve Orlando continues to confuse me, giving us this one-and-done setting up events and villains that aren't compelling in the slightest. I loved Jamal Campbell's art and hope he continues to get more DC work.

Steve Orlando continues to confuse me, giving us this one-and-done setting up events and villains that aren't compelling in the slightest. I loved Jamal Campbell's art and hope he continues to get more DC work.

Orlando's new story fizzles almost immediately, which is due to his terrible plotting and supremely awful exposition. I liked mostly nothing about this issue. Watanabe's art was mediocre but mostly readable.

In what might be the worse issue of the series, Orlando continuously demonstrates his poor plotting and awful storytelling. His dialogue wasn't as annoying as it normally is but I didn't understand what Orlando was even trying to say with this story. It made no sense as well. Watanabe's art was good-looking but flawed.

Orlando provides a simply dull and boring issue, with little-to-no sensical explanation of what the Kingbutcher is all about. MacDonald's art was good but nothing special.

I wouldn't even say to get excited about the next arc because of Orlando's involvement. I hope I'm very wrong and it ends up being a blast, but this entire series has been disappointing nonsense. Neil Edwards' art is so great, however, and is worth checking out.

The long anticipated Microverse arc begins with half a whimper, even with the great Reis artwork. It'll take a lot for this storyline to win me over and so far it isn't impressing.

In what is definitively the best issue of the series, Orlando presents a world that is much more engaging than the previous locations and characters we've spent time with. The story is intriguing and the art is absolutely stellar.

This is a hard issue to recommend to anyone. While it's somewhat mediocre, there is a major turning point in the story here that will be important going forward. Ivan Reis' art is fantastic, though.

Just avoid this. This arc may seem important but a quick recap would serve your brain better than to read this nonsense. It's offensively boring and the art isn't consistently good.

This is a filler issue, plain and simple. Reis needs more time to draw the finale next issue and we are subjected to this painful interlude. Stay as far away from this series as you can.

This is one of the better issues of the series yet. Orlando really hammers home the theme of the series but some pacing problems couldn't save it completely for me. Petrus' art was disappointing and is some of the weaker art this series has seen.

This is by far one of the better issues of the series, but Orlando still needs to work on his plotting and exposition. Byrne's art is more than passable but I'm not a big fan of his art style in general.

Aside from some of the usual problems I've had with Orlando's dialogue and plotting, this was a mostly enjoyable issue of JLA. Again, I'm bothered by some decisions of Orlando's but I like the villain he's introduced, and I'm curious to see how this story will play out. The art is also fantastic.

This story really needs to pick up the pace but we're still going around in circles with a few story progressions near the end of the issue. Couple that with Frost's incredibly suspicious moral high ground, and you have quite the frustrating read. The art is also slightly compromised, as the addition of another inker to the art team slightly dilutes the work.

I'm glad this story is finally over, but I'm worried that we might be getting some filler in the next issues to tide us over until the series finale. The best part about this story has been Edwards' fantastic art, and I hope to see more of his work soon.

I don't think this series is going to end on a satisfying note. Surprise! All joking aside, this issue was nonsense and as padded as they come. The story simply doesn't support the over-sized format. Most of the art was good, but it came later in the issue.

This was offensively threadbare and incredibly inconsistent. I'm looking forward to a new age of Justice League books and if this book has to end to let that happen, go ahead. The series' final arc will be a brisk three issues, so anyone still obsessively holding on for the sake of collecting can rest easy.

It's never too late to jump off of a series. This series unfortunately hasn't worked since its inception and I welcome the changes to the Justice League status quo. We have two issues left following this one and I don't think it'll get better from here.

I really, truly hate to say this about someone's work, but it's about time this series ended. The stories weren't terribly interesting and Orlando just doesn't fit this kind of story. The art in this issue is mostly very good but even it has its flaws. We have a bright new future of Justice League books coming in just a few weeks, which makes this issue feel less and less relevant.

I'd highly recommend avoiding this, but you probably won't listen to me, right? Why would you? Avoid this like the plague.

I greatly enjoyed this. The Darkseid bit seems massively contrived to me since I'd prefer our heroes to discover their mission on their own terms, instead of being told by Darkseid who literally disappears after the goal is made clear. The art is brilliant but will be missed. Check it out!

I enjoyed this. I understand that the sheen of the story is going to wear thin very soon so I hope Williamson keeps it exciting. The art was stupendous, however.

Zdarsky and Cheung impress on a storytelling and emotional level. The art is fresh and exciting and the potential return of the Fantastic Four should make any Marvel fan excited for what's to come. Pick this up!

In an uneventful and unfunny issue, King and Gerads end the first arc of their acclaimed series. This issue is pretty bad; it's paced poorly, the dialogue is contrived, the humour doesn't work, and nothing happens in the issue. Save for some repeated poses, the art is mostly nice and is coloured wonderfully.

The ending is confusing and I severely doubt King will explain it next issue. This was boring and the next issue couldn't come any slower.

Overall I had a lovely time with this anthology. They keep getting better and better, and I think the editorial team of Alex Antone and Dave Wielgosz should be immensely proud of not only the talent they managed to accrue for this anthology, but also for the quality of these stories. I liked every single one, and even loved a few of them! It's kind of unprecedented.

This is another strong outing for the series. Kong's rivalry with Super-Man Zero begins here and I'm excited to see how their relationship develops. Tan's art was great, as usual, and the cliffhanger should entice some more readers to finally hop into the book.

I wouldn't say you should skip this issue, because you shouldn't, but not much happens aside from the nice teaser ending. Tan's art is as good as ever and Super-Man's character development remains the major draw of this book for me.

This is a fun issue and I highly recommend it. You might be a bit lost if you're jumping on so I recommend reading this first part of this storyline, which is the previous issue. Read it and get the word out, speak with your money!

This arc has been getting worse with each issue, and I hope that the next issue is able to build on the momentum of the awesome ending and provide a worthwhile conclusion. Javier Fernandez is very much the wrong artist for the title, which has been demonstrated with the arc's lacking art.

Seeley closes out his run in a somewhat satisfying manner, one which has me excited for Sam Humphries' run starting next issue. The art was decent but I felt like another issue was necessary to properly finish the story since it came across as somewhat rushed.

Humphries and Chang really impressed me with their debut on the title. Their new villain looks to be an interesting one and a simpler take on Dick's personal life grounds this story in a satisfying way. Chang's art is the best it's ever been, and I'm certain this title is in safe hands.

This story needs to be more focused, and I hope that the events of this issue will do just that with the rest of the story. Humphries has a good villain with a lot of potential, but he quickly needs to give him better, more concrete motivations. The art is very good, even if the colouring can be weak.

I was disappointed by the story but was gripped by the sublime artwork by Mooneyham and Filardi. I'll have to wait and see if the story intrigues me but Percy has been known to simply disappoint me.

This issue was interesting, fresh, and won't matter in less than a year. I'm not sure about the long-term storytelling this issue will support, but I liked this issue enough and look forward to reading more. Pick it up for the art alone!

I do think this is an enjoyable story. People are flipping out about this very unnecessarily in my mind. Just wait and see how the story is going to play out; in the meantime, enjoy the stunning Moore/Brown artwork.

A rushed and relatively worse-looking issue isn't a good sign for me. I hope this series picks back up again, as this story won be over with #50.

This is a good book and more people should be reading it. My Nightwing hate aside, I think this is the Nightwing story worth telling and I can't wait to read more, despite it heading to a conclusion I'm genuinely dreading. This is also one of the prettiest books this week!

This book is still worth checking out. This, along with BATGIRL, are the surprise hits of the year when it comes to the Batman family of books. They're telling good stories and they're under the radar right now. Get on this while you can, this looks like it'll be a long ride.

My only issue with this… issue is the exposition. It's unescapable, since Higgins is introducing us to a whole new world where superheroes are outlawed, so there must be some type of explanation frequently, despite it feeling a tad clunky at times. However, I wholeheartedly recommend this issue to fans of the character as well as those missing DC's Elseworlds stories.

If you're not picking this up, I'd wholeheartedly recommend it. The story is fresh and it's only going to get fresher from here on out. The art is great too.

This is a pretty bare issue, but it's a fun read. Jake is a fun character and while I wish Higgins had him play a bigger part in the story, we get some good moments sprinkled throughout this issue. McCarthy and White's art is gorgeous to behold.

Higgins and McCarthy conclude their story in a mostly satisfying manner. There are some classic moments to be had and the art is simply gorgeous.

Hardcore fans of Bendis' creator-owned line might like this more than I did. The writing is a bit contrived and the art is good but if I wasn't reviewing this, I absolutely wouldn't read it.

In a fun, simple story, we get reminded of the character's relationships to one another, particularly that of Jason and Dick. I loved the simple conversation scenes, which provided some of the best character moments of the series yet.

A problem I thought I was going to have with the series was its apparent focus on Red Hood and Bizarro, with their relationship really forming the emotional spine of the book up until this point. Bizarro doesn't even show up in this issue, as Lobdell wisely develops the relationship and chemistry between Jason and Artemis. Despite the contrivances with the nature of their conversation, I found myself enjoying their banter and dialogue, since they haven't had a moment of peace together since they first met.

Scott Lobdell has been defying expectations and proving his detractors wrong. Dexter Soy's art was incredible and this issue remarkably balanced its action and character development.

Aside from a cool cliffhanger, there's not much to this issue. The characterisation remains strong and the art is great, but Lobdell seems to want to stress Jason's mental deterioration, which we already know is a big problem. He made it a bit more obvious with an extended hallucination sequence that I didn't really care for, so I hope he got it out of his system so we can move forward.

There just isn't much to talk about here, since Scott Lobdell obviously doesn't care. This story needed to be longer and delve deeper into Artemis as a character. The art was nice, though.

This issue jumpstarted the series for me, providing a fun, emotional, and worthwhile issue that read really quickly. The art was superbly stellar, and this is a great jumping-on point for new readers.

Fans of Wolverine will check this out no matter what but I implore as many people to stay away from this as possible. This is pretty bad, boring, and sloppy. The artwork isn't as good as advertised and we won't even see McNiven again until the fifth and final issue of the book. Skip this.

This is definitely the weakest book to come out of this New Age line so far. I like Derek and I'm very excited to see how he gets out of this mess he finds himself in. Aside from this and the art, there isn't much that really works here. I'm hoping that the creative team is able to impress me the next time around.

This issue lookspretty but there's not much to it. The story is unfocused and slightly tiresomealready and that shouldn't be the case with a book featuring such a promisinglead character. His list of supporting characters needs to be improved as well.The ending got me interested in the next issue so if you're following Eric'sthree issue rule, you've got one more before bailing.

I gave this series a chance and it hasn't lived up to its initial promise in the slightest. The plotting is pretty bad and the art could have used some more work. Everything just feels like a mess, making this the weakest New Age title by far.

This is such a weak series that has already run out of creative steam in its fourth issue. What a milestone! The characters are running in place and these boring, paint-by-numbers villains don't add anything interesting to the story. It mostly looks pretty and that's honestly all this book has going on.

This may be the best issue of the series yet. The art is fantastic and the story does exactly what I've been wanting to see since the beginning. Some beats don't work and need to be explored further, but on the whole, I was satisfied with this. 

This is a pretty good issue. It might be a turning point for the series and I wish it came sooner. The art is flawed but not bad to look at; I think this story needed Kenneth Rocafort to solidify this issue as great.

The characters are disingenuine and completely out of character. Instead of defining the character and moving on from here. the plot goes completely... sideways, and I'm not given a reason to care about the aforementioned tragedy nor the people who are affected by it.

Stay away from this book. The art is fine but the writing is easily the worst - what? Who is that? Dan DiDio? No, stay away from me! I'm not Jim! Or Eric! Leave me alone! Ahhhhhh!

This book is just so dead. The characters aren't interesting anymore and the story is focusing on the totally wrong things. Raynor's bright and fun artwork isn't enough to save this issue, unfortunately.

I didn't talk aboutthe ending to this issue but I'm genuinely excited to read the next issue. Theart was stupendous and the story had me missing this book when it just focusedon Derek and his friends and family. Shame it'll be ending soon.

This didn't terribly impress me. While I have faith that the team will stick the landing and end the series right, this didn't do anything to give me hope. The artwork was strong, however.

If you're still reading this book, you might as well hold on until it ends with the next issue. There are some developments that I'm honestly very interested in seeing DiDio wrap up, namely Derek's relationship with Ernie, his relationship with his father, what happened to Dominus, as well as resolving this week's cliffhanger. The art was mostly amazing.

The series is finally over, and I'm glad. It hurt to see such potential squandered on a monthly basis. The art was amazing and the various threads established in this issue gave me a little chuckle. The final page is certainly interesting but I'm very sure that we're never going to see this brought up again.

An element of the plot that's been teased for quite some time is the presence of a spy in the Squad. We found out who the spy is in this issue, and it is entirely unexpected. I can't wait to see where Rob Williams takes it from here. Certain members of the Squad such as Hack and Deadshot are given more time to develop. We still have characters that need serious work, such as Rustam. I very much appreciate that he didn't end up in the dumpster following Justice League vs. Suicide Squad and is the villain of this arc, but he needs to do more than simply taunt Flag and Katana. I want to see him as an actual physical threat, someone who is genuinely a danger to the Squad and the world. We haven't been getting that, and it disappoints me.

This issue proves that it is by far the weakest double-shipped book that DC is currently putting out. While there is a foundation for a solid, interesting story, the division of the book into two parts, the bad art, and the unnatural pace of this arc just make this issue quite unsatisfying.

With Tony S. Daniel coming on the book, and the team featuring General Zod, I really hope this series finds itself out of the dump brought onto it by Justice League vs. Suicide Squad. This issue, and this whole arc for that matter, was just not good at all. Eddy Barrows' art is the one saving grace, and there's not enough of it.

With strong art and a great ending, Suicide Squad gets out of the rut it's been in for the past few months and tells a fun, simple story starring Lex Luthor.

Zod's presence makes for a radically different, and significantly more entertaining, book. It's fresh and fun, and Williams is clearly having fun with the dialogue while also telling a serious story with characters that we love.

In a story tying into the current Action Comics arc featuring the Superman Revenge Squad, Williams crafts a tightly-paced and fun issue, and Daniel's art ever fails to impress.

In a story tying into the current Action Comics arc featuring the Superman Revenge Squad, Williams crafts a tightly-paced and fun issue, and Daniel's art ever fails to impress.

Williams wraps up this short arc in a fun, explosive way, one that'll see a couple of characters really deal with the events in the stories to come. The art couldn't hold up to Daniel's previous work but Edwards was the best replacement they could have found.

This one-shot explored some the dynamics between the characters in the Suicide Squad, with the standout being Sejic's art, who is quickly becoming one of my favourite artists. Pick this issue up, as well as Aquaman #25 to really see what I'm talking about. I think this story was necessary to provide a bit of breathing room and to let this book have its own story as opposed to playing second fiddle to other titles.

For those looking to jump in on the series, this issue is for you. For regular readers, you're going to find a lot to like here in the new direction for Harley's character, as well as an awesome art team. The issue was fun throughout too, and I'm excited for this story to move forward.

This was surprisingly underwhelming. Both the art and the story were incredibly lackluster, which is a shame because I really enjoyed the last issue and wanted to see more. The ending interested me and I'm excited to see some of these events play out, but I'm mostly disappointed.

I recommend everyone to stay away from this issue. Skip it and the events depicted here will definitely be summarised in a few lines in the next issue. The art looked bad at times and the dialogue was completely out of character.

While the ending has me interested in the next issue, everything in this issue was lacking to some degree; the writing and plotting is slow, there's an art change near the end of the issue, and it falls into the same formula the series has been falling into.

This issue just disappointed be deeply. The only hope I have for this series is a switch from biweekly to monthly, along with a shake-up of the team. I'd like to see more interesting characters take the spotlight. Hell, Williams almost struck gold with that hammer guy who could only say "peanut". But then he died. Anyway.

I personally wouldn't recommend this crossover unless you've been reading Nightwing. Otherwise, stick to the main event or the one-shots. However, the issue was fun and the art was great.

In a simple and quick Annual, Peter Tomasi and Paul Pelletier tell a cute Super-Pets story with a fun cameo here and there. While fun, there isn't much to talk about, despite the great execution of this story.

The mystery of Kid Amazo continues, while Jon and Damian continue to bond in what is a near perfect balance of fun and serious storytelling. Tomasi and Jimenez provide such a warm take on the relationship between the superheroes in the making in what could be one of the top titles DC is putting out.

In a mostly fun interlude, Tomasi falls into the same old trap of having Jon and Damian needlessly fight, while also counteracting this with a pretty great series of scenes near the end.

In a somewhat confusing yet fun issue, the Teen Titans get in the way of Jon and Damian's night out. This issue is worth it just for the brilliant art and fantastic scenes between the titular characters.

I reserve judgment for the ending until the next issue, as it seemed like the story wrapped up nicely until it suddenly jumpstarted for that cliffhanger. I'm all for shorter arcs in monthly books and I hope Tomasi and Jimenez wow me with the next issue. Despite this, this might have been the best issue of the series.

As far as interludes go, this is up there. The character relationships, their interplay, and the dialogue all worked so well and Luis provided the best non-Jimenez art this series has had yet. This upcoming crossover looks really interesting so I recommend to jump onto the series now.

Much like the previous instalment of this crossover, there isn't much to really delve into. The ending is interesting and the art is fantastic, and with two issues left in this very brief crossover, I hope some story elements will actually stick.

There simply isn't much to talk about here. This whole story was pointless and this issue highlights this, but it was still entertaining enough so as to not be a complete rip-off. The art was strong, however.

This story disappointed me greatly, which is unfortunate due to the book's upcoming cancellation. The art is good but not good enough to support the light and regressive story.

This was a fantastic issue that suddenly hit me with remorse that the series is ending soon. It's a bummer, but things change in order to stay fresh. The art was incredible and the story was fun and light. Anybody can just jump in and pick this issue up.

This is a fantastic book. If you're reading Superman, you might as well be reading this too. It's got possibly the best art out of any DC book right now, unless I'm blanking on something just as good, and the story is just fun and fresh.

This series is a must-read. The story kicks into gear and the art is important. Find a more gorgeous issue this week, you will not.

This was a very beautiful and highly recommended issue from an artistic standpoint. We rarely get Shaner art anymore so anything works for me. The story is fun enough though the momentum gained in the last issue is somewhat lost, if not totally.

I had some fun with this, mostly because of Kevin Maguire's greatness. The hefty inking and colouring team all do a beautiful job but the art looks inconsistent at times.

The ending of this issue worried me. I absolutely will not spoil anything because people are very excited about this crossover and the questions we will be getting answered, but I'm concerned about the direction the character of Superman is going upon reaching the twist at the end of this issue. This issue is very strong and is the best issue of this crossover so far, but with one issue left, I'm officially worried.

Tomasi and Gleason are back in full force, and I wholeheartedly recommend this issue to everyone. This is the Superman that brought people back in Rebirth, and Mahnke's art is quite excellent.

This issue isn't as strong as the previous issue but Lois gets a whole bunch of moments to shine, while Tomasi and Gleason slowly progress the Superman and Jon plots.

This was a zany, fun issue that contains some of the best Apokalips moments since perhaps DARKSEID WAR. Whether or not this arc is important to the overall universe or not, there are genuine stakes involved and I'm confident that Tomasi and Gleason will stick the landing in next month's conclusion.

Aside from a small inking quibble, this is a great close to the arc and another notch under the team's belts. I hope the final page has as big of an impact as I think it does, and that excites me.

Despite my enjoyment of this issue, there isn't much to really talk about. This is very action-heavy and I'm excited for the upcoming storyline. NOTE: The second part of this story can be found in SUPER SONS #11, which releases today as well.

In the penultimate issue to the SUPER SONS OF TOMORROW crossover, Tomasi, Gleason, and Davila round up a satisfying story. The ending is questionable but it may be expanded upon in the next issue of the storyline. I was a big fan of the artwork by Davila here.

While this isn't necessarily an important issue in terms of continuity or the overall story the writers are telling, this is a fun interlude and solid adventure through space as we're reminded of who Superman really is.

This is a pretty basic story, and it's frustrating to see Tomasi and Gleason off the book for yet another hiatus, but the story we get here is fun enough with some great father/son moments peppered throughout. The artwork is strong and I look forward to reading the next issue.

I really don't get this story. It hasn't impressed me much but this issue might be the final nail in the coffin for this crossover. With the next issue ending the storyline I have little to no hope that any of my questions will be answered. It looks great, however. I need more Benes artwork.

I didn’t like this issue much. The plot was generic and pop culture-heavy, and the colouring on Chang’s artwork is beginning to grate on me.

If you're picking anything up from DC this week, this should be at the top of your pile. It's dark, moody, and tense, and beautifully rendered by Jock and David Baron.

Despite this, Snyder and Jock have crafted another solid issue, and have amped up the threat of the titular villain. The art is amazing and this is already one of the best books DC is currently publishing. Check this out with confidence.

This book is just precious. While I can't speak to the implications of this issue given its ending, this is going to be an amazing story to just hand to somebody who wants to read an iconic Batman story.

Snyder has mixed his recent cosmic storytelling sensibilities with his horror roots, which is an unexpected combination. This work is fantastic, and the art by Jock and David Baron elevates the plot.

THE BATMAN WHO LAUGHS #5 drags in a couple of places but still delivers strong thematic resonance along with exciting storytelling by Jock and David Baron.

With an issue left in this miniseries, I'm seriously curious to see if Snyder and Jock can fit this entire conclusion into one issue. I guess that's why they added a seventh issue to this miniseries. This was gorgeous and creepy, and will make for an evergreen story.

This was a solid and clean conclusion to the miniseries, which I expect isn't truly over and will continue in some form into other books throughout the rest of the year and beyond. You'd think that might turn me off but the team tells the story well and the ending fits, so it doesn't bother me.