Hex's Profile

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

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

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

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

Christ... that was intense.

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

Tragic

Can't praise this series enough.

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

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

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

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

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

Wally and Grodd. Grodd and Wally.

Solid

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

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

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

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

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

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

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

Oof. The tears are definitely flowing.

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

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

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

Not big on this one. It was TOO goofy. I understand that what with him being Superman weirder things have to happen to create tension and you can't have a crazy, bombastic set piece every issue and levity really helps break that up. This was just too far in another direction. Byrne is also not great at writing women or the Titans. We're told not shown what happened to Superman that caused him to fight the Teen Titans at the very end in like two panels. Byrne has this odd consistency to hit and miss repeatedly on his books. Hopefully that doesn't continue but 8 issues in, I'm not holding my breath.

Mark Millar is a terrible writer. It blows my mind how much success he has managed. He should never touch Superman again.

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

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

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

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

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

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

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

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

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

I can't help but be reminded by the cover how we were robbed of a world where Jack Kirby drew Spider-Man. I'm going to take a more personal route with this than really judging it on it's composition. This intro has always really resonated with me despite its advanced age and dated scripting. Not to harp on that aspect too much as while I'm not the biggest fan of Lee's work and find him a master of throwing out word garbage and hoping it works, he makes clear choices here to showcase how Peter is viewed by his peers and elders. Peter's relationship with his aunt and uncle have always directly reminded me of my grandparents. With a fairly absent father in my youth and no mother, I was raised almost entirely by my grandparents and the way Lee described their relationship and sense of humor is almost an exact parallel. I wrestled with my grandfather almost every day after school and my grandmother was the best cook and while I never had wheatcakes, I was a fiend for pancakes. Not that any of this is exclusive to my situation but it's in these scenes that Lee and Ditko really cement Peter in believability and relatability. Traits that have carried with him and shaped the way that people look at 'costume heroes'. As a way to bolster how real Peter felt in his relationships with those around him, he's also depicted with very real feelings. Retribution, regret, anger, rage, loneliness, and resolve. Attributes and emotions that weren't as effectively conveyed at the time. These especially have stood the test of time as they are what have made Peter Parker and Spider-Man an icon. Someone who feels what we all do but knows that he was given gifts that he could use for himself yet has the lessons and tragedies instilled in him to use those gifts to change the world for the better.

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

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

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

Writing and story are great, I don't think this is Byrne's best work. I think he was at his best on the X-Men with Claremont. I really liked this issue's plot with Jonah's paranoia being exploited and then transitioning over to Robbie and the rest of the Bugle. A fun story that was a breeze to read. Stern's pacing is great.

I'm not even going to try to pretend this isn't good despite its age. Yeah the stories are kind of hokey but they are all things we would see carried into the future. Simple mistakes here and there and some dated writing are really the only thing making this 'low'. I even enjoyed Ditko's art here which I'm not normally a fan of. I still stick by my wishing we had Kirby. Between Amazing Fantasy 15 and ASM 1 covers, I think he really captures Spider-Man. Better than Ditko captures the FF.

"Get me pictures of -- THE VULTURE!" Very dynamic but very wordy. The Vulture's introduction is definitely a few ticks higher than The Tinkerer in quality and managing to keep me awake.

Doc Ock was never a favorite villain of mine. Still isn't but this is a good intro and he has largely stayed very consistent with how he was established here. Cool to see that legacy carried on after so many decades.

Sandman is just kind of... there. He's never been much of a real threat. Definitely a d-tier super villain but he's a classic so he still earns respect.

Apparently if you yell at a spider with a loud enough microphone, Spider-Man can hear you.

Great issue overall. While there is a lot of heavy exposition, it reads fast and builds more to the world of Spider-Man and the people who live in it. Getting the Connors family all together in the same issue was nice to see that it stays mostly the same for the Lizard's entire history.

Spider-Man dealing with an actual injury whilst fighting a stronger version of his (at the time) only recurring villain is for it's time, very compelling.

The Living Brain story is hard to get through because it is such a dated misunderstanding of computers, robotics and Stan can't stop expositing every single line. He has Peter mention how the Living Brain is faster than he expected then two pages later says the exact same thing. Very repetitive throughout, boring story. None of the kids in the school even question how out of nowhere Spider-Man is just casually in the building even though it's not like the Living Brain was this major emergency. This would eventually be handled a lot better in Ultimate Spider-Man but really shows here. The one aspect of the story I liked was the Peter/Flash boxing match. I would have liked more to go into it other than two blows but Stan had to have a short attention span because he abandons/truncates his own plot points very fast to get to the next thing. The Spider-Man vs Human Torch story makes no sense. Peter just crashes a party for no reason other than to initially try to make Johnny's girlfriend think that she chose the wrong superhero and then proceeds to just be a dick and a nuisance for Johnny and his friends. I get that he and Johnny have a teenage rivalry going but it really just seems like Peter is more than antagonist. Johnny just think's he's a showboat but here, he's just proving Johnny right. He even completely unprovoked attacks Reed because he assumes they are going to make fun of him. There isn't even a nice resolution. They stay bitter at the end. How did the FF ever give Spider-Man the time of day ever again after the few interactions he has had with them? Stan keeps putting them at odds where Peter is just acting like a petulant and problematic prepubescent. Sue out of nowhere giving him very generous compliments is also really weird. Stan wasn't great with his depictions of women. Not the best art from Kirby (inked by Ditko) for the Torch half but the Living Brain half was good Ditko art. It's weird, when there is a good story, Ditko usually doesn't have the best pencils but when the art is good, the story is lacking.

Best issue so far. Solid writing and the best art I've seen from Ditko up to this point. The action flows very well, it's dynamic, everything looks consistent. Only thing really holding it back is the lack of backgrounds and details instead opting for solid colors.

Some of the art here is of the best I have seen Steve Ditko pencil. More depth in his lines, more expressive faces than normal but it's not consistent throughout the issue. Much like the pacing of the book. It took me forever to get through, it is such a slog. The main plot of Big Man and the Enforcers is just not very compelling at all. It is interesting seeing a precursor to what we would eventually get in the Kingpin but the characters and plot of that story are just so boring. The side plots of Betty's debts and Jonah's jealousy of Spider-Man are fantastic. Unfortunately Stan drags the Betty plot along issue after issue only leaving crumbs on a single page with Betty and Peter lashing out at each other and then regretting it talking about how much they love each other. Not the best depiction of teenage angst and love but I get what he was trying to do. As a result, the whole book is just too dragged down by what doesn't work that the bright spots can't shine enough.

Solid

Just read Psyc's review

I like that is continues on from the last -1 issue in regards to Peter's comic interest but there isn't really a whole lot of substance to the story. It's not bad, it just doesn't do anything for Peter, his family or those he would end up meeting in the future which is the whole basis behind these issues. To get glimpses into the people before they became who we know them to be. The only really interesting part of the story revolves around Kingpin and a journalist at the Bugle I don't recognize. It may be a call back and I'm looking forward to see it pay off but none of that really had anything to do with Peter.

I remember when this was coming out and the store owner at the lcs I went to put it in my box. I thought what the hell is this and why should I care? I still bought it and all of the rest of the issues but never until now did I sit down to read it. When I was younger I didn't care about a young loser Peter Parker, I just wanted cool ass kicking Spider-Man. Turns out the run immediately following Superior wasn't a whole lot of dynamic ass kicking fun and more of a filler arc to lead into Spider-Verse. THIS however was really refreshing and a well fleshed out expansion to the origin we all know. We've all seen it about a hundred times over at this point. But how Peter deals with it has always been slightly different in the many depictions. I think this is definitely one of the better ones and really highlights Peter's own disdain for himself. He still doesn't feel ready or worthy to move forward. He continues to make mistakes and from the original stories he really just goes on about his business. That's not how grief and trauma tend to work. I know that writers retroactively adding in characters to an existing hero's circle is generally looked down on because there is really no ground for that character to stand on. Effectively pretending that they've just been there the whole time seems kind of lazy but I do really like how Slott introduces Clayton Cole. He's not a part of any inner circle of Peter's friends, he's just a seemingly high society or at least well to do kid that is a big fan of Spider-Man and would do anything to be like him. We'll see how it plays out.

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

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

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

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

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

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

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

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

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

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

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

I was definitely entertained throughout the book. Heck, I'd even be interested to see more of Hobie in a solo series again. But the tie to the main book is pretty loose and I stop caring at that point. The art is pretty solid if not a little generic but I liked it.

I felt myself actually verbally rooting for Peter to get up. The pacing for this story gives you the perfect amount of tension to make you believe that the outcome might not be what we inevitably know it will be. There is a beautiful scene with Black Cat falling and we zoom in on a tear of hers falling with her reflection in it. Holding on this for two panels to build that tension until the tear explodes, a web shooting through it to catch her. Masterful visual storytelling by Bagley. Peter is back.

I'm shocked that I was this excited to see Peter back in the suit. I've thought the idea of taking him off the table for a while to do some actual character growth would be a good idea so he isn't swinging in circles. I still feel that way but Beyond has kind of burned me out on itself. I don't care at all about Beyond Corp. They are clearly having a hard time giving Ben a story that couldn't be summed up in 5 issues. Having Pete back in the driver's seat at least gives this series a lead to sail to end and his confrontation with the Goblin Queen is bombastic, tragic and BAGLEY.

I thought that the dialogue was the strongest part of this issue. It had me actually smiling and laughing whenever Ben and Peter were bantering back and forth. Even between Colleen and Misty. Great buddy cop dialogue in tense situations pays off here. What doesn't is the disjointed pacing. I'm not sure if it's to reflect how shattered Ben's mind is but things fly at you fast and I'm not the biggest fan. On that note, the change in artists abruptly within the last 6 pages was jarring. I though Pichelli's art here was better than I have seen it for a while at to have it chopped off right at the end was a disappointment.

The overall structure of this issue is better then the last but I honestly enjoyed the last more. Really just for the fun quippy dialogue. Separating Ben and Peter has only been a detriment to this arc as a whole and while it served the story for a purpose I kind of tuned out when they weren't together. Ben's story isn't strong enough to stand on it's own which is a shame because I love Ben. The Misty and Colleen subplot is also something I don't really think it necessary but it is serviceable. I at least like the relationship they have with Peter. MacKay is just a stellar writer. I wish he was sticking with ASM. I have the same problem as I did last issue with the artist swapping and there was even less Pichelli.

Yeah, I really didn't care about any of these stories but the Doug one. He's the man. Stories did get wrapped up that were left open throughout the run but they weren't stories that I particularly cared for and considering this is technically the penultimate issue of the Beyond run, I am left disappointed and wanting. I will give this one more compliment however. The epilogues are fun and I definitely want to see more Goblin Queen.

This hurt. But only in such a way that can when a character you care about has gone through a change, a loss, a trauma. I'm thankful to Zeb Wells, Jed MacKay, Patrick Gleason and the rest of the Beyond Brain Trust for crafting this story. As much as I have issues with its execution, they did tell a compelling story. Its biggest flaw is that it took too long to tell that story. But that may be more an issue with the current industry and writing for the trade, building out that catalogue to fill more volumes to sell instead of telling that same story in a more truncated and focused experience. All of that is essentially irrelevant as this final issue is the true ending to Ben Reilly and his Beyond story as we know it and that has me devastated. Ben Reilly has always been one of my favorite Marvel characters. His design, his attitude and his perpetual sense of not belonging and longing for memories, family and friends that aren't his is a very human experience that I feel Peter hasn't seen much of in decades. I wish more than anything that this arc dealt more with Ben and gave him more heroic heights to hit before his tremendous fall into the a Chasm. Pat Gleason does no wrong with his art. It's also such a difference than his DC outings that at first I was skeptical but it was immediately washed away as his expressions, his body language and emotion is pulled to the front of every character. He's a master artist and woefully underused in this series. It was a blessing having him on this issue. Overall, Beyond was fairly middling, I'd give it 7/10 but this issue in itself brings out all of the runs best qualities.

For those who don't know me, I REALLY dislike JRJR's artwork. At least since he left ASM on his old run with JMS. I think he regressed really hard with age. So when I say that this is the best work I've seen him do in years, I mean it. That being said, I think it's more to the credit of his colorist and inker. He still suffers from a lot of the same issues I've always had with him. His style of shading only using parallel lines, not even cross hatching is lazy and doesn't convey depth, his faces are very samey and blocky. Peter isn't distinct enough from almost any other character most times for Romita Jr. What generally benefits him is that Peter is the focal point of the stories he draws for. Which is kind of a no brainer because yes this is a Spider-Man book. This is THE Spider-Man title so of course it should be. But going back to the JMS run and his time on that, it was a very inward facing story where the most character growth was between Peter, Mary Jane, and Aunt May whom are all the focal points of this story (save for Tombstone). I was skeptical of this run. Not because of Wells but solely because of JRJR. His work in the last 10+ years has been so lackluster I automatically attributed it to this issue. I was surprised that I really enjoyed what was told here. I haven't read a lot of the discourse going on with this issue yet and I know there were a lot of leaks to other issues but I am ignoring those and only basing my review on this issue's merits. It's grounded, it's a fresh start, it's Peter at his lowest. It's a story we've all seen before and to that end, I am disappointed. It is beyond frustrating that Peter can never move forward. It's beyond infuriating that Peter and Mary Jane seem to break up every year or two. It says less about the writers and more about that it just becomes a toxic relationship and I'd rather people don't broach the subject ever again. In spite of all of that, I'm willing to give this a shot. For a while. I loved the JMS run and this seems to be drawing inspiration from that specifically which was for better or worse, a deconstruction of Peter and his relationships and a character study of each. Peter and Mary Jane were debating divorce, Peter and May had tension because of Peter's secrets, Peter was without a job and each was resolved in a satisfying way that I wish had lasted longer. Peter and MJ should be married. We all know it. But the ending gave us quite a large wrench thrown into that possibility. Peter should be a teacher but he's still persona non grata in almost all of New York. Peter and May should be closer and it's up to Peter, not May to repair their relationship. I've seen all of those before and I have hope that I'll see it again.

"You aren't going to believe what is happening in this volume of AMAZING SPIDER-MAN". Yeah I really couldn't believe that nothing happened. I'm definitely going to be continuing with the series, I gave the first issue and the new status quo the benefit of the doubt. I'm rating it as low as I am because aside from Peter's conversation with Norman, nothing happened here that I remotely cared about. That and the goon not shooting Peter because he saved him was cool. I am very critical of JRJR's art and some of it felt like his good old style and some of his new jank was there. The colors also didn't seem to pop as well as last issue. Hopefully more happens next issue.

Better art, decent story. Don't care that Spidey is locked in cuffs. It serviced the story. If every hero got out of every situation immediately it would completely defeat the purpose of the tension the writer is trying to create. I'm chocking it up to he just got beaten, after being in the hospital and he's not at 100%. Makes enough sense to me. Didn't much care when we were kids because we knew the villain was going to give some monologue. This was decent, served the story. That's all that matters at the end of the day. What is being said, not "Why didn't Spider-Man just break the cuffs and beat up all of the bad guys?!"

Fantastic issue. Tombstone played everything pretty much perfectly and Peter looked like a fool. Not to demean Peter as he was clearly out of his element and didn't know how far Tombstone had planned ahead. I had a feeling there was going to be more to this interaction than a lot of people were willing to give a chance. Aside from more than a few artistic hiccups from JRJR, this is a really solid chapter in Wells' tenure.

This was a good arc. Nice and simple all things considered. Dealing with characters and villains we really don't see and it once again takes me back to JMS's run. Stories about a few characters at a time and their back and forth. Diving into who they are, not so much the simple conflicts that the antagonist is presenting to Peter. Tombstone was for me an odd choice but a welcome one that I am very happy with his inclusion. Wells does some great dialogue for Peter here that had me chuckling. Cracking jokes will always be Peter's specialty but not all writers are gifted with being able to give that voice to Peter. Wells seems to have really captured it and it elevates this issue and parts of the whole arc. Levity is important. There were also some flashes of brilliant, beautiful work by Romita Jr. contrasted with some absolutely abysmal stuff. I don't really know at this point. He's so 50/50. The issue's highlights are absolutely his interactions with Felicia and May. Two very strong women in his life that he has some making up to do with. I'll be here to see it when it comes. Unsurprisingly, the user reviews for this series got better with each issue. And those who had mostly negative things to say are either quiet or ignoring their fairly baseless criticisms that they levied far too soon. This has been a good run. Not great or ground breaking. There are still big questions we all have that have almost been completely ignored since the first issue but I mean come on, it's a story telling device and a means to get you to buy issues down the line. Don't act like this isn't new. They've been doing it since the 60s. Hell even before that.

This was fun. It just felt like an annual. Low stakes to no stakes for the overall plot but who really cares. It definitely felt like a milestone issue. Not in the aspect of it having sweeping repercussions going forward but that it was a fun look back at all of Spidey's earliest villains in a tight story that gets to the heart of who Spider-Man is. I hope we get to see more of the Ultra Living Brain. And Felicia is better. Always has been.

Not much to say here other than I'm intrigued. I'm lot letting the hanging mystery bog me down, I'm just enjoying the ride. Nice to see Peter and MJ talk for once, get a little more into whatever happened, see more of his connection to Norman. Groundwork stuff. Not the most compelling, action packed issue but necessary to get us where Wells is taking us.

Dialogue didn't seem as on here in the first half but the latter was what I like to see from Spider-Man. Introspective and communicating with his villains. It's what makes him so likeable. The biggest detractor is Romita's artwork. It's just bad. Extremely flat, backgrounds almost non-existent leaving the colorist to just slap a tone in the back to attempt to give it life and depth. I like the idea of Spidey on a glider using Goblin-tech. It's a really cool idea that I am surprised I haven't seen before. But it shouldn't be Romita doing it. Patrick Gleason had a way better design and is a much better artist. He didn't get to do enough issues of Beyond and that is a shame. Like this book. Just kind of a shame.

As might be apparent, I am reviewing this a while after the issue released. I had been keeping up with ASM with each issue but the last arc kind of burned me out and then this released, I saw that is was a tie-in to Hellfire Gala and seeing as I hadn't read any X-book practically at all I skipped this and Spider-Man for a while. Coming back to it after so long I am incredibly surprised how little it really dealt with the Hellfire Gala event seeing as it had already been completed well before this issue released, that badge just created a bit of confusion for really no reason. I didn't need to be on there at all. Everything was explained in the issue with exposition but not to such an egregious degree that it was grating, simply informative and I really liked it. Gleason's art on Spider-Man has been the greatest part of ASM for the last few years and he has hardly done any meaningful stretches and that is a crime. Another crime is the fact that we don't get more of Peter and Logan together. This really hit everything I want in a Spider-Man comic. Good humor, great cast of supporting characters, bonds being shown and fun action. Funny and sad that it was in a book that was a one off between arcs so nothing here really matters as we still have no idea why MJ is distant but we're getting there.

This actually stunned me. Twice. I started to tear up. I don't want to say anything about the story of this issue because I couldn't do it justice. Everything just clicked. All of the characters, all of the dialogue. That's rare. It's special. The art less so but I can look past it because the journey whether or not the art was top notch was still worth it. Holy cow.

Wow actual character growth. From Peter, Felicia, Norman. I'm liking this a lot. Just need JR to be more consistently "on" or replace him. Glad to see Hobgoblin again, I'm just upset that they're continuing with Roderick Kingsley was always the Hobgoblin and not Ned like Stern intended but that's not Wells' fault. Great issue.

The art was worse here but that's to be expected. I really like this journey Norman is taking at redemption and Peter's understandable apprehension while working to trust him on top feeling responsible for his own mistakes and Norman's is a great balance. I think this arc would have benefitted from an additional issue or two and not having the reveal take place so early and keep the mystery going a little bit longer. That's really all that holds it back story wise.

I stand by what I said last issue that this arc needed a little more substance and length to it. It's not bad, probably the most consistent arc so far in terms of tone, characterization, dialogue and setup. I do like where things are heading towards for Norman and Peter as well as the option for more Hobgoblin stories down the line.

The story much like the art is all over the place. Janine went from zero to one hundred really fast. Recognizing she was in a toxic relationship or at least one that was forming and just runs back after interacting with one person. I get that the person had a point but it was very coincidental and that's frustrating to see being forced in to get the character to do what you want. It didn't feel natural. The Ben meeting Madelyn Pryor bit looked awful and read about as bad. Nothing else to say. The Dodson's did a pretty great job on the art but it really couldn't save how quick Janine's turn still is but the pace of the whole book is jumping wildly so I guess it's expected here. I get that it's going through seasons at a time but all of a sudden war is talked about being waged but we don't know with what army, against who aside from Peter and I'm assuming at least Jean Grey and maybe Scott and the rest of the X-Crew. Same as with the Spring section, this really feels like forcing Janine into a position that doesn't feel natural to her and Wells is just trying to create a character for his event and maybe residuals. Finally, Winter brings the worst art I have seen from Ryan Stegman but at least it was the most coherent storyline. It's like Wells started with those last few pages and had to figure out how to get there. This whole book is kind of a mess and I'm not excited for Dark Web as a result. This should have been an annual.

I just don't really care for the story that's happening here. It's fine but I don't think that an event was needed just for this and reading it after it has come out and seeing all of the tie-ins, there is no way the amount of story that it would take to wrap this all up justifies it's length. McGuinness' art is pretty good but not his best. He's got this weird thing going on making all of the characters have really thick, short necks. I never noticed it before because I mostly saw his work on the Hulk and Superman/Batman and it wasn't nearly as distracting there. There were some bright spots in here tough. I thought the humor was great and Wells really does seem to understand the character's voices but not necessarily the story he is telling with them. It feels a little lost in the weeds but at least everyone still feels like who they are supposed to be. It could definitely be worse. I'd rather have the cast remain consistent on a meaningless story than be completely unrecognizable on a story that is trying harder.

Yeah I really don't care anymore. Ben isn't Ben and if he's not Ben then I'm out. The art is cool. That's about where all of my points are coming from. I like a single line in here and it was when Peter punched Ben saying, "If we're exchanging gifts, Merry Christmas! I got you a new concussion!" I'm only here now because I am a Spider-Man fan and I like so many other people am used to the pain.

I liked this more than last issue but just barely. The art is about all I have to praise this for even though McGuinness isn't my favorite Spidey artist, he's still good. Male characters at least just look really chunky. Thicc bois, which isn't the worst thing, it just stands out. There are only a few moments in this I thought the dialogue was even decent. Hell Bugle is funny but all of it is unnecessary. Robbie just exists there. Jonah has something to do for a few panels and it's only okay. Not even very funny except maybe to a 10 year old. I really don't know. This issue also didn't seem to move the needle forward in terms of the event and if you aren't reading the tie-ins, knowing there is only one more ASM issue and then the finale, this really doesn't do much. Even trying to endear us to Parker-Man isn't really something I care about because none of this matters.

Art good, story bad. Ben's place in this entire event feels so lost. He's never felt like an antagonist or even any sort of pivotal character when this is about him and Madelyne just trying to get their memories back. All this shows is that the X-Men part of the story was the only one worth telling. The worst thing this issue did was take the phenomenal ending to the Dark Web: X-Men series and undercut it by having that very heartfelt reconciliation between Maddie and the X-Men and make her somewhat antagonistic again. Not that she became a villain but it feels like a little bit of that growth was gone instantly. Wells was clearly not talking to Duggan. Disappointing overall.

I liked just about everything about this aside from some lackluster art by both Dodsons. I've never been the biggest fan of their interiors and while most of the time it was great, there were more than a few panels, background characters or off model pieces. I really enjoyed the story here. A breath of fresh air after what has been going on with ASM the last few issues. You still get the ever looming Peter/MJ drama while creating a fun getaway for Peter and Felicia to miraculously find themselves in a fun winter themed team-up. Give me more of this. PLEASE. Also, somehow this cover is both good and terrible. It's good for JRJR now but it's far from his best work and has no bearing on the story and while I know not all comic covers necessarily showcase what is happening in the story for whatever reason this one just makes no sense. Regardless, fun issue. I like fun. Sue me.

Everyone complaining about the, "but she's more like a sister--" are either genuinely illiterate, completely attention deficit and can't read three more word bubbles or are simply idiots operating because some ASM Redditor/Twitter incel told you it was bad. Peter is clearly not over MJ and clearly doesn't see her as a sister. Felicia knows that and IMMEDIATELY called him out for it. But he's realized he's changing. Love changes and that line about love with a capital L changing to a lower case one hit a lot harder for me than I thought. This issue has flaws, mostly in the art department. In the last issue there was enough good to overlook the bad but most of this was bad. Not sure what happened. A lot of the dialogue involving anyone but Peter, Felicia and Kareem was pretty mediocre. You could tell they didn't really care and White Rabbit is always obnoxious so I won't say she was written poorly, that's just how she's written. I still liked it despite those faults. Y'all are just dumb or something getting mad over one line that was cut off, addressed immediately and explained. I'm glad Peter is moving away from that but I will always be a Black Cat/Spider-Man guy over Peter and MJ. One of those two relationships is way more toxic and its not the one with the sometimes criminal.

So we get some answers. Not all of the answers but hey, that's how you tell a story now. Drip feed. I will say two pretty positive things about this book. JRJR's art is pretty good. Especially for what I expect from him. Next that I was really interested in the story... until I looked at the editor's note about issue 555. I didn't know about Rabin or Wayep until now. I assumed they were created for this story so I was intrigued. Maybe there is more nuance to these characters that people have been giving such a hard time to. While that may be true as I am still far behind, I was incredibly disappointed to find out that Wells is the one who created these characters. In 2008. So as far as I can tell these roughly 20 issues have all been a ploy for Wells' creations to see more pages. That was a hell of a let down when I saw that. If they were just old villains that hadn't been seen for a while I would be less disappointed but its just a self congratulatory HJ by Wells. I really hope he makes it worth it...

Better than last issue in both story, pacing and art. But only barely. I am having a hard time caring because I have no reason to. Since this is all a flashback we're getting story progress but its been a year. That's way too long to deal with this and it just involves two Z-level villains that hardly anyone remembers because the writer wants to give his creations more time in the sun. One of them dies. And it's not the regular guy. It's a god. Very unceremoniously. Why do I care? Why should any of these characters have such a huge impact on Peter's life? I really don't know.

This was paced very well. You feel the urgency and desperation that Peter is going through. His interactions with all of his friends and family are tense and the one person he turns to is Norman. That's pretty heavy. I'm not a fan of how JRJR depicts someone with bruises though. Sure he went through the ringer but his head was already a weird blob.

I actually like the drama that is created by Peter being reckless in the pursuit of Mary Jane that he would (lightly) attack and steal from the people he would trust more than anyone. It really goes to show what he would do for her and why he definitely doesn't "see her as a sister". Dude would move heaven and Earth and his reaction at the end is devastatingly understandable. He feels betrayed. He did everything he could as fast as possible. Hurt those he care about all for her. The only reason I'm rating it this low is because outside of Peter and his actions eventually coming around to have consequences, the journey I could care less about. The villains I could care less about. Rabin and Wayep are mostly useless. I don't even hate Paul. But this entire arc should have been explained sooner. To start with this would have been a bad idea but why did it take so long to give us the most underwhelming explanation to something that could have been really cool. Peter burning bridges and the readers not knowing why is actually a great hook. Now that I know what was on the hook? I'd rather toss it in and cast again.

This was really, really good. I don't know what people are smoking. The art is top notch. Some of the best this entire run has seen. To start off, Mary Jane didn't betray or cuck Peter. We don't even know by the end of this whether or not MJ and Paul are "together". They bonded. Over 4 years. Fighting and surviving and raising children. It's all justified. I'm not saying that MJ should just bang whatever guy falls into her lap after Peter but despite Peter's persistence in trying to get back to her, he can't slow time. She understandably thought she was stuck. But that doesn't mean even at the end that she doesn't still love Peter. The best part about this issue isn't even the explanation (for the most part) about MJ and Paul's relationship. As far as I'm concerned it's just a bond. It happens and while not meaningless, it doesn't mean it's romantic. Even if it was, I wouldn't be pissed. The best part is seeing MJ be a badass, seeing Paul actually do something and contribute to the story instead of being just some dude that everyone hates because he's encroaching on their Spider-Man fantasy of plowing Mary Jane. They actually made Rabin seem like a threat. He was daunting and intimidating. The scene with Owen was pretty chilling. And hey we get an explanation for MJ's "powers". I think it's kind of goofy but it's better than random chance powers so cool I guess. All I have learned after reading this and looking at reviews is that people aren't media literate. They take a headline, a blurb, a single panel and don't look past that or their own idea of what they want the character to do. This is the best issue in a while and thought it may still be dealing with an arc and villains I don't have one iota of interest in, it made me actually care about the future. What will happen with Paul, MJ, and Peter? That is what is driving my interest now. How does Peter reconcile with the people who are effectively leaving him to deal with his anger and pain on his own? The story at the end was also hilarious. I love how much Peter hates being outside of New York and the two panels he's swinging between buildings until he can't is amazing. Actually had me laughing. More Peter and Felicia please!

Art bad, story lame, Kamala obvious but can people please stop complaining about the Paul and kids thing? It's been clear there was no procreation. Romantic relationship or no, MJ and Paul are bonded and lets be clear, Peter has been a whacko. Also justified. Outside of that I really think this was a crappy way to dispose of a character. Outside of her own stories, in a series where she has been a fringe character at best all for shock value because we know what is going to happen. I knew it as as soon as I saw her on the first page. That's not to say that her death wasn't impactful. It definitely got my stomach tied up a little bit. JRJR's art is pretty abysmal here. I think the colorists are doing a lot of the heavy lifting and have been for a while. I don't credit them enough. I'm done with the whole Rabin/Wayep/Xibalba arc. I don't care anymore. I'm glad they're gone but they didn't justify or mean anything to this run outside of establishing Paul who is at least an interesting addition to Peter's world.

While I don't like how aggressive Peter is being toward Felicia I get it. What really bothers me is how he came at her but then approaches Norman in a much healthier way. I would kind of expect the opposite. But then, I'm a Felicia fan. It's nice to see how he and Norman are dealing with Kamala's passing and how they both feel responsible but it feels little out of place here. As well with the continuation of the Gold Goblin arc. I'm happy to have it but there is a weird tonal difference in two halves of this book. I really like the old Ock arms subplot. Honestly made me sad to see how Ock treats them and their desperation to go to Jonah all beat up. How I was made to care about a fake animate object is beyond me but I like it. I liked a lot about this issue and I'm not sure why. Maybe just because it's different and despite the fact that it's a huge leap from what we were dealing with that something fresh is immediately better.

I'm struggling finding something to say. I like the lightheartedness with Jonah, Peter and Norman. Octavius is obviously building to something but I really don't know what. This is fine. If it was all fun there wouldn't be conflict to drive the story with Ock but the conflict has no real context. We'll see where this goes I guess.

The art is the highlight. Could have done without the Rek-Rap tease. I really don't need to be reminded on Dark Web. I also guess we get a tease of Ock remembering and being bitter about his time as Superior Spider-Man and missing it? Would be nice if that was fleshed out more.

While I enjoyed Peter acting Otto-like it's not as compelling as Otto acting Peter-like. Also bothered me that Peter started calling the arms boy when he previously called them girl before painting them. More of a continuity/consistency thing. The conversation Norman and Peter had on the roof with Norman reminiscing about an exchange and inside joke they both had was nice but it feels like too little too late. Show us that BEFORE she died, then remind us as a fond memory. Don't retroactively try to scrounge up a meaningful interaction we never got to see. I don't get why the tone shift has to be so drastic. If you want to do a story about Kamala and the fallout IN Spider-Man then give it an issue or two. Do it justice. Don't throw off the pace of the story you are telling that is full of jokes to then pivot and try to add weight where it doesn't belong. I don't hate it by any means. I think both stories are fine and being told decently well but they don't mesh well and throw off the book.

The Aunt Anna story was honestly heartbreaking, especially seeing her in that last panel, shackled in Ravencroft Hannibal style. 8/10 I'm not sure how I feel about Hallows' Eve. I really don't like that every person has to have powers now. Janine and MJ? Really? The story was good I just don't care for the concept. 6/10 Peter Parker and Felicia Hardy going to a wedding in Omaha? Some of the best writing in such a small snippet. It was great. Cute date, cute banter, hilarious how befuddled Peter becomes from how quickly it takes to not have tall buildings or for him to lose his sense of direction not being in New York. 9/10 on that one.

As a whole this was way too much. I liked the wedding. When Romita was on art I actually felt like it was back to his JMS days so to say, I think it looked pretty alright. The bachelorette/bachelor parties were fine. The only one worth seeing was between Pete and Randy. I really don't like how Felicia has one party with 'friends' and decides that's it. And that Peter didn't fight it at all. They were just talking about how they loved each other and despite how he's been really cold to her lately I would have hoped we would get a decent issue of them talking out their issues. Maybe then a break would have been fine but it was such a crummy way to end it like this. The Kamala epilogue is okay. I like what Peter did but I still think that her dying in a Spider-Man book when she was hardly a supporting character was bad form, hardly dealing with it mostly in passing between Peter and Norman at odd times in stories that had no bearing. Her being an X-Man means nothing to the story and makes her sacrifice mean a little less because we knew what was going to happen and it happened quick. The Otto deciding to return to Superior feels REALLY forced. And we know it is because it's the 10th anniversary of the book. But wow. He's in a bathroom in a crappy dive bar and we've not really seen much to necessitate that change. I'm not saying I don't want it but the build up has been really lacking. I enjoyed the MJ and Paul dealing with their trauma and loss, hate the costume. Spider-Woman's story was interesting but was just thrown in here because she's Spider-adjacent and that kind of makes it feel less important in light of the subject matter, Jess getting her baby back. Powerful backup story but should have been in something else. Spider-Boy and Madame Monstrosity.. I got nothing. Know nothing about either character. Perry Thomas and Stanley the Goose were funny but are a horrible way to lead into... The best part about the issue. Kraven and Queen Goblin getting it on! Jokes aside this story was the highlight and it was three pages. Getting to see what is upcoming instead of giving us more story to the Tombstone stuff that started in issue one and hasn't really been added to since then is way more interesting. I mean and hey, go Kraven. Oh yeah I forgot about the Reign sequel preview. If it weren't so far at the back that I completely forgot about it until later it would have dropped the score another half point but I really don't think that is fair. We don't need a sequel to that story. I don't think there is a human alive with more than one braincell that asked for that.

I liked it. Stuff happened. Still pissed about Felicia but unlike most Peter/MJ stans I will get over it. I just think it could have been handled better and not addressed so quickly and casually like they were just buddies or something. The art is phenomenal but I think Gleason is always good and finds a way to change his style just enough with each new character to bring out something new and it's a master talent. I REALLY like the bond that Norman is trying so hard to create and it makes me even happier that Peter is actually trying to accept it. I don't want to see it end but I realize it has to.

I have my issues with Kraven existing because it undermines what made Last Hunt so impactful but this really just takes that and throws it in reverse. Amazing pacing, amazing art. I want to credit a lot of this to Gleason because this really feels like something Gleason would do more than Wells but I can't say one way or the other. If it's both then good on them for crafting this.

Another fast paced issue but it has weight to it. Peter is terrifying which is an amazing representation of what I think the Green Goblin has kind of lacked in people's minds. If THIS is what Norman's sins and the Goblin make a person, then you should be very afraid. Almost everything that I care about this run was touched on. The Tombstone plot, Norman's degrading mental state and Peter's burgeoning relationship with him, Peter, Paul and MJ, Queen Goblin. All some of the biggest highlights.

I'm not as down on this as some people seem to be. While I do think that the Spider Who Gobs was maybe a little too short lived, the arc only lasting essentially 4 issues and a few pages from issue 31, I could have and would have been happy to get more. My only real disappointment with it is the inevitable fact that Norman would never get to stay redeemed and work through his pain with a new bond in Peter. That story is coming to a close. Despite it being open ended at least in regards to Norman it really feels like the true end to an arc. Kraven and Queen Goblin are gone, the sins are 'contained'. All we have now is Gang War.

The 90s had the Clone Saga, the 2000s had One More Day, 2010s, Clone Conspiracy I guess? But the 2020s currently have Dark Web. Say what you will about the Clone Saga, OMD and Clone Conspiracy. All divisive and pretty much hated or disregarded by most of the Spider-Man fanbase but they were all trying to do... SOMETHING. Whether or not they succeeded in their goal is up to debate but Dark Web is managing to be a much smaller scale disappointment because it doesn't DO anything. And we keep being reminded. For some reason. Interrupting the story that we were previously being told. An epilogue to a decent story regarding Kraven and Norman's sins returning? Nope, here's Rek-Rap. Want to see more about Peter's relationship with Black Cat or MJ? Nope, here's Madelyne Pryor having some beast round up all of the Limbo problem children. Why though? Who asked for this? I have no problem with telling fun stories and occasionally diverting from the main story but the crumbs we are left to carry the overall narrative with two pages to hype up Gang War are not enough to satisfy the tonal whiplash I get every time an arc is wrapped up because it never feels wrapped up until 10 or more issues down the line. You can have closure at the end. Not everything needs to be open ended. If you had the ending already, use it! Why now do you return back to such a useless and forgettable event? I have nothing to positive to say about this issue because as much as I try to defend this run, when the highs are high, things are going pretty good but the lows don't make me angry. They make me want to stop reading Spider-Man. I am okay with being angry and reading Spider-Man. I can disagree with what is being told but still interested. I am no longer interested. I no longer want to see how things will eventually be tied up later down the road when I've already been given an 'ending'. This is just disappointing. I am not excited for Gang War because I really don't think there has been enough given to us to warrant excitement. Sure we know it's been coming for a while, we know Marvel is hyping it up as a big to do but the scraps we've been given don't fill me with confidence. The confidence that I've always had in the title even when I was worried about the direction it was taking. There really doesn't feel like there is anyone giving this book direction. Right the ship. Give us a consistent tone or at least don't shift it so suddenly when you're trying to tell a lighter story then bog it down IMMEDIATELY with a half-hearted telling-not-showing display to cover your asses because you did something that pissed on the fans. I really don't consider myself a Spider-Man purist. I don't NEED One More Day to be undone. I didn't need Sins Past to be retconned. I didn't need Clone Conspiracy to bring Ben Reilly back to life, yada yada yada. At the end of the day I just want interesting Spider-Man stories that either have a meaning and a message, are compelling because of a villain or relationship, or are just funny down to earth ongoing of Peter or those in his life. This fills none of those. This run as a whole gives me whiplash because right when I want to sing it's praises something like this follows immediately. I will be continuing to read because despite not being a purist I will always be a Spider-Man shill. I love the guy too much. I've got my fingers crossed but my hopes are not up.

I'm even less happy now than I was with the previous issue because I didn't think there would be another ridiculous issue after this one. I'm done with this run. I will continue to read it but if Rek-Rap or Dark Web are referenced anymore it's an automatic low score. There is nothing here to grab onto. It's obnoxious, unfunny and destroys the pacing of the overall narrative of the run. Read the pages that actually pertain to Gang War (there are only 2 pages, pgs.13-14 you're welcome) so you don't waste more of your time. If there is anything to credit in this issue, it's Norman calling out how stupid this all is and even he doesn't want to deal with it.

I didn't absolutely hate it. Which is something to praise when anything involving Dark Web or Rek-Rap are concerned at least for me. He actually made me chuckle. Things happened in the issue. While I doubt the Limbo story is truly wrapped up, I'm content with where it is. I actually had to go back to issue 908 just to remember what even happened to the collections guy to refresh and put the whole Re-Po thing together in my head which is horrible for pacing. Still though, the only thing worth reading is everything AFTER the Rek-Rap adventure leading into Gang War and we get left with the least interesting cliff hanger ever while also being incredibly cliche. I would have liked to see the Maggia heads DO something before being unceremoniously killed(?) off before the arc even starts. It's not a great way to generate hype. I want to be excited. The lead into the next story didn't do that but I could surprisingly actually read this and have SOMEWHAT of a decent time.

My biggest issue is with the art. It was like... too clean? Very safe modern art. It's not bad art but I'd rather not see it in ASM again. The story is fine. Not much more. I'm back to being interested, it's a good setup issue but I definitely would have preferred this to the past 3 issues we got. Also not a big fan of the checklist. Gang War is going to be 26 issues spread over at 6 titles, Luke Cage, Spider-Woman, Miles, Daredevil, Deadly Hands and ASM with three of those being solely standalone tie-in series. I'm not an event hater but more than half of these won't matter, maybe all but ASM and we'll be lucky if Miles and Daredevil manage to still be good despite being unnecessary to the plot (not saying they are or aren't, just predicting). Overall, I have nothing really negative to say about the story. I read one complaint about being upset that Miles was talking down to Peter is a little ridiculous. It was entirely justified. Peter still has a lot of work to do in atoning for how he treated those closest to him during the whole Rabin/Wayep thing. Peter basically told everyone to go to hell then disappeared and shut everyone out. Including the guy who he's supposed to be partners with. Regardless of how close Marvel writes them, they are at least in my mind a pair. Not like in a sidekick way but you don't have two Spider-Men and expect them to never interact like we primarily see. It makes the relationship feel incredibly artificial. We need to see them together more and if Peter is the reason we don't Miles should definitely call him on it.

To start, that cover is atrocious. The story however was pretty bombastic. Great story beats with Lonnie and Robbie, Janice taking over her dad's territory, Madame Masque continuing to torture Hammerhead and the dynamic that Peter has be it strained with Miles, absent with Elektra or the surprisingly good rapport he has with Jen and Jess made for a really compelling narrative. I'm actually looking forward to the next few issues.

Wasn't nearly as engaged in this one. Nothing really to grab you. Stuff is just happening at a break neck pace all kind of scattered around. Madame Masque is eliminating Maggia leaders, Jen and Pete are teaming up with Tombstone who's meeting Fisk, etc. It's not bad but in a story about a gang war it all feels kind of disconnected where the last issue felt a lot more cohesive and fluid. Still can't get over the art and I'm still trying to figure out if the cover is supposed to be robots or terribly drawn guns. Either way, the cover and half of the issue was atrocious on the art side.

This was a bit of a letdown more so than last issue. It's not even fatigue as I think the release schedule actually helps keep me engaged and excited for the next story. The action is so static and boring. You had Kingpin and Tombstone bearhugging for half of it and then there is a whole sequence on page 16 where Kingpin is supposed to be headbutting Tombstone in the face/jaw and it just looks like Tombstone is giving him a really aggressive smooch. While funny, it didn't portray the brutality or intensity of the action. Same with Digger and the Beetle's posse. He just walked up to them and grabbed their gear without them doing ANYTHING. I didn't expect them to put up much of a fight but they literally didn't put up any fight whatsoever. They all just stood there and said, "Huh?!". Madame Masque is back to being relegated to a handful of panels as well as our titular character. I'm all for having other characters take a bigger role in the narrative to flesh out their character/arc much like Norman had previously but Spider-Man is barely in his own book. He's even aware of it because he mentions how he's just relegated to fighting goons. I want so badly to be invested but it keeps getting worse. If the story won't get more engaging get a better artist on the book and inject at least the action and choreography with some life. JRJR is not your guy for that.

The art was better, the story was more focused but now I just want it to be over. Kind of a shame that. Had the pacing in the second and third issues gotten us here faster I might me more invested. I wanted to see more from Madame Masque and we did. I wanted to see JRJR do better and we kind of did. Peter still has next to nothing to do but that's fine. I think my problem now is that my interest in Gang War and half of Wells' run so far has been Tombstone and now he isn't getting much of the spotlight either. I get switching to Janice but there isn't really much to go on for her in terms of history. Her and Masque trading trauma is only slightly effective at understanding their character motivations but it feels kind of forced. Masque at least has a history we can draw from, I'm personally less familiar with Janice. I could be wrong but her as a whole just feels like an insert when Lonnie could fill that role. I don't know. Two issues left. Hopefully it ends with a bang.

I definitely liked this a lot more than I thought I would. But don't mistake this isn't a ringing endorsement of this event or even the issue. Somehow I think Wells tapped into what I praised about his abilities and comparisons to JMS in the first Tombstone arc. Peter's voice is commanding, he feels real and thoughtful, action oriented and willing to take care of what he has must to protect those he cares about and the city. Sounds great. Why then is it only happening in the penultimate issue of an event where he was practically sidelined until now? Even Romita's art popped at least when Spider-Man was the focus. Every other character looked so phoned in it was upsetting. Not that the "twist" at the end wasn't easily predictable but I really don't like this bait and switch of villains turning over a new leaf and then because, "We have to return to the status quo or everyone will freak out, the bad guy has to revert to their old ways. What a rascal they are. Shucks." It's so frustrating. Much like this event. There are some really uplifting, energetic moments with SOME dynamic action supplied by an artist way past his prime. If you still care about ongoing ASM and feel obligated to finish this event out you might not hate your time.

It says a lot about the failure of an event when the only time the team talks to one another is at the very end to realize who all was even on the team. Great job Lowe. My expectations for anything during the rest of this run are completely shot at this point. Any praise I had to give toward the Tombstone arcs has fallen completely flat because up to this point it has all led to absolutely nothing. Madame Masque effectively did nothing. None of the Maggia were involved in the run up to this point and are unlikely to feature again so why did we even do this? I can't fathom. I just want a new writer and editorial team. Better yet, give me a new issue of USM. It's the only good thing coming out of any Spider-Man camp.

I have no idea why Anna took weird Krakoan medicine but even given that lack of knowledge beforehand that sequence is handled deftly. Wells can write very touching interpersonal dialogue. He doesn't like to tap into it often, relying on really jarring action sequences but when he gets Peter in a room with a small group or just one on one, his dialogue flourishes. Most notably with Norman. It honestly breaks my heart to see how much distance has been crossed for both Peter and Norman together that we know it's coming to an end soon. All the good that Norman has struggled, bled and fought to do will come crashing down and while disheartening will be something to see. Even the short interaction we get between Peter and William Barker (Sandman) is all that deeper personal connection that Peter should always bring to his world. He brings people hope.

A good issue, definitely liked the Ravencroft stuff. There could be some more fun stories to tell there but it looks that all we got were those two. Having Anna in there and helping everyone become better people and want to reform back to society is great. Now it's likely gone. And chance of seeing these villains vanished. Much like my interest in seeing MJ and Peter talk about how they're in a weird place. Again. And again. People can just be friends with their former significant others without there being drama or whatever this boring do-nothing recycled dialogue is. That all may sound harsh but I didn't hate the issue whatsoever. Just stop the will they won't they in Peter's relationships. Either have him be single or have him be with someone. Let him be happy in either circumstance because the morose Peter is a slog at this point.

Okay this was actually really good. I might be giving a higher score than it deserves but for what ASM has been, this is a nice return to something I'm used to in Spider-Man. Peter getting set up with someone new, having decent chemistry, having to run out on them, actually saving people, helping his friends and fingers crossed we get some decent characterization for Ben in the next few issues before issue 50 puts everything on the back burner. Also a fan of Todd Nauck here. I really wish he would be a recurring artist rather than a guest. He's miles ahead of JRJR. That cover is GARBAGE.

Not sure what to think here. Is Ben going to be the new Goblin? Does Peter have gaps in his own memory and will that be the catalyst for the new Goblin problems? I'm glad that Ben seems to be getting back to normal but the idea that he and Janine share that they might just both be "bad" feels like a cop-out. The Spider team just don't want to deal with him anymore so we'll just write him off as a "bad guy" and push him away after doing him so dirty from the end of Beyond until now. At least he seems to not be crazy and has somewhat come back to BEN and away from Chasm. We'll see.

The art looks so phoned in if Spider-Man or anything without any action isn't on panel. It's so disappointing. The only thing saving the art is the amazing coloring that really doesn't seem to hit until page 6. As for the story, for someone who isn't diving into Blood Hunt yet this was an engaging and pretty harmless tie-in. Its nice to see Peter getting upset about the world around him constantly turning to crap instead of being so conditioned by it that he's lost his empathy for the city.

Despite 49 previous issues leading up to a return of the Green Goblin the final transformation and reveal felt a little rushed. Not that I'm into drip feeding pivotal moments like ASM has trended towards in the past ten years but it just felt so sudden as well as the apparent and immediate de-powering of the Goblin. Those gripes aside the story was stellar. Moving incredibly fast but with decisive urgency. Getting to Spider-Goblin 2.0. I'm not sure what this is going to mean for Peter OR Norman now as the last time we got a Goblinized Peter Parker it was the best thing this run had to date and all of the progress that Norman has made still seems to exist inside the Norman half of the personalities. Wells has shown he can do this and make it good. I really hope he stick the landing.

FWIP "Fwip?" I really appreciate how much is being tackled in just 20 pages. The continuation of the current threat that is the Green Goblin's return, Kraven's pursuit of redeeming Spider-Man from the other Spider-Goblin arc, Ben's journey back to becoming himself, the dangling Sinister Six plot which had honestly felt like such an afterthought since the anniversary issue. It all blends seamlessly together in a fast paced yet still story rich book. My only complaint is that I think Todd Nauck should get the lead pencil duties. I'm not a big fan of McGuinness on Spider-Man. Everyone is a little too chunky.

A bit slow after last issue but that tends to happen after such a big reveal as well as having been the norm in Wells' arcs. I don't mind a slow pace but considering this arc isn't that long it worries me that this stems from a cool idea where he has a solid first issue and little to bring it all to a satisfying conclusion. Not that he hasn't before but his consistency is lacking in that department. As well as that of Ed McGuinness. I don't think his art style is bad, in fact I really like it but I tune out when his art is present in Spider-Man. I don't like how his characters look in costume. Nauck however is fantastic. I'd much rather just have one artist per book, not one per storyline. Eventually the paths meet and you leave one artist out to dry. It also looses a bit of that cohesion. In terms of the story as I said before, it was a little slow. Between a lackluster confrontation between Chasm and Peter that leads to a pretty unceremonious "removal" of the Spider-Goblin, (at least in appearance), an even slower moving plot in The Living Brain's plan to save Peter and the most intriguing bit of Norman futureproofing the downfall of Peter Parker by transferring holdings of Oscorp to Peter's name. That last thread is the most impactful but a lot of it gets lost because nothing really had time to stick together. Not a bad issue but unfocused.

Kamala got straight to the point with her emphatic *SIGH*. That's all I feel about this issue. It wasn't funny when it was trying to be, it never felt serious when it was trying to be. I really wish this wasn't how every arc felt with Wells. Solid start, terrible to boring middle, tacked on ending. Goblin originally felt like he could be an actual threat. That went right out the window. As soon as he's taken slightly off guard by Peter not being possessed, Peter is able to absolutely run through him when Goblin was previously obliterating Peter 2 issues ago. He's suddenly weak because he has to be. It's so anti-climactic. And now we are right back where we were like 20 something issues ago. Wells wrote a good story. Now he's trying to go back to it in a really dissatisfying way. I really don't know what else to say. At least we know the run is almost over. I wanted more from this arc.

As far as conclusions go for Zeb Wells, this is one of his better ones. The bouncing back and forth of the Goblin between Norman and Peter, Peter and Norman got really annoying and we could have seen an inner struggle for Peter longer than a single splash page but what we got was decent. Exploring more of those pivotal moments in Peter and Spider-Man's life being slowly poisoned or stripped away by the Goblin would have been more interesting and now it's just... gone. Poof. We're going to get more of a resolution soon I'm sure. Wells loves his epilogues instead of just giving us a fulfilling conclusion but with what we got here I don't hate any of it.

This is very good, very cute but very frustrating. Peter can grow beyond learning the same lesson he has a thousand times over about taking time for himself. He's not the only hero out there and there are more than ever. He wants to go on a date he can call Miles, or Tony, or anyone else if he has plans. That's being responsible while taking care of yourself.

I originally had this whole thing written about how frustrated I was after just the first 3 pages after the Kingpin/Tombstone flashback. I was disappointed in the art and hanging plot threads but honestly, those aren't enough to make this a bad issue at all. What I felt in the first arc is back here. Everything I praised Wells for, his ability to channel that JMS era of Peter relying on others to help him, expanding his supporting cast and making him feel a little more down to earth is very present. That's what I, and I feel most people want from Peter Parker. I think that's why people want him to be married or at least in a committed long term relationship. It makes him feel more relatable, realistic. Someone having real world problems. Not fantastic superhero problems that make his personal life harder. He's supposed to be an insert for the reader. Escapism through his heroics but similar in his personal problems. It's what makes him so endearing and Wells channels that here. He makes Spider-Man feel like Spider-Man, messing with his enemies, being a nuisance and it comes back to bite him but Peter being Peter, he has a good support system, this time in the form of Luke Cage and She-Hulk. I wish we had been able to see more of them outside of a Dark Web epilogue and Gang War but it's still nice to see heroes coming to Peter/Spider-Man's aid. Shows the readers why he's so well loved. I've not been the biggest fan of this run but I would always give issues their due when they deserved it and there were a lot of hits. A lot of misses too but as long as this final arc actually finishes off well, I wouldn't rate this overall as bad as a lot of people around the internet have said it is. It's just not. I will however say that most of the missteps here were likely the fault of editorial and their awful event mandates. I don't fault Wells entirely for Dark Web or Gang War. We have to have them because Marvel wants to sell more books. Take those out and this run becomes much better and more cohesive. It will flow a bit better and maybe some of those hanging plot threads aren't left as hanging. Keep up the work Spider-Team. End on a bang. Oh yeah and I even enjoyed the Paul backup. I think that they really chickened out catering to that part of the "fanbase" that was complaining about him. Abandoning him entirely when all of the Paul haters had already dropped off the book. It still sold well even when he was in it. Should have just kept him in. It was a chance to flesh out his character more and make him less hated or just kill/send him off if you were actually done with him. It feels like a waste in hindsight and I never hated him. It was a really interesting position for Peter to be in. We've seen MJ in relationships away from Peter before but this was different. It's still different. They have a bond, they've never really been lovers. And there is security for both of them in that bond. Paul has a home and someone to trust in a dimension he doesn't know and MJ has someone who isn't constantly in danger. It honestly has always made sense. Either commit to Paul or don't.

Womp womp. There is something fitting with this being my 1000th review. The wet fart of an ending to Wells' run leads into giving me more reason to review another thousand. Hopefully some stronger Spider-Man runs.

Most of the dialogue here is just bad. Unfunny jokes, Peter feels like a teenager still, people talking at Peter and everything sailing over his head. Marveling at the fact that he stood up to Doctor Doom despite the fact that he's done it countless times. Whether or not he was the Sorcerer Supreme. Everyone here just felt a bit lifeless. Aside from Kevin. And what was even the point of introducing Burnout? Could he come up later? Sure but as of right now he's nothing and it had zero impact on the story. Just a device to remind readers of Doom's power which isn't necessary because he's DOOM! Kelly seems to be trying a bit too hard to be meta-relevant. We know all of the annoying problems in the world. AI on our phones, corporate ads invading our daily lives aren't really commentary I need from Spider-Man unless it actually matters to the plot. Which in this case feels incredibly contrived. Doom not wanting to do the work of fighting the Scions of Cyttorak is very in line with how Doom operates. But To have Spider-Man do it? I'm sorry but even Doom's monologuing didn't agree with that one. Now all of a sudden, because of a suit change, he just knows the "cool secret names of things"... Show. Don't tell. First rule. Already breaking it. I really want the ramifications of Peter dying and being reborn to have meaning in the future but I'm hard pressed to believe that the significance of that will carry over. Something this important to a character's perception of the world should carry weight and while it does here, it's only in service to a McGuffin plot. This may be the least I have ever cared for McGuinness' work. That might have something to do with the colorist changing from his previous arcs on ASM but this felt way flatter in terms of vibrancy and pop that was apparent in his older issues. Things here felt a lot more cartoony at the wrong times and traditional when it could have used more expressive features from Spider-Man. It also had this issue when there were multiple characters on a page that everyone looked way less detailed and on model. I'm just going to assume this entire arc was rushed to get the Wells transition kicked off as quickly as possible. This whole storyline didn't feel like the natural progression it would have taken in preparation for a new writer. Even May is sick and tired of Peter spinning in circles. I really wanted to read every issue of ASM but if this is all I have to expect from this arc, I might jump off next issue.

I disliked the writing and art in this more than last time. This whole plot is incredibly contrived just to serve as a vessel to bridge the gap to the next big writer where this feels like a place holder. It doesn't feel like a good Spider-Man story. He just doesn't fit in this. It could have been a more seamless transition into this arc but there was no lead up, nothing building to his team-up with Strange and Doom until all of a sudden, BOOM! Spider-Man is throwing magic around. It's like the story of an annual extended over a series of issues. Peter isn't terrible with women. He's usually pretty great with women DESPITE his idiosyncrasies and overall dorkiness. He can be oblivious but he's not that dumb to just have Felicia blatantly telling him she's single go right over his head. It makes it worse that there is near zero consistency to McGuiness' portrayal of Felicia. She changes in every panel she's in. It's very jarring. While Norman saying he doesn't believe in magic completely stone faced is genuinely funny, it makes absolutely no sense. He's lived in a world where magic has existed for years. There is no denying it and those who were skeptics have been shown to have no way to quantify it. If Tony Stark believes in magic, Norman Osborn even in all his pride would have no reason to deny it's existence. I do enjoy this change for Norman though. I hold absolutely zero hope that it will be followed up on well at least not in this... run? Series? Not sure what to call this Kelly section of ASM. I think what would be a great way to get Spider-Man and Peter back to what people want is to focus back on his supporting cast. Have him do more with Norman, with Felicia and May. They're there but like the audience, they're just waiting for Peter to remember who they are and what they mean to him. The ending is a masterclass in rushed pacing. The climax has no real resolution. Largely no buildup or anticipation during the new Scion conflict and as fast as you can blink, it's over. No reverence or weight to add to another death for Peter Parker. Hell there's barely an explanation as to HOW he died. Someone please correct me if I'm wrong. There needs to be more impact shown to the reader for it to feel meaningful. I know death means nothing in comics but this is set up to convey how it can impact a character for those readers who might not have read anything off the most popular lines that have had to deal with death. It makes it feel so shallow. I'm genuinely not trying to be a downer or a hater. I just want more than this book and this editor are giving me. There are good/interesting ideas here but they are not given enough time to shine or be meaningfully fleshed out. Like Kevin. Or Peter's thousand yard state after his "rebirth". He's just casually back to it like he was at the beginning of this issue completely eradicating all of the impact of the end of the last. I'm rating this higher simply because it manages to continue the story that was established. A story I might not like but at least as opposed to the previous issue, flows into this newly established direction. Whiplash inducing as it may be.

I was really close to actually liking this one but I had a hard realization at the end. This is not Peter Parker. No matter how down he gets, what is going on in his life, people dying, him struggling, whatever. He would never yell at May like he did. Add in the fact that there is still no real weight to any of his deaths and this still isn't a story worth it's time in reading yet. I am more engaged than I was previously but the fact that we still have several more issues before this arc wraps does not excite me. We're only on death three of eight. It's also incredibly derivative going back to Peter's "biggest failures" for no impact whatsoever. It didn't mean anything. That's worse than not having done it at all. Take these moments when Peter was at his lowest, have him barely react and poof they're gone. No resolution. No fallout or lasting guilt. I understand that he has long since moved on from these tragedies but to be IN them once more would wreck Peter more than any other hero. He is defined by his failures more than his successes. There are some positives I will add to this. I really enjoyed the conversation between Peter and Felicia. It felt natural, funny when it was appropriate, real and weighty when it needed to be. I want more of that in Spider-Man. He's not just Action-Man. What makes him relatable is that he deals with things like we all do outside of being a superhero. We've been lacking that tether to Peter Parker for a while. Additionally, Gleb Melnikov really hooked me. I liked the art here a lot more than I have McGuinness'. It's like a cleaner, prettier looking though inconsistently off model John Romita Jr.

Like last issue, I liked this more than Kelly's first two. The problem here is that we keep being told how important it is that Spider-Man is the champion but everyone, including Strange aren't telling Peter, much less us, WHY that matters. It doesn't feel like there is weight, purpose or tangible stakes to fighting the Scions other than it being what the story is about. It comes off as incredibly contrived. Couple that with the lack of impact from dying (hey he managed to not die!) and we're left with a story that doesn't feel much like it fits in Amazing Spider-Man and he's just going through the motions. I called him a reactive character last time but we're not really getting anything for him to react to except for the Scions and we know what is going to happen with them. Everything is happening around him, people talk at him. One pops up, Peter fights them in an anticlimactic, truncated fight, he dies, rinse and repeat. The conflicts in these issues don't even last more than a few pages. We have to keep building up to the next Scion deciding, "Okay NOW I'm going to fight him", when having a back to back gauntlet where Peter gets continually beaten only to be pulled back at the end by the reeds, the deaths taking more of a toll on him because he has no time to breath may not solve the issue of the story being contrived but that it would have more impact and add depth to his situation. Like I said, it's better than the first few issues but I still don't really care. So as not to be a complete downer, once again, the women here are written very well, (with the few scenes they are in), and the art is really good. Melnikov got the first issue jitters out of the way.

This was actually fantastic. I don't know, maybe just having taken such a long break and jumping back a little blind made me forget how much I despised what was happening but this worked. There was weight here. Impact. For Peter, Strange, Cyra and Coulson. You could see it. That's what matters. Great job by Joe Kelly and amazing job by Cafu to make this emotional, and wonderful to look at.

Yeah this was also really good. Hit me right in the existentialism.

Peter is humanity. Having taken a long break from this arc (again) and coming back to it, this issue resonates pretty well. The writing is solid, the messages (from everyone BUT Peter) are powerful if not cliche. Reading this back to back with the others, it's probably way worse because this story just happened a few issues ago. Standalone though, it's pretty good until you get to the last few pages and we get Callix doing stupid stuff and Wells' obvious intention to just write the X-Men.

Yeah it sucks again. I don't even know what to say at this point. The art should be something I like. It's competent but it doesn't stand out. It just feels very flat. The bright colors don't fit the tone of the story either. This entire arc is just over saturated and uplifting with color while dealing with death and existentialism. It doesn't work. The writing is just so boring and generic. Peter sits on the sidelines doing nothing, the X-Men are just there because Peter won't do anything. The Blight is a new McGuffin introduced at the eleventh hours to increase the stakes but there are only 3 issues left so we know it will be resolved. The stakes were Peter's new nihilistic perception of the world. This should have been Strange and Cyra gathering up Peter's most important people. We see next to none of Peter's family or friends anymore for more than a few panels. This is not Peter Parker and it's not a Spider-Man book.

"It felt like nothing mattered. But it DOES. How could I FORGET that?" Yeah dude... Once I can understand 2 or more times in 7 issues? I got nothing. Oh yeah and lets just kill Shay, Randy and Aunt May OFF PANEL then bring them back immediately with the reeds. That's great storytelling! I'll say this. The cover is phenomenal.

That certainly was an X-Men issue with bad art.

Yeah this was good. Emotional. Impactful.

This was a terrible arc. The last two issues were actually good. Let's never do this again.

The Dark Web epilogue issues take this from a sure 8.5 to a 6.5. Maybe even lower but those Spider Who Gobs issues prevent me from docking them further.

I was hoping to enjoy this more than I did. Coming off of 8 Deaths I was just expecting a little more of a fresh start. I can see that's definitely where they are going with it but Peter struggling to find a job when he has a million and one friends he could ask for one strains credulity. Luke Cage, Steve Rogers, Clint Barton, the entire Fantastic Four, Jonah, all know his identity and could hook him up with a job EASY especially one that could cater to his super-heroing much more easily. This is all manufactured editorial, "Peter is an everyman that struggles like the rest of us". Peter is an adult and somehow no matter what can't get his own life together after ALL of the experiences he has had? All of the companies he's been a part of, inventions he has made, places he's been, none of it mean anything because Nick Lowe and the editorial team don't care about Spider-Man's legacy, they care about keeping him as he is and "always has been" which is such crock. He USED to age, he used his experiences to push himself higher! He still struggled be he wasn't a late 20s to 30 something year old man-child that still has to talk to his aunt for the thousandth time that he can't find a job. It's ridiculous. The art is great when it's Larraz. Norman's story is the most compelling thing for me here but my GOD JRJR sucks. The epilogue with the Dark Knight Metal looking dude does nothing for me.

I love this cover first of all. Despite being very basic it doesn't feel generic or derivative. Sure there have been innumerable covers of Spider-Man swinging through the city but this pops in a way many don't. I conveys a great amount of speed/urgency, Spider-Man himself looks determined and the way the colors blend through the speed lined but the light breaks all of that in the street and reflects off of his suit is fantastic. The story is solid though jarring even after coming directly off last issue. We're thrown directly into Peter's hallucination of getting attacked by next to every villain he has ever faced all while he narrates this nightmare he has had about people he is trying to save slowly shrinking smaller and smaller to the point where he can't pick them up anymore because they've become as small as sand and they slip through his fingers and start to fall. It's genuinely haunting. Hard skipping along with Peter halfway into his new job orientation was a choice I initially wasn't sure if I would like. I'm not a huge fan of that storytelling method even if it is to express the character's own lack of knowledge. It end up being implemented well here. What really hooked me was Norman essentially rescuing Peter from another hallucination induced blackout and time skip, clearing Peter's body out of a chunk of the toxins he was pumped with. Please, please, please Marvel. I am begging you. Let Norman stay good. We need Peter to have someone to be in his corner. Someone to lean on and be stern with him. Someone needs to be able to save Spider-Man too. Norman has earned it though many might not believe that. I do. Let Norman stay good. It's such an amazing story.

I like that we're getting more exploration with Itsy Bitsy and the amazing dynamic between Peter and Norman. Also cool to have something of a mystery/ detective work. Nice when Spider-Man does Batman things and gets ginseng in trouble.

The potentially retconning flashbacks/drug induced hallucinations make me a little frustrated because that's not how I want Peter to have been with May and Ben but it's very realistic. I did very similar things as a kid and it's written with real weight. It doesn't feel artificial. Kelly is doing good work here.

I can't believe Aunt May still hasn't been told Peter is Spider-Man. That's not an issue with this story, it's editorial's fault but still ridiculous. This was a good wrap up to a fun story. Very reminiscent of older 80s and 90s storytelling. Small arc, not bearing a ton of weightiness to it. Can be read in a vacuum or as a part of the larger whole. I think Spider-Man works best like that.

The art brings the issue down. Story is great. More allusions to May's deteriorating health that Peter is too oblivious or preoccupied to notice. The colorist JRJR has really saved a lot of his work so they will continue to get compliments from me. Hellgate's design sucks though.

The dialogue between Black Cat and Spider-Man is great. Everything else sucks. I have no reason to care about Hellgate. We have nothing to go off of for whatever his mission is. We are told about a place and people we haven't seen so we have no context. The first time we see Hellgate was in the backup of issue 1 and even then, it felt incredibly out of place. I had put this specific issue down several times because I can't stand the art for more than a few pages. Page 16 in particular exemplifies everything wrong with JRJR's art. Lazy lines, bland, flat backgrounds, characters completely off model, extreme angularity to every character, building or object. The fight choreography is stilted and very rigid. JRJR loves to have Spider-Man bounce around looking like a rabbit instead of swing or incorporate an even remotely dynamic pose in his motion. As I have said since the start of Wells' run, I thank his colorist because it is the only thing making this book even slightly readable. Kelly is trying to do too much Deadpool in his Spider-Man comedy. It doesn't work here. All of the jokes are forced and unfunny. He's trying to be too meta-relevant and it feels so out of place. Talking about DnD, Rings of Power, calling him an "evil fart barbarian". It's just bad. I really WANT to be engaged but the art takes me out, most of the dialogue during the Hellgate fight takes me out and I have no reason to care about Hellgate at all other than, he's currently fighting Spider-Man. WHY is he fighting Spider-Man? Kelly can write a great Spider-Man and Black Cat story. We've seen it before. He's not in an exclusive relationship. Let's see that!

I had written a much longer review critiquing this issue very thoroughly but unfortunately it got erased. I will leave it at this. This issue is not worth your time because it doesn't seem like it was worth the time for Kelly or Romita Jr. to attempt at writing a good story or depicting said story in a way that even conveys what is being told to us through said writing. It is a failure on both ends. Spider-Man doesn't have a spider-sense anymore because that would be too convenient. No super heroes in Manhattan exist because that would make too much sense. Norman or any other number of Spider-Man's friends (Black Cat was literally JUST with him but saw Peter getting the tar beaten out of him and I guess elected to just leave him to it) can't come to help him because that would put a pause on this never ending series of absolute beatings Peter keeps receiving from complete rando villains. Gotta keep him humble I guess. The only bright spots in this issue being the flashbacks with Ben teaching Peter how and when to fight as well as an actually good artist in Todd Nauck interjecting a 2 page interlude with MJ, Paul and Dylan are immediately usurped by everything else assaulting you from words to "art". Hellgate means nothing because we are given nothing to explain his reason for being here. This fight means nothing because we are not given a reason for Hellgate being here. Nick Lowe just loves to see Spider-Man get put in the dirt I guess.

This has plenty of things I like. Shocker, Norman, Aunt May, "Peter" and MJ talking and an awesome new suit (not that it is radically different from the normal suit). The writing is much better because there is actually meaningful dialogue. Characters are actually interacting with one another. And the best part, Michael Dowling isn't JRJR so the art is pretty solid. Especially that new suit reveal.

Seeing an efficient Spider-Man always give me chills. What if Peter let go a little bit more. He WOULD be more effective. We've seen it with Kaine, Superior and now... this person. Whoever they are. It's brutal. It's impactful. Villains are scared. I am super down for this story. New guy in the suit, new Peter prowling around. Felicia actually being impacted by what happened to Peter. Tombstone getting the message that there is a new Spider-Man in town and "Peter" isn't going to be strongarmed into helping him anymore. Really solid issue. I could do without Captain Kintsugi. I think he's just a Kelly creation that he hopes will catch on but so far there is literally nothing to latch onto. He has done nothing but appear, get in the way and then we don't see him once the fight resolves. That's happened twice.

First story - 9/10 I've been very critical of Chasm but I really like how he was used here. I think that Kelly did a much better job here utilizing him, his pain, his rage and justifying it than Wells ever did. I also love who the new Spider-Man is. People are going to and do hate it. I am such a huge fan of the idea. It's perverse. How could THAT person of all people be the new Spider-Man? It's beyond comprehension and yet... it works. Also shout out to Kelly incorporating Black Cat whenever he can. Big fan of that as well. "He saved my life, I will save his dream. His legacy. Can anyone blame me for choosing his over mine?" Second story - 9/10 Peter in space with a new cool suit. The quips were great, the banter with Xantos was awesome. It felt natural. Gorgeous art. Well crafted story setting us on a new adventure that I'm pretty sure we've never seen Peter do before? I'm all in.

Norman is great. I hope Ben doesn't ruin Peter's life by being his broody self.

Loooost innnn Spaaaace! With Peter Parker.

Weaker then normal art from McGuinness but I think it was more of a coloring issue. Just felt rushed. There just didn't feel like there was as much polish as there tends to be. I love seeing Norman learn how much Peter means to the world and how hard it is to just live like him everyday. Learning to appreciate how great of a person Peter Parker really is.

I don't have anything negative to say about this space-era Peter is on. I just want it to last longer which I know it won't.

To piggy back off of Afre, this is what I want from this arc. It just works. Norman struggling with being a hero, living up to Peter, Ben being Ben.

This is some peak, powerful Spider-Man. I'm sad the space saga is already ending. The small retcons to Peter's younger years don't change much at all but further enforce his views of helping others and mystifying Uncle Ben, always the paragon.

It was kind of surreal seeing Norman Osborn in a Spider-Man suit, broken and bloody, toasting the sentiments of Peter Parker with J. Jonah Jameson. I love it, don't get me wrong. This is one of the best ways to take these characters. I will forever be upset if Norman gets reverted back or Jonah and Peter have a falling out. Peter's old supporting cast have come and gone and this new venture is the best I've seen in years. I do wish there was more May and that the romantic interest with Raelith. I doubt that continues once he gets to Earth. It's unfortunately incredibly obvious what they are doing with Brian. I assumed he would eventually grow resentful of Peter for climbing the ladder so quickly and stab him in the back. To just become an undeserved victim to Ben's laziness/lack of technical abilities that Peter has feels like shortchanging this character who could have had more development. Make that fall more tragic. Now he's going to hate Peter and Peter will have no idea why. The art here takes a significant drop from the last issue JRJR was on. No one was consistently on model, lines were stiff. Felt phoned in. Even this cover is atrocious. It's so hard to decipher what is going on in any of the panels with this robot creature abducting Goblins. I'm reserving judgement but I am played out on Goblins and it all being interconnected. We just need two Goblins. Green and Hob and Green is shelved. Hopefully for a long time. No Queens, Kings, Demo's, Proto's or the like.

So this is the end of the Spiders-in-Space. It was spectacular. The writing is amazing, Larraz crafted an amazing issue visually. It's fluid, dynamic, somber and soft when it needs. This is one of the better Spider-Man issues I have read in a while. So sad this era has to end.

This is a DISASTER in visual storytelling. JRJR at some of his lowest, Todd Nauck's work looking pretty ugly as well. The sudden shift from JRJR to another artist whom I can't even remember to then shift again to Nauck for like 3 pages is so jarring I genuinely thought it was misprinted. The story itself is just okay. It feels like we're nearing the end of the road for Norman's Spider-Man arc which I honestly could have taken a lot more of. I guess I'm not the target here.

The story is solid, the art is a mess. I really want more Norman as Spider-Man. He really did try so hard. It feels like this is some status quo mandate where Norman just has to revert back to his old self. Listening to the Goblin, accepting that he's a bad person. Not even thinking about, "What would Peter do?" I loved that mantra.

I get why Peter is upset with Ben but like... that was a bit much. Especially when Ben and Janine are actually being calm the whole time genuinely trying to talk to him. If Ben says I don't know where May is, why would he lie? He cares about her too. This feels very out of character and just a reason to have the two Spider-Men fight. Once again, too many artists. One artist per book please unless it's a backup. There is no reason for this. If your artists can't hit deadlines, delay the book. I don't know.

This feels like a very forced retcon for the upcoming issue 1000. It's powerful don't get me wrong. May keeping this all this time makes sense in context. It's devastating. I hope it doesn't all turn out to be a fake out. That would be the most tragic. I also just don't see what it really adds to the world of Spider-Man. Is this going to be a recurring element or just a one off to sell an issue? That's my hang up. The art and the writing are very good, even if the main story is interjected with a weird villains bidding on other villains tools thing we've seen in countless books before. I really wish Gleason would just stick on Spider-Man for a long time. He does it so well.

I did actually like this despite the rating but half the book was nearly unreadable with the tiny cursive which permeates the book every time Batman talks. It's also not the best of the four issues in this "series" but as a direct lead in to Batman: Terror it holds up better.

Decided to start on some Bronze Age Batman because I knew of great stories, writers and artists that I would completely miss out on from bypassing them altogether just reading Post-Crisis continuity. This just feels like a Batman TAS episode with Gordon acting a little campier than that iteration. Less cool and collected. He seems a bit high strung here but it's more of a funny foil to what I am used to so it doesn't ruin the book for me. The premise is so ludicrous it's almost hilarious. The "Schemer" sets up these supposedly blind henchmen to post about the city surveilling for a truck loaded with gold bullion. Gordon is preoccupied with one of the blind men as he was shot and wrote on the wall before his last breath that HE was Batman. Batman's dialogue though isn't at that same level that BTAS managed. He's still a bit quippy, definitely a hold over from the '66 influence which is my only real problem with the book. It's not complicated and a bit silly but it's not a bad story in the slightest. Without the near constant expositional narration, this would be a great book even today. With it, it's a product of it's time that can still be enjoyed.

Not as great as last issue. The dialogue might have gotten to me. Art is great though especially for pre-Neal Adams. His influence hadn't taken hold yet and scenes all have depth and there is a very great sense of shadow and deliberate color here I don't think we've seen in a long time.

Interesting story, a lot less exposition than was the norm at the time. The only real fault is the dated dialogue and horrifically wrapped ending. Just a Scooby-Doo level confession by the crook.

Definitely written in a different time. Bruce is written by Robbins in a very, "60s masculine" way that just makes you reel. I've skipped over several issues because of Robbins' complete inability to write women in any way that isn't completely stereotypical or misogynistic and it's still done here. The only real saving graces of this issue are the art and that Bruce and Batman are moving toward real change. Trying to do better within the city and help more people. The idea and message far better than the execution.

It's perfect. Miller and Mazzucchelli created the greatest Batman comic of all time.

I loved this first arc and only this first arc. This is the closest I think King ever came to depicting trauma. I know this is written well after the issue released but after the conclusion of his run as well as having read his other works, specifically Heroes in Crisis, I think this is his best work in regards to where he said he wanted to go with Batman and understanding pain, trauma and PSTD. Finch was never one of my favorite Batman artists but he really caught me when I first read this and I continue to come back to this arc again and again.

This issue did a lot for me. I am not usually a fan of epilogues but this was very emotional and I connected with it personally. This is the last issue of King's run that I enjoyed and was sad that there wasn't more for Gotham Girl that really meant much. Reis is kind of hit or miss with some of his work throughout but he's still a legend and the story brings it forward. It's not the best complete story but not a lot of comics have actually made me tear up and put a smile on my face when remembering a loved one lost.

I've been anticipating this issue for a while. I didn't read any of Tynion's run and I bailed early on into King's run. I'm sure there is a bit of catching up to do but I'm also generally aware of where the Dark Knight stands right now. Zdarsky started it off strong and of course, Jimenez is one of best artists in the industry. He and Dan Mora elevate books and it's a blessing they are both doing Bat books right now. I wasn't expecting Cobblepot and I love the Batman Returns depiction of him here. It fits perfectly with the dark tone of this story. It's wonderful to see Tim around in the classic red and green. A classic pairing that I am really happy to see return to the mainline book. This is straight out of an episode of B:TAS. It has that entire feeling of it which is perfect for short form storytelling. You can tell where Zdarsky really drew influence from as well as Jimenez. Batman is a murderer is nothing new. It also sets up a story that allows him to use more of his mental skills than we tend to see. Sure he messed up here in not anticipating Cobblepot but if he anticipated every move, there would be no tension, no payoff. Rspecially down the road. The issue would have been one and done and I'm very much looking forward to the next chapter in Zdarsky's run. I don't care who I piss of here. Stop simping for rich people. They are terrible people. If they wanted to do something good with their money they would and they aren't. That's the entire point Zdarsky is trying to make. If Batman really, REALLY wanted to fix Gotham, he would have by now. I get that this is a comic series but the man is/was a billionaire. He cares more for his toys and arsenal than he SEEMS to care for the people. At least that we get to see tangibly. I'm not hating on Batman or Bruce Wayne but when writers show us new gadgets all of the time and much less in terms of community aid, it really only leaves us one side to go off of and form an opinion on. A line stuck out to me. "No, it's the hardest part of this job -- this city WANTS to die." It's true. The people of Gotham are just as much to blame for it's conditions as it's villains or Batman. Especially since we know that Bruce was not the only mega rich around. Zdarsky isn't attempting at stublety here either. People who don't want politics in their books are just billionaire bootlickers or those too entrenched in their own biases. They've always been like this. They've always been about inclusivity and overcoming adversity. Not much bigger adversity in the world now than corporations and the mega rich that no one will ever get to reach. That American Dream is dead.

Y'know that feeling when your excitement starts to build up beyond the ability to contain it and you just explode? Like then Cap picked up Thor's hammer in Infinity War or when we saw both Peter's in No Way Home? This is that on the page. Seeing all of the Batfamily coming together to save Bruce. Holy crap. It's spectacular, beautiful and the best art in DC. Then the teardown from Failsafe. The build up to the fall, seeing the family annihilated so quickly and efficiently. I'd never expected to see ZEA really ever again but I am beyond excited for the rest of this. Zdarsky is a god.

There isn't much more to be said about this issue that hasn't already been said by others who loved the book. It has everything. Morrison callbacks, Waid callbacks. When ZEA calls Robin, "Chum" I just started hearing a more gruff Adam West in my head. The action is there for the people who don't like to actually read and it's beautiful. Batman and Robin with lightsabers! Never have I known I needed something so much until I witnessed it. Even if people criticize this for being unoriginal or simply playing off of the ideas of older writers it's just so much fun and is exactly what those people have been clamoring for. Older Batman. Batman with flaws. Batman with a family. Sons and daughters that actually have meaning. And how could you not get a little choked up at the end? Bruce's thoughts of his family and the entrance of the strongest friend he has. Perfect. Sure this is all brute force right now but we know Zdarsky is a great storyteller. I hope we get more from Batman in a detective roll but we also have Ram V's Tec for that. All in all, it's a great time to be a Batman fan.

"Waaah! Sputnik scared me when I was a kid so sci-fi robots are bad!" -Some boomer named Bats probably. This is a fantastic issue. Seeing Bruce's friends show up for him is just as fulfilling as the Family. I really wish we got to see this more. It says so much that despite the strengths of the Bat-Family and the League that they're still no match so Batman takes it upon himself to save them despite this being his fault. Most stories are and while it can feel derivative, and homage to a classic storyline can still feel fresh if Batman still feels resilient and thoughtful which comes through here. If stories from the 50s are more you cup of tea and this isn't, just stick to those. This definitely isn't for everyone at least if you were born before 1980. If you weren't, you're probably cool and think that this issue like the rest of the run so far has been stellar.

Very cool, but it goes very fast. Almost a bit too fast. We go from Gotham to Atlantis to the Moon at a breakneck pace which is the obvious intention. Evading Failsafe is impossible but some of the tension is starting to wane because we are told over and over how impervious he is. Excited to hit the conclusion.

You know a writer is doing a great job when all of the old fogies are complaining about Batman doing unrealistic things just because it's cool when back in the day he did way dumber shit and it wasn't even interesting. This is just fucking awesome. Dumb and HIGHLY improbable to impossible? Absolutely. But it still rocks. On top of that, Zdarsky knows how to write these characters and even through these giant set pieces he manages to write gripping, heartfelt dialogue that just speaks to each and every one of the characters that have appeared in this arc, none more so than Tim. His and Bruce's relationship in the past 10+ years has been... spotty? Questionable? I'm not sure how to describe it but they are a very Dynamic Duo here and in this arc. I'm not the biggest Tim fan in the world but that's definitely changed because of this series.

The premise isn't highly original but it's still pretty cool and the execution is what really matters. It's fun. It's beautiful to look at. The characters are written well. Zdarsky has always had a handle on characters so to say anything else is complaining for the sake it. There are a lot of real stinkers in Batman's catalogue. This isn't one of them. Shut up and have fun reading. Comics are inherently for turning your brain off, sitting down, ignoring the world around you for 10 minutes or so and just enjoying the ride. Any piece of media that isn't trying to really elevate itself does this. Not to say that comics haven't been thought provoking or make commentary about the world but their initial intention is to just have fun. To poke and prod just to find some reason to complain outside of poor dialogue or bad art when you just have to sit back and enjoy your time reading a dope Batman story, you really have to be a stick in the mud.

Like most artists past their prime, Jim Lee recycles his older dynamic poses and iconic set pieces to mixed results. I won't say it looks bad but it's definitely derivative of his own earlier work and it stands out. Loeb's writing is much the same. This is definitely post Loeb peak. He's harder, his stories darker in tone, vocabulary and scope. He went through trauma. It makes sense. What doesn't is this story's existence. I'm happy to read more Batman but this story should have been written 20 years ago. This came out of nowhere. One thing stuck out to me very specifically and I think it is very telling about Loeb's approach to storytelling and his perception of Batman. I don't think he has a lot of reverence for him which isn't a horrible thing. You don't have to worship a character and keep every part of their core tenets uniform forever, that's how characters change. But here, in the first two pages Batman kicks the mask off of a Joker henchmen, activating some form of Joker toxin/acid killing him. After yelling at their corpse asking where the Joker is Batman immediately turns around and kick the mask off of the other goon, again killing him. That's not even plausible deniability of murder or manslaughter on the second guy. Come on man. The first I can let slide. In the moment, he wouldn't know but considering that he's the world's greatest detective and this is once again somewhat of a detective story, he would easily be able to deduce that kicking the mask off of the second guy would result in the same reaction as the first one! Overall, I do like this. I takes me back to a Batman that I've been missing for a long time but unlike some people, I would rather just read the old stuff than beg for what is new to be old again to eternally be disappointed or to actually get their wish and have two men who have really no business creating a sequel to a book 23 years later. It's well drawn. For Jim Lee, it's a bit disappointing. It's fairly well written. For Jeph Loeb it's disappointing. In total it's derivative and unnecessary. One final note, I'm calling it now, this isn't about Hush. It's about Jason. They're going to make him a villain again.

This is just... not it. Art is 50/50 between great and sloppy. Writing is clearly by someone who hasn't read anything since he wrote the first Hush. Why is Jason fighting Batman AGAIN over the thing they have hashed out countless times? Why is Batman using a gun? Why is he shooting Jason in the head because it's "unanticipated"? I can't even be intrigued by the cliffhanger with the Riddler because this doesn't feel like Batman. Like I said before, this is a sequel that needed to happen 23 years ago. Getting it now with a script and writer who ignores all of the growth and regression, over and over again that Jason has had is just exhausting.

Damascus steel isn't rare or only forged in a single region of the world. In fact, it's fairly simple and really only adds a special pattern to the metal and can maintain a sharper edge longer. Come on Loeb... A simple Google search would tell you that. He writes Jason like every awful Red Hood fan, (which is most of them) leaning into the normal equivocating, vaguely authoritarian justifying rhetoric of, "I do what Batman WON'T and that means it's justified," when we've been through this a million times. I don't care if you're now establishing that Jason's brain is more fried than the Lazarus Pit could heal. If Bruce ever thought that for a second in the years since Jason became the Red Hood and reintegrated with the Batfamily, he would have helped him fix it. He HAS helped him fix it. Maybe read a comic that you didn't write Jeph! Lee's work here still isn't his best but so far is the best in this arc so that's a positive. That being said, I'm not a fan of this new Riddler design. Why does he look like a SWAT officer? It does nothing to really distinguish him as the Riddler. Just a new appearance to sell a toy that no one will buy because everything is overpriced and cheaply made these days. Thank McFarlane for the low DC quality figures. Tangent aside, this book feels a lot like those aforementioned figures. Poorly sculpted, cheaply made but thrown to the masses in hopes of a quick nostalgic snatch at your wallet. Nothing of lasting substance. If a Robin dies, it's going to be a symbolic death. Jason will cast off the Red Hood mantle, Damian will transition from his position back to Talia, nothing will happen to Dick. I want to be excited. I want to not dog on a book that means a lot to me as a fan but I want and expect better. Everything is derivative of what came before and original ideas in Big Two superhero comics are few and far between when these characters are pushing 100 years old but don't do this. Don't write a sequel 23 years later.

"It is like a Russian nesting doll wrapped in an enigma," has to be one of the worst lines I have ever read in a Batman comic. All while Batman is being totally serious trying to solve a nothing mystery. This might be the most baffelingly stupid Batman I have ever seen. His entire interaction with Barbara reads like he has a concussion. And doing a deconstruction on how Batman is just as responsible for his villains' victims as the villains themselves has already been done a hundred times. Lee's art slips here even more which is even more disappointing because they had to delay the book so he had more time to work on it.

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

I really like Nocenti's take on this. I am assuming at least that she's on the side against guns and while all of the counterpoints to it are the standard rhetoric we're used to seeing it makes Catwoman seem a bit irredeemable. She has a moral compass. She doesn't kill (generally), she cares for people, the average person and here ALL she cares about is her score, damn the consequences despite so many people telling her how awful the fallout would be. It's a good story, hits you over the head a little bit but sometimes that is what is necessary to hammer home such an important and true critique on guns and gun violence. The problem is just as prevalent today as it was when this was written. The only fault here is EVS. I've never been a fan of his art. Others can take it or leave it, I find it genuinely ugly. Overly detailed, wrinkly, sometimes grotesque and nothing is ever appealing to look at.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I liked the start of this as I liked the last but this felt more like a trade run than an issue by issue run and it certainly reads like it. The end of the issues don't really seem to be written at a pace you would expect there to be a real end and each is fairly abrupt. It is nice to see a return of the characters from the last series and I do know that this is a direct sequel but everyone seems intact and in character here. That's about all I can ask for.

The Monk is an actually foreboding and eerie image here and I like that we don't see anything of him other than his robes and the blood spilling from his mask. The foreshadowing to the future of those within Batman's circle is a little heavy handed but it's nice to see Harvey Dent. I wish he had more time here but there wouldn't have been much for him to do.

I get that Julie is in a horrible place at this point, her father is suffering from delusions and is terrified of the outside and light and Bruce has seemingly all but abandoned her but she is just making easy mistakes. A shoulder to cry on or support in such a situation is important but she was touted as a much stronger person than how she's being portrayed and it's frustrating to see a character shoved into the damsel in distress role. Another sticking point is that all mystique the Monk had is immediately gone once you give him a name and show his face. He's just a guy and he's not really an imposing figure anymore.

Best issue of the run so far. It explores the trauma that the many players in Batman's life are suffering through. Julie with her father and interaction with the Monk, Gordon and his friendship creating a rift within the GCPD. The opening is also haunting even though it showcases the Monk with his mask all mystery him is gone, it has a terrifying act committed in the first few pages that really sets the tone back up for the book. Seeing Batman use his tools and knowledge here is a fun trip.

The stakes are raised here and some of it feels rushed or artificial. I like that Batman narrowly escapes from the spike wall trap then immediately goes to meet up with Gordon. As well, Gordon's reaction is appropriately level. This guy is kind of nuts and I should be smarter about how and when I associate with him. We see more of the trauma of the characters, here with Norman and Bruce's parents echoing his fears for Julie. The artificial stakes are just thrown in when Norman does exactly what the Monk wants not that he was in anyway coerced to go off to confront Sal Maroni. It's obviously not going to end well and just feels unnecessary. Have him confront Batman somehow and it creates a rift between Bruce and Julie. Going to Maroni doesn't do anything because Sal considers them square.

I had to reread it to remember everything that happened because I didn't write a review at the time but I think the reread bumped the score up a bit. Another rushed ending where the antagonists simply end themselves very unceremoniously. Batman did next to nothing in actual altercations with the Monk and his lady follower. Norman's fate was heavily foreshadowed but it was still very abrupt. It didn't have enough leadup in the issue and any resolution was simply handled off panel from Bruce and Julie's perspectives. Kind of a shame. I just think that the problem with these two series from Wagner, this and The Monster Men, suffer from the same issue of having to resolve the same way as the originals did which leaves you rather unfulfilled because these stories are intended to be much more fleshed out and they are but that seemingly self imposed mandate to end the same way really hurts both books. Overall, great. Definitely a trade read as that is clearly how it was intended to be written.

This was awesome. I have always loved Matt Wagner's covers and hadn't ever seen his interiors before. Just as cool with a different flavor. This really felt like a real step forward for Batman after Year One. The dialogue is written thoughtfully and matches pretty well with Bruce's cadence. Stellar issue.

Even better than the previous issue. Jim's voice feels much the same as Miller gave him before and it gets the Batman vibe so well. Criminals are really and truly afraid of him and we get to see him attempt at some for of deduction. I love this series so far and am honestly sad it took me so long to get to it.

This story have reminded me of something that I couldn't quite put my finger on but this newest issue really cemented it for me. It's very reminiscent of Mask of the Phantasm. The entire story had a very B:TAS feel to it and the interactions with Julie and her father as well as her father and Sal Maroni capped it off. It's superb. I really enjoy all of the characters in this book. Even the heavy foreshadowing builds a great amount of tension from a simple and predictable plot.

Not a bad issue by any means, we get to see Batman use his skills in a fun way while he is on the back foot out of his element. Other than that, his dialogue with Julie comes across as pretty unbelievable. I don't think that Julie would be that gullible and even Bruce states how smart she is.

This issue showed some cracks and feels like by the end that there is too much to wrap up in a single issue next time to feel satisfying. Jim felt a little off in his characterization, Alfred really bothered me here and he only had a few lines. I love a good jab at Batman's eccentricities and all but this one just didn't feel funny in regards to the "BAT-mobile". Definitely a weak second half so far.

This left me unsatisfied. It was a decent ending. Things wrapped up easier than I had expected from last issue but not enough was really explored. Batman just yells at Sal Maroni to let Norman walk away with a 3 million dollar loan from the mob and he's just cool with it, Strange just runs away and announces himself as a Batman expert on television after only analyzing him really once, the Monster Men are handled with more ease than I would have hoped after they showed their immense strength and prowess as hunters before now. There is also one glaring flaw to me at least that I have a hard time getting past. It was revealed to us in the last issue that Sanjay's younger brother was turned into the most "pure" Monster Man. Batman bursts through the gate of Carmine Falcone's fortress and captures one of the Monster Men in a net. Maroni's men then open fire and kill it and Sanjay mourns his loss talking about his brother. He is then himself dispatched and we later see Sanjay's actual brother trying to kill Maroni on the roof. It would be fine if they all looked relatively the same but there were clear visual distinctions between the original three and Sanjay's brother. He was less hairy, stood up straighter, had long hair and wasn't covered in nodes and growths. He mourned the wrong character claiming it was his brother and it's not like he wouldn't have known. It was just odd and took me out of the experience. Through all of the faults of the ending, I did like the last few pages with Strange on tv and feeding into Norman Madison's increasing paranoia to set up for Wagner's next series.

This wasn't a super strong start. I grew up on BTAS and the Batman Beyond Animated series. They are everything to my childhood and this missed the mark. Terry felt like Terry which is the most important character you have to nail but Bruce has taken so many steps back. He seems even less developed that he did after the origin arc of the series which this seems to be using as it's baseline. Bruce is insufferable. Hush Beyond as a villain doesn't really entice me either but I like a good mystery so I'm interested in seeing who they are or how they relate to Terry or Bruce. Art was inconsistent. Terry again was nailed, Bruce was done well but every other character didn't seem to get enough attention.

This feels a lot better then the last issue, I'm more invested in Hush Beyond as a character. I want to see the mystery solved, and I hope Terry figures it out with us, not seeing it revealed in a panel in the penultimate issue. Bruce is still a huge departure from all of the character growth that was shown in the BBAS as well as the two Justice League shows that they reference. He's just so angry at Terry and acts like they haven't spent so much time together, bonding, relearning what it means to work with a partner and trust him. Terry absolutely earned his trust after all this time. I very much like the inclusion and design of Catwoman Beyond. She's cool, collected and she just doesn't care about Batman. It's interesting. The art was more consistent but it might be due to more time with characters they plan on using for more than two panels. The only thing hurting this book narratively for me is interpretation of Bruce.

This is the worst of angry Bruce so far but the best story. He doesn't trust Terry at all and wants to take the suit from him, saying he doesn't deserve it. All Terry is trying to do is prove that he is worthy of the mantle which he has proved in the stories this builds off of. Unless Hush coming back is causing Bruce to have a psychotic break and he's lashing out, this is just weird. I really felt for Calendar Man. I know he's a villain and I too believe that Batman doesn't do enough to ensure that his rogue's gallery are handled carefully and permanently after all of their crimes, but he went out brutally. Again, the art is a lot more solid but we're seeing the same characters throughout these past few issues. It might have just taken some time to acclimate with the environment that they would be utilizing for the characters and world but it's a shame that it took until now to look as good.

Better than the last issue. The paneling was great, the pace was smooth. I like getting Terry talking to Dick but it didn't feel like enough. These are two of my favorite Bat-Family characters and I won't be happy unless I see a lot more of them interacting. It does suffer from just showing who Hush is instead of any sort of detection from Terry, Bruce or the reader. The art is stronger, cleaner lines though the continuity of Catwoman's helmet from this to last issue is different and that bothers my brain a bit. With two issues left I really don't know what they have left to show.

I really didn't care for much here but the the art most of all. Don't know if it's because I haven't read the series in a while or that this specific issue nothing stood out as good and the bad just looked worse. It was nice that Bruce FINALLY started acting like a decent human being especially considering this is tied to the Animated series. It's too little too late though. It comes from nowhere. Bruce doesn't say much about his current behavior outside of, "I felt threatened, and manufactured faults in the kid." Paraphrasing, but that's not much in terms or remorse or an apology for someone who did most everything you asked for years and all of a sudden you feel bad. Not buying it. All in all, I didn't care for much here. Terry and Catwoman's small interaction was nice. Dick coming out of nowhere and Barbara not even remotely paying attention to a victim trying to explain to her what the big bad is doing made no sense.

That ended unceremoniously and with such a flop. I have nothing to say. Don't read this arc. It's not fun. It's not even entertaining and it's definitely not for fans of the show.

I want to give this a higher score but the premise doesn't live up to the execution. The art is phenomenal, the story is interesting but not very gripping. I would have benefitted from either more pages or turn it into a mini series. It wasn't much of a gauntlet but Batman's interactions with Robin are really well done.

The first story is set seemingly right after the events of Year One and Pulido's art while being very much his own style is very evocative of that older 80s, even 60s style and it works very well for the story. Overall though the story itself is very one note. We know what Bruce is going to choose in his early start to his war and it's not going to be distractions. Well done and beautiful to look at but a forgettable story that could be placed anywhere.

This is a very generic Batman story. Heavy on action, light on pretty much everything else. There are some sections where I really enjoyed the dialogue and some that I can't stand what's being written. That might honestly just be how I feel about Andy Diggle though. He's a real 50/50 guy for me. Also not big on the art. Like at all. At first I was thinking it was a little rough, the faces look awful but when Portacio has Batman in frame it's amazing. Well the further the book went on and the more Batman was used in heavy action scenes it all fell apart. I wanted to like it but by the end of it and knowing the turnaround Lex Luthor has in his career after trying to subjugate the world with an army of robots (granted the "one who did it" was a robot that looked like him) is so unbelievable that the world would ever let him be redeemed.

The art here is a really nice change of pace to what I had been dealing with in Journey Into Knight. It just feels like comic book art. It's solid, won't blow you away or anything but everything is very well conveyed. The story is interesting. It could honestly fit anywhere in Batman's chronology post first encounter with the Riddler. Like the art, the story is solid. Nothing crazy cool but nothing boring in the slightest. Feels like a regular episode of Batman the Animated Series which I honestly think most Batman titles should aspire to. Not everything has to have a massive arc. Villains of the week can still be engaging if you make them as such. Writing compelling stories can happen in one issue or twelve. With this being a three issue arc I'm just expecting a short and sweet three-parter than can be enjoyed at anytime.

Yep. It was just a really fun series of BTAS episodes. Satisfying ending that is left open for more. Unfortunately, that thread was left dangling and never brought forward for more storytelling but who knows? Someone could read this years down the line and want to use these characters. It has happened with BTAS characters.

I didn't read Shadow War but am a little disappointed in the direction Damian has taken again. And again and again. But I have faith that Waid actually has a plan here. I don't really need to see more Talia or "evil" Damian just to get Alfred back. It was a mistake to kill him in the first place and now we have an awkward conflict that we've seen before at least in the hands of a skilled writer. The continuation from World's Finest issue 6 makes this feel stronger. I like that it actually has some ground laid for it before hand. We'll see where this goes. I'm looking forward to it. "OG" Batman/DC readers need to get back in their hole and read their funnies. Time has marched forward without you. "Waaah I'm OLD! I know more than you do about how Dr. Fate USED to be. He's WAY cooler than you whippersnappers." Don't forget to quote devils and demons or your "God" will be pissed.

Solid start. As always with Murphy the art is the star and this is a beautiful showcase. It's dark and his use of space in the darkness especially his shadows on the walls is amazing. The opening isn't much to write home about other than seeing Terry don the suit. I'll agree with those who have mentioned that it could have been written better there. The only other example I could find was the most egregious example of expository dialogue I have seen in a while during Bruce's conversation with Duke. Bruce and Jason interacting is everything I could ask for, main continuity or not and this take on the mythos is a fun reimagining.

While this is mostly set up and establishing the status quo of Neo-Gotham, this whole book felt very fluid. Each story beat led into another with ease and it just felt like an episode of Batman Beyond. In adapting that story, even loosely, I think that's the best way to approach it. Murphy hasn't really ever let me down. His art continues to be one of the best in his field. There isn't as much darkness overshadowing each page, the color pops out more but that wasn't a complaint of mine as he used that darkness masterfully and he uses the color to open his world up as it is being opened to us. Bruce's 'new' friend is a fun addition though I will say it might have been more refreshing to explore the White Knight-verse without them. It's also highly likely that Murphy just wants to keep writing that character as it is what really drove the last two volumes and it gives the sort of twist/shock ending more impact.

This issue didn't speak to me as much. Almost all set up. I can get behind that but nothing really happens. The best thing here is Murphy playing with the shadows. We have seen Jack's reflection of the Joker, Bruce's Batman and Harley's well Harley. This time and I only noticed it once, was Powers' Blight shadow which was a nice addition. The art here was the standout but you can expect that from Murphy.

Here is a slower issue. I personally tend to enjoy those more as they flesh out the characters and the world the writer is trying to present. Murphy does a good job here is giving more depth to each of his characters, from Bruce and his relationship with Jack/Joker, Derek Powers, Duke and Barbara, and finally, Terry and his parents. Hopefully we'll see more of the latter but seeing as this story is at it's midway point, I wouldn't be shocked if there wasn't much more developments. It is a truncated and reimagined version of the Batman Beyond origin after all. I see several complaints about the lack of action and they aren't wrong but I really think if that's all that is drawing you to a comic you have a short attention span or less of a desire to read the overarching story. And that's fine, everyone reads for different reasons. Overall, while slow this issue is better than people seem to be giving it credit for by being a more introspective look as some of the characters.

After taking a very long hiatus on this series to let it finish, I'm back to reading and this issue was awesome. It made me laugh with the ever evolving relationship between Jack and Bruce even if it's in his own head, accepting that despite his disdain for the Batman mantle, he still enjoys doing Batman stuff. The art is always good. Murphy is an artist first, writer second and I appreciate the levels of detail he puts into everything from the shadows, the inclusion of generations of Batmobiles, the small touches on the backgrounds and movements or actions that characters make no matter how seemingly insignificant. Everything feels like it has a purpose. That's where some of the issue drops a little bit. More than halfway through the series it still feels like it's having a hard time getting to the point. Baby steps aren't working anymore when you have a big bombastic finale that Murphy always has to get to and wrap up in a satisfying way. I like this. A great deal in fact but it's a slow burn that doesn't have the length to justify it going so slow and not enough intrigue to make it matter.

The first part of the issue was really unnecessary and has been pointed out, straight out of a fanfic. I generally like Murphy's twists on the known status quos but Harley and Bruce is just weird and after a nice resolution to the last issue Bruce enters here like a huge dick. Speaking of, holy character development Batman! Dick gets a truncated backstory apology and fight scene. I liked all of it. Best dialogue in the story so far. Still moving too slow. For being a Beyond book, there is not enough of Terry. He's being used as an occasional plot device and not as a character.

I am very whelmed by this book and overall, this series. I don't know if too much was promised or expected but it definitely wasn't what I was hoping it would be. Neo Gotham hardly played a part in the story, Terry hardly played a part in the story, hell Derek Powers had little to do and was Blight for all of like 15 panels. I was really hoping this would be a satisfying conclusion to the White Knight-verse but even that isn't happening and we're getting another sequel that I don't really feel is justified. I liked the character arcs but they needed to be longer with the pace that Murphy was going and just put out more issues. 3 more for more depth on Jason, Terry and Powers would have been fine or I don't know, throw out the Bat/Harley romance because even it's not treated well. Bruce doesn't seem to care and brushes it off. So many things in the last issue just happen without really being explained. Jason and Dick crash a Batmobile out of control in the building and someone just says, "They're too stubborn to die like that" and we don't see anything else. Jack just disappears off panel with no explanation and we have to accept it though you would assume that Bruce and Jack would have more of a final heart to heart after all of the growth. I don't know. I don't hate it, I'm just disappointed. It's getting as high a score as it is because Murphy doesn't disappoint when it comes to the art. I can always count on that. And he used Terry and Jason. Poorly, but he used them.

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

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

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

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

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

This series fell off so hard and was such a disappointment at the end. What started as an interesting though seemingly impossible story arc for Batman's early years, the writing and characters/characterizations were fun. Once it hit the second arc, that mostly all disappeared. Add into it the Joker kidnapping, drugging and manipulating Bruce for 3 months out of nowhere just jumped the shark way too far.

The art here surpasses the story but I was enthralled the whole time on both levels. A fairly basic story but there was enough intrigue with Scarecrow and Jillian that I flew through it to a satisfying conclusion.

A Christmas Carol is one of my all-time favorite stories and this was done so well on all fronts. The art is perfect, the story and dialogue feel so representative of each character as I know them from heart. I hear the various voices from the years of animation and games in their words. It's fantastic.

Out of the three Halloween Specials, this is the "worst". It has the least engaging story, it's hard to place in continuity and is probably Sale's most lackluster art of any of his Bat-books. All that being said it is still worth reading, still has some amazing and striking panels and pages and introducing us to Leslie Thompkins is a treat. I think had they made the whole thing a couple pages longer to give the confrontation with Tetch a bit more length and more weight to Jim and Babs reconciling this would be an easy 9.

A phenomenal issue to expand off Year One. I haven't read much O'Neil but after this I want to read more. His storytelling and flow was fantastic after just one book.

Solid follow up to last issue, pacing was great, art was solid but it's not not as grabbing as the first issue. Mostly setup for what is to come but has actual detective work and that is big points for me.

Great continuation for the murder mystery and detective work.

Kind of a disappointing rush to get to the final confrontation. The solving of the murders happens blisteringly fast and the pay off just doesn't feel strong. Great writing, great art, poor pacing.

An elegant finale. None of the rush from last issue. Completes the story well and gives several emotional payoffs.

This is one of the best looking Batman books from this era. It's a great story and honestly one of Morrison's best works on Batman. The only thing about this entire series that really took me out of it was that Bruce's schooling. It was just very UK prep and that feels like Morrison's own experiences feeding that narrative. It's fine but it doesn't really feel like something the Waynes would do but we also really don't know much about Bruce in his early adolescence. This could very well be the best example and it's something I have to get used to. There are some times Morrison goes a bit above the call of a comic book, switching to some very across the pond references so it might be a bit jarring though it does round out the history of the villain and Bruce himself. It managed to be suspenseful even when we knew who the villain was mostly the entire time. Klaus Janson really is an amazing artist and I think I prefer his work to JRJR's since they are so similar, I'd take this any day.

I wish I could say I liked this more but I really can't. The art isn't great, the story is fine but remains flat. The message at least in this first issue could have been something with Batman rescuing a person going down a dark road and them taking his example to better their lives and try and preach that to others but John just creates another gang. Sure a few Gothamites are thankful they interceded into altercations but they created just as much damage as there would have been. Batman not putting a stop to vigilantes outside of his control doesn't feel right in any situation or time period of his tenure.

This is an absolute mess of a story. Batman acts completely out of character here. He's at odds with Gordon over vigilantes he gave no training to that he in passing okays, is at odds with Dr. Thompkins this early in his career when she's always been one of his closest confidants. Nothing here feels like Batman. The only aspects that really save this are renewing his relationship with Leslie and the small tease at the end but none of this story needed to happen. The rift with Gordon is left unresolved and it all just feels hollow.

The writing is very dated as well as the art. The story ties itself to Year One by making the villain the chopper pilot that crashed as a result of the bats Batman used to cover his escape during the police raid. But here they turn him into a flying Darth Vader ripoff made by his Nazi mother. I have no idea why this was even made.

I wish I had never read this.

Nazi lady tries to SA Batman to produce an Aryan heir. Her son that was a retconned character from Year One murders her and 'dies' himself. I can't believe this was written, approved and printed by DC. All of her dialogue is grossly sexual and not even in an appealing way. The art has flashes where it looks like it could be good but just ends up flat and lifeless much like the dialogue. The panel layout is also a mess. It bounces around too much and dialogue is broken up so poorly between them you get lost trying to read it so much that it hardly makes sense. This is a problem throughout this three issue series. Do yourself a favor and never read this.

This first part of the Other Realms series is fun and a decent read but doesn't feel connected to anything Batman. Not that is has to, this is an anthology series but it feels very alone in regards to everything we know about Batman.

Not really sure how to feel about this. The art isn't my favorite. The premise is interesting. A psychological look at Batman through a different lens. It has since been done better but I don't hate it. Not sure where it's going though.

Okay I don't hate this. It's not great. I liked the deconstruction of who Batman is and what Bruce Wayne truly believes. But having another story where some guy manages to kidnap and mentally manipulate Bruce Wayne is not really a plot device I can get behind. Sure in the real world that would be more believable if we had a vigilante and Legends is supposed to be Batman in his early years so he'd be less cautious of situations like this but Joe Schmo getting the drop on Batman then keeping him in a coma for six weeks is a little hard to believe in the wider context of the Batman. I like the idea of a Dickensian fever dream. Everything else wasn't my favorite.

This is a weird one. It's a reinvention of the original appearance of the Joker without Robin. I like some of the liberties taken, Cousin Melvin was an interesting addition but most of it largely felt very flat. The art didn't really elevate the book either. You can take or leave this one. It's not really better or worse than what it is adapting.

Great story, classic 90's art style, heavy on the shadows and tone. I enjoyed the exploration of Eastern philosophy in Batman's journey into becoming the Dark Knight. It probably could have been done better with more accuracy but it didn't feel like Grant was completely making it up as he went. It felt real and that works a lot of the time. Probably a heavy influence from the Night of the Ninja episode of BTAS though obviously changing it from Japan to China.

Damn near everything I have read of Jamie Delano's writing has been gold. This is no exception. You could read this any time you wanted to just read a cool Batman story. The fact that Batman is a bit character in it is even more engaging. The issue is placed inside of the crumbling, abandoned, delipidated Terminus Hotel and the perspective character narrating the actions of those residing in its walls is the hotel itself. It tells the story of it's tenants' pasts, how they got there, why they stay. It roots for Batman to catch the man he is after, it knows the man's sins. At the conclusion, it invites Batman back in. Any time he wishes.

I don't think reading a book I was so excited for has left me with the feeling that this did after getting through all of Going Sane. I love DeMatteis but I really don't think this was good. You know how it's worse when a parent isn't mad, they're disappointed? That was how I felt about this book. It had everything going for it, great writer, decent artist, interesting premise and it's set early enough into Batman's career that he isn't hampered down with a million ways to escape any situation so his "demise" is believable. I don't think much was handled that well in the story. It's hard to pin down but if it was bad, it would have been easier to read because I wouldn't have been invested and could burnt through. This was simply mediocre from something and someone I had high hopes for.

Solid writing from Grant and solid art from Zeck. I have a fondness for seeing Batman not in the Batsuit and stuck in prison or Arkham.

An intense, thrilling and suspenseful detective story taking Batman out of Gotham. A simple, somewhat goofy premise that manages to pull all of what people tend to want to see from a solo Batman story. While not the strongest story, or art this is still a solid start.

I don't think the story was as strong as the Scarecrow issue from Batman Annual 19 it's much more readable. This is pretty much a direct rip from the Kirk Langstrom origin that I grew up on with BTAS with a little more adult context. It also has a pleasant ending as opposed to the others. Not the best, not the worst. Easy read.

This is an odd one. It doesn't do anything for the Batman mythos, this is not some new origin for an old established character. I have no real idea where it's going. It's very abstract in both the art and storytelling. I kind of like both aspects but it's also kind of too much.

This isn't BAD. It's just weird. Definitely not on any mandatory Batman reading lists. This could take place at any time, it has no bearing on Batman's history whatsoever. To again iterate how abstract this story is, all of a sudden Batman turns into a holy knight and fights a boiler monster from the sewers of Gotham that bleeds when you shoot it. It ends rather abruptly, no real payoff. No idea what the point was. It's interesting both from a storytelling and art perspective but it is still rather rough to get through.

There are some pretty serious subjects being talked about and portrayed here. Hard topics that I enjoy seeing in comics, especially Batman. Ellis is a great writer regardless of how people feel about him personally, all of which in terms of criticism is valid but he tackled the issues well. Or at least well enough in a two part story in an off the beaten path Batman title. You would have really had to dig for this someone told you about it even back in the day. The big downfall of the story is that it isn't a fully fleshed out story and takedown of how terrible the government is, or at least the weaponization of the masses through various means. It's poignant and something to really dig into for the medium but it was relegated to 40 pages.

Kind of a mess overall. I like a few panels but the action just turns into a complete undecipherable mess. The splash pages look great but it's a mixed bag on the art front. In terms of story, considering this is a one-off issue in an anthology series, it doesn't have anything really gripping to make it stand out. Batman hunts a man down who is fleeing from the cops and Gotham onto an incoming helicopter so he has to make it to the top of his booby trapped building swarming with guards before he leaves. Batman makes it to the top right as the helicopter gets there, the bad guy stops paying attention and gets his head cut off by the blades. Batman says nothing and leaves. It would be way more gripping if I could have actually told what was going on between the floors half the time but both the art and story are just middling.

This is mainly just a Green Arrow issue but O'Neil manages to carry Oliver's voice well. Some of the dialogue is a bit outdated, not like offensive just awkward to read by today's standards. We don't often use, "Let me alone" for example. I was a big fan of the art. Classic 2000s. Thick lines, colorful, cartoony and expressive. It feels like a JLU episode. Was also a huge fan of the portrayal of Bruce Wayne. Really oozing that obnoxious playboy, disconnected CEO persona. I couldn't help by hear Kevin Conroy while reading the dialogue. Great issue.

Well the outdated dialogue is back but in the offensive way this time. It was writing of the time. We hadn't moved past stereotyping even through words on a page and even now we still haven't. It's just very blatant here. It's honestly just harder to read and comprehend more than being a caricature of Asian dialects. Not a great way to introduce your villain and their plot if you can't fully grasp what they are saying. Still an interesting story. A little open as to the real plot.

"It's all Gotham." Ostrander does a great job here.

This is getting such a high score because not only is it a good book with an engaging story about Gordon's past and weaving in Barbara for the first time in (my reading order's) continuity, it showcases an African-American character with two moms, cops using racist dog whistles to hide their true words and feelings about the black community in Chicago all while being written in 2002. Ostrander has always flown under the radar in popularity and it's a shame because this is a really good story whose relevance is just as important back in the day as it is now. All the Alt-Right idiots and MAGA-ts that complain that inclusivity is being shoved down their throats or that cops don't uphold the systemic racism baked into our police and judicial systems are completely blind. Batman and the titles that he's carried have always been like this and championed the values of exposing corruption while uplifting and showcasing those that are down trodden or marginalized.

Great story about loyalty. I wish it had been four issues, maybe a little more to deal with the separation of Jim and his wife and Babs losing her mother but all in all this was a good read.

A flat end to an otherwise engaging story.

I think the art here is the highlight. It's fantastic. I love the Year One style suit, the heavy line work brings a lot of depth to each character and panel and everything feels a bit grimy on the color palette. I don't hate the story in anyway but it feels like an old school villain of the week scenario. Frank has the power of suggestion with a single handshake and he uses and abuses this power to get whatever he wants until two goons stumble into somewhat figuring out he conned the Penguin until Batman comes to intervene. Not the most complicated story but still fun.

As the art was a highlight of the last issue and took a hit here, the story simply carried over. I'm not really invested or interested. Batman already figured out who the guy was and Frank's life came crashing down before Batman even had to confront him. Doesn't leave much to get into. It's a fine story but just that.

I get the message overall. Absolute power corrupts absolutely but a helping hand can change everything. Seems a bit lost until the end. That good art really comes back here. Maybe it's just scenes with Batman that are so striking. I really liked the last few pages and it had a touching end. I would be interested to see Frank again but I'm fairly certain he's a one and done guy. Serves this story and that's enough.

I like the art more than the story. It's definitely one worth telling but I think it's just too up front about it's intentions. Little subtlety in the narrative. I'm not against framing the white extremist religious zealots in a bad light but they're very generic. I want this story to mean more and say something more than it is right now.

Better than last issue. Looks like Wagner is moving toward a goal with something interesting to say. Loving the art style. Fits very well with Gotham.

I'm left wanting more at the end. Rough Justice wasn't much of a statement on society as it was a foil for Batman which we've seen a thousand times and will continue to see because it's easy. The story itself was engaging enough to get through but definitely not up there among the best early Batman stories.

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

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

While it reminded me of a BTAS episode, it was gratuitous. Neither Bruce nor Batman's voices felt natural. Ivy felt like Ivy but she was very one dimensional. The worst part about this book is that it's supposed to take place during Year One and the tone does not fit at all.

The art here is awesome. I really like the stylized look that Cully Hammer has and think it works great for Batman. Now as a first year Batman story this is a little weird. Bruce is extremely cold. He's slashing positions at Wayne affiliated businesses and downsizing as much as possible. It's clearly concerning not only to the employees but the business world as well. It seems out of character for Bruce and in this issue we get nothing that would really hint that Bruce has an ulterior motive or strategy to it. The "villain" here is a down on his luck guy that gets fired from a jewelry store that is a Wayne subsidiary and his life goes from bad to worse. But he's not necessarily a bad person. He has premonitions and as a result comes off as psychotic or schizophrenic. Honestly it's sad to see how people treat him and that's the point. You don't look hard enough at the people in real need. Batman also seems pretty brutal during fights but in the context of the first year, it makes sense. My biggest issue was the lack of sound effects and lettering punctuating most of the action scenes. It's not necessary and it can be a design choice but it's a personal preference for me. There is also a lot of yellow shades through out the book. Warmer tones overall but yellow is a predominant color which is an interesting choice.

I was really, REALLY hoping that this was going to be better than it was but I was really disappointed. The art is still great but still has that yellow hue to everything that it's hard to ignore. The conversation between Ted and Bruce would be more interesting if it made a little more sense. I get that he's supposed to be "seeing higher" than everyone else because of his visions but he's clearly broken his sanity and it's less a deep dive into higher thought and more just crazy rambling that I think Casey thought sounded good or intellectual. The biggest cliff dive for this was Bruce's personality. He's just a cold bastard to everyone. To Ted, to the reporter/anchor guy (it's honestly hard to nail down, the dude seems like an investigative reporter but he's an anchor on the news and those two jobs don't usually cross like that) whose fingers he almost breaks even though he seems to actually be trying to help heal Bruce, and the mass layoffs he's imposing in the Wayne company and the businesses tied to it. There is no master plan or reason other than he knew there was a recession coming. It's really cold and not what you want to see Bruce Wayne do. It's heartless and he's supposed to be almost a bleeding heart for the citizens of Gotham even with his overly broody demeanor during Year One. Ted's journey is also heartbreaking because he tells Batman he can either go after him and Ted will continue as he is, killing or let Ted go and he will just lie down and die. Batman just leaves and Ted dies sitting against a tree with no one to help or mourn him. It's just a very jaded Bruce/Batman story.

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

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

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

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

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

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

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

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

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