Review: Diana and Ares face off in WONDER WOMAN #60

By

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Wonder Woman loses her ally in Ares!

Wonder Woman is looking for Steve Trevor in the midst of a civil war. Amongst the fighting, a reborn Ares goes on a crusade to bring his brand of justice to the world. Diana is a bit skeptical about this but allows him to help as a jet approaches. The pair can remove the missiles it was carrying, but Ares throws it into a village. With this mass killing, Wonder Woman attacks the God of War. Was Ares’ new goal of justice all a lie?

Story:

Ares faces off against Diana, claiming his way is right. Wonder Woman retorts by explaining what Ares did to the village was not justice but revenge, something they have to be above. Before their fight can continue; however, the cries of a child distract them both. The pair works together to find a baby left alone in the rubble. This shakes Ares to his core, and he realizes his way doesn’t work after all. He decides it’s time for him to stop interfering and flies off. Meanwhile, Steve is being led along to meet the mythological creatures’ leader. It turns out Ares isn’t the only Greek god in this civil war as Aphrodite has appeared.

Despite all the interesting pieces on the board, this story just doesn’t impress. The pacing is all over the place, going quickly during the fights but slow in the pity party of Ares. While I do like to see guilt building in the God of War, it doesn’t make for an exciting read. Even the action doesn’t feel exciting, and we see Wonder Woman redirect lightning! This story needs to pick up the pace and keep it if it wants readers hooked.

Art:

I don’t like this art. It doesn’t fit Wonder Woman or the story at all. It continues to look like Frank Miller’s Dark Knight universe. It has moments that look amazing, but the rest of the time it looks blocky and generally unrealistic. Now while I don’t expect realism in a fantasy comic, I expect it to give us something visual to connect with. This style of illustration is better suited for a surreal adventure in the Sandman universe. What else can be said other than I hope it changes soon.

Conclusion:

I can see the story’s pieces laid out and while good separately, they just can’t fit together. It’s a shame because I was really excited about this story and the talent behind it. While I am losing hope in the art team, I am clinging on to the belief the story will work in the end. As it stands, however, I cannot recommend picking up this issue.

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Review: PETER PARKER: THE SPECTACULAR SPIDER-MAN #313 – Peter’s Dance With Morlun

By

Corey Patterson

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If you’ve been following the events of Spider-Geddon, you’re aware Morlun of the Inheritors escaped from his prison and tracked down Peter Parker to exact revenge. PETER PARKER: THE SPECTACULAR SPIDER-MAN #313 gives us a conclusion to this tie-in that shows us why Peter and Morlun are an awesome match-up.

SPOILERS LIE AHEAD

STORY

Sean Ryan’s story takes us to Central Park Zoo, where both Peter and Morlun have landed after fighting a bloody battle for the previous two issues. The scene is tense with each combatant’s anger at the other: Morlun pulses with rage at the spider totem that has escaped his grasp so many times, and Peter is maddened by the fact Morlun has continued to wreak havoc after being imprisoned.

The issue gives us a surprising new update to Peter’s wardrobe, styling him as a quasi-ninja with a mask covering only the lower half of his face. But the biggest surprise is the rifle locked and ready in his hands. Granted, we can see that his ammo belt is full of tranquilizer darts, but the sheer fact of seeing Spider-Man holding a gun is enough to immediately grab anyone’s attention.

There were also some pieces of the story that did seem a bit out of place at times. At one point during the fight, J. Jonah Jameson attempts to assist Peter in the fight with the help of the NYPD, which awkwardly distracts Peter and requires him to explain why they must flee.

One of the most engaging parts of the story lies in Peter’s continual dialogue with Morlun. He’s able to poke fun at Morlun’s obsession with him while retaining the seriousness of the battle.

ART

Jeff Dekal’s cover art serves as an homage to classic iterations of Spider-Man’s suit, adding to the nostalgic factor of so much of Marvel’s current stories.

The artwork within this issue is a marvel to behold. Jason Keith’s colors of Peter’s suit stand out brightly across each page, and the paleness of Morlun’s skin serves as a clear contrast to the green hues of the park around him. We also get to see Juan Frigeri’s beautifully sketched action scenes, contrasting the graceful fighting style of Peter with the rough-and-tumble style of Morlun. Getting to see Peter’s eyes and hair change in each scene also adds a sense of realism to such a fantastical fight.

Travis Lanham’s lettering throughout the issue was placed nicely and made a clear differentiation between each character’s piece of dialogue.

Conclusion

I love how this issue gets straight to the point. The grittiness it adds to Peter is balanced with his witty banter, even if it seems slightly out-of-place at times. It’s exciting to see Peter gain the upper hand in such a graceful way after a long history of setbacks with Morlun.

What did you think of this story? Let us what you thought of this tie-in conclusion in the comments below.

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[Review] Tomasi Sets Up a Fascinating Mystery in DETECTIVE COMICS #994

By

David DeCorte

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Detective Comics #994 reintroduces Peter Tomasi on writing duties for the Dark Knight, a role he clearly loves. And if this first issue is any indicator, the run-up to issue #1,000 should be a great ride.

Batman is confronted by one of his strangest mysteries in recent memory when the bodies of Martha and Thomas Wayne show up at the Gotham Aquarium. The killer ensured the bodies are perfect recreations of the Waynes the night they were gunned down. But, that intriguing mystery gets pushed to back burner when a powerful monster starts rampaging through Gotham.

The Writing

The story within Detective Comics #994 can essentially be split into two halves. We get the opening scene of a methodical, classic detective story in the first half, before a jump-cut to an action-filled monster fight. You’d think this would cause some tonal whiplash, but the issue actually comes together extremely well.

The first half of the book unfolds slowly, allowing for a controlled building of tension. We see Bruce grapple with the emotional weight of finding his parents’ bodies just as they were on the night that transformed him, plus the need to keep his emotions in check to protect his identity.

Tomasi is a seasoned Batman writer, having provided writing duties for all of Volume 2 of Batman & Robin. His love for the character shines through in Detective Comics #994, but it doesn’t overshadow his skill as a writer.

The Artwork

The artwork is great throughout. It feels a bit lighter than in our last story arc, but is plenty-dark enough to match the tone of the story.

Doug Mahnke really comes across as a visual storyteller in Detective Comics #994. He provides a lot of interesting, and in some places even striking imagery. At the same time, you could clearly follow the story even without the need for dialog. It’s a fine line to walk, and he pulls it off exceedingly well.

Of course, the colors provided by David Baron really help bring Mahnke’s pencils and Jaime Mendoza’s inks to life. The aquarium scene feels appropriately clinical and cold, in contrast to the fiery tones in the book’s second half. You get a real sense of life in the faces of Bruce and Jim Gordon, as well as its absence in the corpses they’re examining.

Final Thoughts

Detective Comics #994 is a great start to Tomasi’s run on the series. I’m glad we’re in capable hands in the build-up to issue #1,000. I recommend you pick it up.

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[Review] BATMAN: DAMNED #2 is About as Dark as it Gets

By

David DeCorte

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In my review of the first issue in this new series, I mentioned creators Azzarello and Bermejo delivered an intriguing premise, but didn’t offer much in the way of answers. After delving into Batman: Damned #2, the broader story begins to take shape, while leaving other questions to linger.

Batman is convinced the Joker’s alive. And, following Constantine’s tip, he heads to a local nightclub looking for someone with information about The Joker’s location. The person in question is none other than the demon Etrigan. And, as sinister as the story began, it takes a notably darker turn in the issue’s second half.

The Writing

Bruce delves deeper into the occult in Batman: Damned #2, and plenty of weirdness abounds as a result. To be honest, I found it a little hard to follow the first time through, but on a second reading, the book felt much more straightforward. Adult Bruce feels much more controlled here, compared to the desperate animal of the last issue. However, you get the impression that it’s a rather thin façade, and you really feel the weight of the situation closing in on him.

The subplot introduced in book one about Bruce’s childhood is further developed here, too. It’s an interesting take on the Wayne family dynamic, which is portrayed as idyllic in just about every other interpretation.

I take issue with some of the writing, though. First, I feel like Azzarello might have tried a little too hard in service of a darker tone. It’s like every character is going out of their way to be grim, and it comes across as overly-edgy at several points. Compare it to the Dark Nights: Metal event, which had a deliberately grim and dark tone as well, but it didn’t feel as forced.

Then there’s Constantine who, as in the previous issue, is more a narrator than an active player in the plot. He rambles throughout most of Batman: Damned #2, providing color commentary, but little of actual substance. The narration wafts back and forth between psychoanalysis of Batman and philosophical musings, some of which…simply doesn’t work (“Focus on the task…at fist”).

The Artwork

As with the previous issue, Lee Bermejo’s artwork shines in Batman: Damned #2. Bermejo has a mastery of balancing the beautiful and the grotesque. In fact, just about any panel in the book could stand on its own as a grotesque work of art.

I found the facial detailing in this volume especially striking. It really gives you a sense that just about everyone in Gotham has gone off the deep end.

The colors tread that same fine line between beautiful and horrific (or maybe even both). Bermejo employs a wide palette, from intense, fiery tones to dark grime, helping envelop you in the work.

Final Thoughts

Batman: Damned #2 is a solid second chapter of the story. We’re piling darkness upon darkness, to the point I’m worried that Azzarello may get lost in the weeds. Either way, Bermejo’s artwork is a treat.

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Review: DOCTOR WHO “The Battle of Ranskoor Av Kolos” – Great Concepts Wasted

By

Kieran Freemantle

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The Eleventh Season of Doctor Who has now come to conclusion, offering decent episodes and some stinkers. “The Battle of Ranskoor Av Kolos” has the task to conclude the season and tie up some lingering plot threads.

On a distant planet a pair of physic aliens attempt to create a floating tower just as their ‘creator’ arrives. 3,704 years later the Doctor answers a distress call and discovers a man with no memory (Mark Addy) with a mystery object. An enemy from the Doctor’s past demands the object and threatens to kill a crew from a crashed spaceship.

The biggest strength of this episode was Graham’s development. The enemy of the episode was Tzim-Sha (Samuel Oatley), or “Tim Shaw” – the alien from “The Woman Who Fell to Earth.” Tim Shaw was responsible for the death of Graham’s wife and he wants revenge. His return leads to a clash of ideologies between Graham and The Doctor. The Doctor deplores violence and threatens Graham that he can no longer travel with her. They have the best arc in the episode, building on their relationship in the past few episodes.

There has been a big build-up for the previous season finales, at least in the modern era. This is not the case with “The Battle of Ranskoor Av Kolos.” Despite the title this episode is a smaller affair, it’s no “Doomsday” or “The Big Bang.” Not all finales have to be saving the whole universe or need an event like a regeneration or a companion leaving, but the finale needs to be special. There was clearly a good idea for a finale, but Chris Chibnall does not do grand stories, his skills set is in smaller stories.

Chibnall’s style is evident because the episode was more focused on talking and explanation instead of action. There was little investigation or mystery, and the the supposedly huge planetary stakes are not felt. Russell T. Davies and Steven Moffatt would have done a lot more with this premise.

A criticism of Moffatt’s run was that he turned Doctor Who into a fairy tale series. These people should make the same criticisms towards this episode because it features a rare species of psychic aliens that only live in pairs. They are introduced by performing a ritual and they have belief in a creator. Yet again, Moffatt would have at least made the moment of their introduction a more epic affair.

“The Battle of Ranskoor Av Kolos” wastes its potential. The episode clearly has good ideas and concepts, but it wastes them in a lackluster episode. Even in bad season finales like “The Wedding of River Song” and “Death in Heaven” did have a scene of scale and memorable moments. “The Battle of Ranskoor Av Kolos” will be forgotten.

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Review: THE FLASH #60 Introduces Fuerza, Avatar of the Strength Force

By

Jose "Jody" Cardona

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The Flash has found the first Force Avatar!

The Flash has begun a Force Quest. Along with Iris, Barry has started tracking down the other Forces that left Central City. When answering a call from Gorilla City, a projection of Solovar reveals the truth of the powers. Each of the forces will pick an avatar, and it’s up to The Flash to unite them. The first avatar, Fuerza of the Strength Force, ends up appearing in the nation of Corto Maltese. Can Flash gain a new ally or make a new enemy?

**Some Spoilers Below**

Story:

The Flash faces off against Fuerza on the streets of Corto Maltese. The new avatar of the Strength Force has been fighting the government ever since she has gotten her powers. Upon speaking to the shady police captain, Iris begins to realize that Fuerza is good. This convinces Flash to team up and go against the corrupt police force. After they escape, we learn that Fuerza is a college student who hoped to change Corto Maltese for the better. Barry agrees to help Fuerza with the poor of the country. Back in Central City, Commander Cold teams up with the CCPD to find a mysterious new crime lord.

I like Fuerza. While she isn’t a new groundbreaking (no pun intended) character, she is a relatable one. She has honorable goals and an interesting origin story. It’s very reminiscent to the Flash, which makes her team up with him feel more organic. Speaking of the team up, it was actually exciting to see the pair team up and use their powers. The action scenes are welcome considering the lack in the past two issues. The only real problem this issue has is the jarring inclusion of Cold’s investigation. I expect it to tie together with the Force Quest, but right now it isn’t clear. Besides that, the story is a fun one that gives us a new interesting hero. The only direction to go now is up.

Art:

The art continues to be a mixed bag for me. While I continue can’t get over the bizarre faces of characters, I love the designs of their outfits. Flash and Fuerza stand out in particular with Sandoval’s style. The colorwork on them works as well, allowing their powers to pop vibrantly. That being said, the subdued colorwork across the rest of the comic is a bit of a hit or miss. Sometimes it works for the slower sections, sometimes it makes the comic look boring. Thankfully the story balances it out, but the imperfections are still there.

Conclusion:

I am loving where this quest is going for the Flash. The action is exciting, the characters are interesting, and it now feels like the story hit its stride. While I might not be the biggest fan of the art, the positives far outweigh the negatives. Go pick this issue up yourself to take a step into the adventure.

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Chris Messina & Ali Wong Join The Cast Of BIRDS OF PREY

By

Jackson Hayes

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December 12, 2018

Harley Quinn’s next adventure is rounding out its cast. Chris Messina and Ali Wong have joined the cast of Cathy Yan’s Birds of Prey.

Messina will portray Victor Zsasz, a serial killer who has appeared in various mediums, including a stint on Fox’s Gotham. Wong, on the other hand, will appear as an associate of Rosie Perez’s Renne Montoya at the Gotham City Police Department.

Wong is best known for her Netflix comedy specials, Baby Cobra and Hard Knock Wife. Messina recently starred alongside DCEU alum Amy Adams in HBO’s Sharp Objects.

Birds of Prey will see Harley Quinn (Margot Robbie) team up with Black Canary (Jurnee Smollett-Bell), Huntress (Mary Elizabeth Winstead), and Renne Montoya (Perez). The plot will center around the group attempting to protect Cassandra Cain (Ella Jay Basco) from the main antagonist of the film, Black Mask (Ewan McGregor).

Yan, best known for her film Dead Pigs, is set to direct the female-centric film. Robbie is also attached as a producer and has been heavily involved in the development of the film.

Robbie had this to say about the project:

“Actually, the ones that excite me most don’t have superpowers at all but they have, you know, pretty great backstories and all could kind of live in the world with Harley and create this cool dynamic. Because I don’t think girl groups… I mean all my girlfriends, we’re a huge girl gang and we’re not all the same person, everyone’s very different. I guess I was really trying to put that on screen — the way we exist in everyday life as a big girl gang. Why can’t we watch that in films more?”

Are you excited to see Chris Messina and Ali Wong appear in Birds of Prey? Let us know in the comments below!

Birds of Prey hits theaters February 7, 2020

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Best of 2018: Top 5 Comic Book Single Issues

By

Anthony Composto - EIC

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December 12, 2018

2018 was another great year for comics, and we’re counting down our Top 5 Single Issues of the Year.

First off, we’d like to thank all of the publishers that participated this year and contributed nominations. Click the following links to see all of the nominees from: Image Comics, Dark Horse Comics, BOOM! Studios, AfterShock Comics, Valiant Comics, and Oni Press.

Nominations were collected from publishers, retailers, and the Monkeys Fighting Robots team. Each MFR team member then voted on their Top 5 choices; the votes were weighted and counted to provide the results below. Now on with the awards!

Honorable Mentions:

#5 – Superman #39 (DC Comics)

By Peter J. Tomasi and Patrick Gleason (writers), Barry Kitson (art), Scott Hanna (inks), Gabriel Eltaeb (colors), and Rob Leigh (letters).

Way back in January, we called this issue “the first feel-good comic of the year,” and it stuck with us all through 2018. Just look at that cover. Doesn’t that just scream to you, “this is a beautiful, heartfelt Superman comic that’s probably going to make you cry.” It’s a single issue story where the Man of Steel takes a children’s cancer ward on a trip. Sometimes the best superhero stories are the small ones that focus on the humanity of our favorite larger-than-life heroes, and this is the perfect example of that.

Read our full review here.

#4 – Doctor Star and the Kingdom of Lost Tomorrows #4 (Dark Horse Comics)

By Jeff Lemire (writer), Max Fiumara (art), Dave Stewart (colors), & Nate Piekos (letters).

Damn. Speaking of comics that make you cry, Doctor Star broke things in us that are still trying to heal. Set in the world of Lemire’s Black Hammer, Doctor Star is a story about superheroes, but more so about family, fatherhood, responsibility, and love. And just like the main Black Hammer series, Lemire uses this book to pay homage to classic superhero comics, this time honoring James Robinson’s Starman. The finale in issue four brought everything home perfectly, thanks largely to Max Fiumara and Dave Stewart’s art evoking the perfect somber tone.

#3 – Gideon Falls #1 (Image Comics)

By Jeff Lemire (writer), Andrea Sorrentino (art), Dave Stewart (colors), and Steve Wands (letters).

Gideon Falls is a lot of things. It’s a horror story, a mystery, and a drama, all rolled into one. Most of all, it’s original; it feels like nothing else on the stands. Lemire has proven himself great at telling deep, intriguing personal stories, but with Sorrentino, Stewart, and Wands, the four are also able to shake you to your core. Seriously, horror comics are a dime a dozen, and while there are a lot of great ones, not many genuinely terrify you. But Gideon Falls will, by telling you two intertwining stories of a small town priest searching for purpose and a young man who’s searching for something else in his city’s trash.

Read our full review here.

#2 – Peter Parker: The Spectacular Spider-Man #310 (Marvel Comics)

By Chip Zdarsky

Zdarsky’s farewell to Spectacular Spider-Man, which he both wrote and drew, spoke to the core of Spidey. Zdarsky frames the story within a documentary, having various New Yorkers discuss their feelings about the webhead. It was funny, it was sweet, and it was tragic. In the end, it’s going to remind you of everything that you love about the character, especially his heart. Spectacular #310 was not only a beautiful and touching comic, but it’s also going to go down as one of the best single issue Spider-Man stories ever made.

Read our full review here.

#1 – Fearscape #1 (Vault Comics)

By Ryan O’Sullivan (writer), Andrea Mutti (art), Vladimir Popov (colorist), and Deron Bennett (letters).

Though only three issues in, Fearscape is reminiscent of some of the greatest comics of all time, such as The Sandman. It’s a story about storytellers, with an unreliable narrator at the helm. This first issue sets the tone for the series from page one, which is a critique of the nine-panel grid told via a nine-panel grid. We’re introduced to Henry Henry, a plagiarist who considers himself God’s gift to publishing, and our guide into this world. The series takes aim at comics, writers, critics, and just about everyone and everything in the world of storytelling, but it’s still easily accessible to readers who have never picked up a pen in their lives. There’s a great story beneath the commentary, and we can’t wait to see where it goes.

Read our full review here.

What do you think of our selections? What were your Top 5 Comic Book Single Issues of 2018? Sound off in the comments!

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Best of 2018: Top 5 Comic Book Covers

By

Anthony Composto - EIC

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December 12, 2018

2018 is just about in the bag, and we’re counting down our Top 5 Comic Book Covers of the Year.

First off, we’d like to thank all of the publishers that participated this year and contributed nominations. 2018 was another great year in the industry, and getting this list down to the Top 5 was near impossible. Click the following links to see all of the nominees from: Image Comics, Dark Horse Comics, BOOM! Studios, AfterShock Comics, Valiant Comics, and Oni Press.

Nominations were collected from publishers, retailers, and the Monkeys Fighting Robots team. Each MFR team member then voted on their Top 5 choices; the votes were weighted and counted to provide the results below. Now on with the awards!

Honorable Mentions:

#5 – Black Hammer: Age of Doom #7 Variant Cover by Christian Ward (Dark Horse Comics)

This Black Hammer variant by Christian Ward looks like something out of an acid trip, which perfectly captures Colonel Weird’s mind-bending story. This is pure, gorgeous surrealism, but also, that look on Weird’s face aims to break your heart, giving you a tease of what’s to come within the book.

#4 – Shadowman #1 Cover A by Tonci Zonjic (Valiant Comics)

A great cover jumps out at you among a sea of other new comics on the wall at your local shop. This Shadowman cover by Tonci Zonjic does just that, with using a simple, yet bold black and white contrast. It also delivers a sense of the horrors that lay beyond, and creates an air of intrigue.

#3 – Maestros #6 Cover A by Steve Skroce (Image Comics)

Talk about art that melts your face off… Maestros was another big hit for Image this year. Much like this cover would suggest, it doesn’t hold back or pull any punches. Skroce, who writes and draws the series in addition to this cover, worked as the storyboard artist on The Matrix trilogy, so that should tell you something about his ability to break the mold.

#2 – Catwoman #4 Cover B by Stanley Artgerm Lau (DC Comics)

Wow. Lau’s Catwoman is not only stunning, but it captures the essence of Selina Kyle. The mask, the claws, the ring, and the muted colors, it all screams Catwoman. She comes off very seductive as well, but also dangerous, which secures her femme fatale status, all in one static image.

#1 – Superman #4 Cover B by Adam Hughes (DC Comics)

DC is absolutely killing it with these virgin variant covers, which is why they secured two of our top five spots. So much works with this Adam Hughes masterpiece: the light shining through the clouds, the tiny Superman leaping over a tall building in a single bound. It hits you in the guts with its beautiful simplicity. Superman isn’t even the focus of this cover; it’s Metropolis, standing tall in the sunlight. It just makes you feel good and safe, like a Superman comic should.

What do you think of our selections? What were your Top 5 Comic Book Covers of 2018? Sound off in the comments!

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Review: THE BATMAN WHO LAUGHS #1 Is More Powerful Than DARK NIGHTS: METAL

By

Matthew Sardo

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The Batman Who Laughs #1 hits your local comic book store on December 12, and Scott Synder along with Jock are going to kick you in the nuts and laugh at you as you roll around on the floor crying. The first issue of the six-issue mini-series takes no prisoners, and with one panel becomes the most powerful book of 2018! Okay, that might be a little much, but the final page of the book is a ‘Top 5 Moments From DC Comics In 2018.’

SIDEBAR – Writing reviews in December is so much fun because it’s “sooo what have you done for me lately?”

What Snyder does in the first issue is hit the ground running like a Michael Bay film, introduces a new bad-ass character, gives the reader several OMG moments, and then gives you a cliffhanger that will make you sell your soul for issue two. Snyder puts on a storytelling clinic as the pacing in this comic book is absurd. You never get a chance to catch a breath, because the action and dialogue never stop. Snyder puts you in the head of Batman, and you are emotionally tied together for the rollercoaster ride.

When you analyze comics, somethings make you laugh when they shouldn’t. There is a moment in The Batman Who Laughs #1 that made me laugh. First because of the action sequence, and second because Snyder creates his version of Boba Fett in three pages. I hope we never see the Grim Knight ever again, because he will go down as the coolest character ever with the least amount of lines.

Synder sets up Jock to be spectacular in the first issue. The OMG moments only work because Snyder has an artist like Jock working on the book. On the sixth page, Jock does his best Wolverine / Batman mash-up, and you’re just waiting for the bat-a-rangs to fly. Jock also blackens out Batman’s face which makes the Dark Knight look more menacing and on edge. This also draws attention to when Jock draws the lower half of Batman’s face and makes the panel more critical. Then there’s Jock’s version of the Joker which embodies the chaos. There is a twitch to his still image Joker, and that is some next level art if you can make a still image move. When the Joker is on a page, his artwork will put you on edge.

SIDEBAR – Batman in the rain with bats around him is probably the most Batman thing ever.

David Baron’s colors are straightforward and in your face. Later in the issue, the blue and red rooftop panels are simply colored but burn an image into your head. The color palette for the first issue is all over the place, but it works because Baron draws as much emotion out of a panel as possible. The way the panels are layered and the use of alternating colors for panels, turns the volume up on dialogue. Speaking of dialogue, Sal Cipriano gets unleashed on the issue with lettering Batman, the Joker, and a hybrid Batman / Joker. Batman and Alfred are going back and forth through the entire issue, the dialogue never stops, but Cipriano takes it all and organizes the book, so the reader never gets lost among the chaos.

Overall, Synder wows with an over-the-top first issue that will leave you guessing till issue two hits the stands. What did you think of the first issue? Comment below with your thoughts!

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Wonder Woman loses her ally in Ares!

Story:

Art:

Conclusion:

***SPOILERS LIE AHEAD***

STORY

ART

Conclusion

The Writing

The Artwork

Final Thoughts

The Writing

The Artwork

Final Thoughts

The Flash has found the first Force Avatar!

Story:

Art:

Conclusion:

Honorable Mentions:

#5 – Superman #39 (DC Comics)

#4 – Doctor Star and the Kingdom of Lost Tomorrows #4 (Dark Horse Comics)

#3 – Gideon Falls #1 (Image Comics)

#2 – Peter Parker: The Spectacular Spider-Man #310 (Marvel Comics)

#1 – Fearscape #1 (Vault Comics)

Honorable Mentions:

#5 – Black Hammer: Age of Doom #7 Variant Cover by Christian Ward (Dark Horse Comics)

#4 – Shadowman #1 Cover A by Tonci Zonjic (Valiant Comics)

#3 – Maestros #6 Cover A by Steve Skroce (Image Comics)

#2 – Catwoman #4 Cover B by Stanley Artgerm Lau (DC Comics)

#1 – Superman #4 Cover B by Adam Hughes (DC Comics)

SPOILERS LIE AHEAD