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The wide ensemble of characters arguably is both a positive and negative for this run, as it leaves some characters without really much to do. The Bombshells' latest mystery brings the group to some pretty dark places, but it doesn't quite pack a punch. When you throw hamfisted social commentary on top, it becomes an undeniable disaster. This is a textbook example of how not to tell a superhero story at almost any level. What little action does make its way into panels is stiff and uninspiring. Everything is explained and not a single thing is shown. Villains explain their plans and heroes explain their own, all in order to make time for an escape or fix a problem. The term "big bad" is used three times after pointing out that it is inappropriate for the circumstances the very first time. Throughout the finale issue of this miniseries, characters discuss themselves and their actions in fictional tropes. Rating: 5 out of 5 BLACK LIGHTNING COLD DEAD HANDS #6īad writing does not become any less bad when it calls attention to itself. This story is heading for its climax, and we can't wait to see how it ends. Napier's actions make the Joker bits much more compelling, and the same can be said for Batman too. Napier isn't right about everything of course, but that's what makes this a genuinely intriguing conflict. That's what makes Napier's descent back into madness rather heartbreaking, and Sean Murphy's gorgeous art only feeds that element of unpredictability and somberness throughout the issue. Rating: 5 out of 5 BATMAN WHITE KNIGHT #7īatman White Knight continues to paint one of the most fascinating depictions of the Joker yet, precisely because fans finally get to know the person underneath the crazy. All in all, a perfect chapter in the Batman story. However, it's the art that takes this lovely and clever story and elevates it to something classic. The actual story of the issue - Selina on a very unique "shopping" trip for her wedding dress - is beautifully put together with no actual dialogue. With their wedding rapidly approaching, Tom King does an incredible job of tying the past with the present, showing how the two characters have evolved over time. Let's just cut to the chase: this might be one of the best Batman issues in a long time, not because of the story but because of how beautifully the issue respects the long history between Batman and Catwoman. This is difficult material from start to finish, and the entire creative team handles it admirably. There's a lot of truth to the approach of a therapy group, both in the subtle moves made by its leader and the equally subtle emotions drawn by Anderson. However, each of them pulls at an important thematic thread, building empathy and showing how difficult it can be to recover. The issue is fractured into several narratives, allowing threads to unwind in a middle chapter. As Astro City returns to its greatest examination of grief, it comes across a truism: hurt people hurt people.