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The New Gods #4, by DC Comics on 3/19/25, brings war to New Genesis when Karak the Scavenger's forces invade. Meanwhile, Scott and Barda save an important child from capture.
Is The New Gods #4 Good?
Recap
When we last left the DC gods of old in The New Gods #3, we learned a piece of consciousness called Paeter came to Earth long ago. Paeter lived among the evolving humans in peace for eons, but Paeter eventually became bored with existence and decided to give death a try. Fearing the humans couldn't fend for themselves after Paeter's departure, Paeter created an adaptable weapon in the form of a child. The child slept for thousands of years more, only to awaken when great darkness threatened the Earth. That child is the one Scott Free now seeks.
Plot Synopsis
In The New Gods #4, we begin with a brief prologue showing Highfather and Himon coordinating the formation of New Genesis and the gigantic mother box at the heart of the city. In the present, New Genesis endures a mass invasion from Karak The Scavenger's army, who intends to wipe out anyone who would presume to be called a god. Highfather relies on Shadowfall, the mystical archer, to hold the line, but Karak's numbers are too great. Before New Genesis falls, Highfather decides to armor up.
On Earth, Barda and Scott intercept the mercenaries chasing the boy and his adoptive parents. When Barda deals with the mercenaries, Scott introduces himself to the boy to let him know he's here to help. Suddenly, Orion arrives to follow Highfather's orders and kill the boy because 7 days in the 4th World is much shorter than 7 days on Earth.
First Impressions
On the whole, The New Gods #4 is the most cohesive and straightforward issue in Ram V's latest take on DC's highbrow mythology. It isn't a great story, but at least it's easier to read and enjoy.
How’s the Art?
Evan Cagle and Bernard Chang's art is an absolute highlight of this issue. When Karak's forces invade New Genesis, you get epic scenes of battle on a planetary scale. The costume designs look amazing, and the action is riveting.
What’s great about The New Gods #4?
Cohesion and clarity are paramount in a story spanning galaxies and eons. In Ram V's latest entry in the series, the narrative is clear and directed, the fate of New Genesis rests on a grand conflict, and the smaller scene on Earth keeps readers on their toes when Orion's pledge turns out different than anyone expected.
What’s not great about The New Gods #4?
Highbrow mythology and spectacular art can't cover for the fact that after four issues Ram V is still missing the basic foundations of a story. For example...
What is Karak's motivation in attacking Apokalips and New Genesis? For their hubris? Because he's offended their inhabitants call themselves gods? Because he wants to be the only god? If so, why?
Why did Highfather order Orion to kill the child above and beyond a response to some vague prophecy about a catastrophe? If the child was that dangerous, wouldn't it make more sense for Highfather to bring the child to New Genesis as a ward under his control and guidance?
If Highfather is callous enough to order the murder of a child, why should readers care about what happens to New Genesis? What are the consequences if Karak succeeds? What are the stakes of the story as a whole?
In effect, Ram V has yet to set up clear motivations and stakes to give the readers a reason to care about the story. If readers don't have a reason to care, they won't keep reading.
About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.
The New Gods #4 is the clearest and most cohesive issue in the series when Karak the Scavenger invades New Genesis. Ram V and the art team deliver riveting scenes of planet-wide battles, and the forward movement of the story is taking shape. That said, Ram V's rich meanderings are no substitute for basic storytelling elements missing from the story, such as motivations and stakes.
6.3/10
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Absolute Flash #1, by DC Comics on 3/19/25, catches up to Wally West as a bored Army brat who accidentally interrupts a dangerous experiment, changing his life forever.
Is Absolute Flash #1 Good?
Recap
When Darkseid consolidated the power of all Darkseids across the multiverse, he evolved to reach his true potential, but he discovered one more step he could take to reach divinity. Absolute Darkseid invaded our Universe and allowed himself to be killed by the Justice League, unleashing his full power to create a new Universe formed from Darkseid energy. This is one of the new Universe's stories.
Plot Synopsis
Absolute Flash #1 begins with 15-year-old Wally West, an Army brat having trouble finding things to do or friends to make as he follows his Colonel father from one Army base to the next. Wally is clearly smart, but he has trouble connecting with other kids his age, and his stern, aloof father isn't easy to get along with.
One night, Wally catches heat for returning to the base after curfew from a walk around town. An enterprising scientist named Barry Allen recognizes Wally's potential and offers to show Wally the cool experiments he's working on. Wally is interested, but he declines Barry's offer to work with him in the lab to utilize his potential. Wally's refusal is reinforced when his father, Colonel Rudy West, furiously interrupts the tour and orders Wally home.
The next day, Wally and his father argue about Wally's lack of friends or outlets for his interests, so Wally storms out of their home. Wally heads to Barry's lab. Unfortunately, he interrupts an experiment for something called Project Olympus. Barry Allen dies in the resultant explosion, and Wally is subsequently racked with waves of head-splitting energy.
The issue ends with Wally on the run in the desert, trailed by a Special Ops team with Rogue-ish characteristics.
First Impressions
Look. If you're going to tell a sci-fi-based origin story for a new(ish) superhero story, you have to make the setup plausible and be smart about the execution. In Absolute Flash #1, the generalities of how Wally West becomes the Flash work well enough, but it's the specifics that fall short in Jeff Lemire's tale of angst and accidents. Overall, it's not bad, but you won't be blown away.
How’s the Art?
Nick Robles may be the most traditional artist to roll up his sleeves on the Absolute line of comics to date. Robles's design for Wally, which is the focal character in (almost) every panel, looks every bit like your typical teenager. The clothing styles and mannerisms for Wally are on point, and the few bits of action work to project the frantic demeanor of a kid on the run after a terrible accident. In short, this issue is all about Wally's emotions and reactions, so Robles nails it.
What’s great about Absolute Flash #1?
Jeff Lemire's script satisfies the homework assignment by creating a version of the Flash that feels familiar but isn't the same. A kid walking into the wrong place at the wrong time is the classic superhero origin story setup, and the derivatives of the Rogues look pretty cool.
What’s not great about Absolute Flash #1?
Jeff Lemire's classic premise is a tried and true way for granting a hapless person superpowers, but for that premise to work, you have to believe the circumstances in which it happens. The problem with Absolute Flash #1 is that the circumstances are NOT believable.
Barry Allen decides to bring Wally West inside a top-secret lab where dangerous experiments are taking place because Wally is "bored." Later, after Wally has a fight with his father, Wally returns and enters the same lab without any security resistance while a dangerous experiment is taking place. Does the Army not have doors with locks or security guards? Are security standards incredibly lax in Darkseid's universe? Is this world like the Simpson's meme where Mr. Burns's secret control room is accessible by a broken screen door?
This flaw isn't a question of differing preferences for how something should be done. It's a question of Lemire not thinking through how something would plausibly work just to get to the outcome, and it feels a bit lazy.
About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.
Absolute Flash #1 is a perfectly serviceable reimagining of Wally West's origin story when a bored teenager with potential finds himself in the wrong place at the wrong time. Jeff Lemire's script utilizes a classic structure of Fate stepping in to change a person's life, but the execution lacks thought and believability. On the plus side, Nick Robles's art is excellent.
6.5/10
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Detective Comics #1095, by DC Comics on 3/19/25, finds Batman closing one mystery and exposing another when the truth behind Asema's killings is revealed to the public.
Is Detective Comics #1095 Good?
Recap
When we last left the Cape Crusader in Detective Comics #1094, Batman sent Damian Wayne undercover inside a Juvenile Detention Center to find the common link between the teenagers killed by Asema. The Dynamic Duo doesn't find all the answers they seek, but they do know the corrupt Warden has a special punishment that involves extracting blood from his prisoners. The issue ended with Asema leaving an envelope for Bruce Wayne with papers containing the "truth."
Plot Synopsis
In Detective Comics #1095, one door closes when another one opens. Rather than acting as the world's greatest detective (as the title would suggest), Batman is simply handed all the answers in an envelope from Asema.
What's in the envelope? First, you have the medical records of one Joe Chill, confirming Thomas Wayne operated on Joe to save his life before Thomas and Martha Wayne were murdered by Chill. Next, the records show that Scarlett Scott is Joe Chill's daughter, absconded away by Martha Kent to escape Chill's abuse. Last but not least, the envelope spills the beans on everything related to Theromise, the Sangraal procedure, and the link to the murdered teens. In effect, Batman is handed everything except Asema's identity.
After receiving multiple calls and visits from concerned friends, Batman chases down each lead to its logical conclusion.
First, he confronts Joe Chill to find out if the death of the Waynes was random or an act of revenge. It's random, which narrowly avoids an ill-advised retcon for Batman.
Second, Batman turns over the Theromise information to Clark Kent for a story that exposes the company's vampire-like procedure that involves blood stolen from teenagers. When the story goes live, Theromise is effectively ruined.
Last but not least, Batman confronts Scarlett Scott about her father, but she appears to not know his identity. However, Scarlett is deathly afraid of the organization watching her and warns Batman to get away from her. The issue ends with the name of the shadowy group - Elixir.
First Impressions
This must be International Lazy Week for DC creators because Detective Comics #1095 cranks the lazy meter up to eleven. In a bid to tie up as many loose ends as quickly as possible, Tom Taylor literally hands Batman all the answers just to get to the ending and reveal the masterminds behind Theromise. The point of Detective Comics is to show Batman as the world's greatest detective, but that can't happen with stories like this.
How’s the Art?
For reasons that aren't clear, Mikel Janín and Norm Rapmund execute an art style that somewhat mimics Bruno Redondo's work on Tom Taylor's previous title, Nightwing. The figure work is decent and the interesting camera angles create maximum visual drama. That said, Janín and Rapmund, much like Redondo, have a posey stiffness during what should be dynamic action scenes.
What’s great about Detective Comics #1095?
Well, if you were looking for answers because Tom Taylor was taking too long to make progress, Taylor more than makes up for it in this issue. The mysteries are blown wide open, and Taylor wisely chooses not to retcon the death of the Waynes, which is a backhanded compliment since he introduced the retcon potential in the first place.
What’s not great about Detective Comics #1095?
The whole point of Detective Comics is to show Batman fighting crime with his brains instead of his brawn and gadgets. What's the point of setting up a mystery if Tom Taylor literally hands the answers to Batman instead of figuring out the answers with expert detective work? Doing detective work is the whole point, but it seems Tom Taylor didn't get the memo.
About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.
Detective Comics #1095 ties up various loose ends and dispels several mysteries, but Tom Taylor's script completes the task in the worst way possible by just handing Batman all the answers. Either Tom Taylor needed to rush through the resolutions to get things moving, or he couldn't figure out how to resolve the mysteries in a satisfying way. Either way, this issue is a dud.
4.5/10
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Absolute Batman #6, by DC Comics on 3/19/25, shuts down the party for the Party Animals when Absolute Batman attacks Black Mask's operation at its source.
Is Absolute Batman #6 Good?
Recap
When we last left the Darkseid Universe's version of Bruce Wayne in Absolute Batman #5, the hulking Dark Knight met with Black Mask to take possession of the millions Black Mask offered in exchange for Batman's promise to stay out of the Party Animals' activities. At the last moment, Batman sealed his fate by burning the money and telling Black Mask where he can stick his "truce." Batman endures a savage beating before escaping into the sewers below, but he believes he got the best of Black Mask by broadcasting the beating to the public. Sadly, the exposure worked in Black Mask's favor when he used the spotlight to invite all of Gotham City's downtrodden to regain their power from a corrupt city by any means necessary.
Plot Synopsis
In Absolute Batman #6, the first arc and the conflict against Black Mask come to a close. The issue begins with Bruce taking refuge in Waylon "Croc" Jones's gym. Bruce's longtime friend is unhappy that he's just now finding out that Bruce is Batman. That unhappiness trickles through the rest of Bruce's friends when word gets around. The issue switches to a flashback where young Bruce has a comforting moment looking at old photos with his mother. The photos inform Bruce's motivation to soldier on in spite of his grief over his father's death.
Elsewhere, Mayor Gordon and Martha Wayne defend themselves against chaos breaking out in the streets, spurred by crates dropping from the sky containing weapons and Party Animal masks. When a citizen puts on a mask, the built-in HUD shows targeting information and cash prizes for committing an assortment of crimes. As Mayor and Deputy Mayor, Jim Gordon and Martha Wayne have a bounty on their lives for one million dollars each.
Later, Batman convinces his friend Oswald to pilot a helicopter to Black Mask's yacht because Batman believes the yacht holds the servers sending out bounty and targeting information to the Party Animals masks. Batman leaps from the helicopter, tosses Black Mask's entourage into the water, beats Black Mask to a pulp, possibly blinding him, and blows up the yacht.
The issue ends with the Party Animals giving up the fight because there's no money in it, Agent Pennyworth giving up on his relationship with his daughter to ensure her safety, and a grotesque man refusing to give up on his plans for Gotham City.
First Impressions
As a point of personal preference, I hate Bat-God moments. For those unfamiliar, it's a moment where Batman (any version) performs a feat of agility or strength that would be impossible to survive under any plausible circumstance. You get a pretty serious Bat-God moment in this issue, but if you can look past it, Scott Snyder ends the first arc of his experimental take on the Dark Knight on a surprisingly satisfying high note.
How’s the Art?
Nick Dragotta's art continues to win over hearts and minds with an issue that beautifully captures the emotional beats between a boy and his mother while giving you brutal Bat-fights to remind you that Absolute Batman doesn't play around. Couple the excellent layouts and scene progressions with one or two moments that respectfully pay homage to Frank Miller's Dark Knight Returns, and you get a visually captivating issue.
What’s great about Absolute Batman #6?
Scott Snyder's debut outing for the Absolute Cape Crusader ends on a high note by putting a stop to Black Mask's campaign of chaos with brute force, a teeny bit of smarts, and a few moments that upend the status quo from almost everyone involved in the Batman's circle. Change is good. Change that upsets the apple cart is better, but change that bristles with potential is best. Snyder nails the end of the arc where it counts.
What’s not great about Absolute Batman #6?
There's a moment of physical prowess when Batman leaps out of a helicopter that turns into the kind of Bat-God moment that will make you roll your eyes. When you see it, you can't help but say to yourself, "Come on, Man. He's clearly dead." It's okay for Batman to be impressive, but it's not okay for Batman to be ridiculous and still take the comic seriously.
About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.
Absolute Batman #6 ends the Absolute Batman's fight against Black Mask with twists, tension, emotional beats, and a shakeup to the status quo. Scott Snyder's script is the best in the series so far, except for a Bat-God moment that will make you groan, and Nick Dragotta's art is in top form.
8.8/10
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If you're interested in this creator’s works, remember to let your Local Comic Shop know to find more of their work for you. They would appreciate the call, and so would we.
As an Amazon Associate, we earn revenue from qualifying purchases to help fund this site. Links to Blu-Rays, DVDs, Books, Movies, and more contained in this article are affiliate links. Please consider purchasing if you find something interesting, and thank you for your support.
