Wilson’s dialogue is as crisp as ever.
Wilson’s dialogue is as crisp as ever.
Mignola and Roberson do a very clever job of establishing the story's place in history.
The drama-heavy issue is filled with lots of moody, atmospheric silences.
Wells has really switched the direction of the series into action/comedy mode.
The whole thing feels remarkably engaging.
The casual brutality at the end of the issue is a bit intense.
Venditti and McKinney pound the story into the page with a clever poetry.
Mendonca and Lucas maintain a crazy energy about the nightmare.
Williamson has a classy sense of language.
The big climactic conclusion is seriously funny.
Bayliss and Monti keep the emotional end of the conflict solidly grounded.
Waid’s narrative is subtly trippy on a number of different levels.
Weisman cleanly opens a primal and well-defined conflict of simple elements.
Jurgens has constructed a solid ending.
Andolfo and Blengino move the action around with a deft hand.
As a writer, Kubert knows her own strengths as an artist.
It’s a simple and primal idea.
A Culver-written Zatanna series would be great fun.
Directionless energy allows Culver to explore the skewed psyches of his characters,
Kudranski’s attempts at the profound only occasionally brush against something other than cliche.