A Sense of Doubt blog post #4073 - DC: KO - Review (and Knightfight) - COMIC BOOK SUNDAY FOR 2604.12SPOILERS AHEAD. AVOID IF YOU DON'T WANT THEM.I didn't like it.
Of course, fans love seeing their heroes fight each other. That's fun. Who would win? Though we know from the Dark Knight Returns how Batman would defeat Superman. We know from Kingdom Come how Shazam can beat Superman.
I get the attraction of the concept, though villains were added, so it wasn't just hero-hero battles.
But it all felt like a comic that was a prelude to a video game and whole bunch of merchandising.
The premise for WHY the heroes were fighting one another was really far-fetched and contrived, even more contrived than other similar stories like Marvel's Secret Wars.
Then the last hero standing -- Superman -- was very predictable and uninteresting after a range of matchups:
My rating would be lower than seven.
Not sure how much lower without putting thought into rating each issue, which I am not inclined to devote precious time to thinking about that.
Some issues were better than others despite my disgust at the premise.
I know fans were excited for the inclusion of the Absolute Universe heroes, at least the Trinity, but that issue (number four) may be the most disappointing choice -- the absolute universe is a creation of Darkseid.
meh.
Unless that explanation was just for this issue and not representative of the real origins of those characters. That's my hope at least because this explanation is terrible.
In addition to feeling like the set up for a video game release, DC KO reinvigorated characters for new books, like Lobo and Firestorm. I appreciate that and would have liked it more if it had been handled better.
In fact, the spin off literally took the form of a double page spread:
The Batman spin-off Knightfight was much better.
https://comicbookroundup.com/comic-books/reviews/dc-comics/dc-ko-knightfight-(2025)Readers thought so, too, with critics rating it a 9.1 of 10 and users an 8.4/10.
Though the
KO premise runs underneath what is happening in
Knightfight, the spinning of Batman through a series of alternate universes of ways in which his Bat world can go wrong as a way to force him to make choices that serve the interests of the thing creating the tournament was much more interesting on both a plot level and a character level than anything going on in the main
KO book.
Of course the art is a factor. I am biased. I love Dan Mora. And from a writing stand point, I also am very fond of Joshua Williamson. In contrast to KO written by Scott Snyder, who I like a lot (love Absolute Batman) though not on this go around. Nothing against Javi Fernandez as the main KO artist, but I like Mora better.
Back to DC: KO.
Housing Darkseid in Booster Gold was probably one of my favorite things about the series.
I also liked the game night of the trinity that was threaded through the whole series.
And despite my love of the Legion, I did really like the Darkseid servant, evil Legion, especially since they still exist at the end of the story and the whole plotline sets up a re-introduction of the Legion series in the near future.
But the greatest flaws are the contrived and too all universe encompassing nature of the entire story.
Since when do the current earth heroes have the power and means to QUICKLY evacuate everyone on the planet??? That's just ridiculous.
Also, Darkseid is a much better threat when he is not some all powerful universe creating and ending entity. Kirby was smart enough not to make him so all powerful, even though he wielded great power and was an existential threat to the side of good.
Granted, if one makes Darkseid a universe-level threat than Superman must be upgraded to combat him and win.
But this is all just too big with stakes that are so abstract and far-sweeping that it is difficult to care about them.
And so ultimately, Superman re-creates the universe????
Is that what happened?
And that's just too much.
It seems like DC loves to draw on the success of Crisis on Infinite Earths and try to recapture what made that series so successful again and again and again and, well, you get that idea.
But that series captured fan interest because it had never been done before.
By now, it's been done so many times that surely it is meant with at least disinterest if not outright derision.
This again? Another reboot?
As the review I share below makes clear, it's difficult to know what happened. Is this a hard reboot? Or did Superman become an all-powerful cosmic entity to simply recreate the universe that already existed, restore the status quo. It seems to be the latter.
But where does that leave Darkseid exactly?
There are hints of another Crisis event on the horizon, though, which deserves another "meh" reaction.
For all the build up and hype, overall this series was a huge disappointment.
And the final issue, more loved by this reviewer below than in my estimation.
Makes me wonder if I should be spending my money on things that do not bring me great joy.
So, there you have it.
Thanks for tuning in.
REVIEW OF ISSUE FIVEhttps://www.weirdsciencedccomics.com/2026/03/dc-ko-5-review.htmlWritten by: Scott Snyder, Joshua Williamson (Coda, Interlude)
Art by: Javi Fernandez, Xermanico (Interlude), Wes Craig (Coda)
Colors by: Alejandro Sanchez
Letters by: Hassan Otsmane-Elhaou
Cover art by: Javi Fernandez, Alejandro Sanchez (cover A)
Cover price: $4.99
Release date: March 4, 2026
DC K.O. #5 (DC Comics, 3/4/26): Writer Scott Snyder and artist Javier Fernandez stage a cosmic clash for Superman when Darkseid’s tournament crowns its final champion in a high-impact, end-of-the-world slugfest that leans hard into metaphysical stakes. The execution is visually muscular but structurally uneven, delivering huge moments on an epic scale while soft-pedaling lasting consequences, Verdict: For die-hard fans only.
First Impressions
The first thing that hits you in DC K.O. #5 is the sheer size of the spectacle, with Superman and Darkseid colliding in page after page of grand, operatic violence that feels built to shake a multiverse instead of just a city block. The script aims for mythic finality and, in bursts, it lands with real force as Superman taps into strange new power and throws himself at a god who treats reality like a board game, yet the issue also keeps hedging its bets on what actually changes when the dust settles.
Once the main fight gives way to the aftermath, the tone shifts into something closer to a soft reset than a revolution, where the narration is busy telling you that this is the final round to end all finals while the plot quietly folds the toys back into their boxes. That disconnect, paired with a jarring shift in visual style between the central battle, the interlude material, and the closing coda, leaves you feeling like you read three related comics instead of one cohesive finale, which undercuts the emotional punch the script keeps promising.
In the previous issue, Superman, Batman, and Wonder Woman clashed with Absolute Earth versions of themselves who moved and thought like Darkseid-infused reflections, turning the tournament into a brutal mirror match that stripped away any illusion of nobility. Clark realized the boy Superman’s cape was made from Kryptonian cosmic dust, tried to burn his counterpart free at the cellular level, and instead turned that cape into a diamond-hard cage while Wonder Woman discovered Darkseid’s essence had so dominated her Amazon double that even the lasso of truth could not find a separate soul inside. Batman, fresh from a Mother Box odyssey, used sleight of hand and explosives to take down his own twisted double as Joker volunteered to become a fourth horseman and was rewarded by the Heart of Apokolips with a monstrous new form, revealing how casually Darkseid could rewrite anyone he found useful. Eventually Darkseid manifested fully, wiped out Diana, Bruce, and the Absolute heroes in a single Omega storm that left only Superman and Lex standing, then watched as Lex shot Clark in the back to win the tournament and claim the title of King Omega, while a backup story jumped ahead to hint at a future where Darkseid’s long game, his horsemen, and a mysterious opposing light were only just beginning to take shape.
The issue opens in the immediate aftermath of Lex Luthor’s betrayal and temporary coronation as King Omega, with Darkseid holding the Heart of Apokolips out like a prize and the multiversal wreckage still burning around them. Before Lex can fully consolidate that victory, the narrative yanks the camera to the pocket future seeded throughout the event, where the Time Trapper and Doomsday fusion finally steps out of the shadows to reveal the true nature of the “future” timeline and the stockpile of Alpha energy he has been hoarding. In a move that reframes the entire tournament, this hybrid cosmic manipulator chooses to pour his creation energy into Superman, rebooting Clark from apparent death and sending him back into the arena with a new status as a living counterweight to Darkseid’s Omega power.
Superman’s return triggers the proper final round, one that sidelines Lex and centers an upgraded Clark as he confronts Darkseid not just as a physical opponent but as the embodiment of the Absolute universe itself. The fight escalates quickly into reality-warping blows and energy storms, with the Omega Heart reacting almost like a character in its own right, fascinated by the clash of Alpha and Omega inside and around Superman. Each exchange is framed as two universes punching through each other, yet the script also pauses to stress that Superman has no intention of sitting on a cosmic throne, which creates a tension between the spectacle of a coronation fight and the hero’s refusal to play the game on Darkseid’s terms.
As the battle reaches a fever pitch, Superman leans into connection rather than dominance, drawing on the presence, memories, and symbolic weight of the heroes and worlds that Darkseid has battered across the event. Instead of using the Alpha charge to settle into the role of Omega King, he channels that energy outward, reviving allies, restoring shattered realities, and forcing Darkseid to retreat rather than accept a simple binary of winner and loser. The Omega Heart, confused by a champion who refuses to claim the standard prize, sputters through its own crisis of purpose while the actual god of tyranny finds himself pushed back into the cosmic dark, more inconvenienced than destroyed.
In the fallout, the comic shifts gears into a quieter coda that checks in on the survivors, the repaired or reconfigured universes, and the narrative framing that tries to sell this as a new starting line for the DC line rather than a hard reboot. Different artists pick up the baton to handle a future-leaning interlude and a closing tag sequence, teasing new roles for figures like Superboy Prime and Barry Allen while hinting that Darkseid’s influence and the Absolute constructs are not entirely gone. Yet the final pages also let Superman slip away into a kind of deliberate absence, leaving the supporting cast and the reader with vague hints instead of a clear mission statement, which makes this “final round” feel less like a decisive checkmate and more like a very stylish loop back to something close to the original status quo.
Snyder’s script leans heavily into big, declarative narration and thunderous speeches, and when those beats coincide with the most intense exchanges between Superman and Darkseid, the language lands with a satisfying, operatic weight that fits the premise of a cosmic tournament finale. The pacing through the central fight is brisk and propulsive, stacking reversals and power reveals in a way that keeps the pages turning even as the metaphysics grow opaque, so the reading experience remains engaging moment to moment. Dialogue between Superman and Darkseid feels appropriately mythic, trading barbs about purpose, power, and the nature of victory, although the script sometimes leans so hard on grand statements that individual character voices blur into a shared narration register.
Structurally, the issue is ambitious but wobbly, trying to juggle the Lex fallout, the Time Trapper revelation, the Superman resurrection, the Darkseid fight, and an epilogue tease within a single chapter that frequently feels like it is rushing to clear its own to-do list. The Time Trapper and Alpha energy twist is presented more as a quick explanation than an earned culmination, which dulls the impact of that reveal and turns what should be an elegant structural payoff into something closer to a plot patch. The biggest structural problem arrives in the ending, where the narration insists that this is the moment everything changes while the actual state of the DC Universe looks suspiciously similar to where we started, aside from a few new mysteries and a Superman-shaped question mark. That choice makes the finale feel like it pulled back at the last second, opting for a safe glide path instead of a bold landing.
Javier Fernandez’s main story art gives the Superman versus Darkseid material a raw, kinetic energy, with jagged lines, aggressive foreshortening, and big, explosive layouts that sell the idea that every punch is dragging universes along for the ride. The compositions during the central fight are clear and readable even when the panels are crowded with debris and Omega energy, which is crucial in a finale that could easily devolve into visual noise if the storytelling faltered. Alejandro Sanchez’s color work on these pages leans into intense reds, searing whites, and ominous violet shadows, crafting a mood that feels appropriately apocalyptic while still keeping the main figures legible against the chaos.
The problem comes when the book pivots into its interlude and coda, where a different art team brings in a smoother, less gritty aesthetic that clashes noticeably with the heavy-metal tone of the primary battle. On a technical level, those sequences are clean and competent, with solid acting and pleasing palettes, but stylistically they feel imported from a different event book, which makes the transition between segments distracting rather than refreshing. The mismatch between the main story’s jagged, high-impact visuals and the more polished, almost breezy look of the coda undercuts the sense that this is one continuous narrative, and it makes the supposed epic conclusion land more like a stitched-together anthology of related moments. For a story that wants to convince readers they have just witnessed a singular, defining clash, that lack of visual cohesion is a real hit to immersion.
Superman’s arc in this issue is built around rejection of absolute power, and on a thematic level that tracks cleanly with decades of characterization that paint him as someone who will always choose people over thrones, which gives his choices here a credible emotional spine. His refusal to fully embrace the Omega King role and his decision to prioritize revival and restoration over triumph feel consistent, but the script does not always slow down enough to let those motivations breathe in specific, grounded conversations, which keeps the emotional resonance a step below the spectacle. Lex, meanwhile, becomes almost a non-factor after his huge betrayal, so readers looking for a deep dive into his psyche or a satisfying exploration of what “winning” meant to him will find the character oddly sidelined once the plot no longer needs him as a catalyst.
Supporting figures and the broader cast are treated more as symbolic pieces on the board than as evolving individuals, an understandable tradeoff in a large-scale finale but one that limits relatability. The Time Trapper and Doomsday fusion gets a functional motivation as the architect willing to sacrifice himself to empower Superman, yet he never feels like a fully realized character so much as a narrative instrument that happens to talk. The coda hints at new paths for characters like Superboy Prime and Barry Allen, but those teases are more about brand positioning than clear personal journeys, which keeps the focus squarely on concept over interiority. For readers who come to events hoping for meaningful growth or change, the character work here will feel more like a quick gloss than a lasting evolution.
Originality & Concept Execution
As a concept, DC K.O. has always had a bold hook, framing a multiversal tournament as both a gauntlet for heroes and a meta-mechanism for tuning the DC line, and the idea of crowning a King Omega who must literally battle themself to win is a sharp twist on familiar event tropes. The reveal that the future timeline is a pocket construct engineered by a Time Trapper and Doomsday hybrid with both Alpha and Omega energies is undeniably wild, and the notion of gifting Superman extra lives and creation power to reenter the game pushes the character into an intriguingly strange conceptual space. On a freshness level, this mix of tournament structure, cosmic board-game framing, and timeline engineering does not feel like a simple retread, and it tries aggressively to justify its existence as more than just another hero versus Darkseid brawl.
Where the execution stumbles is in follow-through, since the finale spends a lot of time talking about how it will bring the DC universe to the next level yet cycles back to a comfortable equilibrium that leaves most things intact. Superman’s choice to step away, Darkseid’s retreat, and the loose threads about Absolute constructs and opposing lights all hint at future stories rather than delivering a satisfying sense of closure, which makes the event feel less like a bold new chapter and more like an elaborate prelude. The book absolutely nails the feeling of an epic crescendo, but it undercuts its own originality by refusing to let the consequences bite down hard enough to truly reshape the line in the way the premise implies.
Pros and Cons
What We Loved
- Epic, apocalyptic Superman vs Darkseid sequences with high-impact staging.
- Inventive Alpha and Omega power concepts that push Superman into strange territory.
- Fernandez and Sanchez’s main-story pages deliver bold, kinetic visual storytelling.
Room for Improvement
- Clashing art styles between main story, interlude, and coda break visual cohesion.
- Ending drifts back toward status quo instead of committing to real change.
- Key twists and motivations are explained briskly rather than fully dramatized.
The Scorecard
Writing Quality (Clarity & Pacing): 3/4
Art Quality (Execution & Synergy): 3/4
Value (Originality & Entertainment): 1/2
Final Verdict
DC K.O. #5 delivers the kind of massive, theatrical showdown that event fans crave, with Superman and Darkseid pounding each other across reality while cosmic artifacts argue about what victory even means. The main story looks big and feels big, and there is real pleasure in watching the creative team swing for the fences with concepts like Alpha lives, pocket futures, and a hero who wins by refusing the crown. At the same time, the art shift between the centerpiece battle and the surrounding material is jarringly inconsistent, and the script ultimately tiptoes back toward a familiar baseline while promising that everything is different now, which does not quite square with what is on the page. If you are invested in the event or eager to see Superman at his most cosmically amped, this issue earns a slot in your stack, but if you are hunting for a finale that truly rewires the landscape rather than hinting that change might arrive later, your time and money may be better spent elsewhere.
7/10
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
- Bloggery committed by chris tower - 2604.12 - 10:10
- Days ago: MOM = 3937 days ago & DAD = 591 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
