Gerber finds his way to a conclusion—an unexpected one, actually. It’s nice how limited series used to be able to build over their run. His excellent pacing has something to do with it. Gerber gets in a lot of story, especially considering he focuses on multiple characters throughout.

Unfortunately, Lex is no longer amusing this issue. Gerber plays him as a straight villain. It all works out, story-wise, but there’s definitely some missed opportunity.

Also unfortunate is the return of Bright’s problems. Sure, Superman shows up and Bright can’t draw him or Clark Kent, but he also draws a strange claw on a regular woman. It’s like Adams wasn’t paying any attention either while inking.

Still, art problems can’t compete with Gerber’s writing and the series is a success. It’s a little slight, since it’s played just for laughs, but it’s a definite success.

It should’ve been longer.

Al heads to Apokolips—after Lex proposes to breed him with some of his female staff—and meets up with a preteen Fury. They form a musical duo.

Gerber comes up with some outlandish ideas, but he curbs them in the reality of DC continuity, which just makes the read all the better.

I still haven’t really figured out how to talk about A. Bizarro because Gerber doesn’t exactly have a protagonist. Al’s the subject of the book; he’s at the center of its events, but he’s not its center. There’s a great scene when he calls Lex a bald guy….

Bright’s art doesn’t have any of the previous issue’s deficiencies here. It’s not outstanding, but it’s serviceable.

We also miss a lot here—Gerber first skips a week, then six weeks, then six months. Sure, he’s doing a comedy and it’s for effect, but it hampers the reading experience.

Superman shows up this issue and Bright draws him so poorly I want to take back everything complimentary I said about his art on the first issue. Bright can’t draw Superman’s face–he gets the proportions of the head wrong–and he also can’t draw him flying. It’s a disastrous opening for the issue.

Thank goodness there’s Gerber.

This issue is all about Al (Bizarro) finding his place in Metropolis. He ends up a panhandler, sidekick to a rather amusing character (Gerber’s writing here is really great), then a stick-up man. Until the Guardian puts a stop to that line.

Gerber intercuts with some goings-ons at Lexcorp–Gerber makes Lex likable. He’s still a villain or whatever, but he’s very amusing.

There’s not really any character development; it’s just a trip through Metropolis with a very particular tour guide.

Shame about the art though. The writing deserves better.

I knew the concept—regular guy gets a Bizarro made of him—but Gerber still does manage to get some surprises out of it.

When the issue opens, Al (the Bizarro) is slowly losing his faculties as he turns into a regular Bizarro. It makes him immediately sympathetic, something Gerber keeps up because the character talks to himself the entire issue. So it’s a comedy.

So far, Gerber has very little to say about superhero comics (Lex makes an appearance and Superman’s a tiny dot on the last panel) and a lot more to say about distorting the everyday. Still, the comic is tied in to regular continuity; it’s hard to anticipate where Gerber will take it, considering the conclusion here was unexpected for a first issue.

Bright’s art is okay. There’s nothing really wrong with it save a lack of creative enthusiasm. Most importantly, he never hinders the script.