David Wade, Sojourners Magazine, July 2004: "Eisner explores the lives of the people he remembered from his youth among an impoverished but colorful immigrant community in the Bronx. His stories explore issues of life, death, faith, and failure with all the warmth and complexity one would find in fine fiction. ...[B]oth the heroic and the villainous lived in tension within his characters."
Peter Schjeldahl, The New Yorker, Oct. 17, 2005: "[N]ever leaving well enough alone is apparently a principle for Eisner. Over-the-topness is endemic to the comics, of course — an industry standard for popular action and horror titles, as well as for manga, and the default setting for [Robert] Crumb's work. But it is ill suited to serious subjects, especially those that incorporate authentic social history."
David L. Ulin, Los Angeles Times review of The Contract With God Trilogy: Life on Dropsie Avenue, Nov. 20, 2005: "...elaborate sagas of immigrant life, of the struggle with God and meaning — stories that attempt to tease out the complex issues of existence, issues that cannot be resolved. ... "Who knows," Eisner writes above a full-page drawing of swarming cockroaches, "why all the creatures of earth struggle so to live." It's a plaintive motif, and it resonates across these pages, as Eisner's characters strive not just to survive but to understand — a desire that, as often as not, eludes them in the end. ... Eisner's iconic status makes it hard to approach him critically; how do you take on a legend, after all? Yet to read these three novels back-to-back-to-back is to be reminded not only of his considerable innovations but also of his limitations. His visual style, developed in the 1930s, never progressed beyond a broad-strokes realism, more appropriate for the funny pages than for the nuanced work he would aspire to create. His narrative abilities, too, are uneven, occasionally gimmicky and contrived. ... Still, there remains something momentous ... a magisterial quality, as if we're witnessing the birth of a movement, a kind of aesthetic big bang."