Comic Book Reviews for This Week: 3/13/2024

Welcome to this week in comic book reviews! The staff have come together to read and review nearly everything that released today. It isn’t totally comprehensive, but it includes just about everything from DC and Marvel with the important books from the likes of Image, Boom, IDW, Dark Horse, Dynamite, and more.

The review blurbs you’ll find contained herein are typically supplemented in part by longform individual reviews for significant issues. This week that includes Batman/Dylan Dog #1, Ghost Rider: Final Vengeance #1, I Heart Skull-Crusher #1, and Star Trek: Sons of Star Trek #1.

Also, in case you were curious, our ratings are simple: we give a whole or half number out of five; that’s it! If you’d like to check out our previous reviews, they are all available here.

DC #1

ACTION COMICS #1063

Action Comics #1063 brings with it the conclusion of the “I, Bizarro” arc and it’s a bizarre ending and arc indeed. This issue feels very much like a situation where the writer got bored with their story and just did a quick—albeit long-winded—wrap up of the story by telling the reader by way of lengthy narration that Superman dies over and over in his quest to defeat the Bizarro within. Perhaps even weirder is that there’s also some odd Bizarro-Joker monologue that ends up being the big day-saver and in the end we’re left with a weird issue that sees Superman punch himself a lot, the Joker be a gentlemanly hero, and everything get tied up with a pretty bow in what feels like a poor imitation of a good Superman story. The art’s nice, but everything else here is superficial and flashy and not particularly well-crafted and ultimately highlights Jason Aaron’s bigger weaknesses as a writer: things sort of come unglued all too easily and too quickly and there’s no gloss that can hide that. — Nicole Drum

Rating: 2.5 out of 5

BATMAN AND ROBIN #7

Batman and Robin #7 cements the turn that the previous issue made in that this series has finally found its footing and trajectory; the presence of Flatline really elevates both the issue and the story in a very good way. We slow down a bit to reset the story—this is definitely an issue setting things up for what might be a very unexpected team up teased on the final pages—but it’s very well done with a well-paced new subplot for Damian and not to mention some fantastic art from Simone Di Meo. This is a very strong issue that highlights relationships and personality and it’s beautifully executed. — Nicole Drum

Rating: 4 out of 5

BATMAN AND ROBIN AND HOWARD #1

I’d only heard of the Batman and Robin and Howard graphic novel, but after reading the first issue of its comic, I can see it’s appeal. Dropping Damian Wayne into a new school and having to meet new friends and a potential rival made for a fun read, and it’s story is straightforward enough that young kids can read it themselves, or with an adult. Definitely worth checking out. — Tim Adams

Rating: 4 out of 5

BATMAN/DYLAN DOG #1

[READ THE FULL REVIEW HERE]

What Batman/Dylan Dog #1 seems to understand from its very first page is that nothing is required to improve either of its titular concepts; their longstanding popularity attests to the quality of both heroes as icons of action comics. Instead, Recchioni emphasizes how their distinct personalities, supporting casts, and genres can enhance one another. That classic concept of two great flavors combining to make something every bit as good is achieved in every page from Cavenago and Dell’edera. A sewer battle with Killer Croc is made to look entirely new in their pencils and inks and Xabaras’ zombies are creepier than ever with wide, toothy smiles. The only truly new element in the issue is the combination of these two characters’ narratives, but the execution is so good that readers will be reminded why both names are considered icons. — Chase Magnett

Rating: 4.5 out of 5

FABLES #162

Fables #162 is a solid end to this Fables revival, with Greenjack bringing Peter Pan to a very fitting end. The issue serves as a nice bookend that fits… before the true end of the series and helps to flesh out the Cubs’ story, while also leaving a few small bits open to be expanded upon should Fables return for a third time. While I enjoyed the previous end to Fables, this was a fun return that was a bit breezy at times but still felt like the classic series at its most fun. — Christian Hoffer

Rating: 4 out of 5

GREEN LANTERN #9

Jeremy Adams and Xermanico’s Green Lantern run has brought welcome growth and nuance to Hal Jordan, but it’s also expanding the Green Lantern mythology in some massive ways. Adams has been building to this reveal since the series began, and it not only opens up more creative opportunities for Jordan, but also frames the Lanterns of 2814 in a new way that longtime fans will appreciate. Those fans will also appreciate some truly stunning pages courtesy of Xermanico and colorist Romulo Fajardo Jr, and that’s even before we get to the chaos of the second half of the issue. That second half also tees up the next arc of the series in a huge way, and it’s one fans of the Corp will not want to miss. That also ties in directly to “The Trial of Jessica Cruz” from Sam Humphries, Yasmin Flores Montanez, Alex Guimaraes, and Dave Sharpe, who re-establish Jessica Cruz after the character seemed to drift a bit from a central idea. This is a welcome return to form, and it really seems that altogether, fans are witnessing the beginning of a new golden era of Green Lantern, and I couldn’t be more thrilled. — Matthew Aguilar

Rating: 5 out of 5

DC #2

OUTSIDERS #5

As we near the midpoint of this Outsiders arc, the series continues to bend, without ever breaking, the expectations surrounding it. Kelly and Lanzing’s script is a bit more dense than prior issues, and not as singularly satisfying as the previous Jenny Crisis installment, but it still delivers some fascinating interplay and wallops of moments. Robert Carey’s art and Valentine Taddeo’s colors work together beautifully to create an affair that is moody, yet never somber, with some inspired choices in terms of costume design. While not without its flaws, this issue only has me more excited to see what the remainder of Outsiders has in store. — Jenna Anderson

Rating: 4 out of 5

RED HOOD: THE HILL #2

Red Hood: The Hill #2 feels like a repeat of the first issue, just with a few more details and a little more complexity – and Jason continuing to take a backseat to the rest of the players in this vigilante story. Generally, there is potential here. The idea of getting into a story on the edges of Gotham that is about how the violence that permeates everything in the area truly impacts people is a good thing, but given the rather long and at times confusing narrative, it’s starting to feel like this story is less a slow burn and more something that should have been a full graphic novel for how complicated it can be in keeping track of everything going on. — Nicole Drum

Rating: 3 out of 5

SINISTER SONS #2

The spawn of Zodd and Sinestro continue their Odd Couple adventure as they fight against themselves and the horrors of outer space. Lor-Zod and Sinson work well together in giving readers quite a few light-hearted chuckles as the two aspiring villains clash heads, as Tomasi clearly hasn’t lost his step since bringing together Jonathan Kent and Damian Warne in a similar fashion. Ultimately, my major complain remains the same as the first issue, wherein artistic duties are split between Vasco Georgiev and David Lafuente in a way that feels jarring for the issue. If you are going to have two artists sharing duties on a single issue, splitting them between scenes that have different themes would work best in telling a story. Ultimately, Sinister Sons is still continuing a good enough opening salvo, but needs to stick to one artistic identity moving forward. — Evan Valentine

Rating: 3.5 out of 5

SPEED FORCE #5

This penultimate issue easily offers Speed Force‘s best aesthetics yet, with Daniele di Nicuolo and George Kambadias delivering some ambitious and unbelievably lively panels. Unfortunately, the script doesn’t provide nearly as strong of a foundation, once again bouncing between moments of random slang and circular plot points or conversations before dovetailing into the series’ final act. I’m still looking forward to seeing how Speed Force ties everything together, but this issue indicates that the end result might be looser than some would like. — Jenna Anderson

Rating: 2.5 out of 5

SUICIDE SQUAD: DREAM TEAM #1

Suicide Squad: Dream Team #1 balances an exposition-heavy introduction with a curious collection of B-list characters and some intriguing layouts. The plot is laid out in a heavy-handed fashion with Amanda Waller playing like a mustache-twirling villain of melodrama and many dialogue series simply laying out origins and premises. Yet familiar characters, most of all Harley Quinn, play up their own idiosyncratic charms to make what little action there is on the page more interesting. Even when it’s clear this team will implode, the exact nature of that disaster offers potential. Penciller Eddy Barrows elevates that familiar set up of material with some interesting perspective and page designs. The artwork present in this issue promises that when things go well and truly awry, the fireworks will be worth witnessing. — Chase Magnett

Rating: 3 out of 5

WESLEY DODDS: THE SANDMAN #6

The Sandman: Wesley Dodds has been an unexpected delight for six consecutive issues. Riley Rossmo’s artwork draws from such greats as Will Eisner but with a beautifully modern sheen thanks to Ivan Plascencia’s colors and Robert Venditti’s story, rooted in a moral complexity often lacking from a superhero story. Heroes in such stories suffer for their beliefs. However, the means of that sacrifice are soap operatic, be they the howls and tears after losing an ally or the pain brought on by incredible feats of strength. How often is a hero without superpowers beaten over the head with a fire poker until they’re bruised and bloody because he won’t back down from what he stands for? Somehow, this moment of visceral, violent physical defeat and weakness conveys more emotional and moral strength than Superman lifting a car or Batman continuing his quest despite losing another sidekick along the way, and that’s a testament to how well this creative team has tapped into what makes this pacifists vigilante compelling. If there’s a flaw here, it’s that the reveal of the true villain behind Dodds’ recent tribulations is somewhat predictable. However, the execution is strong enough to be forgivable. If there’s a second complaint, it’s that this is the series’ last issue, which feels criminal. We need a Wesley Dodds ongoing series from this creative team immediately. — Jamie Lovett

Rating: 4.5 out of 5

Marvel #1

ALIEN: BLACK, WHITE & BLOOD #2

Alien: Black, White, & Blood continues to prove that the anthology format best suits this franchise when it comes to comics. Writers Collin Kelly and Jackson Lanzing and artist Michael Dowling continue the ongoing story that is seen throughout each issue, delivering another tantalizing chapter full of intrigue. Paul Jenkins and Luigi Teruel bring a story that feels like something we’ve seen countless times, but end it with a humorous lens largely avoided in Alien stories. Finally Stephanie Williams and Jethro Morales close it out with maybe the best looking of the three stories, another one-and-done that is a sight to see and fun to read. — Spencer Perry

Rating: 4 out of 5

THE AMAZING SPIDER-MAN #45

Following the months-long “Gang War” event, The Amazing Spider-Man #45 takes a moment to reacquaint readers with the series’ status quo and many lingering subplots that compose the soap opera of Peter Parker’s life. Despite a general lack of action, it’s easily as enjoyable as anything found in the past six issues of mayhem in Manhattan. Whether Peter is reconnecting with erstwhile mentor Norman Osborn or affirming his friendship with Mary Jane, these relationships are well realized on the page. Dialogue and physical interactions reveal shades of nuance based upon decades of shared stories, while also setting the stakes for what’s to come next. It’s clear each of these connections—even sympathy for recurring villains—is meaningful to Peter and filled with potential risks. That uncertainty is as meaningful as any big battle in Central Park and makes the cliffhanger reveal at the end of Amazing Spider-Man #45 all the more sinister. — Chase Magnett

Rating: 4 out of 5

AVENGERS: TWILIGHT #4

The Avengers have officially assembled, with Captain America, Iron Man, and Thor escaping from the Raft with new allies and something of a mission statement. While the Avengers are looking to take back America from Red Skull, they discover just how far his deception runs. The real question is whose side James Stark, Tony and Janet’s now adult son, stands on. While this comic explored some of the dystopian elements in the earlier issues, it’s really struggled to frame how effective control of media and information is in the last issue or so. Part of that is due to the nature of the story: as the Avengers assemble, there’s less focus on how or why the future has changed. There’s plenty of meat left on the bone to be explored here, but I’m not sure this comic can deliver both a strong message and stick to the standard superhero beats. Still, Zdarsky and Acuna can certainly subvert expectations, so there’s still room to impress in this series. — Christian Hoffer

Rating: 3.5 out of 5

BLACK WIDOW & HAWKEYE #1

Black Widow’s new symbiote-linked status quo returns to the spotlight in a team-up with Hawkeye as the ace archer finds himself chased across the globe by assassins after being accused of assassinating a Russian diplomat himself. The issue utilizes split perspectives and multiple timelines in a surprisingly graceful fashion to establish the premise without relying too much on expository dialogue or narration. Yet the relationship between Clint and Natasha requires the characters to reaffirm their history and feelings in blunt terms. A broad collection of gimmicky killers provide plenty of action sequences, although their presentation is best characterized as standard for Marvel’s current house style. Black Widow & Hawkeye is bound to please devoted readers of either character as they lean into their most familiar traits, but there’s not much present to hook those who may not already be dedicated to collecting their comics. — Chase Magnett

Rating: 3 out of 5

CARNAGE #5

“Symbiosis Necrosis” creeps along in its second chapter as Carnage confronts Dylan Brock in a showdown largely defined by Cletus Kasady’s internal monologue comprised of interminable philosophizing over death, art, and children. It may be no surprise that Carnage’s conception of their role is ultimately so shallow, but it makes for a poor reading experience as that shallowness reveals little else. Every character they encounter not deeply rooted in Marvel Comics lore is dead within a few panels and the endless array of severed heads and limbs quickly grows dull. Even when a splash page delivers a wide array of simultaneous vivisections and broken forms, it’s easy to wonder what the purpose of all that carnage is. Only the final page drawing Carnage into the much more engaging realms and concepts of the current Venom run offers a glimmer of hope that “Symbiosis Necrosis” will summon more than the most overdone symbiote tropes available. — Chase Magnett

Rating: 2 out of 5

DEAD X-MEN #3

Foxe’s script for Dead X-Men #3 is more or less the same story we’ve seen in the past two issues. Though the change in artists between timelines keeps things fresh, the wheels of this story churn in place taking readers on the same journeys as before. — Adam Barnhardt

Rating: 2.5 out of 5

Marvel #2

FALL OF THE HOUSE OF X #3

At three issues in, Fall of the House of X has become the antithesis of the House of X miniseries from which it takes its name. Where Jonathan Hickman insisted that all other X-Men titles end before he began his run to ensure that House of X (and Powers of X) were the sole, singular X-Men narrative for readers to focus on, Fall of the House of X feels less like a story in itself and more like a highlight reel of events happening in the handful of other Fall of X stories that are running simultaneously. Even the plot beats that are solely occurring in Fall of the House X feel like scenes rather than stories because the issue bounces quickly from one to the next, and what a wasted opportunity to see into the mind of Dr. Stasis and find his greatest fears about mutants amount to simplistic physical violence, as if his entire hate-fueled campaign was based on being worried the X-Men were going to beat him up for no reason. There’s a line delivered by Cyclops here that is keeping in the spirit of Cyclops and Jean’s original mission statement for this iteration of the X-Men as a superhero team but will likely serve as a Rorschach test for people’s feelings about the Krakoan era. Even as somehow who still appreciates and finds nobility in the X-Men’s old “protecting the world that fears and hates them” mantra, it’s hard not to see Cyclops emphasize a version of that sentiment as part of Fall of the House of X’s continuing call back to a bygone X-Men era. — Jamie Lovett

Rating: 2 out of 5

GHOST RIDER: FINAL VENGEANCE #1

[READ THE FULL REVIEW HERE]

Ghost Rider: Final Vengeance #1 is a strong enough start for this new era of the Spirit of Vengeance. There are a few dents in the cycle that stop it from being a timeless classic in Ghost Rider’s arsenal but there’s enough from Percy and Kim to have readers on board. — Evan Valentine

Rating: 3.5 out of 5

THE IMMORTAL THOR #8

The Immortal Thor #8 works to set the stage for a meta-textual odyssey involving Roxxon, The Minotaur, and Enchantress by looking back to Thor’s origins and interrogating his mother Gaea. This presentation of the earth goddess leans heavily into the imagery surrounding all of the Ut-Gard figures witnessed so far, considering what exactly the Earth’s interests and aspects would reflect. Although this dialogue works hard to lay the narrative groundwork for the series to come with plenty of exposition, the depiction of this history is vivid enough to distract. By its end it also manages to hone the thematic heart of The Immortal Thor as the most ancient of struggles are juxtaposed against modernity, which makes Thor striding into a skyscraper and calling down thunder in the final pages a perfect set up for wherever the series is bound next. — Chase Magnett

Rating: 3.5 out of 5

POWER PACK: INTO THE STORM #3

Power Pack: Into the Storm #3 moves forward with a complicated update that puts our tiny heroes to the test. When an alien monster goes after Franklin, all eyes pivot to save the kid before they discover the beast’s true goal. And by the end, Power Pack puts their heroes on the line when their superpowers are threatened. — Megan Peters

Rating: 2 out of 5

SPIDER-GWEN: SMASH #4

The most frustrating thing about Spider-Gwen: Smash is that there’s something there at the center of it all that is interesting. Writer Melissa Flores taps into the relationship of the title hero and her bandmate MJ in a way that feels deeply personal, but it is sadly surrounded by a largely nonsensical story where it gets lost. To make matters worse, the art leaves a lot to be desired. A stylized approach to a Spider-person comic book can certainly work but what’s on display here is confounding and often ugly. — Spencer Perry

Rating: 2 out of 5

STAR WARS: DARTH VADER #44

Vader and his Imperial Schism continues to recruit new members to sew the seeds of discordance among the Galactic Empire, potentially allowing Vader to overthrow the Emperor once and for all, but as if this wasn’t an deceptive enough double cross, there might be even more factions capable of carrying out deceptions of their own. This chapter continues to explore the growing unrest felt by members of the Empire, who are often regarded as a faceless, nefarious entity blinding acting under the orders of Vader and the Emperor, but now that their motives could be at odds, we get to see new glimpses at the monolithic organization. While we aren’t given anything substantially engaging in the narrative itself, the book doesn’t betray what the previous issues were setting up. It does seem like there could be a master plan for how the events of this arc will impact Vader’s relationship to the Emperor, and we look forward to seeing the overall impact on their dynamic, yet this issue only left us wanting more. — Patrick Cavanaugh

Rating: 3 out of 5

Marvel #3

STAR WARS: MACE WINDU #2

On his mission to protect Azita Cruuz, Mace Windu finds himself traveling deep within a desolate planet and finding unexpected adversaries, first in the form of massive worms, and then in the form of people who also aim to retrieve Azita. The standout element of this issue is the artwork by Georges Jeanty, inker Dexter Vines, and colorist Andrew Dalhouse. We’ve seen countless arid climates in the galaxy far, far away, but by spelunking deep into icy caverns, we get to witness a new color palette that allows Mace and Azita to remain the focal point of each panel. The actual narrative didn’t accomplish much in the realm of making for a more thrilling story, but with the previous issue being a bit more effective, we look forward to future chapters delivering a more satisfying narrative trajectory as opposed to dumping exposition. — Patrick Cavanaugh

Rating: 3 out of 5

SYMBIOTE SPIDER-MAN 2099 #1

I didn’t have many expectations going into the first issue, but I walked away impressed. It helps if you have some familiarity with the 2099 characters and universe, but the main plot of the storyline is still easy to follow. Everybody loves Venom symbiotes, which is why they can always be dropped in a story and it makes it all the more entertaining. What I especially like are the additional guest stars that can pop in, which we get in our introductory issue. It’s also smart to take Peter David’s Symbiote story and drop it into the 2099 future, even having it take place in-between previous issues of Spider-Man 2099. — Tim Adams

Rating: 4 out of 5

ULTIMATE BLACK PANTHER #2

I was critical of the first issue of Ultimate Black Panther because it felt too familiar, too safe, but what’s clear now after Ultimate Black Panther #2 is that writer Bryan Hill was using that familiarity to disarm us as readers. This carries back to what seems like a clear influence of Dune on the material, this version of T’Challa is veering on the territory of a despot, not a hero, which makes this angle much more compelling from a reinvention standpoint. Series artist Stefano Caselli, aided by color artist David Curiel, continues to do great work when the series calls for him to focus in great detail on a character’s face or a specific piece of an image, larger splash pages leave something to be desired…except for the last one. — Spencer Perry

Rating: 4 out of 5

WHAT IF…?: VENOM #2

While the Venomized Wolverine look is cool, What If…?: Venom #2 once again stumbles as it pairs up the Venom symbiote with another major hero yet is only interested in Venom stomping around in a new body rather than examining how the two would co-exist. Instead of having Venom mentally combat a Hulk, they just put Jennifer Walters to sleep last issue. Here they do the same with Wolverine, having Logan trapped in a mental prison for most of the issue instead of asking questions like “how would a symbiote mix with Logan’s adamantium rage?” I know these are meant to be just fun crossover ideas, but it’s the non-canon stories where writers can ask and answer interesting questions. No such luck here. — Connor Casey

Rating: 2 out of 5

WOLVERINE #45

After the first two issues, a big question regarding the “Sabretooth War” event was whether or not it could keep up its hyper-violent tone and quick pace. That answer turned out to be a resounding “no” as the cast has not only ballooned over the last two issues to include the Exiles but it has pulled back almost completely on its claim of being Wolverine‘s “most violent event.” There’s plenty of room left for that to change, but I hope the writers don’t let the story get too big to where they struggle to wrangle it into a fitting conclusion. — Connor Casey

Rating: 3 out of 5

Other Publishers #1

ABBOTT: 1979 #5

The final issue of Abbott: 1979 feels like a worthy send-off to the supernatural heroine as Abbot has one last confrontation with the Umbra. In fighting against an enemy that hits a bit too close to home, Abbott is able to call on friends from the past that give readers a nice farewell to the Boom Studios character. As I’ve mentioned in past reviews for the mini-series Sami Kivela’s pencils and Dan Jackson’s colors are the show stopper here as the art team is able to convey a story here in the panels that isn’t seen anywhere else in the comic world today. While this might be Abbott’s final story, I hope that this creative team has no stories percolating in their minds as I’ll be there for any story they create in the future. — Tim Adams

Rating: 4.5 out of 5

ADVENTUREMAN: GHOST LIGHTS #2

Adventureman: Ghost Lights takes off in the final few pages of this issue with a countdown and climax that’s some of the tensest comics you’ll read this week. Much of the issue is devoted to establishing the idiosyncratic nature of time, setting, and superpowers in this narrative with many of the supporting cast finally getting in on the super-serum. Their rush to save the day provides plenty of spectacle, but it’s only in the last few moments with a variation on a train heist at play that the underlying drama and current action collide into a truly thrilling sequence. There is an abundance of warm humor and strange imagery throughout the issue to make the slowly increasing tension less noticeable, and no moment falls flat with the Dodson’s depicting grand spectacles set in both the modern day and alien alternatives. If Adventureman: Ghost Lights #2 was the primary staging for this miniseries’ story, then what comes next is bound to be even more thrilling. — Chase Magnett

Rating: 4 out of 5

THE ASSASSIN’S APPRENTICE II #4

Our hero is on his way to a training arc, which feels like it will open the door to The Assassin’s Apprentice actually living up to its title. There’s also a puppy in the issue, Smithy, that the protagonist can speak to telepathically. That immediately bumps the grade up because he’s a very good boy. — Connor Casey

Rating: 3 out of 5

BLUE BOOK: 1947 #2

Unsurprisingly, Blue Book‘s secondary story continues to be immensely more interesting than its primary story. Aditya Bidikar and Anand Rk re-tell the story of the Monkey Man of Delhi, a relatively recent weird story that may or may not have been mass hysteria. Meanwhile, the front half of the comic continues to re-tell a popular UFO story, with all the energy of the UFO non-fiction books that were prevalent in the 1970s and 1980s. Honestly, I wonder if treading away from cultural touchstones that are known by most UFO true believers is the way to go, it’s hard to find a compelling angle for these stories that hasn’t been done before and the monotonous retelling just makes for some very boring reading. — Christian Hoffer

Rating: 2.5 out of 5

THE CABINET #2

The Cabinet reads like a spy thriller tinged with echoes of Everything Everywhere All At Once as Ebeltoft, Hart, and Raimondi craft a story as charming as it is psychedelic. In these early issues, I’ll forgive the lack of character work as Ebeltoft and Hart lay the groundwork for this new world, a sizable task for even the most veteran of comic creators. Raimondi’s work on lines and colors, however, is where this book really shines with its delightful neon-soaked pages. — Adam Barnhardt

Rating: 4 out of 5

DARK RIDE #11

Dark Ride‘s seemingly-penultimate issue ups the ante in some meaningful ways, both in terms of literal scares, and in terms of emotional beats for its cast of characters. Joshua Williamson’s script proves to be excellent in both regards, and Andrei Bressan’s art delivers some delightfully-upsetting visuals. This issue gives me so much confidence that Dark Ride will stick its landing. — Jenna Anderson

Rating: 4.5 out of 5

DARK SPACES: DUNGEON #4

Dread is a feeling comics rarely manage to capture. Plenty are able to produce shock and horror through writing and artwork, but for something as visceral as dread you need a lingering sense of hopelessness mixed with inevitability. Scott Snyder has managed to capture that masterfully with Dark Spaces: Dungeon, as even as we see characters finally make progress in finding their serial killer in the penultimate issue we never escape the feeling that this will end horrifically. — Connor Casey

Rating: 4 out of 5

FIREFLY: THE FALL GUYS #6

Boom’s Firefly comics seem intent on assassinating Zoe Washburne’s character. First, there was the comic book where Zoe claims that sometimes human trafficking is okay. Now, in the conclusion of Firefly: The Fall Guys, her sparing the life of a war criminal who burned and buried her men is offered up as her finding peace. I understand that Firefly is not a revenge story, and Zoe going through with the cold-blooded assassination of the Alliance’s president might be pushing the character to a (potentially interesting) breaking point. However, this idea that Zoe and the president have moved on and put the war behind them is a hollow one because the thing about war crimes is that they’re horrific, illegal, and wrong, even during wartime. There are plenty of storytelling problems with the issue as well: Zoe’s bar brawl with the president is offered as the payoff to a long-simmering rivalry without laying the proper groundwork for that to be impactful, there’s a page-turn that makes it hard to determine who is speaking or why, the twist at the end is predictable, there’s an entirely out of place meme reference, plus that thing where the characters are all shown playing a D&D-like roleplaying game to humanize them and make them relatable that also feels out of place on top of having been done enough in other places at this point to feel like a cliché. Ultimately, Firefly: The Fall Guys is another failed attempt to get the Serenity crew’s comic book adventures back on track. — Jamie Lovett

Rating: 1 out of 5

Other Publishers #2

FISHFLIES #5

Fishflies‘ mood and atmosphere continue to make it a standout title month after month. But with its fifth issue it’s becoming clear that this thing needs to wrap up. Regardless of how much Jeff Lemire intends to explain what’s going on with the flies and “Bug,” a conclusion feels sorely needed. — Connor Casey

Rating: 3 out of 5

HELEN OF WYNDHORN #1

Helen of Wyndhorn draws from a wide array of literary sources, ranging from Victorian dramas to pulp fantasies, in introducing the tale of a young woman removed from a vagabond lifestyle in the west to the heart of American opulence in a grand estate after her father’s death. The narration given by Helen’s former governess (and possibly Helen herself) to a journalist decades after the events of this tale frame those influences gracefully while presenting an excellent sense of juxtaposition between the haughty words and much grander images portrayed by Bilquis Evely. It’s difficult to overstate the grandeur evident in Evely’s depictions of Wyndhorn, a palace that arrives in a splash page straight out of fairy tales. Every new room or view of the estate reminds readers of the evident luxury and wealth on display. Helen herself remains a cypher in the first issue, but an intriguing one as her own confidence and independence are beset by unknown terrors from the past. Wherever Helen of Wyndhorn #1 may lead, the debut promises a fine literary mystery with an absolutely stunning sense of style and presentation. — Chase Magnett

Rating: 4 out of 5

HOUSE OF SLAUGHTER #21

Several protagonists have found themselves at the center of House of Slaughter, but no one has made as big of an impression on the series as Jace Boucher. Thankfully, Jace is back in the spotlight with the beginning of “The Butcher’s War” in House of Slaughter #21, though the issue is just as much about the inner workings and internal rivalries of the Order of St. George as much as it’s about Jace himself. That’s part of what makes the issue so intriguing though, with writer Tate Brombal walking readers through a meeting of the minds from various parts of The Order. The issues and various histories between the different Order branches are quite compelling on their own, but when paired with Jace’s equally compelling journey to this point, it’s difficult to not find yourself completely immersed in the world and its various personalities. Artist Antonio Fuso and colorist Miquel Muerto are experts at getting the most out of any given scene, and pivot between roundtable dialogue and battles for survival on a dime. There is some treading over previous concepts, but that’s actually what makes this a rather solid hopping on point as well, though fans who have read Jace’s journey from the start will get even more out of it. House of Slaughter is setting the stage for something big, and it all starts right here. — Matthew Aguilar

Rating: 4.5 out of 5

I HEART SKULL-CRUSHER #1

[READ THE FULL REVIEW HERE]

Mashing up several different genres/concepts to create something new doesn’t always work out well. It’s easy for that kind of Frankenstein-esque build to draw too much from one thing or another, forgetting to create its own voice while trying to homage so many others. I Heart Skull-Crusher, the new Boom! Studios series from screenwriter Josie Campbell, manages to avoid those pitfalls entirely. Some of its elements may seem familiar, but there’s enough soul and originality throughout the pages of the first issue that it consistently feels fresh and exciting. — Charlie Ridgely

Rating: 4 out of 5

JOHN CARPENTER’S TOXIC COMMANDO: RISE OF THE SLUDGE GOD #1

In hopes of discovery clean energy buried within the Earth’s core, instead an ancient evil is unlocked, fulfilling visions had by members of a cult who tried to stop it. Given that the title of this comic includes the name “John Carpenter,” some readers might be excited to see him involved in the project, though it’s worth noting that this story merely connects to the upcoming video game John Carpenter’s Toxic Commando and the book was neither written nor created by him. That’s not meant to dismiss the work of writer Michael Moreci or artist Alberto Jimenez Albuquerque, but instead confirms that fans of the horror director shouldn’t expect a boundary-pushing narrative that matches the quality of his horror films. The book is an amalgam of caricatures and concepts seen in other horror books featuring monsters, with this debut issue doing little more than offering up a premise. That’s not to say it’s a complete bomb, as everything in the story and in the artwork is all relatively engaging, it just hasn’t done much to especially impress us just yet, though we’re hoping future issues can elevate the formulaic premise. — Patrick Cavanaugh

Rating: 3 out of 5

LITTLE BLACK BOOK #1

Little Black Book #1 has more mystery than answers and a pair of protagonists that will leave with no idea of what to think. Right as the comic feels like it’s finally getting started, the back cover closes on this otherwise slow burn. While the riddles laid out may bring back fans of mystery thrillers, the premise and characters alike are a bit too vanilla. — Adam Barnhardt

Rating: 3 out of 5

MIGHTY MORPHIN POWER RANGERS: THE RETURN #2

Mighty Morphin Power Rangers: The Return is taking some big swings, and with issue #2 the series becomes a must-read for franchise fans. Writers Amy Jo Johnson and Matt Hotson jump to the past and in the process set up several major revelations, and odds are that at least one of them will catch you by surprise. That element of unpredictability has been part of the fun of this book, and it carries over to the way the series plays with the concepts of legacy and duty. Artist Nico Leon and colorist Dono Sanchez-Almara create a truly otherworldly battle sequence on the moon, and the vibrant colors truly capture the Ranger aesthetic in a bold and beautifuL way, with the lettering of Ed Dukeshire allows those final moments to land with the impact they deserve. The Return certainly made an impression with its debut, but issue #2 truly showcases the series’ potential, and sets up a host of intriguing threads that make it a book no Power Rangers fan should miss. — Matthew Aguilar

Rating: 5 out of 5

Other Publishers #3

NAPALM LULLABY #1

Napalm Lullaby #1 is interesting. It uses a very familiar hook—an older couple finds an infant with powers not of this world and takes it as an answer to their prayers to raise as its own to become a global icon—to set the stage for a story about dystopian theocracy. This should make for fascinating gateway to an interesting story but instead, the story in the issue that is setting the stage for the epic — in this case, a duo determined to take down that child who is now the Magnificent Leader – feels a little like like we’re not getting enough of the story. We’re dropped into this world with no real understanding of what’s going on or why this is bad. We’re just told it is bad and somehow, that feels like we’re being told how to feel much in the way a dictator or ill-meaning god would. Maybe that’s deliberate, but it makes for a weird, off center start for a book that is clearly intending to have a message. — Nicole Drum

Rating: 2.5 out of 5

NO/ONE #8

No/One‘s twisty mystery continues to unfold in an inconsistent, but still enthralling, fashion. After a deluge of exposition and relatively unremarkable aesthetic choices, the second half of the story solidifies into something incredibly worthwhile, especially where Geraldo Borges’ art is concened. While this is far from No/One‘s best issue, it still showcases just enough of the series’ strengths. — Jenna Anderson

Rating: 3.5 out of 5

THE ONE HAND #2

The creeping paranoid mood is palpable in The One Hand #2, a detective story with roots embedded in classic Hollywood noir no matter how far flung its setting or idiosyncratic its concepts. Detective Ari Nassar proves an irresistible leading figure despite being a deeply unlikable individual. His specific interests and doggedness in seeking out the truth make for a compelling lead to follow through the darkest back alleys of this future city, which is presented in a gloriously grisly ink-soaked style by Lawrence Campbell. The slow, but steady trickle of new information is sufficient to leave readers chewing on details between issues and the pacing of a shared series enhances this significantly, especially as details from The Six Fingers #1 make their way into this section of Nassar’s story. Wherever The One Hand is leading, the journey is proving to be sufficiently rewarding for fans of neo-noir with a sci-fi twist. — Chase Magnett

Rating: 4 out of 5

OUR BONES DUST #4

Ben Stenbeck’s tremendous series, like every other issue before it, comes to a close in a way that is totally unexpected. Since its first issue Stenbeck has made it clear that he’s operating with a unique playbook and that surprises in the storytelling are not only fully on the table but that this narrative will not overstay its welcome. Our Bones Dust is an epic that manages to combine post-apocalyptic grit with high-science fiction optimism, a pairing that shouldn’t work but feels like watching magic unfold in front of you.. — Spencer Perry

Rating: 5 out of 5

PETROL HEAD #5

I’m overjoyed to hear Petrol Head is getting more than just one miniseries. The characters and intricate world design are just too good to sit in a mere handful of issues. The first volume of Petrol Head wraps up this week with issue #5, showing our heroes escape The O and reach the city that’s only been mentioned in passing up until this point. There’s not much to the issue itself, but it’s a win just to know more is on the way. — Connor Casey

Rating: 4 out of 5

RICK AND MORTY: SUPER SPRING BREAK SPECIAL #1

It seems that the nuance of Rick and Morty as a successful animated series is that in spite of the overt cynicism, meanness, and gallows humor, there is still a persistent sense of humanity surrounding its characters through all of their debacles. That humanity is absent in Super Spring Break Special #1, a three-part, sixty-plus page spectacular featuring Rick, Morty, and Summer traveling to a spring break-themed planet to indulge in bacchanalia or highlight the capitalist cruelties of the tourism industry. Every figure in the various storylines is intended as a punchline with endless suffering heaped upon them for laughs, which primarily serves to make the familiar trio at the story’s center vacuums of sympathy. Their endless cruelty results in background gags, of which there are many, being the only consistent source of humor throughout the issue. Unfortunately, despite the clever and consistent nature of a few specific gags (specifically the inclusion of a teenager dressed as a beefeater), the artists covering the first two parts of this special struggle to capture the stylistic charms of the series. With flat artwork and inconsistent forms, Summer and Morty often appear as children even when engaging with sex and drugs. Rick and Morty: Super Spring Break Special is a poor simulacrum of the thing it imitates that loses what makes the source material work in favor of its most superficial elements. — Chase Magnett

Rating: 1.5 out of 5

STAR TREK: SONS OF STAR TREK #1

[READ THE FULL REVIEW HERE]

Star Trek: Sons of Star Trek #1 is a shining example of approaching a long-running series by combining the fresh and the familiar. Q Junior is unabashedly pulling from his father’s bag of tricks by sending the mortals who have caught his attention to an alternate timeline to learn their lessons. However, the focus on Deep Space Nine‘s younger characters who were rarely the show’s main focus stops it from reading like a retread. Add in the worthwhile themes underpinning the plot and the sense that these characters are on the brink of a breakthrough in their development, and you’ve got the makings of a memorable Star Trek story. — Jamie Lovett

Rating: 4 out of 5

Other Publishers #4

STAR WARS: THE HIGH REPUBLIC ADVENTURES #4

This may not be Star Wars at its most engaging or thought-provoking, but it’s every bit as effective a comic as some of the better recent Star Wars comic books. Older knows how to squeeze sprawling stories into smaller spaces and he continues to do so here. Of course, putting a couple of scrappers up against massive and monstrous forces is always a good idea in this ever expanding galaxy. It’s the bread and butter of Star Wars and Older’s team knows exactly which notes to hit to keep things moving in the right direction. — Charlie Ridgely

Rating: 3 out of 5

TEENAGE MUTANT NINJA TURTLES #149

Unfortunately, setting the stage for the big finale issue has so encumbered the final leg of this era of Teenage Mutant Ninja Turtles. Too much of this final arc has been about explaining the threat of Armageddon, and focusing on his minion, Bob, rather than the Turtles that Sophie Campbell has so capably characterized throughout her 50-issue run. The fundamentals are all still solid in Teenage Mutant Ninja Turtles #149—it’s a good-looking issue, and there are no glaring craft errors—but it lacks much emotional weight. There is the turn of events involving Lyta, which is shocking but also raises questions about why Bob hasn’t used that ability before, specifically on himself. Perhaps the answer exists in the mechanics of QNA and its relationship to the time-travel monster shark that’s consuming the timeline. If that’s the case, it got too buried to make an impact. Teenage Mutant Ninja Turtles #149 is a functional issue, and there’s still reason to hope that issue #150 will be the grand finale the run deserves. — Jamie Lovett

Rating: 3 out of 5

THUNDERCATS #2

Thundercats held major promise in its series debut, but it’s Thundercats #2 that starts to mine that potential in a major way. Writer Declan Shalvey hones in on the aspects of Lion-O and the family dynamic that stood out in Thundercats #1 and then throws in a new character that shakes those already fractured foundations that much further. These exchanges and the ripple effects they case are when the series is at its strongest, and the mystery of what role Jaga plays in all this is equally of interest as it build alongside the main arc. The series has also prioritized fleshing out the mutant side of this conflict, and Artist Drew Moss and colorists Chiara Di Francia and Martina Pignedoli deliver some of the book’s standout moments when they hold the reins. This was a major step forward from a promising launch, and if the series continues to take steps like this as it progresses, fans are not going to want to wait to jump in. — Matthew Aguilar

Rating: 4 out of 5

TRANSFORMERS #6

The climactic battle that concludes Transformers‘ first arc is something to behold with technicolor smash-ups of grandiose robotic figures filling panels and smashing through pages. There is no denying the kinetic energy found in Daniel Warren Johnson’s presentation and it makes each turn of the page thrilling, especially as the storylines diverge and nearly every page turn produces a new cliffhanger. However, their recombination results in one of the best spreads produced in Johnson’s career to date – one bound to keep readers staring this week. The emotional stakes fall to the wayside amidst this frenetic action with one notable character death appearing almost like an afterthought in the moment, although it’s sure to reverberate in the series to come. Transformers #6 sticks the landing and assures readers that the Energon universe it introduced them to will continue thrilling readers so long as Johnson sticks around. — Chase Magnett

Rating: 4.5 out of 5

THE WEATHERMAN #3

The pace slows down just slightly in The Weatherman #3 as we get into what’s going on with Cross now that Ian has gone AWOL as it were so most of the issue is devoted to getting her set up for her effort to save him and humanity. The flipside of that is we also get to see what Ian/Nathan is doing now that he’s flipped his switch as well as how things start to converge. There’s a good bit of setup here, but it’s meaningful and as has been the case with previous issues, the art is good and the character building is solid. — Nicole Drum

Rating: 3.5 out of 5

THE WRONG EARTH: DEAD RINGERS #1

Gotta give it up to The Reader, the Watcher-type figure that gave an informative recap of all the past Ahoy comics featuring Dragonfly and his allies/counterparts. There’s a lot of continuity to keep straight, but it doesn’t detract from the story thankfully. The whole concept of a straight-laced crimefighter meeting and having to work with his seedier doppelgänger is the stuff of comedic lore. There are a lot of heroes trying to get back to their original Earths, but of course it can’t be an easy thing to rectify. — Tim Adams

Rating: 4 out of 5

ZAWA + THE BELLY OF THE BEAST #5

Zawa + the Belly of the Beast has a fun ending proving that food and friendship can overcome hatred and generational pain. This was a cute series that took some time to find itself, but ultimately told a good story about overcoming the harm caused by previous generations. Great artwork, a fun story, and a timely message makes this a fun comic for kids. — Christian Hoffer

Rating: 4 out of 5