Happy new comic book day! It’s another major week in comics, and the ComicBook staff have come together to break down and review as many of the big comics releasing this week as possible. Now obviously this isn’t every single comic on stands, but we’re breaking down new releases from Marvel, DC, Image Comics, BOOM! Studios, Dark Horse, Dynamite, Oni Press, IDW, Mad Cave Studios, DSTLRY, and more!

We’ve also carved out some additional space for three of this week’s biggest books, including The Exorcism at Penn 1600 #1, Batman and Robin: Year One #1, and Moon Knight: Fist of Khonshu #1, so if our smaller review here piques your interest, make sure to check out the full review for a much more comprehensive analysis of all three issues. As for ratings, we keep things simple with a whole or half number out of five, and you can check out some of our previous reviews right here. With all that said, let’s get to this week’s new comics!

DC

Action Comics #1071
Action Comics #1071 takes Superman to the Phantom Zone and sees him start to investigate whatever is going on there only to get hit with a shocking surprise when he sees who is behind the Phantom King. It’s an action-filled issue that sees Superman fight a giant spider creature while also testing his own limits. It’s not exactly clear what is going on overall, but that twist reveal certainly hints at something exciting going forward and gives the whole thing momentum. The Supergirl story is also interesting and sees a major complication thrown at Supergirl and again, while what is really going on remains a mystery, things get pushed to the next level making this whole issue overall one that just hooks readers even further. – Nicole Drum
Rating: 4 out of 5

Batman and Robin: Year One #1
Overall, Batman and Robin: Year One is a solid read. While there is a little bit of an issue with tone at points, specifically in regard to how we are introduced to Dick and then how he actually is presented, the story does a good job of offering a fresh take on the early dynamic of, well, DC’s dynamic duo. By centering things on the idea of Bruce as a parent just as much as a hero, Waid and Samnee have created a story that is interesting and unique, but still offers the promise of a classic Batman and Robin adventure.
– Nicole Drum (Click here for full review)
Rating: 4 out of 5

Catwoman #69
Selina Kyle gets a back-to-basics revamp for the All-In era, with almost all of the positives that that could entail. Torunn Gronbekk’s script takes a familiar enough premise and presents it with an intimate and lyrical quality, one that is matched pretty well by Fabiana Mascolo’s clean art and Patricio Delpeche’s noirish colors. While there’s no telling exactly how this arc will set itself apart from previous Catwoman eras, the work on display from this creative team is already exciting. – Jenna Anderson
Rating: 4 out of 5

Dark Knights of Steel: Allwinter #4
Both the main story from Jay Kristoff and backup story from Tom Taylor balance high-octane action with genuine pathos towards their parent-child relationships. While Tirso’s aesthetic choices on the main story are a bit more visually outstanding, Riccardo Federici’s art also delivers some cleverly conceived moments of action and gore. This spinoff is turning me into a believer of the larger franchise that Dark Knights of Steel has become.”
– Jenna Anderson
Rating: 4 out of 5

Green Lantern #16
The Green Lantern Civil Corps Special put a few big ideas into motion, and those ideas land with massive impact in Green Lantern #16. Things teased in the special have immediate consequences as the next major arc gets underway, and if you thought the Special was big, it’s nothing compared to what goes down in #16. Jeremy Adams will have Lantern fans of all kinds losing their minds at various times in the issue, and Xermanico and Romulo Fajardo Jr. might have created one of my favorite issues of the series to date just based on constructs alone, though that Mogo scene is a sight to behold as well. Adams continues to pull together the threads from Green Lantern and Green Lantern: War Journal, and the way those elements and characters come together is delightful, including one particular first meeting that had me reeling from the reveal but also has so many amazing possibilities. Green Lantern #16 followed up a special issue and might have just managed to run circles around it, and the next issue can’t get here soon enough. – Matthew Aguilar
Rating: 5 out of 5

Jenny Sparks #3
Jenny Sparks #3 doesn’t really seem like it knows exactly what story it is trying to tell. The storyline continues between two timelines, this time with Jenny in the Middle East in 2004 confronting Superman on his non-involvement in matters of war and the present where the issue of Captain Atom at the bar only escalates. While it is obvious that there is supposed to be some parallel between the two storylines, it doesn’t really feel like it comes together. Like the previous issue, it’s very dense and one gets the idea that this is another story that may only make sense once it’s complete but, unfortunately, at this point, it feels like we are no further into the story than when we started. – Nicole Drum
Rating: 2.5 out of 5

Titans #16
Titans’ fresh start in the All-In era arrives with some potential, as well as a few flaws. John Layman’s script decently balances the team’s different personality types, but does get periodically bogged down by shortsighted narrative beats. Pete Woods’ art is also somewhat of a mixed bag, delivering gorgeously-rendered action sequences one moment and awkward facial expressions the next. It will remain to be seen if this Titans arc becomes a major jumping-on point for new readers, but at least conceptually, there is promise. – Jenna Anderson
Rating: 3 out of 5

Wonder Woman #14
Wonder Woman #14 finally gives us Trinity’s origin story. Overall, it’s a sad and beautiful story of loss and hope that is at times really elegantly written. But it is also stretched a little thin in spots with certain elements — such as the Fates — inserted into things in a way that almost doesn’t feel necessary and somewhat distracts from the core emotional pieces of things. There’s also a bit of the story being told out of order that does, at points, make it a little hard to follow exactly what is going on. Beyond that, however, this issue has some of the most gorgeous Wonder Woman art we’ve seen yet — and that says something considering how stunning this series has been overall. – Nicole Drum
Rating: 3 out of 5

World’s Finest #32
Waid is once again given quite the sandbox to play in when it comes to the best superhero book that DC Comics is printing today. In fighting against the villainous Eclipso, not only do we get the chance for the prolific writer to tackle the Justice Society but give Robin his chance to shine. As mentioned in my past review for this latest World’s Finest arc, Dan Mora is taking a break from the series, and while Gutierrez does a serviceable job, its a tough act to follow. Still, the series remains the gold standard for DC, even if its main artist is working on other projects in the DCU at the moment. The fight against Eclipso here is one that shows the best of DC’s heroes and once again proves how World’s Finest remains a must-read book for superhero fans. – Evan Valentine
Rating 4 out of 5

Marvel Comics

Avengers Assemble #2
Avengers Assemble #2 tries to keep the cooks, fun, old-school Avengers vibes going with a story about the new emergency response squad fighting ghost apes but it feels like a book that didn’t get the time and attention it needed, There’s a new penciled and inker team involved in Scott Eaton and Elisabetta D’Amico and the later doesn’t hold back with the blacks. It is, perhaps, an effort to give the ghost ape story some dark horror vibes but ultimately muddies much of the line work and makes the entire visual aesthetic feel cramped and heavy. Writer Steve Orlando tries to lighten the mood with fun character banter and interludes to the new and old team members still at the mansion bonding, though some of these vignettes are marred by confusing lettering placement. While the pitch is fun, it’s ultimately a pretty straightforward plot enlivened by a little extra focus on character, but hamstrung by some fundamental stumbles in most other departments.
– Jamie Lovett
Rating: 3 out of 5

Crypt of Shadows #1
The 2024 edition of this Halloween-centric one-shot is another fun little story from Marvel, but its biggest fault is that frankly the thing is too short. Leaving the readers wanting more is usually a good thing but by the time many of the stories in Crypt of Shadows #1 get started they’re already over. The standouts from this issue include “The Green Tide,” a Man-Thing Namor crossover from Benjamin Percy and Raffaele Ienco, and “Monster Games” a Kraven, Blade, Werewolf by Night story from Jason Loo and Carlos Magno. On the whole a fun read but not one that blows the doors off. – Spencer Perry
Rating: 3.5 out of 5

Miles Morales: Spider-Man #25
Giving Miles a villainous side with these vampire powers could be a really tough sell, but its his inner monologue here that allows it all to work. His internal struggles with power and responsibility are clear, crisp, and sometimes moving. The inner monologue can make or break a lot of Spider-Man stories. Thankfully, this falls into the former category.
– Charlie Ridgely
Rating: 3.5 out of 5

Moon Knight: Fist of Khonshu #1
Marc Spector made his grand return in the pages Blood Hunt, and then he dealt with the Moon Knight imposter who had taken up the mantle during his time away. Now that some of the dust has settled, Jed MacKay, Alessandro Cappuccio, Rachelle Rosenberg, and Cory Petit are getting back to the core of what’s made this run so special, and it all kicks off in Moon Knight: Fist of Khonshu #1. Few teams are able to capture the core concepts of a character, let alone all of them, but this team has never struggled in that regard, and such is the case once again as a new era in the Moon Knight mythos begins. The Midnight Mission is back, and they haven’t lost a step. – Matthew Aguilar (Click here for full review)
Rating: 4.5 out of 5

Mystique #1
This series starts a little slow, following characters that aren’t necessarily vital to its plot. When Mystique and Nick Fury take over, though, this spy saga sings. Mystique is menacing and intriguing, while Fury acts the part of a foil trying to pull off the impossible with very little at his disposal. There’s a lot to be excited about in this series going forward.
– Charlie Ridgely
Rating: 4 out of 5

Spider-Man: Reign 2 #4
Reign 2 is trying to do entirely too much. There are far too many ideas at play here for any of them to find any solid footing. And this version of Peter just isn’t all that interesting, no matter how many interesting scenarios are thrust upon him. – Charlie Ridgely
Rating: 2 out of 5

Star Wars: The Battle of Jakku – Insurgency Rising #2
The Star Wars comics have had some success filling in the gaps from the stories in the movies, but Insurgency Rising just isn’t nearly as strong as some of its predecessors. It’s nice to have more time with Leia, and getting some actual Zorii Bliss backstory is nice, but none of it is enough to hold the whole issue on its shoulders. On top of that, a lot of the character art is seriously lacking. There’s little consistency and it makes for a frustrating read. – Charlie Ridgely
Rating: 2 out of 5

The Spectacular Spider-Men #8
The Arcadium might have been defeated by Peter Parker and Miles Morales but the scars left by Arcade and Mentallo are still fresh. Routinely in superhero fare, readers don’t see much in the way of battles having psychological effects on the heroes themselves so Weismann takes an interesting position when it comes to your Friendly Neighborhood Spider-Men. Ramos is replaced by Laiso and Genolet, who both do a fantastic job of sticking to the previous artist’s style and capturing the emotions of the Daily Grind’s patronage. Spectacular Spider-Men remains the best Spider-Man book on the market today and Weisman is leading Miles and Pete on an interesting, introspective journey that has some amazing superheroing along the way. – Evan Valentine
Rating 4.5 out of 5

Ultimate Spider-Man #10
Hickman is joined by guest artist David Messina for this latest issue of the Ultimate Spider-Man and truly highlights one of the best, lesser-discussed parts of this new take on the Wallcrawler. Jonah and Ben Parker are the new dynamic duo of the comic book scene and they are front and center here in a story that is intriguing and jam-packed despite not seeing Peter throw on his special suit once to fight crime. The back-and-forth dialogue between these old friends looking to crack a new case is infectious, and it’s quite the feat that Hickman can weave an issue where you find yourself enraptured by the story without any superheroics whatsoever. Ultimate Spider-Man #10 works as an excellent stand-alone issue that truly demonstrates the strength of the series’ concept and how this new universe is one worth sticking with. – Evan Valentine
Rating 4.5 out of 5

Uncanny X-Men #4
Uncanny X-Men remains the book to beat in the post-Krakoa era of Marvel’s mightiest mutants. To start, Sarah Gaunt is an interesting new villain to the X-mythos, along with her ties to Charles Xavier and what said ties mean for the current state of the X-Men. Writer Gail Simone has a lot of plates spinning at once but she makes the act of juggling said plates appear effortless. On top of Sarah, Rogue’s new team is still dealing with taking in new mutants to their “humble abode” and now that they’re being placed into the line of fire, the storyline is heating up in the best ways. I would be remiss if I also didn’t touch upon David Marquez’s amazing art here, capturing both emotional, quieter moments alongside hard-hitting ones that see Rogue trying to take down Charles’ evil-ex. Uncanny has a lot going for it and I’m anxious to see what else Simone has in store for this team because it’s tough to find many faults here. – Evan Valentine
Rating 4.5 out of 5

Wolverine #2
Wolverine’s new status in the post-Krakoa era is one that sounds good on paper, but in execution, there are more than a few holes in this boat. For a story that relies on Logan stories wherein he is fending off his Berserker rage in the wilds of Canada, the second issue is wildly introspective. Wolverine finds himself monologuing throughout the entirety of the issue, breaking a pivotal rule in “show, don’t tell”. What the creative team does here with the Wendigo, aka taking on a new approach to the hairy albino monster, is serviceable but it almost seems as though this new story abandons the seeds that were planted in the first issue. From this second issue, Wolverine’s story might be dealing with more problems than Department H. – Evan Valentine
Rating 2.5 out of 5

Image Comics

Destro #5
Destro’s mini-series comes to an end, offering an interesting characterization of the “iron monger” and how COBRA is the perfect fit for the world that he wants to forge. The Energon Universe is one that has been able to capitalize on the strongest aspects of its heroes and villains, while also weaving the lines of modernizing the approach of both GI Joe and the Transformers. Destro’s fight against COBRA’s most famous twins and his interactions with Cobra Commander works well here, setting the stage for the antithesis of GI Joe to fully take root. The mini-series conclusion also hints at the future of the comic book run as a whole, planting some interesting seeds for the crossover universe. – Evan Valentine
Rating 4 Out Of 5

Falling In Love On The Path To Hell #5
To put it simply, this issue is stunning — both as a progression of the series’ ambitious plot, and as a rumination on love. Gerry Duggan and Garry Brown’s script traverses realities and points in time with a satisfying ease, which is matched by Chris O’Halloran’s expressve and rustic art. This series continues to impress in so many ways. – Jenna Anderson
Rating: 4.5 out of 5

Local Man #25
Local Man’s final (for now) issue is exactly the finale it deserves… and so much more. Jack’s status quo as a superhero and a man culminates in a matter that is surprising and heartfelt, both to its cast of characters and to the mere concept of Image’s superhero boom. Tim Seeley and Tony Fleecs’ work on this series has been truly unparalleled, and as sad as I am that this chapter is over, I am absolutely looking forward to whatever their combined future holds. – Jenna Anderson
Rating: 5 out of 5

Radiant Black #30
The Catalyst War’s thrilling conclusion is finally here, and unlike some of the previous issues, issues 30 and 30. 5 are really part 1 and part 2 of this story as opposed to alternate viewpoints that weave together. This story has been incredibly ambitious, and despite the challenges inherent with the sort of scale and number of layers to all this, Kyle Higgins and Joe Clark have found a way to navigate it relatively smoothly. Once the issue gets past the trials explanation it really hits high gear, bouncing from frenetic chaos on the battlefield to complex conversations about turning away from what you know with ease. Marcelo Costa, Eduardo Ferigato, Raul Angulo, and Rod Fernandes pivot with ease as well, and there’s a sense of scale in this issue and its companion that is absurdly impressive and never gets old. The action is intense and the stakes are high, and while some of the bigger concepts might be a tad difficult to get your head around sometimes, it’s a stellar penultimate issue.
– Matthew Aguilar
Rating: 4 out of 5

Radiant Black #30.5
If Radiant Black #30.5 was truly a swan song for the character, it would be one hell of a final note, but as it stands, it’s still one hell of a finale to one of the most ambitious events in comic memory. The Catalyst War has been built in a variety of ways and through multiple points of view along the way, and it all leads to one of the best issues in the series to date. Radiant Black #30. 5 delivers epic action and a wealth of fan service for those who have followed along and invested in the rich and ever-expanding Massive-Verse. Did you want to see a fan favorite? It’s likely they’re here, and even if they don’t get a huge amount of screen time, it’s amazing to see your favorites come together for a common cause, and all of them look fantastic thanks to the talents of Marcelo Costa and Eduardo Ferigato. Meanwhile, Kyle Higgins and Joe Clark bring it all back to Nathan and Marshall, and their story features some welcome twists and turns before coming to a satisfying and rewarding conclusion. This isn’t the end of Radiant Black, but it does feel like the end of an era in that story, and that era landed the plane brilliantly – Matthew Aguilar
Rating: 5 out of 5

The Department of Truth #26
The Department of Truth #26 takes a detour in the vortex of fiction, rumor, and reality that surrounds Marilyn Monroe. Guest artist Alison Sampson and colorist Jordie Bellaire show stunning skill and versatility in making the reader feel unmoored in Monroe’s presence, as does the agent who visits her. Repeating panels used as background draw on Munroe’s film presence while making her seem to pop out of the page. The facial expressions in the artwork convey a wild swinging between a joyfully innocent woman and one who is entirely capable of seducing a president. Gilded colors drive home the opulence of the persona’s existence. It’s a gorgeous comic that is at times unnerving for its unrestrained beauty.
– Jamie Lovett
Rating: 4 out of 5

Ultramega #6
There’s no arguing with James Harren’s artwork. The introduction of the Ultramega planet into this series’ mythos has provided him an opportunity to channel more of that big, epic energy that he infused its debut issue while continuing to draw smaller scale but not less effectively kinetic action on Earth and weird little guys like the walking taking giant severed head that is our main character’s father. Unfortunately, the plot still feels scattered and unfocused, leaving little to hang all this wonderful artwork on. There are hints that these varied plot threads may soon coalesce into a tighter narrative. Until then, it’s mostly a fun ride with some incredible scenery. – Jamie Lovett
Rating: 3.5 out of 5

Witchblade #4
The new Witchblade series remains a surprisingly fun read, one where the reinvention of the character and its mythology has not only taken on a more modern storytelling sensibility but one that seems to actually care about where it’s headed. Scribe Marguerite Bennett is planting seeds in each issue that make picking up the next a necessity and this one is no different while series artist Giuseppe Cafaro delivers amazing panel design that functions as both character work and pushes the story forward. Don’t sleep on the new Witchblade, it’s surprising in many ways. – Spencer Perry
Rating: 4.5 out of 5

Other Publishers

Epitaphs From The Abyss #4
Epitaphs from the Abyss #4 might be the most chilling issue yet, this time with three stories that actually deliver unsettling scares. With stories that take on paranormal/monster streamers and their need to exploit lore for content, toxic marriage, and influencer and wellness fads, this trio of stories goes in some very dark directions. The real standout is Amy Roy & Claire Roe’s “The Perfect Pearl” but really, the whole issue is solid.
– Nicole Drum
Rating: 4 out of 5

Grim #20
A pivotal new issue in Grim arrives with series scribe Stephanie Phillips delivering a story that’s equal parts sexy and mysterious while also totally unique. Flaviano’s artwork manages to channel both of these descriptors throughout its pages while also making some of the dialogue punchlines land even harder with some hilarious panels. Series color artist Rico Renzi elevates the entire piece though, capturing the specific moods of each moment and the bizarre otherworldly lands on each page. – Spencer Perry
Rating: 5 out of 5

Teenage Mutant Ninja Turtles: The Last Ronin II – Re-Evolution #3
The Last Ronin II has been a slow burn, focused more on establishing this new generation of turtles as characters, and their superpowers, than on the plot transpiring mostly in the background, and that remains true through most of the series’ third issue. That this story’s villain is still barely present is in stark contrast to the first Last Ronin story, which was laser-focused on Michelangelo’s vendetta against Oroku Hiroto. That said, The Last Ronin II #3 remains an entertaining read. All that focus on the new characters has laid off in giving them distinct personalities to playfully bounce off of one another. There are some other beats here that play with the idea of the TMNT story cycle repeating itself, and seeing Kevin Eastman draw a couple of pages of old-school Turtles but through the filter of what is essentially urban legend is a delight. By the end, the story reaches a point i no return that seems likely to ramp up the tension and pace as the series continues. – Jamie Lovett
Rating: 3.5 out of 5

The Exorcism At 1600 Penn #1
May’s dialogue can be offputting at times (the phrases “chicken tendies,” “trending number one on TikTok,” and “liked by The Rock” appearing in quick succession may have some readers wanting to tap out early on), but weaves an intriguing tale of family drama against a backdrop both political and supernatural. Del Rey’s layouts, particularly over two pages, are sometimes flashy to the point of distracting from the scenes they are meant to frame. However, with Bellaire’s moody colors, her artwork makes the White House seem possessed and conveys the fracturing of a family. Otsmane-Elhaou’s lettering drives home key character moments, using irregular speech bubbles conveying crucial changes in voice (though some additional variation may have helped distinguish one vocal alteration from another). While those flaws are present, The Exorcism at Penn 1600 #1 is an impressive debut that draws readers in slowly but will likely have them fully enthralled by the final page-turn. – Jamie Lovett (Click here for full review)
Rating: 4 out of 5

The post Comic Book Reviews for This Week: 10/16/2024 appeared first on ComicBook.com.

Every partnership has an origin and that’s especially true for DC’s dynamic duo of Batman and Robin. While the partnership between Bruce Wayne and Dick Grayson as Batman and Robin has been a core aspect of DC through various stories for decades, it’s an iconic partnership that is more than just crimefighting. It’s a father and son story as well and when it comes to Batman and Robin: Year One #1, that is exactly what we get. Written by Mark Waid with art by Chris Samnee, Batman and Robin: Year One #1 takes readers back to the earliest days of the duo’s collaboration offering a glimpse at not only the challenges the pair face out on the streets of Gotham as they figure out how to work together, but what parenting looks like for Bruce. And while there are a few small matters of tone that might not hit exactly true for every reader, it’s a strong first issue that not only sets up a classic comic adventure but gives a heartfelt look at one of comic’s most iconic team ups.

In Batman and Robin: Year One #1, we enter the story mere weeks after the death of Dick’s parents and his being adopted by Bruce Wayne. Straight out of the gate, however, it’s clear that everyone is in a little bit over their head as Bruce has no experience parenting, Alfred isn’t too sure about the situation, and even Dick isn’t exactly in a stable place with the young aerialist ready to jump straight into crimefighting, potentially with not quite enough preparedness to truly do so. Suiting up, the two soon find themselves dealing with Two Face and the revelation of a larger threat — as well as the dynamics of working together. Straight out of the gate, this is a charming issue. Visually, the book has a vintage, almost retro vibe that not only fits the “Year One” feeling, but also helps to drive home the inexperience of the characters — Dick’s inexperience as a crimefighter and Bruce’s as a parent figure both in and out of the suit. Samnee’s art is crips and makes excellent use of lines, conveying sweeping action even in the smallest panels. Matheus Lopes’ colors are also fantastic, fitting nicely with the vintage feel.

In terms of overall story, Waid also does a great job of things with this adventure. We don’t waste a lot of time digging into how Dick ended up with Bruce or what their earliest weeks were like, but we move swiftly into an actual proof of concept of sorts, when Bruce takes Dick out as Robin, hoping to show him the ropes as the young hero’s training continues. The dynamic Waid gives the characters as Batman and Robin feels authentic and is at times even fun as we see an exuberance from Dick and perhaps a bit of unexpected anxiety from Bruce as the surrogate father watching his child do things without training wheels, as it were. The issue, however, is that some of the tone doesn’t quite fit with some of the words on the page. We’re told in text that Dick “smolders with rage” but what we’re shown doesn’t match that. Instead, Dick is quippy and funny, eager (perhaps too eager) to head into the field and prove himself. It’s an excellent portrayal of a kid playing at vigilante, but it feels wildly out of sync with what we’re being told about the character.

That said, while there is that tonal dissonance, it doesn’t detract from the comic overall. We get a bit more into Batman’s — and really, more Bruce than Batman — head when it comes to bringing Dick into this world. The issue also does a good job of bringing its lighter tone back to reality with the final page introducing the larger, looming threat that is coming for Batman and Robin. It’s a rather grim turn, but it’s effective — and serves as an excellent hook for the next issue. It goes a long way to tying things together and bringing readers back to center by reminding that while we’re dealing with a. young hero just starting out, this is still Gotham and the threats are still very, very real.

Overall, Batman and Robin: Year One is a solid read. While there is a little bit of an issue with tone at points, the story does a good job of offering a fresh take on the early dynamic of, well, DC’s dynamic duo. By centering things on the idea of Bruce as a parent just as much as a hero, Waid and Samnee have created a story that is interesting and unique, but still offers the promise of a classic Batman and Robin adventure.

Published by DC

On October 16, 2024

Written by Mark Waid

Art by Chris Samnee

Colors by Matheus Lopes

Letters by Clayton Cowles

Cover by Samnee and Lopes

The post Batman and Robin: Year One #1 Review: A Dynamic Take on the Iconic Duo appeared first on ComicBook.com.

The United States is currently wading through two recurring traditions simultaneously: the early fall Halloween season, in which most people indulge in the playfully demonic and monstrous, and the more seriously cursed election season, with 2024 being especially potent as it is a presidential election year. The two meet in The Exorcism at 1600 Penn #1, the first installment of a four-issue miniseries from writer Hannah Rose May, artist Vanesa Del Rey, colorist Jordie Bellaire, letterer Hassan Otsmane-Elhaou, and published by IDW Publishing. Though the combination of the political and the infernal may appear to be a superficial draw, The Exorcism at Penn 1600 #1 reveals greater depth in atmosphere and characterization as its inner darkness slowly creeps in.

The issue’s motifs are visually apparent on its opening page. Former United States Senator Kelly Doyle is delivering her fiery, optimistic inauguration speech following her swearing-in as the first female President of the United States. Yet, the scene looks anything but sunny, as grey clouds blot the sky and the Capitol Building looms behind, as if ready to consume her and everyone around her. It’s only a shame that staying true to how these traditions play out keeps the scene from occurring in front of the White House. Yet, once inside the president’s home, readers find it rendered like a haunted house with creeping shadows advancing from the edges and coloring that turns brackish or sickly in certain moments. Bellaire’s palette and technique combine with Del Rey’s thick lines and impressionistic facial features to create an unsettling sense of wrongness within the White House’s environment as if the entire place is ill without anyone realizing it.

But soon this malignance makes itself known. It isn’t long before the entire, once close-knit family (established by an almost unbelievably wholesome family dinner in the White House dining room early on) begins drifting apart as the pressures of being the first family drive a wedge. Kelly’s responsibilities as POTUS keep her away from her family, forcing her husband, Eric — a doctor who gave up his career to be first husband — to shoulder more parental responsibilities alone. Her son, Kevin, becomes all too willing to fit into a new circle of friends at his new school, even if it means sacrificing his relationship with his sister Mara.

Mara’s ostracization is the most acute and becomes the story’s cornerstone. She spends her days being ridiculed by her peers without backing from her brother. With her mother often absent, she receives some support from her father but spends most of the night doomscrolling on her phone. Del Rey pulls these posts out of Mara’s phone, making her compete with them for space within the panel, visualizing the mental anxiety this habit is causing her, taking up more and more space with each instance.

The deeper into doom-scrolling that Mara gets, the more she seems to awaken something supernatural lurking in the forgotten room of the White House that she has made her sanctuary. It’s in this room that Mara wakes after a nightmare of nuclear apocalypse. Following this is the issue’s only splash page, which places Mara and her consoling parents in a corner of light as the darkness, and whatever lurks within it, surrounds and threatens to consume them. Mara’s anxiety, or perhaps that of her entire family, is haunting them.

This isn’t a story specifically about corrosive media habits, even if it is a recurring point –another scene sees Del Rey’s brilliant layouts depicting shifting power dynamics as President Doyle goes from being in control during a press briefing to cornered as she’s barraged with bad-faith press questions. Mara’s plight is one aspect of a larger theme linking the infernal with mental health. While Mara spirals into depression, her mother is dealing with a crisis involving Havana Syndrome, that controversial diagnosis of a collection of mental health symptoms that have become fodder for conspiracies, seemingly linked here to something truly evil. The issue more subtly lampshades its focus on mental health in the repeated mention of Mary Todd Lincoln, the first lady who was Abraham Lincoln’s wife, whose history of manic episodes has led some historians and experts to believe she suffered from bipolar disorder. While the connection is not explicitly drawn in this issue, it may be that whatever lingers in the room Mara has been staying in had a hand in Mary Todd Lincoln’s struggles.

May’s dialogue can be offputting at times (the phrases “chicken tendies,” “trending number one on TikTok,” and “liked by The Rock” appearing in quick succession may have some readers wanting to tap out early on), but weaves an intriguing tale of family drama against a backdrop both political and supernatural. Del Rey’s layouts, particularly over two pages, are sometimes flashy to the point of distracting from the scenes they are meant to frame. However, with Bellaire’s moody colors, her artwork makes the White House seem possessed and conveys the fracturing of a family. Otsmane-Elhaou’s lettering drives home key character moments, using irregular speech bubbles conveying crucial changes in voice (though some additional variation may have helped distinguish one vocal alteration from another). While those flaws are present, The Exorcism at Penn 1600 #1 is an impressive debut that draws readers in slowly but will likely have them fully enthralled by the final page-turn. 

Published by IDW Publishing

On October 16, 2024

Written by Hannah Rose May

Art by Vanesa Del Rey

Colors by Jordie Bellaire

Letters by Hassan Otsmane-Elhaou

Cover by Vanesa Del Rey

The post The Exorcism at Penn 1600 #1 Review: Welcome to the Haunted White House appeared first on ComicBook.com.

I often find myself fascinated by the conceit — and execution — of licensed comics. In the right hands, they can be well-executed retellings or expansions of stories fans know and love. In the wrong hands, they can be a half-hearted collection of storyboards, which either misunderstand or do not do justice to their source material. In a separate precarious set of circumstances, they can even lead to the birth of an original idea within the comic canon of another publisher. The latest fictional saga to play that game of chance is The Terminator, James Cameron’s surprise sci-fi hit that has blossomed into a wide-ranging collection of sequels, prequels, offshoots, and everything in between. While the sleek conceit of the franchise has led to quite a few comic spinoffs over the years, Dynamite’s newest crack at it is effective right out of the gate. This week’s The Terminator #1 comes close to being truly outstanding, offering an impactful reading experience for both die hard franchise fans and new readers alike. 

The Terminator #1 traverses across decades and quieter woodland locales to tell the story of Harper and Penny, an unassuming couple whose lives were forever changed by the war between man and machine. As the circumstances surrounding the couple grow more and more dire, a surprising amount of carnage ensues.

Anyone going into The Terminator #1 expecting the start of a massive battle against Skynet, littered with Easter eggs and high stakes for the overall franchise, might be left disappointed. This issue’s small-scale plot does very little to set up the grand narrative that might be on the horizon — but that is a large part of why it ends up being so effective. For those who are only culturally aware of the Terminator lore, the issue proves to be incredibly accessible, instead leaning on the universal emotions being felt by its protagonists. For those who might be a bit better versed in the Terminator world, there are certainly more levels of detail to be gleaned, but in a more subtle manner. If anything, the direct pivot away from the plight of Sarah and John Connor should prove to be a refreshing change of pace, preventing the franchise as a whole from getting a little too stale or insular.

A large part of the freshness of The Terminator #1 is thanks to Declan Shalvey’s script, which comes across as the perfect distillation of his scrappy, but emotional narrative style. Again, there are not necessarily massive pontifications about the ethics or politics of the robot apocalypse, but those observations can be clearly felt within the margins. Instead, the priority is delivering a self-contained exercise in emotion, which had arguably been lacking from some of the saga’s bigger installments as of late. Sure, some of Shalvey’s narration does land a bit awkwardly, but those moments are too fleeting to really bog down the story at hand.

On an aesthetic level, the art from Luke Sparrow fits both the gritty established oeuvre of Shalvey’s work, and the visual language of the franchise, while also advancing the overall look into a new territory. The character designs, both human and robotic, are consistent and intentional, and the wooded settings immediately feel immersive. Once the issue culminates into a tragic space, even the gore is handled tastefully but impactfully, to the point where readers can practically feel the splatters of blood and the desperate firing of a shotgun. The gorgeous color work from Colin Craker helps the art translate even more, bathing panels in a stunning collection of earthy teals, pinks, and browns. The unfussy lettering courtesy of Jeff Eckleberry helps convey the emotion of the issue’s proceedings, but does feel a bit underdeveloped in some text boxes.

The Terminator #1 might not be the most groundbreaking licensed comic to arrive this year (an honor that is easily given to the Aliens vs. Avengers crossover book from Marvel), but its debut issue is nothing short of a pleasant surprise. By shifting focus away from the worn-out stories of the franchise’s main protagonists, this first issue is able to craft a portrait of ordinary life in an anything-but-ordinary robot apocalypse. On both a narrative and aesthetic level, The Terminator #1 is so straightforward and effective that its attempts at a larger narrative feel like an afterthought — but you still can not help but be excited to see this creative team eventually tackle it. Whether you have voraciously followed every chapter in the Terminator saga, or are jumping into the decades-old story for the very first time, you will probably find something impactful in this debut issue. 

Published by Dynamite Entertainment

On October 9, 2024

Written by Declan Shalvey and Sal Crivelli

Art by Luke Sparrow with Colin Craker

Colors by Colin Craker

Letters by Jeff Eckleberry

Cover by Declan Shalvey

The post The Terminator #1 Review: An Emotional Upgrade appeared first on ComicBook.com.

Eric Brooks has been having a tough go of things in recent Marvel Comics days. Thanks to the events of Marvel’s Blood Hunt, Blade has found himself shunning society thanks to being possessed by the first vampire, Varnae. While Marvel’s most popular vampire hunter was able to escape the crossover without shedding this mortal coil, Blade finds his life at an impasse as he attempts to figure out what to do next. Fortunately, or perhaps unfortunately for Blade, his next big challenge falls at his doorstep in the form of a mysterious group that are hoping the vampire hunter will give them some major assistance.

Obviously, Eric isn’t exactly in the best of moods at the moment, not that Blade has ever been known for his sunny disposition. Taking refuge on “Lupui Island” in Southeast Asia, we see Blade living off the land, forging new swords, and being presented with an “opportunity” by a mysterious organization known as the Spellguard. The common thread of this cult appears to be sewing members’ eyes shut, adding a creepy unease to the first meeting. Believing they have a common enemy, the Spellguard and Blade don’t have the most beneficial of meetings to cap off the first episode.

To start, Blade: Red Band feels like a story of missed opportunities. There’s a lot of story to explore with Blade going from the Marvel Universe’s big bad to a hero who is living in isolation. Would superheroes be gunning for him? Would the vampire world be more welcoming thanks to his turn as a result of Varnae’s possession? How does he interact with his daughter? Unfortunately, none of these aspects are tackled here and instead, we’re given something of a “run-of-the-mill” Blade story. That’s not necessarily a bad thing when all is said and done, there’s always fun to be had when it comes to Marvel’s resident vampire killer staking night stalkers but it feels like well-worn territory at this point.

The big “hook” of the first issue is in its cliffhanger, presenting a vampire lord that is also apparently a “Van Helsing”. Merging the two eternal enemies into one has some story potential, along with the ravages left behind by “Father Pontius”. There are some interesting foils for Blade here and his struggle with his own anger, I just once again wish that this new mini-series focused a little more on the fallout from Blood Hunt and Blade’s place in the Marvel Universe as a result.

On top of this, the issue is given the title of a “Red Band” coming, leading one to believe that this will be a far more “mature” and “anything goes” type of affair. While readers here are able to see Blade take quite a few heads of those unfortunate enough to get in his way, it doesn’t necessarily feel that much different from what we’ve seen the vampire hunter do in the past in all-ages iterations.

This isn’t to say that the issue is an entirely mediocre one as it still does some worthwhile digging into Blade’s character here. Bryan Edward Hill clearly had some ideas for how he would approach Brooks and the new challenge in front of him is an interesting one. The Spellguard is a creepy enough visual and I’m looking forward to seeing the role that they have to play in this five-issue mini-series.

On the art front, C.F. Villa has a great output here in not just capturing the quieter moments of Blade’s new status quo, but capturing the frantic energy that is an inherent part of his bloody battles. Blade’s world here is a bustling one and Villa’s art works well in tandem with Hill’s script. The premiere issue also gives us some of the best fights that I’ve seen Eric Brooks take part in, proving once again why Blade has become Marvel’s most successful night stalker.

Blade: Red Band has a solid enough start but is missing out on some key ingredients that could really bring a new side of Blade to the Marvel Universe. Hill and Villa are able to create another worthy tale to the Vampire Hunter’s roster of stories but ultimately don’t bring enough new elements to the table here. Blade’s anger is something that has been a part of the character for quite some time but digging further would help add some new, interesting elements to his first “Red Band” outing.

Published by Marvel

On October 9, 2024

Written by Bryan Hill

Art by C.F. Villa

Colors by Java Tartaglia

Letters by VC’s Clayton Cowles

Cover by C.F. Villa & Federico Blee

The post Blade: Red Band #1 Review – Blade Lacks Bite appeared first on ComicBook.com.

In the realm of comics, the idea of reinvention isn’t an uncommon thing. Over the years, creators have taken beloved characters, concepts, and stories and given them new takes including everything from small shifts in details to full-on changes to origins that lead to larger, more fundamental alterations to everything fans know about the iconic characters and stories that they love. With DC’s new All In publishing initiative, DC is taking on reinvention again with the Absolute Universe — including a new, reinvented version of Batman. Written by Scott Snyder with art by Nick Dragotta, Absolute Batman #1 introduces a very different version of Batman and Bruce Wayne as well as the Gotham he lives in than we’ve ever really seen before, making big shifts away from the familiar story of the playboy billionaire who is secretly Gotham’s Dark Knight towards something more grounded and more human but no less driven. And while, as a lifelong Batman fan, the idea a reinvented Batman admittedly had me skeptical going in, Absolute Batman #1 not only delivers on the promise of being something fresh and original but also creates what might be one of the most authentic Batman takes we’ve seen in a long time, bringing the character into the 21st century in a way that is exciting and thrilling and gives readers — new and seasoned — a new Batman to get behind.

In Absolute Batman #1, a mysterious group known as the Party Animals have been terrorizing Gotham City as they carry out disturbing and gruesome acts of violence with seemingly no rhyme or reason. Anyone who crosses their path is in danger. The horrifying situation has caught outside attention, prompting the dispatch of MI6 agent Alfred Pennyworth. However, it soon becomes clear that while Alfred has been dispatched to deal with things in Gotham, he’s not the only person trying to handle the situation. There’s another on the scene also attempting to deal with the Party Animals: Batman. Structurally, setting the story up from Alfred’s perspective is solid choice as it works on two levels. First, this Alfred has much of the dark, brooding personality many readers will more readily attribute to mainstream Bruce/Batman so, tonally, it feels familiar and is a good way to what is already expected and more easily brings people into the story. But with the revelation this is Alfred and not Batman, we also are given a better overview of what the situation in Gotham actually is and, in turn, are introduced to Batman much the same way as Alfred is as a character. This approach allows for the story to unfold naturally, providing a lot of information without being overwhelming or too bulky.

This approach also makes the revelation this Batman’s origin story feel that much more interesting. The Batman of Absolute Batman #1 does not have wealth and privilege, but he does share something with his mainstream universe counterpart in that his vigilante path is rooted in trauma — what would Batman be without his trauma, after all. That said, what Snyder does here feels more nuanced and more realistic in a sense. The reader is not only walked through the loss that changed Bruce Wayne’s life, but we’re also shown how it impacted him. It is perhaps some of the finest writing in this issue, dealing with the real traumatic impact of Bruce’s childhood trauma and how he internalizes it, the struggles he experiences growing up, and ultimately how he turns it into something else — and how even though he has become Batman. It’s not something that is portrayed as necessarily heroic or healthy. Instead, Bruce’s response to his childhood trauma is much more in line with what one might expect to see in the real world, even as it gets dialed up to the next level where he takes on this darker vigilante mission. And things do get darker. This Batman pushes things even further to the limit and is, in some respect, darker and more violent and it is much more fitting to what one might expect from his experience and a more “modern” Batman, but it works well and never deviates from the core of the character.

Artistically, Snyder’s writing is very well supported by Dragotta’s art. Dragotta’s distinctive stye both gives Absolute Batman a familiar look and feel while also reinventing the characters visually so that they feel new. Alfred in particular is very distinctively not like any previous version of Alfred Pennyworth we’ve seen before, but he also still has much of the physical carriage and grace one would expect from the man previously known as Batman’s butler. There’s also something to be said about the design of this universe’s Batman. While the character is massive — almost comically so — juxtaposed against the scope of the city and the threat and especially when you get to know more details about this version of Batman and Bruce Wayne, the heft and bulk of the character simply makes sense. Remember, this is a Batman without his money which makes everything much more physical and it is well-reflected in the art. Everything here feels fresh and bold while never straying too far from the familiar (and, notably, at the end of the issue there is one particular image of an unexpected character that is an exceptional example of this.) It is all just the right balance.

As I said before, reinvention isn’t an unfamiliar concept for comics, but it’s not one that always works. However, with Absolute Batman #1 Snyder and Dragotta have not only successfully reinvented and reimagined one of the most iconic and beloved characters in popular culture but have kicked off am expertly considered story as well, giving readers something that stands on it own and has real meaning. With a strong balance of familiar elements and a new approach that is both more contemporary and more grounded, Absolute Batman #1 has given new readers a compelling jumping on point while offering longtime comics fans plenty to be interested in as well. It’s a well-crafted issue that works on all levels and will be fascinating to see where it goes from here.

Published by DC

On October 9, 2024

Written by Scott Snyder

Art by Nick Dragotta

Colors by Frank Martin

Letters by Clayton Cowles

Cover by Dragotta and Martin

The post Absolute Batman #1 Review: A Reinvention to Be All In On appeared first on ComicBook.com.

Happy new comic book day! It’s another major week in comics, and the ComicBook staff have come together to break down and review as many of the big comics releasing this week as possible. Now obviously this isn’t every single comic on stands, but we’re breaking down new releases from Marvel, DC, Image Comics, BOOM! Studios, Dark Horse, Dynamite, Oni Press, Mad Cave Studios, DSTLRY, and more!

We’ve also carved out some additional space for three of this week’s biggest books, including Storm #1, the DC All In Special #1, and Hyde Street #1, so if our smaller review here piques your interest, make sure to check out the full review for a much more comprehensive analysis of all three issues. As for ratings, we keep things simple with a whole or half number out of five, and you can check out some of our previous reviews right here!

With all that said, let’s get to this week’s new comics!

DC #1

Absolute Power #4

DC’s latest landmark event culminates in a brilliantly constructed and satisfying-enough fashion. Mark Waid’s narrative does occasionally land on some predictable plot twists, but the interplay between the characters is still too good to criticize. Dan Mora’s art is as excellent as ever, especially as the fighting grows more volatile. Even with the All-In and Absolute initiatives clearly on the horizon, it’s apparent that Absolute Power got to end on its own high-octane terms. – Jenna Anderson

Rating: 4 out of 5 

Batman #153

Batman #153 is a dense issue that sets up a lot of things that could be very interesting going forward. Thanks to Bruce Wayne’s efforts, Gotham may actually be starting to turn a corner into something good, but not everyone is happy about that and Batman can’t trust it. Add in a new vigilante, The Riddler having supposedly gone straight, and some corporate shenanigans with a stunning twist, you’ve got the brewing of a complicated and deeply personal Batman tale that could answer the question of whether Gotham can really change. There’s also a surprising death, just to keep things even more interesting and mysterious. It’s the best issue of Batman in a while, hands down. – Nicole Drum

Rating: 4 out of 5

Birds of Prey #14

The start of Birds of Prey’s newest arc boasts a unique blend of entertainment and intrigue that only it can uniquely deliver. As the arc’s central conflict builds in somewhat of a slow burn, the fun is largely found in the team dynamics, all of which Kelly Thompson crafts very strongly. Sami Basri joins the series’ aesthetic in a seamless way, rendering awesome sartorial looks and epic fight sequences in equal measure. If you’ve missed out on this Birds of Prey run so far, DC’s new jumping-on point is a great opportunity to fix that. – Jenna Anderson

Rating: 5 out of 5

DC All In Special #1

DC jumps into a bold new era with the much anticipated DC All In Special, an ambitious flipbook-style issue that seeks to set the status quo of the main universe while simultaneously detailing the origins of the Absolute Universe. It’s a daunting task, and while there’s a lot to get to, the team is up for the task, crafting a one-of-a-kind special that delivers on its mission statement while still letting the heroes and villains that power this grand universe shine on their own individual levels. This is just the beginning, but with All In DC has put its best foot forward, and the future couldn’t be brighter. – Matthew Aguilar

Rating: 4.5 out of 5 (Read the full review right here)

DC’s I Know What You Did Last Crisis #1

Just in time for Halloween, DC Comics has crafted eight bone-chilling stories to celebrate the spooky season. The comic publishers have long held an enjoyable trend of creating anthology comics that celebrate a specific holiday. Much like any anthology comic book issue, Last Crisis has its share of hits and misses, bringing together veteran comic creators and newcomers to the DC Universe. Surprisingly enough, not only does this issue create some skin-crawling stories for DC’s heroes but also has some entries that act as further examinations of major crossovers including Infinite Crisis and Final Crisis. One story in particular featuring Nightwing and Superboy Prime written by none other than former DC head Dan Didio is worth your attention. If you’re looking for a fun, breezy set of eight stories exploring big and small DC characters like, I Know What You Did Last Crisis is worth its $8.99 price tag. – Evan Valentine

Rating 3.5 out of 5

DC #2

Justice Society of America #12

With Justice Society of America #11 having wrapped up the story, this week’s finale – Justice Society of America #12 – ends up being just a really nice post script to the story and for Stargirl fans, it’s a beautiful one. The issue is narrated by Courtney as she graduates high school and, over the overlay of some truly epic fight scenes, recounts the thing’s she’s learned as she closes out one chapter and prepares for whatever comes next. There’s nothing especially groundbreaking here, but Johns does a fantastic job of meditating on the challenges of life and how we never really face them alone. It’s a beautiful and fitting way to commemorate Stargirl’s 25th anniversary as well as close out this series overall. – Nicole Drum

Rating: 4.5 out of 5

My Adventures With Superman #5

My Adventures With Superman #5 sees Superman face off in a final battle for Amazo and at the same time, sees Amazo come to understand where he came from and his purpose – as well as how he’s deviated from it. It’s a tense issue with Superman advocating for the good in Amazo against a force that wants less to protect Earth but more to get his own glory and it all sets up for what promises to be a massive finale. This whole series has been a delightand this issue is no exception, especially with a little humor courtesy Ma and Pa Kent. – Nicole Drum

Rating: 5 out of 5

Plastic Man No More! #2

As Eel’s predicament gets more unpredictable and horrifying, Plastic Man No More! firmly establishes itself as one of DC’s most distinct miniseries in recent memory. Christopher Cantwell’s script is an emotional masterpiece, raising the stakes while allowing for some delightfully adult moments of character. Alex Lins’ art does double duty in rendering Eel’s modern body horror and unsettlingly quaint time with the Justice League, with the end result being both well-executed and skin-crawling. Do not miss out on Plastic Man No More!, trust me. – Jenna Anderson

Rating: 5 out of 5

Poison Ivy #26

Poison Ivy #26 kicks off a new chapter for Poison Ivy and sees her trying to set right some of the things that went so wrong with her battle against Woodrue, but in the process lands her in the middle of a huge mystery regarding a suburb that has suddenly emerged from the marsh as well as a twist of potentially mistaken identity that is going to make everything just that much harder. While the issue is a little on the slower paced side as it sets up the story, the focus on Janet as the gateway to events works really beautifully. Given the large scale the last arc took, this feels much more pared down but no less as important and it’s overall just very well done. – Nicole Drum

Rating: 4 out of 5

Shazam! #16

Shazam!’s jumping-on point for the All-In initiative is a charming, albeit visually disjointed, new chapter. The highlight is absolutely Josie Campbell’s narrative, which has a delightful grasp on the family’s dynamics and insecurities going into their latest threat. Dan McDaid’s art results in some awkward facial expressions and body composition, but still delivers in key action sequences. – Jenna Anderson

Rating: 3 out of 5

The Nice House By The Sea #3

James Tynion IV is playing his hand in the right order with this series, revealing just enough details that the WTF factor doesn’t overshadow the actual storytelling. The real selling point for The Nice House by the Sea is the artwork by Álvaro Martínez Bueno with colors by Jordie Bellaire. The pair capture not only fundamentally human elements like scrapbooks and photography but manage to evoke specific moods in eerie settings and reveal otherworldly character designs that can only be done in comics. Horror fans have a great one to catch up with if they haven’t made the trip to the House… – Spencer Perry

Rating: 4.5 out of 5

Marvel #1

Daredevil #14

Matt Murdock might have beaten Wilson Fisk once again but he has two heavy challenges to handle in his immediate future. The first is the remnants of the Heat, the Kingpin’s now aimless army, and the second is his own faith. Considering writer Saladin Ahmed has spent the current series seeing Matt as a priest, Murdock having a tete-a-tete with his creator makes sense here and peels back the layers of the character. Matt’s decision to give up his holy profession makes sense here and feels organic to the character, as well as his bristly current standing with Elektra thanks to it. Ahmed and Zagaria deliver an interesting outing for the Guardian Devil with this latest issue while also setting up quite the mystery for Murdock to handle in the imminent future. – Evan Valentine

Rating 4 out of 5

Deadpool #7

Deadpool’s daughter Ellie, and her trusty Carnage-infused hound Princess, are looking to pick up where her dead dad left off. Ultimately, Ellie does a good job of bringing a mix of humor and action that are left in Wade Wilson’s wake though there does feel like something missing from this latest issue. The topic of death is one that has had its fair share of controversy in “cape books” in recent years and the way they approach the Merc With A Mouth’s demise here doesn’t do that topic any favors. Deadpool’s death feels like an afterthought here and that’s a real shame. There is some good story hooks to mine from a scenario like this but for the team of mercenaries, it almost feels like it’s business as usual. While Ellie makes for a solid protagonist, it feels like this move to kill Wade simply doesn’t feel earned here. – Evan Valentine

Rating 3 out of 5

Get Fury #6

It’s such a shame that the characters Garth Ennis writes tend to be the most misunderstood, because he’s so damn good at crafting these gut-punching depictions of humanity that it makes you wonder how anyone could see his take on the Punisher and think any kind of violence could be a good idea. This Castle and Nick Fury story is beyond bleak, but it’s the kind of reflective saga that is impossible to ignore. – Charlie Ridgely

Rating: 4 out of 5

Spider-Gwen: The Ghost Spider #6

Gwen Stacy’s foray into the Marvel Universe continues with a much more subdued issue that features Ghost Spider having a tete-a-tete with Jessica Jones. Gwen’s new series has been very hit or miss as she tangles with classic Spidey villains while keeping the reasoning for her dimension hopping close to her chest. Luckily, this quieter issue gives us a better look into the characters of both Gwen and her potential “big bad”, the Black Tarantula. I’m still not entirely sold on the Ghost Spider’s new status quo when all is said and done but here’s to hoping that future issues can stay truer to this sixth issue than some of its weaker counterparts. – Evan Valentine

Rating 3.5 out of 5

Star Wars: Inquisitors #5

What a wallop of an exclamation point this put on the whole Inquisitors series. It’s a dark ending that lays bare the ideals that tend to lead us to our most devastating losses, both in the real world and in a galaxy far, far away. This also helps build Darth Vader’s legacy as one of the most harrowing villains around, and that is always welcomed. – Charlie Ridgely

Rating: 4 out of 5

Marvel #2

Storm #1

Rather than shying away from Storm’s complex, sometimes conflicting history, Storm #1 embraces it all and comes away with a strong sense of purpose. The issue also lays down several potential complications in Storm’s life and while it is hard to see now how they’ll coalesce into a satisfying and coherent narrative, the strength of this debut issue has earned the creative team some space to make their point. At a time when new superhero comics often struggle to justify their existence, Storm #1 creates the framework to position Storm as a leading superheroine she perhaps should have become a long time. Here’s hoping they can build on this strong start. – Jamie Lovett

Rating: 4 out of 5 (Read the full review right here)

The Immortal Thor #16

Immortal Thor #16 is a beautifully structured superhero story. It begins in a contemplative mode, reflecting on the broad idea of superheroes and supervillains as gods who walk among the mortals of the Marvel Universe before honing in on Thor’s thoughts about his responsibilities as the All-Father of Asgard. From there, it escalates with the introduction of a new foursome of villains, godly avatars comprised of some of Thor’s past foes. Ewing and Bazaldua do an excellent job of slowly ramping up the tension as Thor arrives on Earth and must confront first the earthly authorities that pose him no real threat and then eventually a villain who poses even more threat to them than he does to them before finally facing the combined might of his primal enemies. It’s done with confidence and a sense of introspection largely lacking in many modern superhero comics, which helps make Immortal Thor stand out from the crowd. It may seem odd that assembling four villains who could generously be labeled “B-list” to face off with Thor would be so exciting, but Ewing has shown a knack for elevating such characters and instilling them with new weight and meaning. One expects he’s headed in the same direction again, and that’s something worth anticipating.  – Jamie Lovett

Rating: 4 out of 5

Ultimate Black Panther #9

The latest issue of Black Panther has T’Challa’s storyline marginally spinning its wheels, but writer Bryan Hill and series artist Stefano Caselli do great with the Killmonger and Storm side of the narrative. Hill’s writing in the series is always at its best when he’s keeping us guessing and this arc does just that. Caselli channels the powers of these two characters in unique ways while also delivering plenty of other surprises as they track down the new Sorcerer Supreme. As has been the cast this entire time, Ultimate Black Panther is at its best when setting itself apart, and that remains true here. – Spencer Perry

Rating: 4 out of 5

Venom War #3

If you haven’t been reading Al Ewing’s Venom from the start, the latest issue of Venom War might read like total nonsense, and even if you have it may feel like you’re caught in a whirlpool of lore. Ewing does his best to make it all make sense, but it becomes sensory overload despite. Series artist Iban Coello continues to do great work with the varied characters and symbiotes that are present, this time wrapping up the issue with perhaps its best final page yet. – Spencer Perry

Rating: 3.5 out of 5

X-Men #5

Why do this? Why create a story seemingly of a kind with certain highly-regarded past X-Men issues only to reject what made them great without purpose? To have Kid Omega speak during a psychic rescue, a plot device previously used to justify memorable silent comics, isn’t necessarily out of character – at least not if you roll back all of Kid Omega’s character development from the past 10 years, which is keeping in theme with the current X-Men volume –  but to have him do so without any specific repercussions renders the entire exercise moot. While Ryan Stegman has his strengths as an artist, his style does not have the gracefulness of Frank Quitely or Russell Dauterman, and the journey that Quentin and Kwannon embark on lacks the symbolism that defined past psychic rescue missions, which differentiated them from any other X-Men excursion. The villain reveal feels like yet another example of McKay doing a half-hearted Morrison cover, and having Kid Omega make a statement suggesting an understanding of the need for Psylocke’s professional precision to guide his raw power and then not visualize that any further than a nebulous splash page is a failure of plot. X-Men #5 simply does not measure up to the legacy it seeks to co-op. – Jamie Lovett

Rating: 1.5 out of 5

Image Comics

Hyde Street #1

Overall, Hyde Street #1 is a bit of a departure from what readers might expect from both Johns and Reis, but the story and its art simply works. The characters are interesting, if not mysteries of their own which beg to be unpacked, but the actual setting itself offers just enough questions to make readers want to know more as well as see more, thanks to Reis’ detailed and intricate art.. At its core, Hyde Street #1 sets the stage for what feels like a tale that is going to make the reader ask some hard questions of themselves, but also make them think twice about crossing the street in an unfamiliar neighborhood. It’s a promising start to a new horror story. – Nicole Drum

Rating: 4.5 out of 5 (Read the full review right here)

Redcoat #6

Redcoat’s first story arc comes to a close in grandiose fashion, relying on the strengths of the series when it comes to big set pieces, bizarre supernatural shenanigans, and Simon Pure’s deadpan wit to make for a solid sixth issue. Johns and Hitch end the first arc strong while laying out quite the final page to hint at what is to come. Redcoat is arguably the strongest ongoing series from Ghost Machine and it’s issues like this that help to propel it as a must read for comic book fans. Here’s to hoping that Simon Pure and Albert Einstein are able to keep running with the ball in the future of both Redcoat and Ghost Machine as a whole. – Evan Valentine

Rating 4 out of 5

The Deviant #8

The Deviant is such a beautifully layered crime story that still, eight issues in, has you guessing everything you’re reading. It’s a great thriller even without the stories of identity and desperation and acceptance at its center. The whole package put together and tied with a bow has set the stage for Tynion’s holiday mystery to be an all-timer. – Charlie Ridgely

Rating: 5 out of 5

I Hate Fairyland #16

What an enjoyable return to Fairyland this turned out to be! Young has a couple jokes that don’t quite land and, at times, the dialogue can feel just a tad bit dated, but it’s never something you really mind all that much. Gert is a wonderfully messy character, which allows for the book to be a little messy sometimes, too. Seeing her accept her new role as a hero is such a fun direction for this story, especially when it’s made very clear that her heroics aren’t what she believes them to be. – Charlie Ridgely

Rating: 3.5 out of 5

Oni, Titan, and IDW

Conan: Battle of The Black Stone #2

It’s difficult for a time-hopping, monster-slaying Conan adventure to be anything other than a fun time, and Zub fully understands that. What we have here isn’t the best comic on the shelf by any stretch, but it’s a good time from the first page to the last, and that’s all you need every now and then. – Charlie Ridgely

Rating: 3 out of 5

Cruel Universe #3

The latest issue of Cruel Universe undoubtedly lives up to its concept and name, spinning a crop of largely-intriguing yarns about the dangers of technology. The highlights are definitely found in the latter half of the issue, as Ben H. Winters and Carson Thorn’s “The Deleted Man” and Cullen Bunn and David Rubin’s “Behave” deliver short and twisted parables about the modern pressures of technology. Every chapter is gruesome, and nearly every chapter is memorable, and horror fans owe it to themselves to check it out. – Jenna Anderson

Rating: 4 out of 5

Teenage Mutant Ninja Turtles: Nightwatcher #2

Nightwatcher’s second issue dives into Jennika and the series of events that led her to become the new vigilante protector of Mutant Town. Given that Nightwatcher’s debut depicted the character as a fairly straightforward urban avenger, this sophomore outing provides a surprisingly fantastical origin. It could be seen as unnecessary — Jennika has been protecting Mutant Town as part of the Ninja Turtles clan for a while now, it wouldn’t be surprising if she simply took on a new persona as the neighborhood’s current solo protector to be even more effective in that pursuit — but there is some narrative power in infusing the Nightwatcher with a power born of the cultures of Mutant Town’s people, making Nightwatcher more of an avatar of the community than a longe vengeful protector. The urban-surreal aesthetic of the visuals adds to this sensibility, one that straddles the line between street-level crime fighting and mystical, even occult themes. Nightwatcher #2 provides a strong, compelling origin for Mutant Town’s new protector that should continue to compel as the creators unpack it through future issues of the series.  – Jamie Lovett

Rating: 4 out of 5

The post Comic Book Reviews for This Week: 10/2/2024 appeared first on ComicBook.com.

DC jumps into a bold new era with the much anticipated DC All In Special, an ambitious flipbook-style issue that seeks to set the status quo of the main universe while simultaneously detailing the origins of the Absolute Universe. It’s a daunting task, and while there’s a lot to get to, the team is up for the task, crafting a one-of-a-kind special that delivers on its mission statement while still letting the heroes and villains that power this grand universe shine on their own individual levels. This is just the beginning, but with All In DC has put its best foot forward, and the future couldn’t be brighter.

Two Sides of the Story

Both sides of the story in the All In Special take place 52 days after the events of Absolute Power, and each side features a different point of view. The Alpha side of the story is told from the perspective of the heroes, mainly focusing on Superman and Booster Gold. The fallout from Absolute Power is ever-present, and this side will get those who missed Absolute Power up to speed in the broadest of ways, with one main element of Amanda Waller’s plan in the spotlight.

While there are several takeaways from Absolute Power that deserve to be explored, All In zeroes in on how the heroes were so quickly broken down by Waller’s onslaught because of their lack of communication. They were all doing their own thing, and there was no Justice League to act as their central hub, and that is one of the biggest weaknesses to address in the aftermath. Joshua Williamson addresses this on both a macro and micro level, and as he’s done so many times in Superman, he also finds a way to explore the magnitude of those bigger decisions in a meaningful way by getting to the ground level with the characters those decisions affect.

Case in point, Booster Gold, and fans of the character are going to love how much shine Booster and Skeets get throughout the issue. In many ways this is a Booster story, as he acts as the perfect prism for so much of what happens in both stories and where they ultimately converge. Booster fans are also going to adore what Daniel Sampere, Alejandro Sanchez, and Steve Wands bring to the character throughout the issue, delivering several stunning scenes that completely steal the show.

Alpha and Omega

Let’s move to the Omega side, which as you might surmise, is the story from Darkseid’s point of view. Scott Snyder, Wes Craig, Mike Spicer, and Steve Wands shift not just the story but the entire feel of the Special, moving alongside a more resolute iteration of Darkseid than we’ve perhaps ever seen. Darkseid makes decisions in this special that might seem more audacious than he’s typically accustomed to, but it’s all still in line with his lead goal, which is bigger than anything he’s tried before.

I mean, if you’re involving The Spectre in something, that kind of goes with the territory, but it was still jarring (in a good way) to see Darkseid pushing the envelope in this way. Craig, Spicer, and Wands bring each of these encounters to life in all their gruesome glory, and when the two stories finally merge, the beautiful page at its center stuns both visually and contextually, as it sets up a major showdown at some point down the line.

Now, it’s not perfect mind you, but it depends on from which point you’re jumping in. If you haven’t kept up with Absolute Power, you’re likely going to be a little muddled in spots, even with the quick recap in some of the opening dialogue. Likewise, if you don’t find the dynamics of Darkseid’s supporting cast and family interesting, the Darkseid story will likely drag a bit as it gets going. New readers will get the gist of how the new universe was formed and where the main universe is heading mind you, but it might take a second read-through to catch some of the smaller details, just due to how much the story is tackling at once.

That said, I was impressed by All In’s extensive scope and how the team was able to connect all of those bigger elements together into a story that felt satisfying on an individual level. The flipbook aspect of it brought some inventiveness to the equation as well, but also delivered two truly distinct stories that coalescence into a compelling whole, and both sides of this larger than life story delivered gorgeous and unforgettable moments along the way. An epic new era has begun, and it’s already off to a fantastic start.

Rating: 4.5 out of 5  

Published By: DC Comics

Written By: Joshua Williamson and Scott Snyder

Art By: Daniel Sampere, Wes Craig, and Dan Mora

Colored By: Alejandro Sanchez, Mike Spicer, and Tamra Bonvillain

Lettered By: Steve Wands

DC All In Special #1 is in comic stores now.

What did you think of All In? You can talk all things comics with me on Threads and Twitter @mattaguilarcb!

The post DC All In Special #1 Review: The Epic Birth of a New Era appeared first on ComicBook.com.

It’s officially October, the month of all things spooky, scary, and even a little twisted and for fans of horror comics, it also means that Hyde Street #1 is here. The latest from Geoff Johns’ Ghost Machine universe, Hyde Street #1 sees Johns and artist Ivan Reis step into the horror genre unlike we’ve seen from them before to take readers on a journey to a place — the titular Hyde Street — that feels part purgatory, part nightmare and all mystery full of tormented souls, dark mysteries, and perhaps even a disturbing look at humanity and what people will do to avoid their fate.

Hyde Street #1 opens up with a truly unsettling encounter between a seemingly kindly old lady who finds herself suddenly confused as she walks down the street with her groceries. There’s a great deal of construction cluttering up the intersection and things are strangely unfamiliar to her. She’s soon helped out by a young scout, but it’s quickly revealed that this isn’t merely a good deed. The old woman has dark secrets and the scout is on a mission to make her face them. It’s through that disturbing sequence that at least part of the nature of Hyde Street is revealed and we’re soon initiated into the idea that Hyde Street is itself disturbing, but so are its “residents” and their motives. We’re also introduced to Mr. X-Ray, another resident and it’s soon explained that even the residents have dark stories and that they’re all serving someone even darker, all playing a twisted game of presumably redemption from what feels like a much larger hell.

Narratively, it’s an interesting first issue. Johns sets up Mr. X-Ray as something of a protagonist even though he is far from an innocent — we learn about his own callousness and poor life choices early on — but much about the man or exactly why he’s ended up on Hyde Street remains a mystery. We’re also introduced to Pranky, the young scout, who seems to be filling a similar role to Mr. X-Ray but has a very different and more disturbing way of going about the task. The dynamic between the characters leaves a lot to unpack, but with plenty of tension as the first issue establishes a sort of rivalry between the two that only seems to be getting started. As for mechanics of Hyde Street and both of the characters we’re introduced to, Johns leaves quite a few things left to be revealed and in doing so, makes things just a bit more intriguing. The story is a slow burn that is just satisfying enough to enjoy but leaves the reader wanting more.

Art wise, Reis’s art is intricate and very detailed. Particular standouts in the issue are the facial features and expressions on the characters, which offer not only a bit of humanity — even in the old lady with a dark secret — but also contains secrets within themselves. Pranky in particular feels especially artistically fleshed out to the point where the visual of his dark turn is almost more impactful than what he’s saying in any given panel. Beyond just the characters, however, Reis has created a richly detailed world that manages to capture looking like any other city street or neighborhood with ease while also darkening every corner with shadow and suggestion of the horror to come. The art is made even more impactful by Brad Anderson’s colors, which are perfectly toned to be just the right amount of spooky.

Overall, Hyde Street #1 is a bit of a departure from what readers might expect from both Johns and Reis, but the story and its art simply works. The characters are interesting, if not mysteries of their own which beg to be unpacked, but the actual setting itself offers just enough questions to make readers want to know more. At its core, Hyde Street #1 sets the stage for what feels like a tale that is going to make the reader ask some hard questions of themselves, but also make them think twice about crossing the street in an unfamiliar neighborhood. It’s a promising start to a new horror story.

Published by Image Comics

On October 2, 2024

Written by Geoff Johns

Art by Ivan Reis

Colors by Brad Anderson

Inks by Danny Miki

Letters by Rob Leigh

Cover by Reis, Miki and Anderson

The post Hyde Street #1 Review: An Enticing Introduction Down a Dark Path appeared first on ComicBook.com.

The thing about Storm stories is that you’re never really sure which Storm it’s going to be about. Will it be the god, the thief, the punk, the queen, the X-Man, the Avenger? Storm’s ever-shifting identity and role in the Marvel Universe is front-and-center in Storm #1 from writer Murewa Ayodele, artist Lucas Wreneck, colorists Alex Guimarães & Fer Sifuentes-Sujo, and letter Travis Lanham, visualized with Ororo contemplating a virtual wardrobe of her past looks for bygone eras. Storm #1 ultimately does more to cement Storm’s position as a solo superhero than perhaps any past effort by drawing on various aspects from her past lives, setting up a potentially exciting series to come.

Though framed around the “Grand Opening” of the Storm Sanctuary, Ororo’s new airborne headquarters hovering above Atlanta, most of Storm #1’s action occurs in flashback to Oklahoma City one week prior, when Storm and Frenzy worked to save residents from an apparent meltdown at a local nuclear power plant. The truth is much more complicated and could poison all of the goodwill from the human community that Storm and Frenzy earned with their rescue efforts, leaving Storm with a weighty choice over whether to embrace the truth or spare mutants the additional prejudice it may bring upon them.

Arguably, Storm has never been fashioned so firmly in the mold of a superhero than she is in Storm #1. Werneck makes excellent use of background landscapes to frame the disaster in Oklahoma City as truly cataclysmic, bleeding out of frame as if to subsume that action within. Panels of Storm and Frenzy keeping the chaos at bay or finding civilians are shown from the point of view of someone looking up at them as they seemingly descend from on high, a godlike framing further emphasized by Storm’s new home among the clouds, an opulent abode that’s a far cry from the comparatively spartan culture of Arakko, where she previously resided.

This sequence wouldn’t feel out of place in a Superman story, the powerful but compassionate hero saving anyone they can without question or qualification before returning to their remote, personal sanctum. It all works well as a reflection of Storm’s magnanimity and conviction. Yet, some moments emphasize Storm’s frailty as well, such as when a wayward piece of splintered wood moving at high speed, detritus that would bounce off a Kryptonian’s torso, pierces Ororo’s chest. There’s another sign of Storm’s mortality that may act as a ticking clock in the story going forward.

While Storm has relatively little dialogue for this being her new solo series’ debut, the creative team’s vision of who she is comes through nonetheless. She is a being of near-godlike power with distinctly human empathy, one who isn’t afraid to leverage the grandiosity she is uniquely capable of wielding. She’s a hero who will do the right thing until it hurts, who values hard truth over convenient lies, and who may be destined for even greater things than even she could imagine.

Rather than shying away from Storm’s complex, sometimes conflicting history, Storm #1 embraces it all and comes away with a strong sense of purpose. The issue also lays down several potential complications in Storm’s life and while it is hard to see now how they’ll coalesce into a satisfying and coherent narrative, the strength of this debut issue has earned the creative team some space to make their point. At a time when new superhero comics often struggle to justify their existence, Storm #1 creates the framework to position Storm as a leading superheroine she perhaps should have become a long time. Here’s hoping they can build on this strong start. 

Published by Marvel

On October 2, 2024

Written by Murewa Ayodele

Art by Lucas Wreneck

Colors by Alex Guimarães & Fer Sifuentes-Sujo

Letters by Travis Lanham

Cover by Mateus Manhanini

The post Storm #1 Review: The Making of a Hero, Long Overdue appeared first on ComicBook.com.

Happy new comic book day! It’s another major week in comics, and the ComicBook staff have come together to break down and review as many of the big comics releasing this week as possible. Now obviously this isn’t every single comic on stands, but we’re breaking down new releases from Marvel, DC, Image Comics, BOOM! Studios, Dark Horse, Dynamite, Oni Press, Mad Cave Studios, DSTLRY, and more!

We’ve also carved out some additional space for three of this week’s biggest books, including Masters of the Universe/Teenage Mutant Ninja Turtles: Turtles of Grayskull #1, Batman: The Long Halloween – The Last Halloween #1, and Avengers Annual #1, so if our smaller review here piques your interest, make sure to check out the full review for a much more comprehensive analysis of all three issues. As for ratings, we keep things simple with a whole or half number out of five, and you can check out some of our previous reviews right here!

With all that said, let’s get to this week’s new comics!

DC #1

Absolute Power: Origins #3

An excellent tie-in to Absolute Power comes to an end in its third issue, once again diving deep into the mind of Amanda “The Wall” Waller. One of the most interesting aspects of this mini-series conclusion is Waller talking with her daughter and struggling to build a relationship with her in the face of the world she wants to build. Origins acts as the perfect tie-in to Absolute Power, performing a compelling deep dive into The Wall’s take on the world. At the end of the day, Absolute Power: Origins feels like essential reading for Absolute Power and that is the best kind of tie-in to earth-shattering comic book crossovers. – Evan Valentine

Rating 4.5 out of 5

Action Comics #1069

Superman and The Challenge From the Stars ends its three-part story in true Superman fashion with the Man of Steel not only showing why he’s the best of heroes, but by showing what teamwork looks like as well even when you are the most powerful player in the game. The whole arc was a nice little interlude before we get to All In, but it also felt like a nice resent, with Superman’s core values perfectly on display with plenty of action as well. Additionally the Lois & Clark: In Love. At Work finale is also very good in that it genuinely highlights the challenges that both Clark and Lois face when trying to balance their jobs as well as the dynamic of their relationship that lets them truly see and support one another. Two great stories that show the full breadth of the characters. – Nicole Drum.

Rating: 4.5 out of 5

Batman: The Brave and The Bold #13

Nearly a year and a half into its run, Batman: The Brave and the Bold has proven itself to be an ever-evolving and fun menagerie of DC adventures. There isn’t really a weak story in the bunch, but the highlights are easily the more eccentric team-ups between Green Arrow and Shazam! in Troy Peteri and David Baldeon’s “Downtime at the Diner”, and the first chapter in a crossover between John Constantine and Streaky the Super-Cat in “Petsurrection.” As a showcase for the weirdness that the DCU has to offer, Brave and the Bold is continuing to deliver. – Jenna Anderson

Rating: 4.5 out of 5

Batman: The Long Halloween – The Last Halloween #1

The Last Halloween #1 is a well-crafted and worthy next chapter to the story that not only deftly matches the original’s tone but sets the stage for an intriguing, sure to be classic Batman story. Loeb slips back into writing this story as though it’s a comfortable pair of shoes and walks the reader back into Gotham’s dark and frightened heart. Batman’s overview narration of what is happening definitely does a lot of telling, but doesn’t distract from the pieces of dialogue that we get on the pages nor does it take from the art, provided by Eduardo Risso who takes up the challenge of following in the footsteps of the late Tim Sale and does it beautifully. The issue is a fitting complement to the original while also functioning as a solid kick off to its own story. While Sale is no longer with us to provide the art, the art here still honors and furthers the visual storytelling legacy and supports everything in a way that leaves readers wanting more. – Nicole Drum

Rating: 5 out of 5 (Click to read full review)

Harley Quinn #43

Harley Quinn #43 does a really nice job of wrapping up Harley’s current story right before heading off for All In and it does it by leaning into what Harley does best: uses all of her skills. Howard leans in to the idea that, underneath it all, Harley is a psychologist who knows human beings and how they operate and that is her real super power. We also get to see Harley use that super power for good while still being flawed – and she makes the case for the importance of allowing our heroes to be flawed. While this arc has had its ups and downs, this conclusion works very well and it’s great to see the character land firmly in herself again at last. – Nicole Drum

Rating: 4.5 out of 5

DC #2

Green Arrow #16

For better or for worse, Absolute Power is continuing to wreak havoc on the Green Arrow family, and this issue showcases all of the entertaining and frustrating elements that that entails. Joshua Williamson’s script is well executed, even as it remains predicated on twists without any meaningful context behind them. Amancay Nahuelpan and Sean Izaakse’s art is seamlessly aligned together, with clever and expressive decisions made when rendering the series’ ever-growing roster of characters. While this issue is far from perfect, it does sufficiently lay the runway for whatever Absolute Power has in store next. – Jenna Anderson

Rating: 4 out of 5

Outsiders #11

Outsiders’ finale is nothing short of operatic, weaving a top-notch tale about life, loss, and the beauty of comic storytelling. Collin Kelly and Jackson Lanzing’s script is endlessly clever and poignant, wrapping up the series’ disparate plotlines in a satisfying and emotional fashion. Robert Carey’s art is as dynamic and opulent as ever, rendering rainy cityscapes and the blank void of the multiverse with an equal sense of depth. There has been nothing quite like Outsiders in the past year of comics, and I am delighted that it was able to culminate on such good terms. – Jenna Anderson

Rating: 5 out of 5

Power Girl #13

Power Girl is such a solid book that it can go entire issues without its titular hero and you don’t mind one bit. Issue #13 focuses entirely on Omen, giving her more of the spotlight she deserves and allowing the saga a small detour away from Power Girl. It’s a brisk issue with some really enjoyable elements at play. Plus, a new character debut in the third act does a lot to get you excited for whatever’s next. – Charlie Ridgely

Rating: 4 out of 5

The Flash #13

The Flash is absolutely wild, and I mean that in the best way possible. At no point did I have The Flash working elements of humanity and child birth into the Speed Force, but we are here, and I gotta say, it was well worth the trip. Simon Spurrier really delves into this world in a way I never expected, unlocking a way to relate to it and to the speedsters that it calls upon in truly unique ways. Ramon Perez, Matt Herms, and Pete Pantazis sort of break your mind at times as The Flash maneuvers through reality-breaking scenarios, though it’s when the family becomes involved that the story truly starts to hit its stride, and it never looks back. This was not at all what I expected, but leave it to this dynamite team to leave any expectations in the dust and break new ground, and you can absolutely sign me up for more. – Matthew Aguilar

Rating: 4.5 out of 5

Zatanna: Bring Down The House #4

This issue feels tailor-made for me in many ways, mostly because it’s primarily Zatanna and John Constantine just interacting, which to me is a recipe for success. Mariko Tamaki does one better though, weaving humor, intrigue, and welcome answers to the ongoing mystery throughout the two just simply existing together, which again, is a win in itself. Javier Rodriguez and Hassan Otsmane-Elhaou literally work magic throughout the issue, and this is easily one of my favorite books visually in the series, including one simply breathtaking splash page that demands to be a poster on the wall. Zatanna vs Zatara is going to be epic, but even before that showdown finally happens, the team has already delivered one of the character’s best outings to date. – Matthew Aguilar

Rating: 4.5 out of 5

Marvel #1

Daredevil: Woman Without Fear #3

Elektra’s time as the “Woman Without Fear” has been a high mark for the character overall, attempting to save Hell’s Kitchen as a way to prove herself to Matt Murdock. Most of this issue focuses on Elektra fighting against the likes of Count Nefaria and Silverman, and while it’s a strong enough brawl, it does feel a tad lacking at times in terms of overall characterization. Luckily, Dowling and Fiorellie on artistic duties work some magic here, adeptly covering the fight and the more grounded moments of this underworld extravaganza. Ultimately, had the characterization been a bit stronger, this could have been a great outing for Elektra but it failed to capitalize on the new Daredevil’s crime-fighting career. – Evan Valentine

Rating: 3 out of 5

Namor #3

Even when there’s less going on than in previous issues, Aaron’s Namor has yet to hit a speed bump. The Sub-Mariner is constantly at war with himself and his past, while simultaneously using the clarity from those memories to try and stop a literal war unfolding all around him. It’s a brilliant character study and a fantastic exploration of the Marvel Universe beneath the surface. – Charlie Ridgely

Rating: 5 out of 5

NYX #3

Despite a few moments of overdone platitudes or shaky characterization, this new generation of NYX continues to possess potential. Collin Kelly and Jackson Lanzing’s approach to the ensemble delivers poignancy and action in equal measure, perfectly accompanied by Francesco Mortarino’s chunky-but-lively aesthetic. NYX definitely remains a relevant book for this moment, and I’m curious to see exactly what the future holds for it. – Jenna Anderson

Rating: 4 out of 5

Phases of the Moon Knight #2

There’s a lot to like about this Phases of the Moon Knight idea, even if every story isn’t a knockout. The two stories in issue #2 depict a throwback detective-type adventure for Moon Knight and a futuristic tale set in the 2800s. The former, from writer Jed MacKay, is the much stronger of the two, but both find ways to be enjoyable. Neither lingers too long or outstays their welcome. – Charlie Ridgely

Rating: 3 out of 5

Phoenix #3

Though the series IS filled with grand action and huge splash pages from series artist Alessandro Miracolo, there is a gentleness at the heart of the Phoenix comic that is what really makes it sing. Miracolo channels the tender nature of the character in moments where her empathy and understanding become her biggest superpower, and series writer Stephanie Phillips continues to prove she has a firm understanding of the character. Spectacular visuals continue to collide with a personal take on a classic hero, making this a secret dark horse for one the best books out of the new X-Men. – Spencer Perry

Rating: 4 out of 5

Marvel #2

The Amazing Spider-Man #58

Zeb Wells and John Romita Jr’s run on your friendly neighborhood Spider-Man is inching toward its finale as the creative team unleashes one of the most brutal fights in Peter Parker’s history. While there have been elements of time travel, snow deities, and Paul in the overall run, Tombstone has been a key focal point in the run so far. Lonnie Lincoln is given plenty of time to shine here as he looks to do the unthinkable, with only Spidey managing to stop the mob boss from killing his own daughter. Not since J. Michael Straczynski’s Morlun storyline have I seen a more hard-hitting battle for Spider-Man and while there have certainly been issues with the run overall, this latest issue makes it seem that Wells and Romita Jr. are going out on the highest of notes. If you’ve been looking for a more serious Spidey tale, The Amazing Spider-Man #58 is well worth your time and might be my favorite issue from the team so far. – Evan Valentine

Rating 4.5 out of 5

The Avengers Annual #1

The Infinity Watch has been a genuinely pleasant surprise over the past few months, and now this part of the saga has concluded in the pages of Avengers Annual #1. Granted, it’s just really the introduction, but it’s a compelling one, and shows that perhaps the Infinity Stones still have some life left in them after all. The Avengers Annual illustrates the stakes for failure rather effectively, and the contrasting personalities within the group showcase a lot of promise, with a few truly standing out by issue’s end. While we’ll have to wait and see what’s next for this eclectic group, Marvel has managed to get me invested and eager to see what that future holds. – Matthew Aguilar

Rating: 4 out of 5 (Click to read full review)

Ultimate Spider-Man #9

Though not a down step in any way, this is the first issue of Ultimate Spider-Man that has marginally felt like the wheels were spinning. Writer Jonathan Hickman reconvenes his characters into similar situations, with the Peter/Harry storyline feeling the most like its marching in place. The good news is that even when it seems to partially stall itself out, it’s still an engaging read. Series artist Marco Checchetto continues to do amazing work, making the action engaging and the slower moments have equal amounts of impact for readers. This continues to be a special book. – Spencer Perry

Rating: 4.5 out of 5

Uncanny X-Men #3

In the wake of Krakoa, many readers wondered if the “From The Ashes” status quo would be able to live up to its predecessor and from Uncanny X-Men’s first three issues, the answer is a resounding yes. Gail Simone might be focusing on the merry mutants that were featured most prominently in X-Men ’97 but she has given them far different roles here. Setting the stage for a new generation of mutants, across all the titles, is a compelling twist but Uncanny feels like the strongest of the bunch so far. Simone and Marquez are firing on all engines here, doing an amazing job with both the recognizable mutants and their new students. On top of this, Gail has crafted quite the creepy new villain, who readers get to see in action this time around. Uncanny X-Men feels like the “must-read” book of the Marvel mutant line and that fact might just continue for issues to come if history is any indication. – Evan Valentine

Rating 4 out of 5

X-Force #3

X-Force #3 is a flat affair. Marcus To’s artwork is stellar, as usual. However, his style’s openness and natural flair for superheroics don’t fit well with a book where tech and moral ambiguity are big themes, perhaps better evoked by a more shadowy style with finer details. As is, the issue is fine enough to look at, but the plot is a pretty barebones superhero affair and most of the dialog is basic bickering. There’s not much memorable here and the issue is likely to be forgotten once its closed. – Jamie Lovett

Rating: 2.5 out of 5

Image #1

Rogue Sun #22

There’s a lot going on here (perhaps a little too much) but the issue remaining rooted in the long-term effects of tragedy and grief help keep it engaging from page to page. The clean and crisp action also helps Rogue Sun move tremendously, creating a comic that’s always got something on its mind but is never bogged down by its own ideas. – Charlie Ridgely

Rating: 4 out of 5

Universal Monsters: Frankenstein #2

The second of 4 issues retelling the story of Frankenstein by telling the story of one body part used to create his monster, Universal Monsters: Frankenstein #2 this time centers around the brain – and how it goes a little bit awry. Story-wise, this is an interesting book and this particular approach is fascinating. Walsh does a great job with that, slowly unfolding what is ultimately a tragic tale. Art-wise, however, the book is a little harder to follow as some of the characters, at times, look too much alike to easily discern. Over all though, it’s a solid story and it will be interesting to see where it goes next. – Nicole Drum

Rating: 3 out of 5

Other Publishers #1

Conan The Barbarian #15

Conan’s arctic arc remains the strongest of this run to-date, though this issue is slightly weaker than the couple that came before it. It’s a good time, with some well-paced sequences for the titular hero, but the supernatural and sexual situations here don’t hit quite as well as the action-heavy adventures we’ve gotten used to. – Charlie Ridgely

Rating: 3 out of 5

Helen of Wyndhorn #5

“Stunning” doesn’t feel like a powerful enough word to explain Helen of Wyndhorn, but it suffices in the meantime. Tom King’s script spins a yarn that is filled to the brim with surprises and heart, with some profound moments that legitimately took my breath away. Bilquis Evely’s art could not be more outstanding, with an attention to detail and a sense of liveliness that is truly breathtaking. If you are not reading Helen of Wyndhorn, take this as a sign to fix that immediately. – Jenna Anderson

Rating: 5 out of 5

Masters of the Universe/Teenage Mutant Ninja Turtles: Turtles of Grayskull #1

The Teenage Mutant Ninja Turtles have been making the crossover rounds in the comic book world in recent years. Michaelangelo, Donatello, Raphael, and Leonardo have met, and teamed up with, Batman, the Mighty Morphin’ Power Rangers, the kids from Stranger Things, the Savage Dragon, The Ghostbusters, and more. On the Eternia side of the equation, Prince Adam and his fellow Masters of the Universe fought against the twisted DC Heroes of the Injustice Universe and the Thundercats. Now, the heroes in a half-shell and the Eternians are coming face-to-face in a Dark Horse comic book crossover. – Evan Valentine

Rating: 3 out of 5 (Click to read full review)

Mighty Morphin Power Rangers/Usagi Yojimbo #1

Power Rangers fans have been rather spoiled in the crossover department, and their winning streak continues with Mighty Morphin Power Rangers/Usagi Yojimbo #1. Writer Ryan Parrott has already put his crossover skills on display in the stellar crossover with the Teenage Mutant Ninja Turtles, and his enthusiasm for Yojimbo is just as readily apparent. Yojimbo is in many ways the linchpin of the story, and Parrott then utilizes him to highlight the Rangers’ various relationships with each other and their role as heroes. Shawn Daley, James Fenner, and Ed Dukeshire bring those interpersonal relationships and the fantastical action you’d expect from this team-up to life brilliantly, delivering a stylized world that still feels true to both sets of characters but also feels fresh and distinctly its own. The oversized one-shot format suits the story perfectly as well, so all in all, nothing but praise from here. – Matthew Aguilar

Rating: 5 out of 5

The post Comic Book Reviews for This Week: 9/25/2024 appeared first on ComicBook.com.

Halloween is nearly upon and DSTLRY’s Come Find Me: An Autumnal Offering is a one-shot full of ghostly stories that will entertain and delight in disturbing ways. The roster of creators involved in the anthology is almost intimidating, thus making it little surprise that the issue, cover to cover, is among the most consistently excellent anthology comics I’ve ever opened. Each story, while distinct, has the air of folk horror about it, less slasher or monster movie and more the type of tale you might hear around a campfire or whispered among neighbors. The result proves mesmerizing and lingers in all the right ways. 

HamletMachine and Joe Pavelka kick the anthology off with a lusciously rendered tale involving an obsessive musician and demon who deals in music. The musician seeks to play the suffering of a living being and moody artwork, with sharply contrasted blacks, whites, and greys, is like a poetic how one might indulge too deeply in one’s pain and spread it to others, full of dramatic flair.

Becky Cloonan’s tale, rendered in her signature shadowy, thick-lined style, begins a warning to both the reader and its protagonist to “Stop here.” The story is a haunting tragedy of a single mistake — or perhaps not — that haunts the main character long after, ending in a chilling final moment. 

The third story, by Molly Mendoza, shows a remarkable commitment to its theme. The tale of a man who can’t get over the loss of his drowned lover is practically waterlogged, rendered in sharp blues, and with layouts affecting the notion of descent and ascent from the depths, all leading to a nightmarish ending.

VanesaR. Del Rey and Andrew Betsch present a story that casts the struggle of a union man’s family and the bosses of a company town in terms of a biblical apocalypse. The starchy linework and bleak colors convey a sense of desolation, and though justice may be served, the harrowing price reminds the reader that all things have their cost.

Celine Loup’s story of alpine horror is a bit more challenging to follow than the other tales in the anthology. However, freehand linework and flat colors offer an immersive aesthetic and stunning compositions. While the story beats are muddied in spots, the visuals convey the themes of corrupted innocence and lurking dread well enough to be incredibly affecting.

Lastly, horror comics master E.M. Carroll offers an economically told tale of love after death turned sour. Over a few pages of grotesquely detailed designs, Carroll gives readers a fully formed story of gothic love and tragedy as devotion is taken to its twisted, fatalistic end.

Come Find Me: An Autumnal Offering is a prestigious offering of seasonal comics. Of the six stories, there’s not a weak one in the bunch but the anthology stands out for how well the varied stories work together, each benefiting from the darkening mood further established by the harrowing ending of the one before it to create a compilation builds on itself into something greater the sum of its parts.

The distinctly resplendent visual styles and quality of storytelling on hand in Come Find Me: An Autumnal Offering is an embarrassment of comic book riches. Coming out on the eve of Halloween, any reader immersing themselves in Come Find Me: An Autumnal Offering will find the mood more than sufficiently set for an enthusiastic haunting and the working of witchcraft. More impressively, the stories within Come Fine Me are impeccably crafted enough to make rereading a rewarding new Fall tradition.

Published by DSTLRY

On October 30, 2024

Written by various 

Art by various

Colors by various

Letters by various

Cover by Beck Cloonan

The post Come Find Me: An Autumnal Offering Review: A Collection of Dark Delights appeared first on ComicBook.com.

Happy new comic book day! It’s another major week in comics, and the ComicBook staff have come together to break down and review as many of the big comics releasing this week as possible. Now obviously this isn’t every single comic on stands, but we’re breaking down new releases from Marvel, DC, Image Comics, BOOM! Studios, Dark Horse, Dynamite, Oni Press, Mad Cave Studios, DSTLRY, and more!

We’ve also carved out some additional space for three of this week’s biggest books, including Catwoman #68, Dazzler #1, and The Moon Is Following Us #1, so if our smaller review here piques your interest, make sure to check out the full review for a much more comprehensive analysis of both issues. As for ratings, we keep things simple with a whole or half number out of five, and you can check out some of our previous reviews right here!

With all that said, let’s get to this week’s new comics!

DC #1

Batman/Superman: World’s Finest #31

Mark Waid is still in the driver’s seat when it comes to World’s Finest, doing double duty on both this and DC’s latest crossover, Absolute Power. Unfortunately, Absolute Power’s gain is World’s Finest’s loss as artist Dan Mora has jumped onto the former. While new fill-in artist Adrian Gutierrez provides a worthy effort, there are some chinks in the armor for the new team-up book. The story luckily is a sound one, once again bringing the Justice League face-to-face with the body-controlling villain known as Eclipso. As he has in the past, Waid makes writing DC’s biggest heroes seem easy and that isn’t lost here when it comes to their respective personalities and histories. World’s Finest remains one of DC’s best books but this latest issue doesn’t feel as strong as what came before it. – Evan Valentine

Rating 4 out of 5

Catwoman #68

These past two years of Catwoman have been filled with some undeniable bright spots, as Selina’s personality as both a superhero and an ever-evolving woman has been charmingly fleshed out. While the grand finale of Catwoman #68 might not tie everything up in a perfect bow, it still carries that same sense of scrappiness and reverence for its titular protagonist. Regardless of whatever the future holds for Selina Kyle, this run has proven to be an entertaining chapter in her journey. – Jenna Anderson

Rating: 4 out of 5 (Click here for full review)

Dark Knights of Steel: Allwinter #3

Dark Knights of Steel’s latest chapter unfolds in a sentimental, high-octane way. Jay Kristoff delivers both on character and on clever action, and Tirso’s art and colors in the main story are nothing short of outstanding, playing with the medium of comics in some fun and compelling ways. The “Heir to the Sea” backup story from Tom Taylor and Ricardo Federici also delivers some emotion and verisimilitude, even though it feels like a bit of an afterthought compared to the main story. – Jenna Anderson

Rating: 3.5 out of 5

DC #2

John Constantine, Hellblazer: Dead in America #9

John Constantine, Hellblazer: Dead in America #9 is fantastic. The issue is very dense and centers less around Constantine and more around a would-be actor, Danny, as he recounts how he’s gotten into a particular situation involving conspiracy and black magic in Hollywood – to put it lightly – but what the issue does and does beautifully is not only weaves a dark story of magic and corruption, but also highlights the darker side of conspiracy and prejudice in America. This issue is fascinating and layered and at times, unsettling and while reading the rest of this series would be a good idea to fully grasp everything, this issue on its own stands out as something with a lot to think about. Si Spurrier, simply put, knocks it out of the park. – Nicole Drum

Rating: 5 out of 5

Jenny Sparks #2

Jenny Sparks #2 almost immediately falls into the trap I feared it would from the first issue: it gets needlessly complicated very quickly with aspects of the story difficult to keep straight with the story jumping around quite a bit between what is going on in the bar and Jenny’s response to it – as well as some 9/11 thrown in as well. The core mystery of what is going on with Captain Atom doesn’t really feel like it progresses much other than his declaration that he wants to be a god and whatever it is that Jenny is supposedly able to do before the “real” heroes show up remains unclear. It’s a very dense issue that feels overfull in places with its ultimate direction feeling increasingly unclear. – Nicole Drum

Rating: 2 out of 5

Superman #18

Absolute Power continues to roll towards its conclusion, and Superman #18 looks to be a key piece of the big finale. Joshua Williamson tackles several elements of Waller’s plan throughout the issue, though at the heart of the issue is Superman and Zatanna’s opposing views on magic, with both evolving immensely by issue’s end. Jamal Campbell and Ariana Maher once again make a dynamite team, bringing as much intensity to a sit-down conversation with Neron as they do a brawl for survival with Waller’s latest lethal creation, though some of the best moments are the heartwarming ones along the way. Superman’s Absolute Power tie-in continues to be a shining example of what a tie-in and a team-up should be, and deserves all the praise. — Matthew Aguilar

Rating: 5 out of 5

Wonder Woman #13

While I feel like the Absolute Power tie-in aspect of things probably doesn’t help with the strength of the issue, Wonder Woman #13 i also just sort of bland on its own. The issue continues the jailbreak mission that Wonder Woman and Damian are on, but most of the issue is spent distracted with Diana and Steve losing focus on what they’re supposed to be doing – rescuing the heroes – and instead focusing on each other, complete with multiple make out sessions that Damian feels the need to comment incessantly are “gross”. From a humanity aspect, it is nice to see the romance between Diana and Steve highlighted, but there’s just something about the issue being so fixated on this one particular thing that feels out of place. The backup story about Trinity’s “secret origin” feels equally as fluffy and unserious, resulting in an overall product that feels like it’s merely treading water to get through the Absolute Power event. – Nicole Drum

Rating: 2 out of 5

Marvel #1

The Avengers #18

If you had told me Hyperion would be the person to bring the best out of the Avengers I would not have believed you, but with Avengers #18, that is indeed the case. In the second chapter of Impact, Jed MacKay simultaneously deals with the present threat Hyperion poses to the world and the concepts of grief and isolation that power it while also exploring how the Avengers approach the difficult decisions pertaining to life and death, and that’s on top of Storm’s brilliant introduction to the team. MacKay even finds a moment or two for the X-Men, including a quick but on-point exchange between Storm and Cyclops. The team of Valerio Schiti and Bryan Valenza truly make Storm feel like a force of nature in every single panel, including a final page that is truly stunning, and that’s saying something after some gorgeous pages showcasing the grand teamwork between the Avengers and the X-Men. This is easily one of my favorite issues of Avengers thus far, and it primes the stage for a promising next chapter for Marvel’s most powerful team. – Matthew Aguilar

Rating: 5 out of 5

Dazzler #1

Dazzler #1 isn’t some big, action-packed issue with a hard-driving plot that it’s setting up. Instead, the issue feels a bit like a love letter to the character that strongly connects her to a real-world popstar and, in doing so, makes her feel more accessible outside of Marvel fans. There’s also the reminder of how complex the relationship between mutant kind and humanity has always been within the Marvel universe all wrapped up in a pop rock package, complete with lyrics. The issue isn’t breaking any new ground, but it’s a lot of fun. – Nicole Drum

Rating: 3 out of 5 (Click here for full review)

Deadpool #6

The death of Wade Wilson has been an event that has been touted by Marvel Comics for months and this issue is apparently the one where we see it happen. The vast majority of the issue follows Deadpool’s daughter, his Carnage-infused beast, and Taskmaster taking on a threat where they are holding back their “claws”. This sixth issue works as a good introduction to Ellie taking on her father’s mantle, demonstrating how she is her own character while still maintaining the fun of the original Merc With A Mouth. It’s an interesting angle to take and it works here. Ziglar and Antonio do a solid job here for Wade Wilson’s swan song, setting up some interesting beats for the comic to take up in the future. – Evan Valentine

Rating 4 out of 5

Spider-Man: Black Suit & Blood #2

As many of these Marvel anthology books go, the stories are a mixed bag, but the ones found in Spider-Man: Black Suit & Blood are all tackling the theme of the title in unique ways. “The Edges of Rage” by Erica Schultz, Marcelo Ferreira, Roberto Poggi, and Andres Mossa, takes a unique look at the emotional spectrum Peter is on while the host of the symbiote while “Burgers, Fries and Blood” by Dan Jurgens and Chris Sotomayor puts a funny spin on the idea. The best of the trio is “Shock and Awe” by Greg Weisman and Javi Fernández, putting a unique perspective on the idea of Peter and Venom’s bond and visualizing it in a way that only comics can. – Spencer Perry

Rating: 4 out of 5

Marvel #2

Spirits of Vengeance #1

Spirits of Vengeance scribe Sabir Pirzada is putting the pieces all in the right place with this first issue, all while clearly balancing a love for the Ghost Riders comes of yore in addition to carving out their own Marvel path. This requires a lot of table setting, which is on the surface fine, but the artwork by Sean Damien Hill marginally suffers from the slower pace. Hill’s heart is clearly in the flames, as the moments where the titular characters appear are where the imagery pops and personal stylizations are more appealing (the regular folk that appear in this one sometimes look….off). This is a fine starting point and one where hopefully the gas pedal can be pressed on moving forward. – Spencer Perry

Rating: 3 out of 5

Star Wars: Darth Vader #50

This series might have “Darth Vader” in the title, but longtime readers know that the narrative has always extended beyond him. While Star Wars #50 served as a standalone issue that attempted to bridge the gap between the end of that series and what’s to come, Star Wars: Darth Vader #50 instead opted to wrap up a number of narrative threads, which included our titular Sith Lord as well as the Imperial Schism, Sabé, and Ochi of Bestoon. With audiences already aware of what’s on store for the galaxy far, far away, as this chapter leads into the events of Star Wars: Return of the Jedi, we’re left a bit perplexed but the somewhat definitive resolution to various plot threads. On the one hand, being given satisfying endings to these characters and their journeys feels rewarding to readers who have been with the series for four years, though it also feels like the book misses the mark by doing nothing to really tease anything that’s to come in the established canon. We aren’t expecting any outright teases of future projects, though by focusing entirely on wrapping on these story threads as opposed to doing anything to plant the seed for what the future holds for these characters or how the events of Return of the Jedi could possibly be recontextualized with reveals made in this book, we feel a bit disappointed. The actual work being put in by writer Greg Pak and his many artistic collaborators is all entertaining and engaging, yet this final issue in a years-long narrative leaves us feeling largely underwhelmed. – Patrick Cavanaugh

Rating: 3 out of 5

The Incredible Hulk #17

Over 17 issues, I have run out of ways to sing The Incredible Hulk’s praises. There are layers to this new, evil mythology that are woven so directly into the framework of Hulk’s character and psyche that it feels like so much of this has always been a part of Hulk lore. Now we’ve finally reached the Eldest and her debut is the furthest thing from disappointing, showing that Johnson, Klein and the team know how to knock em down just as well as they set them up. – Charlie Ridgely

Rating: 5 out of 5

Ultimate X-Men #7

In this brave new world of the Ultimate Universe, X-Men can often feel like the odd duck out. The series takes a drastically different approach to these new mutants and in doing so, can be quite jarring in how it portrays its “X-Men”. I put quotes around X-Men as it doesn’t feel as though this is like any team we’ve seen before, which comes with some big disadvantages. As a manga reader myself, I can appreciate the style being incorporated in this new series, which at times had me thinking of Junji Ito, the horror artist that has become a big name in the field. Ultimately however, the story feels like it suffers with its identity and would have benefitted far more by not being a part of this Ultimate universe but rather as its own thing. There are some interesting concepts and ideas here to be sure, but it ultimately feels like many of them fail to land with such a drastic re-telling of Marvel’s mighty mutants. It’s a frustrating read and I think in a vacuum, Ultimate X-Men would have benefitted far more with the story it is attempting to convey. – Evan Valentine

Rating 2.5 out of 5

X-Factor #2

X-Factor #2 feels less like a case of early 2000s deja vu than the series’ debut, focusing on Havok and Polaris’ increasingly complicated relationship. How do you maintain a relationship between a centrist and someone who has become increasingly radicalized against the mainstream? It’s an interesting premise that hopefully will get more attention as the series progresses. The rest of the issue is dedicated to giving us a sense of the new characters filling out X-Factor’s roster and the team dynamic and is mostly played for legitimate laughs, though with fewer barbs to the humor than one might expect if they’re familiar with Mark Russell’s usual brand of satire. The visuals, however, do a stellar job of selling the all too clean facade of what X-Factor is all about with soft colors and strong jaws. – Jamie Lovett

Rating: 3 out of 5

X-Men #4

X-Men #4 follows the same basic plot as the past several issues, with Cyclops’ team embarking on another mutant retrieval mission. The biggest difference this time is the fill-in artist providing less serviceable but unmemorable visuals and Cyclops himself doesn’t leave the base, instead trusting Magik to lead the squad. Scenes of Magik playing chess remotely with a mystery figure bookend the issue, underpinning a fatalistic philosophy that the mutants can never win but only delay their eventual defeat. However, the story fails to make a convincing argument for why Magik bothers to delay what she seems to feel is inevitable, coming off instead like an inorganic motif meant to double down on the series’ already dour mood. Similarly, Beast begins showing some of his old arrogance, acting like he can’t be bothered with a mission to save an endangered mutant, which oddly, makes the reformed human supervillain Juggernaut seem most heroic of the group. Trevor Fitzroy’s “doing it for the views” motivation feels a decade outdated and the mystery villain reveal isn’t going to make anyone’s jaw drop as it feels entirely random. At four issues in, this latest X-Men volume is already feeling rote. – Jamie Lovett

Rating: 2.5 out of 5

Image Comics #1

Destro #4

Of the many story beats that have helped make the Energon Universe a success, the origins of Cobra has been one of my favorites. The new Image comic book line has done an exceptional job of building up GI Joe’s villainous counterpart in a similar style to Marvel’s Avengers, introducing and fleshing out the individual parts that make up the whole. Destro specifically is first and foremost an arms dealer, venturing quite far into espionage along with cat-and-mouse tactics that help build the character here. Watters and Bressan have a plan when it comes to Cobra’s resident metal-mask-wearing higher-up and I can’t wait to see what it is. The Energon Universe came out swinging and it continues to do so with each new series further fleshing out its universe. – Evan Valentine

Rating 4.5 out of 5

Falling In Love On The Path To Hell #4

Aesthetically, narratively, and conceptually, this series continues to be something compelling. Gerry Duggan and Gary Brown’s work allows for some poignant, but profound moments of character and worldbuilding, which are accentuated beautifully by Chris O’Halloran’s colors. I’m very curious to see what the future holds for this book. – Jenna Anderson

Rating: 4 out of 5

G.I. JOE: A Real American Hero #310

G.I. Joe: A Real American Hero is in full climax mode as it wraps up its first arc, yet things are still escalating. Dawn Moreno’s moral quandary resolves with satisfaction as Springfield, or at least one portion, goes up in flames around her. The issue is heavy on the action, but it’s always clear, easy to follow, and exciting as feints and counterstrikes unfold. With more factions set to join the fray, it’s unclear how the conflict will resolve, which makes it all the more thrilling. – Jamie Lovett

Rating: 3.5 out of 5

Image Comics #2

Ice Cream Man #41

Ice Cream Man is one of the most criminally underrated comic books on the market today, let alone one of the most criminally underrated horror comic books on the market. The series’ anthology style always works wonders in presenting truly outside-of-the-box stories and issue #41 is no exception. Prince and O’Halloran are once again on their A-game here in presenting the story of a secret agent in Cuba, coming face-to-face with a challenge that is as horrific as it is hilarious. This one and done story is exceptionally solid, once again highlighting the creepy world of the Ice Cream Man and how readers need to expect the unexpected whenever they pick up an issue. A must-read for horror and comic book fans alike. – Evan Valentine

Rating 4.5 out of 5

The Power Fantasy #2

The Power Fantasy is only two issues in and the depth of Etienne Lux’s (self?)deceptions and compromises already appear much deeper than he would let on. It makes him a fascinating and multifaceted character seemingly committed to achieving the best outcome by being the worst. It also speaks to the deft writing of the issue that the reporter with color-changing fingernails remains a compelling character when cat against the backdrop of these human atomic bombs, holding her own in a face-to-face with The Power Fantasy’s ersatz sort of Magneto, Heavy, in a way that challenges the surface-level bravado and breaks into human beneath. It’s an intense and provocative read that manages to upend its own stated premise in a way that only makes things more intriguing. – Jamie Lovett

Rating: 4.5 out of 5

The Moon Is Following Us #1

The Moon Is Following Us #1 is a debut issue that leaves and impression. The artwork is stunning, balancing compositions that evoke chaos without becoming chaotic themselves. The twilight colors create a moody sensibility that speaks to the uncertainty at play, and the two leads prove relatable and remarkable, as does their quest, which asks prickly questions about the nature of a parent’s devotion to their child. The creators still have much to reveal as far as where we are and how we got there, though if every issue of the series offers an equally stunning adventure then I’d say there’s no rush. With visuals this stunning, readers should be more than willing to hop onboard and enjoy the ride wherever the epic journey may ultimately take them. – Jamie Lovett

Rating: 4 out of 5 (Click here for full review)

Witchblade #3

The new Witchblade continues to surprise as writer Marguerite Bennett finds a steady balance of bold feminist storytelling mixed in with the gritty action fans are expecting. Series artist Giuseppe Cafaro (aided with colors by Arif Prianto) delivers amazing splash pages in the new issue, some which are major action beats but others which used as interesting focal points for the larger undercurrent of the series. Witchblade remains a fun new chapter for longtime fans but also newcomers that have no idea what any of this is. – Spencer Perry

Rating: 4 out of 5

Other Publishers #1

Epitaphs From The Abyss #3

Epitaphs From the Abyss #3 might be the best of this series thus far, largely on the strength of the first story in the issue which has a twist that you genuinely don’t see coming. There’s also a kind of fun – but not chilling – vampire tale and a very thought-provoking story about the concept of the devil and hell and things being a circle. The issue doesn’t flow from story to story quite as well as previous issues, but that first story is just so good that it elevates the whole thing and makes it a strong overall read. – Nicole Drum

Rating: 3 out of 5

Paranoid Gardens #3

Paranoid Gardens has definitely settled into a wacky, compelling groove. Gerard Way and Shaun Simon’s script progresses the narrative in major ways while still keeping the series’ trademark bizarreness, and Chris Weston’s art stretches things even further into uncanny valley. A lot of questions in Paranoid Gardens remain unanswered, and this issue proves that there is a weird beauty to that. – Jenna Anderson

Rating: 4.5 out of 5 

Star Wars: The High Republic Adventures #10

The story of High Republic Adventures has found a way to get a little more focused, which is such a welcomed change of pace. It’s still not the most interesting of the Star Wars books, but it’s got a wide appeal and characters you consistently love. Now that the narrative isn’t quite as sprawling, it’s much more effective. Plus, there’s that final page name-drop sure to get some folks excited for what’s ahead. – Charlie Ridgely

Rating: 3 out of 5

The Graveyard Club #1

The Graveyard Club has a lot of potential, but fails to really live up to any of it. R.L. Stine’s writing feels dated throughout the book, which is disappointing given all of the iconic horror stories he’s brought us over the years. The dialogue here is largely spoon-feeding exposition and over-explaining what the art could tell us on its own. The lifelessness is made more frustrating by the introduction of a town and characters that seem to have a lot to offer. In concept, The Graveyard Club is fantastic. The execution just doesn’t live up to the idea. – Charlie Ridgely

Rating: 2 out of 5

The post Comic Book Reviews for This Week: 9/18/2024 appeared first on ComicBook.com.

In the lead up to this summer’s blockbuster Deadpool & Wolverine, Marvel fans had no shortage of theories about the eagerly anticipated MCU film, but there was perhaps one that got the most buzz of them all. The theory in question? Would Taylor Swift appear as Dazzler in the film. Ultimately, the star didn’t end up playing the beloved mutant popstar, but thanks to Marvel’s new Dazzler series, fans are getting a taste of just how that might have gone. Written by Jason Loo with art by Rafael Loureiro, Dazzler #1 is bringing Alison Blaire to the stage post-Krakoa in an issue that feels a little light and fluffy from an X-Men perspective — but is sure to have Swifties ready to sing along.

Dazzler #1 sees Alison Blaire getting ready to kick off her world tour, having recently released a chart-topping new album. This new adventure comes at an interesting time for not just Blaire but for mutants — and humans — as well. For Alison, this is her first time back out on the road in a long time, but anti-mutant sentiment is high. It’s this politically charged environment that has Alison thinking about her own recent experiences, but also has those around her thinking about safety, security, and public sentiment as the stage gets put together and the lights are about to go down for the show to start.

In terms of actual story, there really isn’t much of one. The issue is largely engaged with setting the stage and, to an extent, introducing Dazzler to readers while making sure that the reader is aware of recent events and just how tense things are between humans and mutants. It’s a nice touch that readers get to see, both through the story and the art, that public reaction to Dazzler and her music is somewhat mixed; her fans love her and see her as inspiration and a role model while those who do not share her ideology — or have anti-mutant ideologies — are outspoken and have no problem making commentary online. It is extremely reminiscent of some of the real-life discourse that we see not only generally online, but that sometimes surrounds Swift’s music and public persona.

There are other fun nods to Swift in the issue as well. Dazzler’s music is personal — she opens her show with a song about a relationship but makes sure to tell her adoring fans that it was “a long time ago” and that things are cool now. There’s also a wardrobe change near the end of the issue that looks a lot like a very specific outfit seen on Swift’s Era’s Tour — and those are just two of the more obvious nods. Outside of the Taylor Swift of it all, however, are some more important themes. There’s the idea of having to hide oneself to keep the peace and also having to be mindful of how one reacts to direct threats in order to not have simple self-defense be seen as a larger threat from your particular group. Both of those things, along with the negative discourse that is shown as being part of what Dazzler is dealing with, serves as a reminder of just how difficult a time it is for mutants and how divided society is which, in turn, serves as a reminder about our current society and landscape.

Overall, Dazzler #1 isn’t some big, action-packed issue with a hard-driving plot that it’s setting up. Instead, the issue feels a bit like a love letter to the character that strongly connects her to a real-world popstar and, in doing so, makes her feel more accessible outside of Marvel fans. There’s also the reminder of how complex the relationship between mutant kind and humanity has always been within the Marvel universe all wrapped up in a pop rock package, complete with lyrics. The issue isn’t breaking any new ground, but it’s a lot of fun.

Published by Marvel

On September 18, 2024

Written by Jason Loo

Art by Rafael Loureiro

Colors by Java Tartaglia

Letters by Ariana Maher

Cover by Terry and Rachel Dodson

The post Dazzler #1 Review: As Close to Alison Blaire (Taylor’s Version) As You Can Get appeared first on ComicBook.com.

The Moon is Following Us #1 tosses readers into the deep end of a surreal science fantasy adventure already in progress. Daniel Warren Johnson and Riley Rossmo’s introductory issue presents the audience with a mother and father duo embarking on a dangerous quest the specifics of which are vague, but which centers on the fate of their child. Readers are propelled through a brilliantly illustrated adventure at a breakneck pace until finally arriving at the end, where a clearer picture of what’s happening recontextualizes everything. When the reader closes the book, they may be left wanting answers, but likely eager for the next installment.

Our heroes are Sam and Duncan, parents of Penny, whose life hangs in the balance of a struggle involving talking humanoid frogs and a skeevy batlike succubus who deals in fantastic black market technology. While both Sam and Ducnan are clearly dedicated to the well-being of their child, their commitment takes different shades. Sam seems willing to do anything, without question, to save Penny, regardless of what it costs her or Duncan — physically, mentally, or morally. Duncan is more concerned with what happens after they rescue Penny, whether its worth saving her only to then present with two traumatized and morally compromised parents, and perhaps a bleak future ahead.

These attitudes could be seen as overly gendered, Sam playing the overly emotional woman while Duncan acts as her more rational male counterpart, but if that’s true then the traits present in inverted fashion, Sam being shown as the more willful and capable of the two, powered by her emotion, while Duncan’s doubts leave him, at times, fumbling and clumsy in his efforts. Regardless, the tension between the two carries the narrative of this first issue and anchors the readers in something meaningful before the larger scope of the story is made clear.

Well, that and Rossmo’s stunning artwork. Interestingly, Johnson and Rossmo are working together on this series given that Johnson has plenty of critically-acclaimed series under his belt which he both wrote and drew. Where a Johson-drawn version of this story might be a purely balls-to-the-wall heavy metal-infused affair, Rossmo’s more fluid linework leans into the dreamlike nature of the setting. The still moments feel quieter and the emotion on the characters’ faces a bit more subtle, their sadness more insidious and piercing.

Even so, The Moon is Following Us #1 is far from under the top. Genre expectations collide in moments like when a magical item summons a helicopter for a rescue and a frog that might otherwise be at home in The Wind in the Willows shows up in a VW Beetle with a mounted gun. Johnson and Rossmo, it seems, are letting their imaginations run wild on this one, and the issue is practically crackling with energy as a result.

The Moon Is Following Us #1 is a debut issue that leaves and impression. The artwork is stunning, balancing compositions that evoke chaos without becoming chaotic themselves. The twilight colors create a moody sensibility that speaks to the uncertainty at play, and the two leads prove relatable and remarkable, as does their quest, which asks prickly questions about the nature of a parent’s devotion to their child. The creators still have much to reveal as far as where we are and how we got there, though if every issue of the series offers an equally stunning adventure then I’d say there’s no rush. With visuals this stunning, readers should be more than willing to hop onboard and enjoy the ride wherever the epic journey may ultimately take them. 

Published by Image Comics

On September 18th, 2024

Written by Darren Warren Johnson

Art by Riley Rossmo

Colors by Mike Spicer

Letters by Shawn Lee

Cover by Riley Rossmo

The post The Moon Is Following Us #1 Review: Opening the Book on a Stunning Fantasy appeared first on ComicBook.com.

No character in mainstream comics has had a journey quite like Catwoman. Originally introduced amid the Golden Age’s sea of duplicitous dames, she has evolved into her own formidable part of the DC Universe, headlining movies and comics as both a hero, an antihero, and a villain. Even then, it still feels undeniably remarkable that the latest Catwoman solo title is nearing seventy issues, as multiple creative teams have helped tell an uninterrupted tale of Selina Kyle’s life. The series is showing no signs of slowing down, keeping its numbering as a new creative team steps in for the DC All-In initiative, but this week’s Catwoman #68 does represent the end of an era. After more than two years, the Tini Howard-penned run of Catwoman culminates in an issue that tries to stick a balance between grandiosity and intimate characterization. 

Catwoman #68 continues the all-out war between Selina Kyle and her allies, against the machinations of the White Glove and other DC villains. As Selina’s life hangs in the balance, everything from her relationship with Gotham to her relationship with those closest to her is put to the test.

The “Nine Lives” story arc, which has stretched across Catwoman for nearly the past year, has become the best distillation of what the overall title has had to offer. As Selina has grappled with her newfound regenerative properties, embarking on the toughest scores that the planet and cosmos have to offer, individual chapters have made space for some profound and fascinating explorations of her character. A bit of this discovery is still on full display in Catwoman #68, as Selina is given the opportunity to mend her previous relationships and further realize her individual value. Depending on how a reader feels about Selina’s relationship with Bruce Wayne / Batman, their mileage on some of that epiphany might vary, but it still proves to be a defining moment for Selina as a person.

In a way, Catwoman #68 also continues one of the more frustrating aspects of the “Nine Lives” arc (and much of Howard’s run on the character), as far as the other characters in Selina’s orbit are concerned. Despite Eiko Hasigawa / Catwoman and newly-created character Dario Tomasso / Tomcat getting a good chunk of the real estate across the past few years of issues, their arcs fall to the wayside across this finale, with no certainty that they will be explored in the future. The same can be said for the other miscellaneous DC characters who have called the series a temporary home, including fan-favorites Onyx and Scandal Savage. While this is often the nature of superheroic storytelling, it does provide a bit of an anticlimatic end to one of Selina’s stronger supporting casts in recent memory.

Carmine di Giandomenico has fit into the fold of this Catwoman ongoing with ease, rendering countless impossible scenarios and flamboyant vigilante costumes with a scene of kineticism. The reading experience of Catwoman #68 is not completely flawless, as there are a few panels amid the big fight that are awkwardly blocked and paced, but di Giandomenico’s aesthetic approach remains visually and sartorially compelling. Veronica Gandini’s vibrant color work keeps even the most thematically-dark moments bathed in golds and blues, and Tom Napolitano’s lettering traverses realities and personalities with an angled ease.

These past two years of Catwoman have been filled with some undeniable bright spots, as Selina’s personality as both a superhero and an ever-evolving woman has been charmingly fleshed out. While the grand finale of Catwoman #68 might not tie everything up in a perfect bow, it still carries that same sense of scrappiness and reverence for its titular protagonist. Regardless of whatever the future holds for Selina Kyle, this run has proven to be an entertaining chapter in her journey.

Published by DC

On September 18, 2024

Written by Tini Howard

Art by Carmine di Giandomenico

Colors by Veronica Gandini

Letters by Tom Napolitano

Cover by David Nakayama

The post Catwoman #68 Review: Selina Kyle’s Scrappy Swan Song appeared first on ComicBook.com.

Happy new comic book day! It’s another huge week in comics, and the ComicBook staff have come together to break down and review the big comics releasing this week. Now obviously this isn’t every single comic on stands, but we’ve got you covered for as many as possible, including new releases from Marvel, DC, Image Comics, BOOM! Studios, Dark Horse, Dynamite, Oni Press, Mad Cave Studios, DSTLRY, and more!

We’ve also carved out some additional space for two of this week’s biggest books Wolverine #1 and Time Waits #1, so if our smaller review here piques your interest, make sure to check out the full review for a much more comprehensive analysis of both issues. As for ratings, we keep things simple with a whole or half number out of five, and you can check out some of our previous reviews right here!

With all that said, let’s get to this week’s new comics!

DC #1

Absolute Power: Task Force VII #6

The parts are definitely greater than the sum here. There is quite a lot to unpack in this series, and how the various stories come together doesn’t always feel satisfying. Those individual elements, however, are pretty great. It’s easy to see that the ongoing series that connect are rather strong, and Absolute Power does enough to keep you invested in them. – Charlie Ridgely

Rating: 3 out of 5

Batman ’89: Echoes #4

Batman ’89: Echoes continues at something of a slow pace, even as things begin to explode and costumes are revealed. Luckily, Joe Quinones’ tight linework and Leonardo Ito’s moody colors keep everything looking slick and enjoyable. Maybe it’s just the long waits between issues, but it’s become hard to follow the nesting deceptions at play in the plot. However, now that those have given way to Batman and Robin in action, it feels as if things may pick up for a fine finale. – Jamie Lovett

Rating: 3.5 out of 5

Batman and Robin #13

Batman and Robin #13 is a surprisingly emotional issue as Damian finally comes to some truths about himself and his relationship with his family.. There’s also a fantastic moment of Bane punching a dinosaur. At other times, the issue feels very clean and almost too simple as it wraps up the story in preparation things to change as DC heads into All In. Still, even with the neat and tidy bow, it’s really nice to finally see some resolution to the ongoing challenges between Batman and Robin as father and son. – Nicole Drum

Rating: 3 out of 5

DC #2

From the DC Vault: Death in the Family – Robin Lives #3

Death in the Family: Robin Lives #3 is the penultimate issue of this mini-series, but in many ways it feels like we’re still standing in the same place we were when the series started. The bulk of the issue – and generally, the series – is fixed on Bruce and his guilt and emotions around bringing children into his crusade. To that point, most of the issue is arranged as the reflections of the psychologist working with Bruce while also tracing us ever closer to the moment Jason faces the Joker again. It’s a fascinating perspective and digging into the psychology of things is interesting, but the pacing of the issue just feels very slow for this to be the last one before the potentially game-changing finale. – Nicole Drum

Rating: 3 out of 5

Shazam #15

Josie Campbell, Emanuela Lupacchino, and company’s work on this title continues to be something truly special. As the Shazam! family works to protect their city from cataclysm, Billy’s relationship with the destiny of his superpowers is put to the test. Campbell’s script is chock-full of poignant and perfectly-crafted moments, accented by Lupacchino’s expressive and ever-evolving art style. After this issue, I am very excited to see what the future holds for this book. – Jenna Anderson

Rating: 4.5 out of 5

Marvel #1

The Amazing Spider-Man #57

While Zeb Wells’ run on Peter Parker might be most notorious for introducing the likes of Paul, another element that might often fall beneath the surface is the exploration of the New York City underworld and Tombstone. As Wells’ run strides toward its crescendo, the final fight between Spidey and Tombstone is on its way. Zeb throws some major curveballs at readers here and the writer’s strengths, for me, normally revolve around Peter’s “lower stakes” adventures. There are some big dangers in Spidey’s way here but they feel organic to New York City and the elements that Wells has laid out so far. John Romita Jr. is on art duties here and while he has a strong enough showing, there are some panels that look a little less detailed, aka could have used some more time in the oven. —Evan Valentine

Rating 3.5 out of 5

Avengers Assemble #1

It’s a fine line trying to create a comic meant to channel the feel of a previous era, and fans know that Marvel has botched more than a few attempts, be it in “back to basics” relaunches or miniseries set during those bygone ears with some of the same creators. Avengers Assemble brings back the energy of Avengers comics from a time before they were defined by blockbuster cinematic visions, with the team acting more as a superpowered emergency response team than anything else. Orlando’s script focuses on interactions between the team members, who all feel like platonic ideal versions of themselves. Smith capably handles a scenario stuffed with action all leading to a last-page reveal that should have fans on their toes. Avengers Assemble #1 is an endearing debut that’ll give readers a dose of what Avengers comics have been missing.– Jamie Lovett

Rating: 4 out of 5

Captain America #13

This issue, much like most of the series before it, is largely a mess. It feels removed from the Captain America we’ve come to love and the overall direction is lifeless. Unlike most of the previous issues, however, Captain America #13 at least has a really solid fight sequence. Doesn’t make the whole issue worthwhile, but it’s a more enjoyable read than others have been. – Charlie Ridgely

Rating: 2 out of 5

Fantastic Four #25

This Fantastic Four run continues to be a true masterclass in storytelling, offering a serialized and genuinely unexpected tale. While marooned on an unfamiliar planet, the team must reckon with love, loss, and fates beyond our understanding. Ryan North’s script is a gorgeous gut punch, and Carlos Gomez’s art and Jesus Aburtov’s colors are ambitiously quirky. To put it simply, this issue made my heart soar, while simultaneously shattering it. Bravo to everyone involved. — Jenna Anderson

Rating: 5 out of 5

Spider-Man: Reign 2 #3

There’s still not much of a purpose to this story, it doesn’t actually do much to challenge the things we know about Spider-Man or Peter Parker, making the whole “now he’s much older and in a different world” simply a gimmick, rather than an actual storytelling device. But a lot of the ideas here are really fun, and sometimes that’s enough. Who doesn’t want to read about MJ becoming Venom? – Charlie Ridgely

Rating: 3 out of 5

Marvel #2

Star Wars #50

After more than four years, this incarnation of the Star Wars comic comes to an end with…a standalone issue. The timeline of this current narrative, set between Star Wars: The Empire Strikes Back and Star Wars: Return of the Jedi, meant that a number of narrative threads that it explored would largely avoid offering major ramifications on the canon as we knew it, which would undercut many of the more exciting adventures our heroes embarked upon. This issue sees Luke recalling to Ben Solo a time in which he, Leia, Lando, and Chewbacca were offered the chance to take down the Emperor, but at a tremendous cost. This single, expanded issue is an entirely thrilling and compelling standalone story that helps emphasize the difference between the Jedi and the Sith, namely the things they’re willing to do to achieve their goals. While Charles Soule’s writing is as engaging as ever, the overall spirit of this story feels more like an epilogue than a resolution. Given that many readers have been with this Star Wars series for almost half a decade and its finale, including the issues leading up to it, are so underwhelming on any long-form level means that it’s hard not to be a bit disappointment. Had this issue been an Annual or any other type of one-shot, it would have gone down much more satisfyingly, but as a sendoff to the series that has no current plans to be revived, we’re left feeling a bit somber about what could have been. – Patrick Cavanaugh

Rating: 3 out of 5

Ultimate Black Panther #8

Ultimate Black Panther has long flirted with doing something different, with only fits and spurts that separate it from the flagship stylings of the character. The latest issue, hailing again from writer Bryan Hill and artist Stefano Caselli, does this again but in a way that actually feels meaningful. Hill’s big ideas are starting to take root in a major way, perhaps paving a big path for fresh and unique ideas. Caselli is given the task of depicting war at its most gruesome with the impact of the imagery being felt across its many gruesome panels. – Spencer Perry

Rating: 4 out of 5

Uncanny X-Men #2

Rogue’s new team’s second issue expands on the initial outing of one of the premiere X-teams following the destruction of Krakoa, building well on the first issue’s foundation. Throughout “X-history”, mutant fans have seen our fair share of “new mutants” looking to join Xavier’s school and the “Outliers” hit the ground floor running in terms of likability. Simone has to balance a lot here and she does so swimmingly, injecting interesting elements into all the storylines. On top of Gail’s solid world-building, David Marquez is creating art that is a career best here. Krakoa left an imposing shadow on the X-World but Uncanny does a fantastic job of living up to that high standard and then some. -Evan Valentine

Rating 4.5 out of 5

Vengeance of the Moon Knight #9

Moon Knight’s been on a wild ride the past few months and it’s all culminated in the final chapter of Vengeance of the Moon Knight. The series closes out by delivering the long awaited confrontation between the original Moon Knight and the person who tried to become the new Moon Knight Maximilian Coleridge, aka The Shroud, tying up most of the loose ends along the way. Artist Devmalya Pramanik and colorist Rachelle Rosenberg impress before we even arrive at the main event, but when the battle does commence, it’s a sight to behold, including one particularly slick page that deserves all the praise. That final page ain’t no slouch either, though Moon Knight has always been equal parts style and substance, and Jed MacKay proves that yet again with a chapter that maintains its edge without sacrificing who the character ultimately is at his core. Now we head into a brand new era, and the future of Moon Knight is as bright as ever. – Matthew Aguilar

Rating: 4 out of 5

Venom #37

One of the more interesting Venom War tie-ins continues by telling a story literally out of time from the main story. Writer Torunn Grønbekk manages to make Dylan Brock marginally more interesting to read since his story has him toying with his own lore and the larger idea of the future in a Kyle Reese-kind of way. Series artist Cafu is given the fun task of blending the classic 1960s world of Spider-Man with a grizzled old soldier from the future, which is a combination that shouldn’t work but manages to here. This is a fun one, even if Dylan remains mostly a one note character. – Spencer Perry

Rating: 3.5 out of 5

Wolverine #1

The Wolverine has had a big year in 2024. Deadpool & Wolverine has become one of the Marvel Cinematic Universe’s biggest success stories, seeing actor Hugh Jackman returning to the role following the critically acclaimed Logan. Wolverine’s misadventures are more often than not fit to bursting with blood and violence, and the new creative team has kept that well in mind in Logan’s new status quo. Writer Saladin Ahmed and artist Martín Cóccolo have forged a brand new path for the ever-healing X-Man as he trades in Xavier’s School For Gifted Youngsters for the great outdoors. – Evan Valentine – You can find the full review right here.

Rating: 3 out of 5

Other Publishers #1

Ain’t No Grave #5

Ain’t No Grave #5 ends much the way one would expect it to; Ryder finally gets her moment to plead her case to avoid her fate but death is something no one can defeat. In that sense, the ending is a little anti-climactic but where this issue excels is in how it brings life into focus. Ryder is confronted with how her actions had repercussions and what her chase for more time really got her. Of course, Young doesn’t give us just bleakness. There are glimpses of beauty in the legacy that Ryder leaves behind – and that even she gets to see. While the issue generally feels like it is wrapping up almost too neatly, overall it is the weight of Ryder’s lessons that make this a truly fantastic issue and the mini-series overall a genuine gem. – Nicole Drum

Rating 4.5 out of 5

The Department of Truth #25

The Department of Truth reaches a crescendo of sorts in its 25th issue as Osawald lays out his theory about what everything leading up to this has meant. It’s a stunning comic with a superstar lineup of guest artists drawing segments framed by Martin Simmonds’ cerebral style, pushing at the borders of reality, that has defined the series. For longtime readers, this issue will offer both catharsis and excitement for what comes next.– Jamie Lovett

Rating: 4 out of 5

Geiger #6

Geiger #6 digs into the aftermath of the battle between Geiger and The Electrician – specifically for Barney, the two-headed mutant wolf. The issue largely centers on Barney post battle and how he’s handling things and sees the story veer into an interesting perspective: that of the animals in this world. We get to see quite a bit of humanity as told through the lens of animal experience and an important lesson of standing up and fighting rather than simply hiding. The artwork here, as is the case through the series, absolutely fantastic. It’s a quiet, but emotional read. – Nicole Drum

Rating: 4 out of 5

Godzilla: Here There Be Dragons II – Sons of Giants #3

Sons of Giants #3 runs the same playbook as the first two issues, leaning on the same strengths and weaknesses. Inaki’s artistic versatility is impressive, but the plot is moving at a crawl, with Thomas Jefferson taking an entire issue to spell out what readers have likely already put together. If you’re here for cool Kaiju art, you’ll be satisfied with what’s on offer, but the issue will bring you no closer to understanding why you should care about these kaiju-obsessed weirdos and their little conspiracy.– Jamie Lovett

Rating; 3 out of 5

Johnny Quest #2

The new Johnny Quest continues to chart an exciting path forward, with issue #2 delivering a lot of what readers would want after the big reveal at the end of the debut issue. Writer Joe Casey straddles a fine line between what people expect from the series while also acknowledging where it is in the current era. Series artist Sebastian Piriz, with colors by Lorenzo Scaramella, also has a steady balance of embracing the action that was the heart of the series in the past while finding modern action comic sensibilities to play with too. So far this is shaping up to be a book that longtime fans will enjoy but which newcomers can also embrace. – Spencer Perry

Rating: 4 out of 5

Other Publishers #2

Profane #4

Profane is finally putting the pieces together as its finale looms. A lot of the elements that have been frustrating have started to turn a corner, feeling less like meta gimmicks and more like an actual noir narrative. So much depends on how this series wraps up in the next issue, but the penultimate issue sets that finale up nicely. – Charlie Ridgely

Rating: 3.5 out of 5

Space Ghost #5

The fight against Zorak takes this new Space Ghost revival to an emotional, and unexpected, new territory. It is abundantly clear that David Pepose has a distinct understanding of the title’s past and future across multimedia, which is accented by Jonathan Lau’s gritty-but-timeless art and eye-catching color work from Andrew Dalhouse. This Space Ghost series continues to find its footing in a delightful way. – Jenna Anderson

Rating: 4 out of 5

Teenage Mutant Ninja Turtles #2

Where Teenage Mutant Ninja Turtles #1 found Raphael in a literal prison, Teenage Mutant Ninja Turtles #2 sees Michelangelo in a more metaphorical one. After whatever falling out sundered the Turtles’ brotherly bond, Mikey went to Japan and became a superstar as the lead in a tokusatsu-style TV show. However, while being a celebrity has many perks, it can’t make up for the lack of family, an absence that begins to haunt him in a beat that feels pulled from The Last Ronin’s playbook. Both the linework and colors manage to convey the glitz and glamor on the surface of Mikey’s lifestyle and the shadows creeping beneath, and he manages to emerge victorious from the threat on his life in true Michelangelo style, not by denying his pleasure-seeking urges, but by doubling down on the ridiculousness. Teenage Mutant Ninja Turtles #2 is another fine outing for the TMNT relaunch. – Jamie Lovett

Rating: 4.5 out of 5

Time Waits #1

Time Waits #1 is a strong debut, introducing a cast of endearing characters, an intriguing mystery, and visual storytelling that is clear and easy to appreciate. Can Blue fight his fate, or are we all delaying our inevitable arrival at an endpoint decided for us long before we realize it? Time Waits #1 makes a compelling case for finding out. – Jamie Lovett – You can find the full review right here.

Rating: 5 out of 5

Transformers #12

This latest story focusing on the Autobots and Decepticons is one that relies heavily on the dynamic artwork of artist Daniel Warren Johnson, so what happens when that artist takes an issue off? Luckily, Transformers’ fans don’t miss a beat here as fill-in artist Jorge Corona is able to capture that same energy and aesthetic while Johnson stays on writing duties. In this twelfth issue, we get some big bombastic action that appropriately makes the likes of Optimus Prime and Shockwave appear larger than life. It’s a harrowing tale with an exceptional amount of heart and the ability to traverse some unexpected places for the Transformers franchise. The Energon Universe has been a perfect experiment in introducing new takes on the Transformers and GI Joe into comics and its an experiment that I hope continues for a long, long time. -Evan Valentine

Rating 5 out of 5

The post Comic Book Reviews for This Week: 9/11/2024 appeared first on ComicBook.com.

The Wolverine has had a big year in 2024. Deadpool & Wolverine has become one of the Marvel Cinematic Universe’s biggest success stories, seeing actor Hugh Jackman returning to the role following the critically acclaimed Logan. Wolverine’s misadventures are more often than not fit to bursting with blood and violence, and the new creative team has kept that well in mind in Logan’s new status quo. Writer Saladin Ahmed and artist Martín Cóccolo have forged a brand new path for the ever-healing X-Man as he trades in Xavier’s School For Gifted Youngsters for the great outdoors.

Following the fall of Krakoa, the X-Men have been somewhat scattered to the winds. Now that mutant-kind has lost its new nation, Logan finds himself returning to his more feral side, running with a pack of wolves that has long offered James Howlett respite in some of his most trying times. Rather than being stalked by Sabretooth or Lady Deathstrike, the villainous Cyber is hunting the Wolverine to disastrous effect. Unfortunately, both Kurt Wagner, aka Nightcrawler, and a handful of random civilians are finding themselves caught in the crossfire as the winter woods are set to receive a fresh coat of carnage.

For quite some time in Marvel Comics’ recent history, Wolverine has been a “team player”. Logan has been attached at the hip to many various super groups, including the X-Men, Avengers, X-Force, the Midnight Sons, and more. This idea of distancing Logan from his superhero cohorts is one that feels fresh, once again diving into Wolverine’s connection to the wilderness and in doing so, the berserker that lies beneath the surface of the X-Man. Unfortunately, this first outing tends to get lost in exposition and inner monologues rather than relying more on the idea of isolation and solitude. 

As a long-time comic book reader and X-Men fan, Cyber is one of those villains that typically doesn’t get top billing. For Logan, opponents like Sabretooth, Lady Deathstrike, and Omega Red are far more likely to get page time than the adamantium-coated antagonist. It’s a welcome change to see Silas Burr hunting down Wolverine but again, there are some issues in terms of how he is presented here. The exposition used her to establish Cyber and his origins with James Howlett feels heavy-handed at times, taking away from any potential horror elements that could be injected into the one villain that was previously billed as one of the only men to scare Logan.

Luckily, Ahmed has a great understanding of Logan as a character here, specifically when it comes to his friendship with Kurt Wagner. The relationship of Kurt and Wolverine has long been one of the more interesting aspects of both X-Men and Saladin has a strong handling of it here. Wolverine’s decision to return to the wintery “wonderland” of Canada feels organic, especially considering how Krakoa had previously fallen. Another strength of this premiere issue is that both Ahmed and Cóccolo hold nothing back when it comes to the brutality of Logan’s world, as Wolverine is more than willing to dish out some brutal pain onto Cyber.

Martín’s art here might be the star of the premiere issue, capturing both the ferocity of Logan and the cold indifference of the wilderness around him. Color artist Bryan Valenza also lends a major hand here in capturing the cold, unforgiving forest that Logan now calls home. Wolverine in an arctic environment feels like peanut butter mixed with chocolate, creating the perfect environment for this iteration of Logan who is attempting to find himself post-Krakoa. Focusing more on the brutality of both Wolverine and the wilderness itself feels like the best way to hammer home the new status quo of Logan and my fingers are crossed we see more of it in future issues. 

Ultimately, Wolverine’s new series is one that has a few stumbles before it crosses the finish line. There are a lot of interesting aspects here but the first issue can often be held back in not leaning further into the stillness of its environment, in pulling back on exposition for both the characters and the situation itself. The series might have benefitted a bit more from a “slow burn” approach rather than immediately giving Logan his latest losses to mourn. That being said, Logan’s new story does have plenty of potential and the set-up is one that could have some serious legs, so let’s hope that the creative team can stick the landing moving forward.

Published by Marvel Comics

On September 11th, 2024

Written by Saladin Ahmed

Art by Martín Cóccolo 

Colors by Bryan Valenza 

Letters by VC’s Cory Petit

Cover by Martín Cóccolo & Bryan Valenza

The post Wolverine #1 Review: Logan’s Walk on The Wild Side appeared first on ComicBook.com.

Can you leave your past behind, or does it await us in an unavoidable, predestined future? That question is at the heart of Time Waits #1, the debut issue of the new DSTLRY series from writers Chip Zdarsky and David Brothers, artist Marcus To with assists from Marvin Sianipar, colorist Matt Wilson, and letter Ariana Maher. The story focuses on the weary time traveler Blue, who is attempting to make a life in the present era with his wife, Grace, in the small town where she grew up. As marital tension begins to arise over the idea of adopting a child — specifically the smart but introverted Duke, who is currently in foster care — Blue starts to feel ill and have flashbacks to his old, considerably more violent life. It all comes to a head when Blue gets an unwelcome visit from agents working for his past — or is it his future? — bosses, upending the quiet life he’d built.

Time Waits‘ premise is built upon the familiar trope of a former man of violence who has walked away from that life only to be dragged back into it and it makes sense to take the idea of the past metaphorically catching up with someone and making it literal with the use of time travel. On paper, the plot is reminiscent of Mattson Tomlinson and Lee Bermejo’s recent Boom Studios project A Vicious Circle, which also saw a time traveler building a family in a bygone era only to have it overturned by another time traveler with a vendetta.

Yet, the execution couldn’t be more different. Where A Vicious Circle buried its pathos beneath convoluted sci-fi mechanics and frantic pacing, Time Waits puts the human element at the forefront, constructing its entire debut issue around spending, essentially, a day in the life of its three main characters (four if you count Baker the baker).

Much of the day is spent reminiscing about fates fought against and eventually surrendered to. Grace tells Duke the story of how she tried to put some distance between herself and her parents, to earn her independence, but ultimately followed in her mother’s footsteps and became her hometown’s sheriff to stay close to her family but on her terms. Baker relays a similar story of trying to get as far away from the family bakery as possible only to be drawn back in by his mother’s death. By then, he accepted the destiny implied by his name, which he had seemingly grown to better fit into.

But Blue’s future-past is complicated by the violent nature of his work. His refusal to be ruthless and calculated when dealing with the lives of those caught in the crossfires of his missions across time led to clashing with others on the team and eventually being left in the present day. And yet, even Blue seems interested in controlling the uncontrollable, becoming somewhat obsessed with gardening to exercise his will over nature.

This could all result in heavy, pensive tales of life and death and the inevitability of time, but the storytelling gives a much livelier feel. The dialogue is laced with humor anchored in character. That includes Grace gently teasing Duke about his old-man approach to hobbies or Baker’s frazzled but good-natured paranoia. The pace is kept similarly snappy. Pages are often packed with 6 or 7 panels, ensuring a sense of action and movement even during conversational scenes. However, the use of bleed is restrained and the linework is clear enough to keep everything easily legible and the flow of the story brisk. To’s work here is a bit more textured than what fans may know from his work at DC and Marvel, perhaps due to Sianipar’s assists or the nuance of Wilson’s typically vibrant colors. Either way, it suits this material, which is more thematically complex than the superheroes he was working on previously.

Time Waits #1 is a strong debut, introducing a cast of endearing characters, an intriguing mystery, and visual storytelling that is clear and easy to appreciate. Can Blue fight his fate, or are we all delaying our inevitable arrival at an endpoint decided for us long before we realize it? Time Waits #1 makes a compelling case for finding out. 

Published by DSTLRY

On September 11th, 2024

Written by Chip Zdarsky and David Brothers

Art by Marcus To

Colors by Matt Wilson

Letters by Ariana Maher

Cover by Marcus to

The post Time Waits #1 Review: A Time Travel Thriller With a Human Heart appeared first on ComicBook.com.

This week’s comics were full of surprises, and a brand new episode of ComicBook Nation’s The Pull List is breaking down all of the big happenings in Marvel, DC, BOOM! Studios, Oni Press, Image Comics, and more!  The big two comics for this week hit hard in completely different ways, and we dig into full spoilers discussions for Aliens vs. Avengers #1 and Absolute Power Origins #2. It’s not just the big two though, as we also delve into the heart-wrenching Something is Killing the Children #40 and the Cyclops-focused X-Men #3. To end things on a lighthearted note, we even break down the delightful first issue of Sesame Street, covering all sides of this week’s big comic releases.

A Brilliant Crossover

Comic fans have seen some of their favorite franchises attempt to crossover over the years, but few have delivered as big of an impact in their first issue as Aliens vs Avengers. Jonathan Hickman, Esad Ribic, Ive Svorcina, and Cory Petit hit the ground running in an action packed debut that builds a thoroughly immersive world over just a few pages. The Aliens are a palpable threat that hits Earth like a freight train, and the team never lets you settle in to any level of comfort, keeping the stakes high throughout.

The threat is just as compelling as the heroes who are attempting to quell it, and Hickmandelivers some twists that I truly didn’t see coming. Suffice it to say, Aliens vs Avengers simply had no reason to go this hard and we are all the better for it. We get into everything during the episode, but trust us, this is one you don’t want to miss the boat on.

Absolute Power: Task Force X Beginnings

Speaking of issues you don’t want to miss, Absolute Power continues its win streak with the excellent Origins #2, which chronicles Amanda Waller’s first Task Force X team and how it all formed so many of the foundational elements we’ve come to expect from the team and Waller herself. John Ridley, Alitha Martinez, Norm Rapmund, Andrew Dalhouse, and Steve Wands provide key context as to how Waller formed her distinct methods, but we also get longer term ramifications that affect the present storyline.

This Week’s Comics:

• Aliens vs. Avengers #1
• Absolute Power: Origins #2
• X-Men #3
• Absolute Power: Task Force VII #5
• Something Is Killing The Children #40
• The Nice House by the Sea #2
• The Last Mermaid #6
• Gotham City Sirens #4
• Sesame Street #1

Trade Watch:

• Mighty Morphin Power Rangers: Recharged Vol. 5
• Avengers Twilight
• Vengeance of the Moon Knight Vol. 1: New Moon
• Wolverine Vol. 9: Sabertooth War Part 2
• Star Wars: The High Republic Adventures Vol. 1
• Dune: House Atreides Vol. 1
• Best of My Little Pony Vol. 2: Mares in Manehattan

Subscribe to ComicBook Nation!

ComicBook Nation is now a whole Nation of Podcasts!There are several additional ways you can subscribe and/or listen to ComicBook Nation, which are listed below. BE SURE TO SUBSCRIBE as we drop all sorts of BONUS MATERIAL on YouTube and/or audio platforms, in addition to our main shows!

ANIME – Anime Initiative
GAMING – Quick Save
COMICS – The Pull List
MCU – Phase Zero

SUBSCRIBE to our Official YouTube Page
Listen via the media player embedded below.
Check us out on Spotify or Stitcher
Subscribe on Apple Podcasts or iHeartRadio
After every show we’ll keep the discussion on Twitter:

@ComicBookNation
@MattAguilarCB
@KofiOutlaw
@EVComedy

Have thoughts to share? Want us to cover something on the show? Let us know!

The post ComicBook Nation’s The Pull List: Aliens vs Avengers and Absolute Power: Origins Shatter Expectations appeared first on ComicBook.com.

Few characters in pop culture are as iconic as Frankenstein (or Frankenstein’s Monster, for those who prefer to be pedantic), so it’s no surprise that Image Comics is attempting to bring the character back from the dead in their new miniseries Universal Monsters: Frankenstein. Frankenstein, as played by Boris Karloff in the 1931 film based on Mary Shelley’s 1818 novel Frankenstein; or, The Modern Prometheus, is the latest Universal monster to be resurrected at Image, who previously told tales focusing on Dracula and the Creature from the Black Lagoon. As compared to other, more overtly nefarious figures, Frankenstein has always carried with him the sympathy of being misunderstood, having never asked for life nor knowing the difference between right and wrong. As teased in this debut issue, Universal Monsters: Frankenstein looks to break the icon down even further, reminding readers how he’s a character who is merely the sum of so many parts, with each issue set to explore the origins of those appendages. 

In this first issue of the series, readers witness various iconic moments from Frankenstein lore, which includes grave robbing and Dr. Frankenstein uttering the seminal, “It’s alive!” when the doctor realizes the success of his machinations. Rather than simply retreading the components of the original story, writer and artist Michael Walsh and colorist Toni-Marie Griffen touch upon these narrative beats, but they do so by looking to the margins of this story, focusing instead on a young boy who had to witness his dead father’s hand being defiled in order to create Frankenstein’s abomination. With many more body parts to go, this journey is just the beginning of how the ungodly creation could serve as the manifestation of a community’s trauma.

Whatever medium it might be, creatives involved in any attempt to revive the Universal monsters are faced with the challenge of either adapting a story too liberally and risking that the experience will be repetitive or redundant, though if they aim to put too much of their own spin on a story, they can alienate longtime fans who think a reimagining could tarnish a character’s legacy. Luckily, Universal Monsters: Frankenstein manages to deliver the best of both worlds, as every time the reader will start to gloss over the story because they know what comes next, Walsh and Griffen pivot away to the characters on the outskirts of the tale. Despite not necessarily being billed as such, the comic book feels like it could offer the “unseen chapters” of a story that horror fans have known for the 200 years since Shelley’s original novel.

Walsh manages to stay authentic to the source material, finding just the right balance between contemporary and classic dialogue, leaning into the early stages of Dr. Frankenstein’s madness without ever exaggerating his eccentricities. Dr. Frankenstein thinks that by curing death, he can prolong life, so while his medical practices might be unconventional, it feels as though he’s doing it for the greater good as opposed to playing God just to see if he can. 

Just as the line “It’s alive!” is inherent to a Frankenstein story, so is a gothic aesthetic, which Walsh and Griffen fully deliver. What makes the original movie and a majority of Frankenstein-inspired stories is the subtlety of the visuals, as the best versions of the character keep him rooted in the past as opposed to thrusting him inexplicably into a modern context. This allows the comic book’s art to embrace outdated mechanical devices that look just scientific and powerful enough to revive the dead, yet without having us question how one machine is capable of pulling off such a feat, while other panels jump between moonlit graveyards to rainy valleys to brick-laden fortresses.

This miniseries has been billed as telling the stories of the corpses defiled for the sake of science, but with only three issues to go and a number of extremities to explore, we can’t help but wonder how the creative team will manage to do justice to each new character’s history while also offering authentic conclusions. It seems as though this miniseries won’t necessarily be an anthology, with each issue exploring a different body part, but could rather shed insight to varying degrees on all of the pieces assembled to form the Monster. 

Horror fans have seen countless versions of Frankenstein over the centuries, and while Universal Monsters: Frankenstein #1 doesn’t push the figure’s mythology into an entirely new realm, it both honors the Monster and his history while also hinting that there’s still a lot more to explore with the reanimated corpse. Both the writing and the artwork are evocative and accessible, no matter what your familiarity might be with the character, and fully honor Frankenstein‘s storied history. We look forward to future installments in which we hope we’ll get a bit more background on the unwilling victims who pieced the Monster together, which have the potential to re-contextualize the monster without betraying what we already know and love about him.

Published by Image Comics

On August 28, 2024

Written by Michael Walsh

Art by Michael Walsh

Colors by Toni Marie-Griffin

Letters by Becca Carey

Cover by Michael Walsh

The post Universal Monsters: Frankenstein #1 Advance Review: Honoring the Appendages of the Icon appeared first on ComicBook.com.

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 Wolverine: Revenge #1, Jenny Sparks #1, Standstill #1, and Huge Detective #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

BATMAN/SUPERMAN: WORLD’S FINEST #30

Waid once again focuses on the past to weave a strong one and done issue that focuses on the Dark Knight and the Man of Steel sharing their first adventures with the Princess of Themyscera, Wonder Woman. Filling Dan Mora’s giant shoes here is Glen Melnikov, who might not hit the same heights as his predecessor but does a serviceable job in depicting the many heavy hitters of the DC Universe. World’s Finest #30 once again highlights what has made this series the best book in DC’s roster as the understanding of the characters and the outside-of-the-box approach to storytelling works beyond well in tandem. For those who might want a fantastic one shot of a story, World’s Finest #30 is the way to go and is an amazingly easy recommendation for superhero fans. –– Evan Valentine

Rating: 4.5 out of 5

DARK KNIGHTS OF STEEL: ALLWINTER #2

Allwinter continues with a pair of quick-paced chapters, with Slade encountering an old flame and his wayward daughter while becoming entangled with the strange boy Alec (who brings a dose of literal color in an otherwise grey-toned world). I like that the eternal winter’s drain on color is a literal one, with Alec (a version of an avatar of the Green) is the key to breaking it. It paints an unusual story, one that pushes Deathstroke far outside of his usual storylines. The backup story pushes Jonathan and Martha Kent towards a baby Arthur, although it will be interesting how (if at all) they intersect with the events of the first series. — Christian Hoffer

Rating: 4 out of 5

GOTHAM CITY SIRENS #3

The Sirens fight against Punchline continues as DC fans get a closer look at the fight against Punchline. As stated in my reviews of the first two issues, Gotham City Sirens leans into a fun and breezy story that continues here into its third issue. On top of the kinetic action, Willaims has a firm understanding of the heroines and villainess, even injecting a wild new take on the White Rabbit that will definitely have readers cracking a smile. Sirens doesn’t break the wheel but it relies on what works and it does it well. — Evan Valentine

Rating: 3.5 out of 5

GREEN LANTERN: WAR JOURNAL #12

Green Lantern: War Journal soars to an epic conclusion this week, and it did not disappoint. There are a variety of threads that need to be wrapped up, but Phillip Kennedy Johnson makes it happen without ever letting the various plot points overwhelm the characters at the heart of the story. Before we get there though, praise is highly deserved for artist Montos and colorist Adriano Lucas, who deliver everything a fan could want in a Green Lantern action sequence, throwing big constructs and high concept action against even bigger enemies in a battle that pulses with movement and color. Meanwhile the tension and personal stakes of what’s happening on Earth only make how the book ends hit even harder, delivering a great finale but also setting up the future for John Stewart and his allies in a compelling way. While the final moments of the battle itself might feel a bit abrupt, the things it sets up are more than worth it, and I’m excited to see what the future holds. — Matthew Aguilar

Rating: 4.5 out of 5

JENNY SPARKS #1

[READ THE FULL REVIEW HERE]

It’s been 20 years since Jenny Sparks appeared at DC Comics, but now she returns in Jenny Sparks #1 with The Authority hero getting her own story from writer Tom King and artist Jeff Spokes. The timing of the new comic book is interesting—James Gunn’s DC Universe is set to bring The Authority to the big screen with a feature film in development—but the comic doesn’t feel like a simple play for connective relevance or even character nostalgia. Instead, thanks to King’s unique approach to story-building with not only the main character but the characters surrounding them, it feels like the start of something bigger than just the Spirit of the 20th Century’s return. But whether the pieces actually come together remains to be seen. — Nicole Drum

Rating: 4 out of 5

DC #2

NIGHTWING #117

I’m not sure what else I can say that I haven’t already: Taylor and Redondo understand Nightwing perhaps better than any other creator that’s written him. The character depth Taylor’s script injects into Grayson in Nightwing #117 is a true sight to behold, one that tugs at your heartstrings with every passing panel. Then there’s Redondo’s epic action pieces, effortlessly pushing Dick around the page without a worry in the world. This comic book has been something special since this team released its first issue and all these releases later, the title has never been better. — Adam Barnhardt

Rating: 5 out of 5

SUPERMAN #17

Aside from one or two exceptions, DC has made a habit of delivering compelling tie-ins to Absolute Power, and Superman #17 more than surpasses that established high bar. Picking up  after the events of Absolute Power #2, Joshua Williamson once again brings in Zatanna for an impromptu trip through the magical world that Superman so rarely interacts with, and the results are delightful. Jamal Campbell and Ariana Maher once again work their magic as well, whether that’s depicting an unexpected bar brawl, a fiery blaze with high stakes, or a Lex Luthor sequence that is absolutely priceless. As with the previous tie-in, Williamson maneuvers those bigger points and works in time to check-in with the rest of the Superman family cast, and does so while making them feel integrated to the story. Also, who doesn’t love a Superman chewing out the magic community moment, right? All in all, Superman #17 is another big win for DC and “Absolute Power,” so don’t miss it. — Matthew Aguilar

Rating: 5 out of 5

TITANS #14

Sequential storytelling is a medium unlike any other, largely because it doesn’t have to a shoestring visual effects budget to abide by. The medium can do whatever a creative team will allow it to do and Taylor and Meyer are using comics to make something special with this Titans run. Although the past two issues started to chip away at this title’s strong foundation, a quick exposition scene at the beginning helps iron out any wrinkles this story may have. It’s shaping up to be a comic for the ages, there’s no denying that. — Adam Barnhardt

Rating: 4.5 out of 5

WONDER WOMAN #12

As an idea, Wonder Woman #12 is interesting. Diana teams up with Damian to try to locate Waller’s prison in order to rescue the heroes she’s holding prisoner. The idea of unlikely team ups are, as a general rule, fun concepts for comics and the difference in personality and approach between Damian and Diana just seems like something that would make for a good time for the reader. But while things go just about as you’d expect, with Diana’s approach being wildly different than Damian’s and neither really working as intended, the issue feels pretty bloated with a lot of repetition that is meant to do the heavy lifting of heartfelt character development for both Damian and Diana but falls pretty short. Instead of seeing the characters make any real progress, the issue feels like a loop until they conveniently get what they need through no effort of their own. With the story on repeat, the real winner here is Tony Daniel’s art which is just a treat, particularly when it comes to Boomerang. — Nicole Drum

Rating: 3 out of 5

Marvel #1

DAREDEVIL: WOMAN WITHOUT FEAR #2

This Daredevil series begins to stall with its sophomore outing as the entire issue takes place within a single set piece. It’s more or less the same story we saw last month, with the overarching story progressing only the slightest amount. At least Downling’s Smallwood-inspired linear is a treat for the eyes. — Adam Barnhardt

Rating: 3.5 out of 5

DEADPOOL #5

We get a brutal and bloody fight between Deadpool and Death Grip, with what looks to be a definitive ending… at least until Marvel kills Deadpool off next issue. There’s a lot of fun moments in this issue, and Deadpool’s daughter Ellie, their symbiote companion Bear, and Taskmaster make for exciting supporting cast members. I like the idea of Death Grip and his motivations. I’ll be curious to see how he kills Deadpool and how he sticks around after the fact. — Tim Adams

Rating: 4 out of 5

GET FURY #4

Frank Castle enacts the first step of his plan to free Nick Fury from Hanoi in Get Fury #4 and every early step of the rescue mission suggests it will rank with best and bloodiest war plots delivered by Garth Ennis under the Marvel banner. Jacen Burrows ability to frame stealth-oriented action sequences is put on full display in a series of tense set ups that deliver death with few, if any word balloons required. The issue is not solely focused on the action, however. Throughout Frank’s steady progress toward his objective other actors from both the future and present comment on what’s happening, providing further depth to the conspiracies and motives driving a situation prepared to go FUBAR at any moment. It’s a deft bit of plotting and overlapping dialogue from Ennis who appreciates both the visceral thrills and intellectual challenges posed in this setting. By the end of Get Fury #4 all of the pieces are in place and the meet-up established in issue #1 is finally set to occur and bring a fireworks factory of combat along for the ride; it will be a very tense month awaiting the arrival of Get Fury #5. — Chase Magnett

Rating: 4 out of 5

GHOST RIDER: FINAL VENGEANCE #6

Percy and Kim’s time with Parker Robbins as the Hood comes to an end and while the mini-series’ finale does a solid job of giving everyone their due, I can’t help but feel the legs of the idea didn’t get time to stretch. This final issue does have some really great nods to long-time Ghost Rider fans, especially when it comes to the Zarathos and Blaze conversation, but I would have loved to see far more of Robbins’ time as the Spirit of Vengeance. There’s a lot to like here and everything involving Parker and the fate of his deal with Mephisto is a great conclusion as the Hood is once again finding himself in an undeniably terrible situation. The status quo is restored with a twist but the longevity of the series felt like it wasn’t able to truly get into some of the more interesting nitty gritty that Marvel fans could have sunk their teeth into. — Evan Valentine

Rating: 3.5 out of 5

GIANT-SIZE THOR #1

For an issue with “Giant-Size” in the title, the non-reprint section of Giant-Size Thor #1 flies by quickly, moving faster than any standard issue of Immortal Thor to date. Then again, that may be intentional as—keying into the same metafictional themes about the nature of stories that have been a hallmark of Immortal Thor—the story, titled “In Media Res,” repeats the idea that every tale exists within the context of every other story, a notion particularly suited the longrunning, shared universe concept of the Marvel Universe. Also, leave it to Al Ewing to take the title literally, pitting Thor and Hercules against an actual “Giant-Size Thor.” The artwork here seems at odds with the coloring, coming off as heavy and a bit muddy in defiance of the fast-paced plot, but it sells the biggest moments well. Right now, this feels like an inessential addition to Ewing’s ongoing Thor saga, but only time will tell if that proves to be the case in the long run. — Jamie Lovett

Rating: 3.5 out of 5

MILES MORALES: SPIDER-MAN ANNUAL #1

A few separate stories take place in this annual, with two of them featuring Miles Morales heading to Puerto Rico to visit his abuela. The best is the opening tale where it’s mostly Miles outside of his Spider-Man costume, learning more about his family. There are guest appearances from Storm and Bloodline, with the latter tying back to recent events in Blood Hunt. Finally, we end with the tease of a crossover with a certain merc with a mouth. — Tim Adams

Rating: 3 out of 5

NAMOR #2

Aaron’s Namor continues to be such an excellent character study. The two timelines are perfectly balanced and their differing art styles help to set the tones. Perhaps the best thing about this approach to the story is just how well the two timelines compliment one another. One is constantly setting up the other, allowing the whole issue to read like a breeze. I genuinely can’t wait to see what happens next, and that’s one of the highest compliments I can pay a series. — Charlie Ridgely

Rating: 5 out of 5

PHOENIX #2

The new Phoenix series continues to impress by not only fully embracing the bugnuts potential at its disposal. Writer Stephanie Phillips keeps pushing the concept of Jean using her abilities in space for good to exciting and fresh places, with larger Marvel ties that feel genuine and not like building blocks for The Next Big Thing. Series artist Alessandro Miracolo (with color artist David Curiel) deliver on this by not only embracing the potential of Jean Grey’s powers as the Phoenix but in filling the images with poise and using every inch of space, plus there are some genuinely funny visual gags. –– Spencer Perry

Rating: 5 out of 5

Marvel #2

PREDATOR VS. BLACK PANTHER #1

Predator vs. Black Panther isn’t just any licensed fare, it’s an action-packed debut that puts some serious meat on the storytelling bone. It’s always a difficult task combining two vastly different franchises but here, Percy manages to balance it with ease, crafting a script that gives plenty of time for the story breathe on all sides. — Adam Barnhardt

Rating: 4 out of 5

SCARLET WITCH #3

Scarlet Witch’s newest era hits a truly incredible high point in this issue. Dense exposition and second-person narration manage to be a breeze under Steve Orlando’s writing, and as the conflict splits into two harrowing scenes, Jacopo Camagni and series cover artist Russell Dauterman work in perfect harmony to deliver some truly gorgeous sequences that defy expectations and panel layouts. Scarlet Witch is the type of comic book that proves just how majestic and creative the medium can be, and I can’t wait to see more. — Jenna Anderson

Rating: 5 out of 5

SPIDER-WOMAN #10

Spider-Woman #10 is unexpectedly the series’ swan song, but if it has to end, at least it’s going out with a bang. Spider-Woman’s trip to San Francisco has been rather eventful, and now the battle between the impromptu team of Spider-Woman and The Assembly and Gremlin is finally here. Writer Steve Foxe has found a wonderful rhythm for Jessica Drew’s dialogue and humor, even when her current fury pushes the usual quips to the side. That fury is beautifully represented in the artwork and colors of Ig Guara and Arif Prianto, who deliver a thrilling close-quarters throwdown, and The Assembly shine throughout these sequences as well in their own unique ways, and the final interactions between them all couldn’t be a better representation of how Jessica Drew is and why fans love her. There are still plenty of questions and the Gerry aspects of Jessica’s mission are not at all resolved, but hopefully that happens sooner than later. For now though, this adventure brought a new cast of characters to the forefront and showed that Spider-Woman can shine absolutely anywhere. — Matthew Aguilar

Rating: 4 out of 5

STAR WARS #49

With Zahra reemerging after her seeming death, Leia and Luke are in a tough position of having to defend themselves against the newfound pirate while also not embracing their darker reactions. Zahra, however, proved there’s a good reason she was able to previously survive, as she hopes to make a bid to win back the graces of Palpatine. These last few issues of Star Wars, as well as other comics in the galaxy far, far away, leave us with mixed feelings, as we know that we shouldn’t anticipate any major ramifications in the narrative, no matter how dire a situation might appear. Star Wars #49 is no different, and while it is exciting to see a compelling villain return, it ultimately all feels like a moot point, as this storyline’s conclusion is right around the corner. The book isn’t a total miss, as the story itself is relatively thrilling, though the biggest takeaway is witnessing how Leia is able to finally make peace with all the lives lost on Alderaan and how someone’s history really impacts them. –– Patrick Cavanaugh

Rating: 3 out of 5

ULTIMATE SPIDER-MAN #8

I’m not sure what you want to hear from me. What more could I do to convince you that Ultimate Spider-Man is not only worth your time but the kind of fresh reinvention that will keep mainstream superhero comics thriving for years? Have you been waiting for eight issues just to make sure it didn’t dip in quality? That’s fair, even if it didn’t, but the seven issues that preceded this all had perfect scores, and when you scroll down another inch you’re not going to be surprised to find the number you see. Jonathan Hickman’s writing is smart, funny, and classical, and Marco Checchetto’s artwork is vivid, textured, and refreshing. Ultimate Spider-Man is the king of Marvel Comics right now. Long live the king. — Spencer Perry

Rating: 5 out of 5

VENOM WAR: CARNAGE #1

Out of the entire Venom family, Carnage is the one that creeps me out the most. That’s mostly due to not being into body horror, and there’s a lot of bloodshed in a book that bears Carnage’s name. The story is rather slow, with Carnage and Cletus Kasady gathering intel on a secret weapon that can take them out. But you get to see why Carnage is one of the most feared figures in the Marvel universe. — Tim Adams

Rating: 2 out of 5

VENOM WAR: VENOMOUS #1

Black Widow and her new symbiote Silver come into “Venom War” in this miniseries alongside Eddie Brock with Anti-Venom in tow. While the issue may not be essential reading for this particular event, it’s bound to satiate fans of either hero as it sets up a big problem that plays into their respective strengths as a superpowered spy and soldier. If nothing else, Venom War: Venomous #1 handles the introduction of its antagonist and an increasingly large problem economically and finds plenty of opportunities to fill in gaps of exposition and deliver action sequences along the way. Voices and sequences are delivered in a familiar house style with little to distinguish this debut from a flurry of similar miniseries across the past several years, but as a standalone adventure it proves perfectly functional. That leaves Venomous a step ahead of most of Marvel Comics’ recent tie-in miniseries. — Chase Magnett

Rating: 2.5 out of 5

WOLVERINE: REVENGE #1

[READ THE FULL REVIEW HERE]

For as big and bombastic as Wolverine: Revenge #1 may feel at times—featuring mass extinction events and a who’s who of X-baddies—it’s also an example of less is more. Much like its eponymous anti-hero, the issue is a lean, mean superhero violence machine. It lays out the story, stakes, and motivations with economical efficiency designed to center Capullo’s wonderfully expressive action sequences. The result is an incredibly fun presentation of Wolverine focused on their undeniable 80s action movie appeal. — Chase Magnett

Rating: 4 out of 5

Image #1

BLACK CLOAK #7

Black Cloak returns with its seventh issue set several years after the fire that closed out its first arc. After all that time, it was shocking how fast the new issue reads, concluding just as it feels like it’s getting started, but that’s not to say what’s here isn’t worthwhile. Thompson and McClaren were impressed with how much they convey about their characters through succinct dialog and body language, particularly with a new character, whose facial features are hidden yet is incredibly expressive despite what could be a challenging design choice. There’s understandable tension between Pax and Phaedra, but it doesn’t feel melodramatic; they have their points of contention, particularly regarding that fateful night years ago, but are mature enough to know when they need to work together for the greater good. During the initial arc of Black Cloak, I often lamented that the world was too ill-defined to grasp the narrative’s intent. This issue feels fully focused on the characters within the world, which is perhaps a framing better suited to what works best about Black Cloak. –– Jamie Lovett

Rating: 4 out of 5

BLOOD SQUAD SEVEN #4

Blood Squad Seven #4 delivers exactly what Blood Squad Seven #3 promised as the team takes down Ripcord on Long Island. There are no surprises or sparks to a superhero fight that resembles so many other superhero fights; the team sends one individual after another for brief encounters before a (possibly literal) deus ex machina resolves the ordeal. It’s effectively depicted but offers nothing in the way of novelty with a format that was already familiar decades ago. The most potentially interesting elements of the issue surround broad mysteries grounded in nothing specific on the page with a government agency that can best be described as an objectively awful idea as the primary rooting interest. It’s difficult to discern exactly what the hook of this series is intended to be even as this issue rises to the level of competent cape comics. — Chase Magnett

Rating: 2.5 out of 5

DESTRO #3

Destro’s duel with Chameleon delivers the best spectacle of this miniseries so far and a genuinely fearsome rival for its protagonist (contrasted with the cartoonish twins). The opening action sequence takes place across only a few moments, but the panel pacing makes every decision matter and reveals exactly how both of the combatants operate. In its aftermath, readers learn more about the nature of Clan Destro in an expository sequence that builds splendidly to the issue’s final revelation. It’s a well constructed midpoint to a miniseries that opened with glorified arms dealers now integrated into a world that’s much more familiar by its end. Destro was always a popular G.I. Joe villain due to his outstanding design and unique position within Cobra; Destro #3 makes the character himself one of the most intriguing characters across the entire new Energon universe. — Chase Magnett

Rating: 4 out of 5

G.I. JOE: A REAL AMERICAN HERO #309

If only every comic book writer could balance absurd situations with serious drama as Larry Hama does regularly with aplomb. Here are zombies, ninjas, and robots all descending on a suburban town that doubles as a secret hideout for a global terrorist organization, but the issue feels neither silly nor self-serious. The stakes are treated with weight and the characters with respect, particularly Dawn Moreno as she comes to a moral choice that could define her future. The sheer number of characters, many of who are not particularly distinct, can make the action a bit tough to follow in place, but the art is sharp and keeps a lively pace. — Jamie Lovett

Rating: 4 out of 5

LOCAL MAN #13

Local Man‘s latest arc culminates in such a ridiculous and meaningful manner, it almost reads as the book’s series finale. Thankfully, it’s not the end for this wonderful series, as Tony Fleecs and Tim Seeley’s work directly confronts the nostalgia of the superhero comics machine in ways that still manage to feel fresh and surprising. As this issue continues to prove, Local Man is nothing short of a bonafide gem in our postmodern superhero moment. — Jenna Anderson

Rating: 5 out of 5

Image #2

PLASTIC: DEATH AND DOLLS #3

The big violent splash pages in Plastic: Death and Dolls #3 from artist Daniel Hillyard and color artist Michelle Madsen are the best moments of the issue. These feel like punctuated moments of a fractured psyche that the larger narrative itself isn’t selling well at all. There’s an on-the-nose style that makes the writing a little grating in Plastic: Death and Dolls, it seems to be operating solely at a level of aesthetic assumption, with archetypes in characters and story that are present because they’re “supposed to be there.” It’s quickly growing thin. — Spencer Perry

Rating: 2.5 out of 5

REDCOAT #5

Redcoat releases what might be its weakest issue to date, simply thanks to the sheer amount of exposition that is used in issue five to move the plot along. Johns has a good understanding of the likes of Simon Pure, Albert Einstein, and Benedict Arnold here, creating some good back and forths but the issue does get a tad bogged down in conversation. On the art side, Bryan Hitch tends to stumble a little here while he simultaneously is able to create some big landscapes but miss a beat on some of the facial expressions. Johns ends the issue with a reveal that is so simplistic you might kick yourself for not seeing it sooner. All this being said, the issue still has plenty to enjoy and while it might be the weakest of the series for me, this isn’t an overall knock on what we’ve seen from Ghost Machine here. –– Evan Valentine

Rating: 3 out of 5

SELF HELP #3

This issue takes a detour at the start that throws off the pace a bit, but the back half gets things on track in several different ways. Bringing the family into the story adds a level of depth that the series needed, giving an extra angle to it all that helps set it apart from others with similar tropes. So much of the success of Self Help will come down to how the plane lands when all is said and done, but the ride has been good so far. — Charlie Ridgely

Rating: 3 out of 5

STANDSTILL #1

[READ THE FULL REVIEW HERE]

Standstill follows Ryker Ruel, a man who is putting his new time-freezing device to good use. However, it takes more than one man to make a village as the world is beginning to become aware that all isn’t right in “Denmark.” Governments are realizing that the deaths of oligarchs, mysterious bank heists, and general tomfoolery all might have something in common as one scientist has become wise to the matter. Brainiac Colin Shaw finds himself sacrificing major parts of his life to reveal the mystery and hopefully stop it. Standstill lays out all these elements and more in its first issue. –– Evan Valentine

Rating: 4 out of 5

WITCHBLADE #2

It wasn’t entirely easy in the first issue of this new Witchblade to see what the take on the material was, but that is not the case here. Writer Marguerite Bennett wastes no time in Witchblade #2 by quickly putting her stamp on the character and what the larger theme of this version of the character will be, it’s smart, it’s effective, and it’s timely. Series artist Giuseppe Cafaro channels the feminist themes at the heart of this new Witchblade in the artwork as well, filling in every nook and cranny of each panel with a detail or a motif that harkens back to the larger concept. Despite the necessity of the first issue’s origin story podling, Witchblade #2 is the real starting point, and it’s awesome. — Spencer Perry

Rating: 4.5 out of 5

Other Publishers #1

BLOW AWAY #5

The final issue of Blow Away is a strong conclusion to the series that finally resolves not only the mystery of what happened on the ice, but also Brynne’s journey as well, giving her redemption and purpose, but bringing everything to a neat conclusion. While it can be argued that things resolve a little too quickly and a little too neatly, part of that can be attributed to format – when read as a full story across all five issues, the pacing is less of a concern. Overall, Blow Away #5 pays off on most of the mysteries kicked off in the first issue which is no small feat. It’s a strong finale to a strong story. — Nicole Drum

Rating: 4.5 out of 5

BRIAR #8

Briar’s pit of misery has seemingly come to a half as she and Spider reconcile with the help of some talking cranes and also plot a prison escape. This was the turn around that Briar and her friends needed, given that the last few issues have piled on misfortune and misfortune on Briar and her friends. While I feel like the actual escape relied a bit too much on luck and not enough on character or quality, I feel like the series might have had a soft reset… or at least found more solid footing to move forward with. — Christian Hoffer

Rating: 3.5 out of 5

CONAN THE BARBARIAN #14

It really might just be the setting, but this Conan the Barbarian arc is hitting harder than most of the series has to this point. It feels intense and gritty, like every fan of the character expects. Previous arcs fell a little short, but this snowbound adventure is really hitting the mark. — Charlie Ridgely

Rating: 4 out of 5

CROCODILE BLACK #4

After reading Crocodile Black #3, I assumed the agenda for Danny’s journey was set, at least for a while. Turns out I couldn’t have been more wrong on that front, but that unpredictability is part of what makes the series so fascinating. Crocodile Black #4 shakes things up in a major way and upsets the status quo pretty quickly, though it also creates opportunities for the more twisted and heartbreaking moments found throughout the issue. SOM, Patricio Delpeche, and Becca Carey’s work is once again top notch and eerily disturbing, and those elements are expertly utilized in one particular flashback, remaining a pivotal part of the scene without overshadowing the grief and raw emotion the scene aims to highlight. Phillip Kennedy Johnson keeps you guessing but is also building out the other side of the story, and after the events of issue #4, the anticipation is high for the eventual collision between those dueling sides. Put simply, Crocodile Black is unlike anything else you’re going to read this week, and that’s likely not changing. –– Matthew Aguilar

Rating: 4 out of 5

EPITAPHS FROM THE ABYSS #2

The trio of stories in Epitaphs From the Abyss #2 are an improvement from the first issue, though it still feels like the stories aren’t quite living up to the “unrelenting nail-biters” billing the issue gets. The three stories, from Matt Kindt, Tyler Crook, and Jason Aaron, take on various aspects of contemporary society each with chilling effect – the third, Aaron’s “Sounds & Haptics” might be the most unsettling and hit closest to home as it takes on technology and obsession with it. It’s the second that is the most interesting, however, Crook’s “Gray Green Memories” which is haunting with a post-apocalyptic take on purpose and self. As a trio of stories, they’re pretty good. I just wouldn’t call them all that chilling. — Nicole Drum

Rating: 3 out of 5

HUGE DETECTIVE #1

[READ THE FULL REVIEW HERE]

From the first few black and white pages delivering the premise of Huge Detective to the final explosive splash, there’s a palpable sense of excitement surrounding artist Magenta King and writer Adam Rose’s debut of their new speculative fiction series at Titan Comics. Huge Detective #1 introduces readers to Tamaki and Gyant, a human and giant (or Huge in the series’ parlance) detective collaborating in a world where Huges reemerged 40 years ago to resettle Australia after a costly conflict with humanity. At scales ranging from the interplanetary to the deeply personal, it’s a premise loaded with interest accompanied by layered characters and conflicts that make it easy to overlook storytelling flaws in this busy introduction. — Chase Magnett

Rating: 3.5 out of 5

Other Publishers #2

JOY OPERATIONS 2 #3

Joy and Hampton are reunited, and they’re bringing some of their EN.VOIS buddies along for a little uprising. There is a lot of political intrigue at play, mixed with engaging colorful art. The idea of two people sharing one body isn’t new, but Joy Operations tackles it in an interesting manner. Joy and Hampton make a great team. Let’s see if they can finish the mission in Jonando. — Tim Adams

Rating: 3 out of 5

LAWFUL #3

Lawful #3 improves upon broadly repetitive introductory installments as Sung is compelled to quickly acknowledge the reality of his situation. There’s a genuine sense of excitement and terror as action sequences ratchet up the stakes and leave Sung with increasingly fraught choices. Yet Sung also remains the far less interesting of the series’ protagonists as he seems to recognize obvious elements of the story long after Eris and readers. His altered design in Lawful #3 may be the most interesting part about him at this point – a vast improvement over the red blobs coating his chest before. If nothing else, the issue promises that the story will only accelerate from here and draw in more of Lawful‘s more interesting elements to build upon. — Chase Magnett

Rating: 3 out of 5

NIGHT CLUB 2 #1

Night Club 2 reads like it was written by how-do-you-fellow-kids Steve Buscemi, a script catering to a younger audience without the wherewithal to actually land an adequate story. It’s cringe-inducing throughout, as if someone thought amplifying Deadpool tenfold and giving them the starring role in a comic was a good idea. Even Juanan Ramirez’s kinetic artwork isn’t enough to save this debut. –– Adam Barnhardt

Rating: 1 out of 5

PARANOID GARDENS #2

We’re only two issues into Paranoid Gardens, but its various conspiracies are revealing themselves in a wild way. Gerard Way and Shaun Simon’s script effortlessly continues the same unsettling ambiance, even as it does devote most of its time to setting up mysteries for the future. Chris Weston’s art pulls us even further into uncanny valley, with fascinating results as the issue gets more and more unsettling. Paranoid Gardens is already proving to be something special. –– Jenna Anderson

Rating: 4.5 out of 5

PATRA #1

This debut issue of Patra doesn’t tell us too much, other than a horrible crime has occurred and it seems to both be attributed to a young girl confused about what happened to her family and also to a presence from beyond. Even though we’re left with just as many questions as we’ve been given answers, this premiere issue of the book does just enough to excite and intrigue us while also confirming the various promising ideas about a folk-horror adventure that’s about to unfold. Given that Patra comes from publisher Dark Horse, the former home of the fantastic Harrow County, it makes perfect sense to see a similar vibe of gothic horror featuring potentially ancient rituals returning to haunt the present. The imagery is evocative and the tone of the writing is mysterious, making us all the more exciting for what awaits us just over the horizon. –– Patrick Cavanaugh

Rating: 4 out of 5

POWER RANGERS INFINITY #1

The initial premise of Power Rangers Infinity in no way prepared me for the emotional rollercoaster I was in for, and by issue’s end I was completely in love with both the concept and this absurdly delightful team. Writer Sam Humphries introduces the concept first and does so concisely and effectively, allowing readers to get to the meat and potatoes of the story at a quickened pace, leading to the lovely lead known as Lola. There’s a meta aspect to the book but it never overwhelms the endearing qualities that power this adventure, which is all due to the team of lovable misfits from other Ranger teams. The Ranger concepts are brilliantly brought to life by artists Brandt & Stein, colorist Triona Farrell, and letterer Ed Dukeshire, and the book simply beams with the vibrancy the franchise is known for. The designs are as humorous as they are slick, and that’s all before you actually get to know these characters and how they got here. Once that clicks, it was over, and I found myself invested in not only their current mission but everything that comes after. It may not be practical to wish this, but I sincerely hope this isn’t the last we’ve seen of this team or this concept in general, because both are brilliant, and no fan of the Power Rangers franchise should miss how special this book truly is. –– Matthew Aguilar

Rating: 5 out of 5

Other Publishers #3

POWERPUFF GIRLS #2

Powerpuff Girls continues to operate from the exact style and and tempo that fans of the cartoon series expect. Series writer Kelly Thompson not only knows how to fit into the rhythm of what would be a PPG episode but is self aware enough to realize that an issue with an unconventional villain plan and minimal fighting is actually pretty par for the course. Artists Carlo Lauro and Giulia Lafranceschina take on the bulk of the pages in the issue, which not only maintains the visual style fans love but has fun with the novel concept that Thompson has thrown at them. — Spencer Perry

Rating: 4 out of 5

RICK AND MORTY: YOUTH IN RICKVOLT #1

Rick and Morty‘s latest comic book spinoff takes shape in a way that is clever, but not necessarily groundbreaking. Michael Moreci’s script is snappy while still leaving a lot of narrative unexplored for future installments. Tony Gregori’s art is effective, albeit a little rudimentary when compared to some of the visual bonanza that the franchise is often known for. Time will only tell if this proves to be a must-read addition to the Rick and Morty arsenal. — Jenna Anderson

Rating: 3 out of 5

STAR TREK #23

The Star Trek franchise has told stories that are epic in scale, but a pissed-off android breaking into the clubhouse of the gods and threatening to erase all existence out of apparent spite has to be up there with the grandest. Admittedly, the stakes are so high and the action so metaphysical that it runs the risk of becoming hard to follow: Lore is going to eliminate everything, the Theseus crew is doing some mad and possibly divine science to counter his plan, and Sisko’s mom keeps cryptically telling him that he’s already failed. In the middle of this, T’Lir and Lily have a moment of reconciliation and grace that grounds all this godly business in something meaningful and emotional. — Jamie Lovett

Rating: 4 out of 5

STAR WARS: THE HIGH REPUBLIC ADVENTURES #9

There are going to be plenty of people who don’t like this issue, who will deem it “boring” the moment they finish. Don’t listen to those people. The ninth issue of High Republic Adventures takes a lesson directly from George Lucas’ prequels and dives straight into the complicated politics of the galaxy. It may not have the action some folks have come to expect, but the change of pace is a welcomed one, and the political back-and-forth is rather enjoyable. — Charlie Ridgely

Rating: 3.5 out of 5

THUNDERCATS #7

To this point Thundercats has focused much of its attention on Lion-O’s shift from cub to Thundercats leader, and rightfully so mind you. While that aspect of the story is still part of the latest issue, Thundercats #7 shifts the limelight a bit to the cubs of the pack, Wilykit and Wilykat, and the results are delightful. Writer Declan Shaley uses the frayed Lion-O relationship to bounce the cubs into their own adventure outside of the ship, allowing readers to not just get to know them as characters but also better appreciate what they bring to the table and what they’ve gone through alongside the rest of the team. Shalvey highlights how capable they are to find their way out of potentially dire situations by relying on each other, and then also uses that to reveal some intriguing details about their unique abilities. Artist Drew Moss and colorist Martina Pignedoli showcase their speed and agility early on but then ramp up the tension in the darker and danger filled locations in the book’s second half, including one particular shadow filled sequence towards the end that I absolutely loved. Throw in some insightful conversations between Lion-O and Panther and the surprisingly compelling interactions between the world’s key villains and you’ve got yourself a recipe for success. — Matthew Aguilar

Rating: 4 out of 5

USAGI YOJIMBO: THE CROW #5

The best Usagi Yojimbo stories are often bittersweet. That turns out to be the case with The Crow, as Kunichi inherits the sword of a man who was once his enemy and a bounty hunter, a profession Kunichi has no respect for, on top of that, having learned that honor is more complicated than he once believed. Some bits in the ending don’t completely satisfy—I’m not sure the series ever gave a satisfying explanation for what Jimmu’s whole deal was, and it’s unclear why Stray Dog remains so standoffish about his true morality with his peers—but on the whole, its another compelling adventure for Usagi Yojimbo. –– Jamie Lovett

Rating: 4 out of 5

The post Comic Book Reviews for This Week: 8/21/2024 appeared first on ComicBook.com.

From the first few black and white pages delivering the premise of Huge Detective to the final explosive splash, there’s a palpable sense of excitement surrounding artist Magenta King and writer Adam Rose’s debut of their new speculative fiction series at Titan Comics. Huge Detective #1 introduces readers to Tamaki and Gyant, a human and giant (or Huge in the series’ parlance) detective collaborating in a world where Huges reemerged 40 years ago to resettle Australia after a costly conflict with humanity. At scales ranging from the interplanetary to the deeply personal, it’s a premise loaded with interest accompanied by layered characters and conflicts that make it easy to overlook storytelling flaws in this busy introduction.

The first three pages do excellent work summarizing this alternate history and provide readers a sense of the need for a detective’s lens on this fantasy concept to unravel the sorts of conspiracies bound up in decades of interspecies relations and global war. Yet every few pages readers are led to discover a new facet to consider including the stiff interpersonal dynamics between the series’ protagonists, dual and almost certainly linked murder cases, and even hints at events off planet. There’s no risk of the issue growing dull as additional layers are added without losing track of Tamaki and Gyant at their center.

The introduction of these threads ranges in efficacy, though. The detectives give the series a familiar heart that will appeal to fans of True Detective. Although clearly haunted by distinct demons, the pair bring distinctive personalities and plenty of skills to bear in exploring this setting – offering readers plenty of insight along the way. King’s impressionistic forms capture their expressions and actions well in these instances.

Yet cutaways to the moon arrive without clear transitions and are so sparsely detailed as to leave readers questioning what they are reading and why it is significant. In this instance, there is only an implied mystery that doesn’t possess the same immediacy as a couple of missing Huges and a murder mystery. Another thread involving a schizophrenic prisoner also suffers in its introduction from a clear lack of purpose, although this is alleviated somewhat by the issue’s end.

The sequences that seem most lacking are also those lacking in Huges. It’s apparent that the most immediate appeal of Huge Detective lies in the world it presents as each new detail provides an alternative history with apparent depth. A brief cutaway to an amusement park is simultaneously ridiculous and horrifying, and many panels featuring Gyant or other Huge figures deliver similarly potent ideas. It’s a wonder to investigate the world of Gyant and Tamaki as they investigate a collection of mysteries, some still unidentified.

Published by Titan Comics

On August 21, 2024

Written by Adam Rose

Art by Magenta King

Colors by Magenta King and Minimone

Letters by DC Hopkins

Cover by Paul Pope and Lovern Kindzierski

The post Huge Detective #1 Review: Gigantic Ambitions, Minor Missteps appeared first on ComicBook.com.

What if you had the power to freeze time and “restart it” whenever you wanted? This is a question not only asked and answered by Saved By The Bell’s Zach Morris but the newest Image Comics miniseries Standstill. Unfortunately, the power to call a time out on the time stream isn’t given to readers themselves with this new comic, but rather, a charming rogue who doesn’t put his powers to use for the betterment of mankind. Does this new Image series manage to highlight the more interesting aspects of its premise or does it freeze under pressure?

To fill you further in on the premise of Standstill, the series follows Ryker Ruel, a man who is putting his new time-freezing device to good use. However, it takes more than one man to make a village as the world is beginning to become aware that all isn’t right in “Denmark.” Governments are realizing that the deaths of oligarchs, mysterious bank heists, and general tomfoolery all might have something in common as one scientist has become wise to the matter. Brainiac Colin Shaw finds himself sacrificing major parts of his life to reveal the mystery and hopefully stop it. Standstill lays out all these elements and more in its first issue.

To start, Ryker establishes the more flashy side of the premise, using the device to create some hilarious, and often grisly, displays to either net him cash and/or get some petty revenge on those around him. These scenes are serviceable though they don’t go as “hard in the paint” as they could. The opening salvo is a bit of humorous revenge as Ryker demonstrates his “power” on an unsuspecting hangout for bikers, displaying his confidence throughout the heated exchange. Ironically enough, Ryker and his use of the time-freezing device feels like it’s playing second fiddle to a far more interesting aspect of the series in scientist Colin Shaw.

Painted as something of a Reed Richards and Sue Storm dichotomy, Colin and his now ex-wife find themselves at an impasse, taking a direction that Marvel might never allow for the comic publisher’s “First Family”. Shaw is drowning in his work in attempting to figure out and losing his relationship in the process. Writer Lee Loughridge, on top of weaving the events and conversations within the script, also acts as the colorist of this opening issue which is a good segway into the strongest part of the premiere issue.

Artists Andrew Robinson and Lee Loughridge (on colors) deliver borderline experimental here on Standstill. Specifically, the series touts its opening salvo as having sixty “double-page spreads” which work well in terms of telling an interesting story and presenting an artistic style rarely seen in any comic book these days. Loughridge’s colors are as vibrant and/or moody as they need to be, complimenting Ryker and Shaw’s stories as the two are quite different concerning their locales. Loughridge and Robinson’s art is big and bold while eliciting a “secret agent” style that would fit right into the world of 007. 

If you’ve read my reviews in the past, you know that I’m a sucker for using the comics medium and trying something different with the layout of panels across the board. Standstill takes a unique approach in creating some scenes that leap off the page and grab the readers’ attention. The art is the star of the show here, taking a solid story and pushing it to new heights with gorgeous facial features and lush surroundings. 

Standstill introduces its world in a compelling enough fashion, establishing the premise and enticing readers to follow this espionage adventure. There are some big chinks in the armor here, mostly when it comes to the time freezes themselves, but Loughridge and Robinson have something special on their hands here and I’m anxious to see the direction that the miniseries takes with its remaining seven issues.

Published by Image Comics

On August 21, 2024

Written by Lee Loughridge

Art by Andrew Robinson

Colors by Lee Loughridge

Letters by Rob Tweedie

Cover by Andrew Robinson and Lee Loughridge

The post Standstill #1 Review: A Moment in Time appeared first on ComicBook.com.

Jonathan Hickman possesses a reputation for writing smart superhero comics – crafting epic sagas with the Fantastic Four, X-Men, or Avengers that draw out complex characterizations, layered themes, and excellent sci-fi conceits. But don’t try to pigeonhole them based upon those sprawling runs. If Wolverine: Revenge makes anything clear in its debut, it’s that this prestige miniseries is focused on visceral thrills above anything else and Hickman makes it clear that, as a consummate comic book storyteller, big and dumb fun is also absolutely his speed.

Wolverine: Revenge #1 quickly introduces readers to a story with no clear place in Marvel Comics continuity; the consequences of this scenario are too big to be neatly squeezed between other dots of continuity. That freedom allows Hickman and artist Greg Capullo full access to the various characters and elements associated with Marvel, but without many limitations to safeguard those pieces. From the opening sequences featuring Wolverine hunting in the Savage Land atop dinosaur back to an absolutely brutal cliffhanger, Revenge is entirely focused on delivering action sequences to shock and awe even the most cynical Marvel readers.

It’s a credit to both Hickman and Capullo that they find a wavelength on which they co-exist so smoothly. Capullo is best known for his character-defining contributions to Spawn and a decade of Batman stories that made the character definitively “metal,” and here he threatens to offer up a similarly irresistible spin on Wolverine. From the iconic yellow suit to battles with both dinosaurs and the cruelest of X-villains, he grabs for the highlights and applies his distinctive aesthetic to them.Given the notable body count and consistently gory action sequences, this looks like the Wolverine comic Capullo was born to draw. His appreciation for detailed panels, expressively abundant line work, and landing big moments ensure every set piece in Revenge #1 delivers. 

Between the battles there are expository sequences laying out the premise. These may feel like homework, but draw in enough additional Marvel stalwarts to distract readers from their impatience to see more claw-popping. What’s more is that all of the elements needed to understand this alternate timeline are laid out plainly by the end of issue #1. There’s no big mystery or ongoing series of sci-fi MacGuffins to chase; it’s all about revenge before this issue concludes – promising the best is still yet to come.

For as big and bombastic as Wolverine: Revenge #1 may feel at times—featuring mass extinction events and a who’s who of X-baddies—it’s also an example of less is more. Much like its eponymous anti-hero, the issue is a lean, mean superhero violence machine. It lays out the story, stakes, and motivations with economical efficiency designed to center Capullo’s wonderfully expressive action sequences. The result is an incredibly fun presentation of Wolverine focused on their undeniable 80s action movie appeal.

Published by Marvel Comics

On August 21, 2024

Written by Jonathan Hickman

Art by Greg Capullo and Tim Townsend

Colors by FCO Plascencia

Letters by Cory Petit

Cover by Greg Capullo, Tim Townsend, and FCO Plascencia

The post Wolverine: Revenge #1 Review: Big, Dumb Fun Done Right appeared first on ComicBook.com.

It’s been 20 years since Jenny Sparks appeared at DC Comics, but now she returns in Jenny Sparks #1 with The Authority hero getting her own story from writer Tom King and artist Jeff Spokes. The timing of the new comic book is interesting—James Gunn’s DC Universe is set to bring The Authority to the big screen with a feature film in development—but the comic doesn’t feel like a simple play for connective relevance or even character nostalgia. Instead, thanks to King’s unique approach to story-building with not only the main character but the characters surrounding them, it feels like the start of something bigger than just the Spirit of the 20th Century’s return. But whether the pieces actually come together remains to be seen.

Jenny Sparks #1 starts off with introductions. We meet Jenny and four other people from different walks of life each with their own issues and secrets who are seemingly just ordinary people. But soon enough things get interesting with the arrival of Batman, crashing the morning after for Jenny’s one-night-stand with news that Captain Atom has gone rogue and it’s Jenny’s problem.

One of the things King does best as a writer is character voice and it shines here. Jenny is sharp tongued, giving as good as she gets, but is never over-the-top. She is straightforward and knows exactly what she needs to do while making no secret of how she feels about the more dazzling “heroes” who don’t want to get their hands dirty with what could very well be a major issue. What we get with Jenny Sparks #1 is a lead that is holding the big names accountable while also getting down to the work of things herself; it feels rooted in realism. This isn’t bombastic optimism or gritty pessimism that we often receive in superhero comics. This is straight reality with just a bit of wit and it feels very refreshing. It lines up beautifully with Spokes’ artwork. Things are clean and uncluttered with just the right amount of realism and details. It’s a story that seems set in the real world, with real world stakes and consequences.

My only real concern with Jenny Sparks #1 is that while the comic book sets things up and establishes the players on the page, there are already some signs this will get needlessly complicated and quickly. With four key side characters in play from the jump that inevitably intersect, the story is already poised to be a balancing act. However, even in the first issue it can be difficult to keep the stories straight. Part of that is how the panels are arranged and the story is presented, but part is also in the way we’re only given snippets that feel, in the final pages, almost too convenient. There’s some heavy-handedness in trying to explain to the reader who Jenny Sparks is that doesn’t do an especially good job of making the reveal, as it were unless you’re already familiar with the character. 

Those things aside, however. the story seems like it’s off to a good start with enough of a mystery to propel it to the next issue and a primary character just interesting enough to keep readers turning the page.

Published by DC Comics

On August 21, 2024

Written by Tom King

Art by Jeff Spokes

Colors by Jeff Spokes

Letters by Clayton Cowles

Cover by Jeff Spokes

The post Jenny Sparks #1 Review: A Realistic Spark of Inspiration appeared first on ComicBook.com.

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 DC Vs. Vampires: World War V #1, Iron Fist 50th Anniversary Special #1, Teenage Mutant Ninja Turtles: Nightwatcher #1, and Babs #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

ABSOLUTE POWER: TASK FORCE VII #4

Task Force VII #4 stands apart from the rest of this event-based miniseries as the first installment to deliver a complete, coherent story featuring style on both the artistic and writing fronts. The issue is centered in Gotham City where Failsafe is focused on imprisoning the city’s remaining heroes. Artist Claire Roe does outstanding work in depicting Gotham, specifically the shadow-filled tunnels and corridors beneath its streets. Utilizing powerful shadows, bold lines, and well-designed forms, there’s an iconic sensibility to the setting. Writer Pornsak Pichetshote centers the story on its most recognizable figure, Nightwing, whose loving personality creates a useful contrast for the utterly cold Failsafe. Like all of the other issues in this miniseries, Task Force VII #4 isn’t essential to “Absolute Power,” but it portrays the sort of struggle that makes this particular event interesting and delivers everything readers require in a tightly crafted 20 pages with a perfectly suited bittersweet conclusion. It’s the exception worth picking up, even for readers skipping tie-ins. — Chase Magnett

Rating: 4 out of 5

ACTION COMICS #1068

While this run has a distinctive feel of being “filler” content to get from more recent major arcs to the next big thing, there is no denying the charm of Simone’s work with the Man of Steel as “Superman and the Challenge from the Stars” continues. Not only does the lovely, Bronze Age nostalgia continue, there’s just this really fun and inspiring energy to how Simone crafts Superman as a humble and genuine hero who with every action feels the weight of his responsibility but never lets it crush hope. The presentation of the relationship between Lois and Superman here is also really nice to see. It’s all very refreshing. Rowell’s backup story is also solid, examining the challenge of Lois and Clark working together. It’s a take on this relationship that we haven’t really seen before and it’s very welcome and humanizing. — Nicole Drum

Rating: 4 out of 5

BATMAN AND ROBIN #12

Batman and Robin #12 is a really well-crafted and at times elegant expression of Damian’s growth as a character while it pulls together the impact Alfred has had on his life and offers something of a coda to Aflred’s death and its fallout only to almost immediately waste the fantastic storytelling and growth with what can only be described as comic book ‘roid rage for the sake of a plot twist to close the issue in a cliffhanger. That’s not to say it isn’t a fun turn since certainly feels like it sets up an unexpected alliance of sorts, but tonally it feels out of place and even a little cliche and uneven. — Nicole Drum

Rating: 2.5 out of 5

BATMAN: GOTHAM BY GASLIGHT – THE KRYPTONIAN AGE #3

Gotham by Gaslight – The Kryptonian Age explore Diana’s new history and how it ties into the lost Kryptonian Age. The comic plays heavily into familiar pulp themes (Diana’s Amazon is actually within the Hollow Earth) and pulls along some familiar characters on some unexpected paths. Perhaps the best compliment that I can give is that this comic doesn’t feel like a Batman comic but rather a classic pulp story that still has plenty of mystery left to unravel. — Christian Hoffer

Rating: 4 out of 5

DC VS. VAMPIRES: WORLD WAR V #1

[READ THE FULL REVIEW HERE]

Just like its flagship series, DC vs. Vampires: World War V #1 isn’t necessarily a bad comic, but it is a frustrating one. This sequel drops readers right into the conflict regardless of their prior investment, and tries to keep them hooked with a story that is bombastic, but inconsistently executed. Even if vampires are a cultural harbinger of our times, there is an even better version of DC vs. Vampires percolating under the surface, and it remains to be seen if World War V will become a showcase for it. –– Jenna Anderson

Rating: 2.5 out of 5

DC #2

FROM THE DC VAULT: DEATH IN THE FAMILY – ROBIN LIVES! #2

I really like this comic book, but the non-linear storytelling in issue #2 is a little hard to wrap the mind around and the multiple story threads—the different little plots that are arguably trying to explain what’s going on with Bruce, Jason, and even a seemingly unrelated therapist that ties to our narrator—can themselves be a bit of a challenge to follow. Add to that the understanding that this is a four-issue series and we’re now halfway through, this issue feels almost like a stall. That said, there are some strong moments and the vintage feel of the issue is very well done in their exploration of where things could have gone in a completely different continuity. — Nicole Drum

Rating: 3 out of 5

GOTHAM CITY SIRENS #2

Williams and Hillyard return one week following Gotham City Sirens‘ premiere and moves at a breakneck pace to see Selina, Harley, and Ivy attempting to take down a twisted new plan from Punchline. There’s little gristle on the bone here for this second outing, with Hillyard’s energy working quite well in tandem with Williams’ understanding of the Sirens and their adversaries here. Sirens doesn’t necessarily break the wheel but it’s a fun outing for the anti-heroes that traverse in Gotham City on the regular. The character moments and energetic action works exceptionally well here and now that we’re halfway through, this latest mini-series will work as a solid addition to the Sirens’ resume. –– Evan Valentine

Rating: 3.5 out of 5

GREEN LANTERN #14

Absolute Power has been firing on all cylinders, and so have the tie-is, with Green Lantern being one of the most entertaining ones in the bunch. While Jeremy Adams gets you up to speed on what Hal is up to (and as expected, the chaos is thoroughly entertaining), but he also paints a picture of the broader Lantern world and works them into the story in meaningful ways, connecting them in a real way despite not occupying the same space. Carol and Alan’s roles feel as important as Hal’s, even if they affect certain things indirectly, and that’s especially true of Carol, as Adams continues to build her up not as just a character but as a hero. It’s been fun to watch, and that also describes Carol’s interactions with the JSA, sequences brought to life by the talented team of penciller Fernando Pasarin, colorist Romulo Fajardo Jr, and inker Oclair Albert. Hal running through and making do with whatever weapons he finds is hilarious, made all the better with the priceless reactions and daunting sentient Amazo. The back-up story also follows this trend, as Marc Guggenheim and Darick Robertson showcase the Shadow Lanterns from the perspective of one new recruit. Through their internal monologue you get a palpable sense of what the Lanterns used to be and what they are being twisted into, and despite just meeting, it would be quite difficult not walk away affected by Shynt D’Proba’s story of hope, reality, and sacrifice. Just a fantastic issue all around! — Matthew Aguilar

Rating: 5 out of 5

OUTSIDERS #10

As the new era of DC’s Outsiders marches towards its conclusion, this installment ties the series’ disaparate threads together into something epic. Collin Kelly and Jackson Lanzing’s script keeps the tension mounting, as our three protagonists are thrown into a multiverse-shattering new conflict. Robert Carey’s art is massive in scale—so much so that the visuals of a few panels eclipse the role they have in conveying the story—but there are some incredible aesthetic choices on display. While I have no clue exactly what kind of ending Outsiders is headed for, this issue instills confidence that it will be an interesting one. — Jenna Anderson

Rating: 4 out of 5

Marvel #1

THE AMAZING SPIDER-MAN #55

The first installment in a series of standalone issues offering Zeb Wells’ run on Amazing Spider-Man its own denouement still delivers in a big way. The Amazing Spider-Man #55 takes this opportunity to focus on a single date in the life of Peter Parker as he struggles to make time for Shay with supervillains running amok. It’s a very familiar scenario for the series, but Wells and artist Emilio Laiso tackle it in an original fashion. The first few pages play out along decades-old lines, but Peter and Shay’s confrontation of the problem in dialogue and Peter’s approach to solving it make for a very compelling short story. There’s a maturity to the dialogue throughout the issue that doesn’t undermine its humor or action. Rather than continuing to self-flaggelate and deny time to his (potential) loved ones, Peter is challenged to find a better solution and so even in this minor incident, the essence of Spider-Man’s heroism shines through. If every installment left in Wells’ run is as good as this, then this final set of issues will be a highlight for the overall series. — Chase Magnett

Rating: 4 out of 5

FANTASTIC FOUR #23

Fantastic Four #23 sets up an excellent introduction to this two-part scientific mystery told through Johnny Storm’s perspective. From the introduction of the title, it’s apparent that the narrator has a robust, if blunt sense of humor and that tone is maintained throughout the issue. From shopping with his niece and nephew in New York City to exploring the unknown, Johnny is always ready with a quip before he takes action. What’s most engaging about this shift in storytelling though is how much it reveals about why Johnny conducts himself as he does. While there are plenty of great gags (including an appearance by Flame-O), it’s his explanation of the super-science behind this mystery and readiness to assist that are most impactful. The sci-fi conceit of this particular story pulls on some real science like most of the current volume’s adventures and finds a number of interesting ways to display the disaster and its cause on the page, but Johnny makes this niche concept accessible. Fantastic Four #23 is an endearing and funny issue that promises plenty more of that delightful approach ahead in #24. — Chase Magnett

Rating: 4 out of 5

HELLVERINE #4

Percy and Ohta end their run on one of the newest Spirits of Vengeance roaring along the road and give fans a surprisingly heartfelt story for a series revolving around a mutant with a flaming skull. Whether it be the story between Logan and Daken or the two supernaturally charged brothers, there’s a lot of heart here that you might not expect. The story gives us plenty of action and bloodshed for sure and even sets up a new status quo for Wolverine’s son that many might not have seen coming. The future is bright for the many Spirits of Vengeance riding the backroads and Hellverine is a surprisingly worthy addition. — Evan Valentine

Rating: 4 out of 5

THE IMMORTAL THOR #14

The Immortal Thor #14 continues the Thor and Hercules team-up begun in the previous issue and because the battle is already in full swing it doesn’t feature as much conversation. That’s fine since the art team proves more than up to the task of balancing the moody darkness with the godly action scenes pitting Thor and Herc against Zeus and Nyx, a battle that further progresses Immortal Thor‘s themes of change over time, the turning of the wheel, going back to show that Gaea has been playing the game longer than anyone suspected. Part of why the action-packed issue works as well as it does is that it isn’t simply a fight, but lesson, a test that Hercules and Thor must pass, challenging their wit as well as their combat skills, creating a clever and satisfying experience for the readers. — Jamie Lovett

Rating: 4 out of 5

IRON FIST 50TH ANNIVERSARY SPECIAL #1

[READ THE FULL REVIEW HERE]

The Immortal Iron Fist, real name Danny Rand, has officially been a part of Marvel’s ever-growing stable of characters for 50 years. With such a milestone arriving, Marvel pulled out all the stops to celebrate The Living Weapon by making an oversized one-shot crafted just for longtime fans of the character. Within this single comic issue are five stories staggered throughout the Marvel Comics timeline, providing readers a glimpse into backing material surrounding some of Iron Fist’s most pivotal moments. — Adam Barnhardt

Rating: 4 out of 5

MILES MORALES: SPIDER-MAN #23

Miles Morales survived Blood Hunt, but he came out of it changed for the foreseeable future. Spider-Man has to deal with juggling his vampiric urges and his need to do good and be a hero. It’s cool that Miles is continuing to seek medical and professional advice from the superhero community. It keeps the guest stars fresh, and one looks like they’re about to get an expanded role in future issues. I am absolutely a fan of Federico Vicentini and Bryan Valenza’s art, and how every action scene is just kinetic energy that bursts off the page. — Tim Adams

Rating: 3 out of 5

THE SENSATIONAL SHE-HULK #10

Jen Walters’ work-life balance comes to the forefront of Sensational She-Hulk‘s finale, as Rainbow Rowell, Andres Genolet, and company wrap things up in a sweet, albeit truncated way. Rowell’s script provides just enough closure on Jen’s life as a lawyer, Avenger, and woman, while still proving that there’s a lot of room left to explore things in future runs. Genolet’s art is truly delightful, packing so much expression and charm into even the most inoccuous of panels. I am heartbroken that this run is coming to an end, but thankful that it got to deliver such a sweet, well-executed finale. — Jenna Anderson

Rating: 5 out of 5

Marvel #2

SPIDER-BOY #10

Spider-Boy jumps full speed ahead into the spider-verse, and for those who adore multiverse-hopping stories with a sense of humor you can’t go wrong with Spider-Boy #10. Dan Slott has Bailey jumping into a few different universe scenarios, and there are some true comedic gems found throughout his unexpected journey. Nathan Stockman and colorist Erick Arciniega bring each of these unique worlds to life, with Slott leaning into the change in tone and dialogue that each worlds brings, and it’s fun to see Bailey winging it throughout all of these various interpretations. While I enjoyed seeing those unique scenarios, they play out a bit longer than you might expect, causing the main story that centers around Bailey to lose some considerable steam. I was ready to move forward with Bailey’s story pretty early on, and thankfully the issue ends on a high note, as we move in that direction and set the course for a new status quo for Bailey that should be rich with storytelling possibilities. Spider-Boy #10 was a solid issue, but the ending delivers a welcome payoff that has me incredibly excited for what comes next. — Matthew Aguilar

Rating: 3.5 out of 5

SPIDER-SOCIETY #1

While Alex Segura’s dialogue is filled to the brim with enthusiasm, the execution results in page after page of clunky introductions and multiple lines acknowledging how repetitive the dialogue is. Scott Godlewski’s art does a good job of melding countless Spider aesthetics, even as the construction of some of the battle scenes remains a little underwhelming. Spider-Society has potential, but at this point, it’s leaving a little too much to be desired. — Jenna Anderson

Rating: 2.5 out of 5

STAR WARS: DARTH VADER #49

As this iteration of Star Wars: Darth Vader comes to an end, the relatively underwhelming and chaotic sendoff continues the journey of the previous issue and pits Vader against Rebels, and Imperial schism, and his conflicted feelings towards Luke Skywalker. Like the more recent issues, it’s hard to invest in any of the ramifications of this current journey, as we’re meant to believe we could be headed towards a game-changing reveal, yet we already know exactly how the relationship between Luke and Vader plays out, while the supporting characters are all relatively unexciting. Still, witnessing the fury of Vader and the awakening he seems to be having in regards to his feelings towards his son is at least somewhat compelling, so even if the final issue of the series fails to ignite much interest in supporting characters, we can’t not be intrigued by the sendoff to this version of the storyline. –– Patrick Cavanaugh

Rating: 3 out of 5

THE ULTIMATES #3

The Ultimates #3 flips the script on Bruce Banner’s origin as a self-sacrificing American scientist testing a nuclear bomb analog to create its Hulk from the very real victims of American nuclear weapons experimentation in the Pacific. Thor, Sif, and Iron Lad go to an unspecified Atoll whose indigenous peoples, flora, and fauna were all transformed (almost always for the worse) by the experiments that imbued Bruce Banner with his own abilities. The issue begins with the grandeur of kaiju and other spectacular creatures inhabiting this “Monster Island” before digging into the immense cost behind this experiment shifting the tone from one of adventure to absolute horror. Key details and some effective design work make the issue’s climax painful to read, especially as the work of Banner’s team is made clear in detailed text pages. It’s a reflection of very real horrors clarifying the concept of Iron Lad’s war against The Maker’s empire in this series. — Chase Magnett

Rating: 4.5 out of 5

ULTRAMAN X AVENGERS #1

Higgins and From have a lot of weight to carry in this introductory issue, and it’s weight they seem to carry with ease. The duo, along with art team Manna and Milla, lay the groundwork of two universes that seem to be on a collision course to each other. Because of the sci-fi aspect of it, there’s loads of exposition—almost to a fault—but they skirt around it for a well-rounded debut. –– Adam Barnhardt

Rating: 4 out of 5

VENGEANCE OF THE MOON KNIGHT #8

Moon Knight might have made his epic return in Blood Hunt, but Vengeance of the Moon Knight is the true welcome home celebration. Jed MacKay rolls out the red carpet for Marc and delivers a reunion that fans of the Midnight Mission have been anxiously waiting for, but it’s more than just a reunion. MacKay builds upon the growth and evolution of these characters by reflecting it Marc’s shifting approach in leadership. It’s the sort of payoff moment that sometimes gets railroaded by the hoopla of a return and reflected upon much further down the road, but the fact that it’s being built into the story right from the start should please the fans who have watched this cast adapt, evolve, and change both before and after Marc’s death. Speaking of delighting fans, artist Devmalya Pramanik and colorist Rachelle Rosenberg are sensational, delivering sleek action and stirring emotional moments in equal measure. The Midnight Mission is back with a vengeance, and things only promise to get better from here. — Matthew Aguilar

Rating: 4 out of 5

Marvel #3

VENOM #36

As convoluted as this new Venom arc has been at times, the “Venom War” crossover is shaping up to be one with interesting ideas at the least. Writer Torunn Grønbekk takes charge in the Venom solo series as Al Ewing wrestles with the larger event book, and like any great event tie-in Grønbekk is tackling a story that spins out of the main story which made me wonder “What’s happening there?” Dylan Brock is finally compelling in his Kyle Reese-esque mission to fight the future. Series artist Cafu does leave something to be desired in his paneling however, with a flatness that defines the entire look of the series despite major action moments. Color Artist Frank D’Armata does his best to make each era that Dylan visits carry its own larger marker of the time period; it’s a compelling design choice even if the rest of the book feels like it’s stuck in bold typeface. –– Spencer Perry

Rating: 3.5 out of 5

VENOM WAR: SPIDER-MAN #1

Writers Collin Kelly & Jackson Lanzing stretch the willing suspension of disbelief over this Venom War tie-in and its place in the larger story, but do great work with the characterization of Venom and Peter Parker reunited. Greg Land hops in as the pencil for the tie-in (Jay Leisten is credited as the inker) and if a certain image popped into your mind when reading those first seven words of this sentence, you’re correct. The art is stilted and cold, with splash pages that seem fine upon a first read over but which are largely unmemorable. Shout out to color artist Frank D’Armata who elevates all of the action of the issue with pop and layers that make its stilted pencils almost seem ambitious. — Spencer Perry

Rating: 3 out of 5

WEREWOLF BY NIGHT #1

Marvel continues its Red Band exclusives with a Werewolf by Night tale that loosely connects to Blood Hunt. Elsa Bloodstone is back to join Jack Russell, who is trying to live a peaceful existence. Of course, when you’re the Werewolf by Night, that plan goes horribly wrong. I am curious to see how our primary villain plays into these events, especially since he recently had a power upgrade in another series. Even though this is a red band rated issue, the blood and gore is kept to a relative minimum. — Tim Adams

Rating: 3 out of 5

WOLVERINE ANNUAL #1

The Infinity Watch has been one of the more pleasant surprises in recent weeks, and that trend continues in the latest installment found in the Wolverine Annual #1. Apex and Multitude’s unexpected confrontation with Wolverine is as volatile as you would expect, though most of the volatility is surprisingly not coming from Wolverine. That brings a fresh dynamic to the issue, though as before, Multitude is the shining star of this series, and Ezra Clayton Daniels builds on that throughout the issue. The character just feels so rich and full of storyline possibilities, and in a rare instance is standing out amongst the infinity Stones rather than becoming a blank vessel for the stones as has sometimes been the case in the past. Artist Yildiray Cinar and colorist Frank D’Armata bring a nice mix of modern sensibilities with a classic feel to the story, and some of the Wolverine sequences are simply perfection. Granted, there are times Apex feels a bit too one-note, especially compared to Multitude, but that’s also why Wolverine is such an effective foil for him. The back-up story is also moving into more intriguing territory, so as much as I didn’t expect it, I think I’m all-in on finding out how The Infinity Watch ultimately plays out. — Matthew Aguilar

Rating: 3.5 out of 5

X-FACTOR #1

X-Factor returns, and the blue-and-yellow uniforms suggests they’re here to recapture the spirit of the Peter David/Larry Stroman/Joe Quesada, et al 1990s era that put a humorous spin on the idea of a government-backed mutant strike force. X-Factor #1 shows that assumption insn’t necessarily wrong, but it isn’t entirely right either. X-Factor borrows heavily from the mutant superheroes meet celebrity culture pitch that informed Peter Milligan and Mike Allred’s transformation of X-Force into X-Statix in the early 2000s. In fact, “informed” may be putting it too mildly as this issue hinges on exactly the same central setup and punchline as in the first issue of Milligan and Allred’s run. There have been updates here are there, replacing the celebrity TV culture of the early 2000s with the social media influencer trends of today, but it’s hard to feel like I’ve read a superior version of this exact issue before. For those who haven’t read those X-Force/X-Statix comics (you should), it’ll certainly feel less like déjà vu, but it still feels not quite as sharp as some of Russell’s other work in the same vein, while the artwork has a an odd and offputtingly soft veneer, perhaps meant to reflect the social media filter that X-Factor’s fans are seeing them through (the Greg Land cover is similarly appropriate to the issue’s content). It’s not a total bust, but it is a bit underwhelming and quite derivative. — Jamie Lovett

Rating: 3 out of 5

X-MEN #2

There’s something unshakably juvenile about the first two issues of this new X-Men series. It’s practically built into the text of X-Men #2, as Cyclops muses about how being surrounded by badass women with swords was boyhood fantasy. The Juggernaut gets shot out of a canon after Kid Omega makes an anime reference that stops the issue dead in its tracks The artwork is incredibly busy, the twist is predictable, and the characters are buried under dialogue that struggles to explain what’s going on at every turn. It all feels overblown and hollow, like what the best X-Men comic ever would be if conceived of by a 12-year-old or Michael Bay. I’m not sure what X-Men #2 is trying to achieve beyond possibly turning X-Men into a straightforward power fantasy and not even doing that particularly well. — Jamie Lovett

Rating: 2 out of 5

Image #1

THE DOMAIN #2

The Domain #2 builds upon the well-executed, if overly familiar, origin structure of its debut for a stronger sophomore installment. Throughout the issue each of the friends given access to new, galactic powers utilizes them for different reasons they must reconcile with one another. It offers small dashes of superheroic achievement, including some action, balanced by a sense of reality in the form of interpersonal conflicts and missing context. The messiness makes each of the protagonists distinctive quickly, even before introducing the series’ first set of antagonists who arrive with plenty of flair and humor. It’s clear that while The Domain is building upon ideas established in the Silver Age (if not earlier), it’s also aiming to reflect how to reinvigorate these concepts with new perspectives and storytelling motifs in a very enjoyable second issue. — Chase Magnett

Rating: 4 out of 5

FALLING IN LOVE ON THE WAY TO HELL #3

On paper, Path to Hell has too much going for it. It shouldn’t work, but it does, and really well at that. Duggan manages to balance a supernatural Western noir by way of Kurosawa for a seamless tale of love, demons, and the hero’s journey. Falling in Love on the Way to Hell #3 is a bit of a slow burn, providing readers needed insight into the title’s leading duo. — Adam Barnhardt

Rating: 4.5 out of 5

GEIGER #5

Geiger #5 hands on a single fight established by the end of Geiger #4. Each new stage of the battle emphasizes the miserable state its trio of protagonists are in as they drag themselves across concrete to defeat the aptly named Electrician. It’s a lot of space for a villain with no definition and heroes who seem to have barely begun their quest, but artist Gary Frank makes the fight an ordeal to behold, even if a couple of splashes seem indulgent. Centering the fight around the well-being of a dog isn’t subtle, but it provides clear (if easy) emotional stakes. As a result the final pair of pages—the only two to suggest at some larger story structure—seem tacked on like an afterthought to remind readers to buy more Ghost Machine comics for the whole picture. But all of the best parts of this comic are defined by Frank, not this new shared universe concept. — Chase Magnett

Rating: 3 out of 5

NAPALM LULLABY #6

Napalm Lullaby #6 tries to lean into the social commentary about religion and cults, but gets a little muddled with the actual structure of the episode. There is a lot that happens in the issue, particularly in terms of an epic fight between the Janitor and Sarah, but the way the captions and dialogue are presented it’s very hard to follow and track in terms of who is doing the contemplating and exactly how things are playing out. It’s that structural muddle that sells short the philosophy that’s being presented and makes the stunning turn at the end lack a little bit of the punch the final pages of the issues should have. — Nicole Drum

Rating: 2.5 out of 5

PRECIOUS METAL #3

Is it entirely clear at all times what exactly is going on in Precious Metal #3? Not really, which may certainly turn off some viewers, but when I became confused I simply allowed the vibes of the series to carry me. Series creators Darcy Van Poelgeest (the writer) and Ian Bertram (the artist) have crafted something so unique that an infrequent lack of clarity can be overlooked since the larger totality of Precious Metal is unlike anything else you can find on the shelves. Bertram’s artwork, with colors by Matt Hollingsworth, remains stunning with splash pages that will make your brain hurt and wish you could blow up the image to the side of your wall just to see the details. — Spencer Perry

Rating: 4.5 out of 5

RIFTERS #3

It doesn’t matter where in time Rifters seems to go (even if its protagonists seem largely confined to the 20th century) because the same voice and sensibilities follow them. Even in the future, characters seem to be fighting the same fights of 2024 with the same language and, no matter how much swearing and fecal gags are added, it’s not terribly amusing. The appearance of a Zodiac look-a-like leads to a reprimand that seems to come out of nowhere as consequences are only established actions, leaving the action itself without suspense or tension. It’s another rendition of a joke that didn’t work across a single issue stretched to support a conspiracy that’s barely even begun to cohere on the page. — Chase Magnett

Rating: 2 out of 5

TRANSFORMERS #11

Jorge Corona shapes Transformers #11 as an issue that’s all about escalation as even its pacifist Autobot receives an excellent splash in an issue chock full of powerful images bound to delight readers. Both Autobots and Decepticons have big plans featuring big risks and nothing is left to stand still in these pages as every action builds to a larger reaction, suggesting something truly tremendous by the cliffhanger. What’s just as impressive is how well both Corona and Johnson draw out the humanity in all of their characters amidst so much activity. Callbacks to the first issue and tearful confrontations are every bit as moving, often emphasized by the clear scale of humans and robots interacting. It’s another excellent issue of Transformers that will leave readers eager to chase its entire ensemble into the future. — Chase Magnett

Rating: 4 out of 5

Other Publishers #1

AKOGUN: BRUTALIZER OF THE GODS #3

This “episode finale” might have felt more impactful if the issues leading up to it had been stronger and more coherent. They weren’t, and this third issue finds itself just as lacking. The characters have a ton of potential, there’s just not much in the way of intrigue connecting them. Some more clarity in the narrative, or even a more fully fleshed out story could’ve helped Akogun tell a stronger story over these three issues. — Charlie Ridgely

Rating: 2 out of 5

BABS #1

[READ THE FULL REVIEW HERE]

There are a lot of adjectives that come to mind when thinking of comics created by writer Garth Ennis and artist Jacen Burrows, but readers are unlikely to put “fun” anywhere in that list. Whether it’s in viscerally upsetting horror series like Crossed and The Ribbon Queen or nihilistic war comics like Punisher: Soviet and Get Fury, the collaborators are known for delivering mature takes on genres largely devoid of colorful superhero trappings. That makes Babs—a new fantasy series at Ahoy Comics featuring a sword-wielding heroine facing a world filled with dragons, orcs, and other monsters—a pleasant surprise. The new series showcases their range as creators, embracing the fantasy genre with a sense of humor and delivering a debut issue unlike anything they’ve crafted before or on the stands today. — Chase Magnett

Rating: 4 out of 5

CRITICAL ROLE: VOX MACHINA – ORIGINS #3

This issue shows the rest of Vox Machina fighting their way out of the Underdark (after dealing with a nasty monstrous bug. It’s the typical Vox Machina violence shenanigans, although the second half of the comic when the team is reunited is when things really start to shine. As the comic begins to move into territory touched on by the TV show, it’ll be interesting to see how the comic navigates through the rest of this arc. Fans obviously know the details of what’s about to happen, but the comic shouldn’t have too many issues having fun and being inventive. — Christian Hoffer

Rating: 4 out of 5

FROM THE WORLD OF MINOR THREATS: BARFLY #2

There is so much good tucked into the Minor Threats universe, but Barfly might be among the very best the franchise has to offer. After getting to know its lead character in the first issue, this second outing spends a lot of time and effort letting us see just how poorly he fits into the world around him, through no fault of his own. Hated by those who created him and barely know him, this outcast is just out to find in his place in the universe, making him a deeply relatable protagonist. Each page is equal parts hopeful and heartbreaking, following a character you want so desperately to just get a win. — Charlie Ridgely

Rating: 5 out of 5

GILT FRAME #1

Right out of the gates, Gilt Frame is a certified hoot. Matt Kindt and his mother Margie are the two creators behind this title, a murder mystery whodunnit that goes to great lengths to stand out. It’s fresh and unique, and the main characters are some of the most relatable you’ll read this week. Although I’m not sold on Kindt’s art being the right style for this story yet, it does the job well enough for an otherwise spectacular script. — Adam Barnhardt

Rating: 4.5 out of 5

HEARTPIERCER #4

Atala’s saga comes to an end in an epic fight against her former ally, Tharn, who now goes by the name Howler. The massive werewolf survives the loss of his eye and appears to best Atala, but a flashback shows us more of her origin story and sets her up for a glorious revival. There is obviously some worldbuilding taking place, which the conclusion leaves open-ended. Enjoyers of fantasy adventure comics should give this a try. — Tim Adams

Rating: 3 out of 5

INTO THE UNBEING #3

Not only do our protagonists in Into the Unbeing plumb further into the depths of the unknown, but so do we as readers, as we never quite know what each successive panel will deliver us. Our main characters are trapped, hoping to find a way out, though the reader will want to dive as deep into this bewildering, frightening, and grotesque anomaly as we can. It’s truly impressive how writer Zac Thompson and artist Hayden Sherman can keep us this confused and this intrigued with each passing issue, yet without ever overwhelming us. Both the reader and the protagonists can give up hope of anticipating what’s around the corner, though at least we can have benefit of being able to more safely continue to uncover the conundrums the creators are delivering. –– Patrick Cavanaugh

Rating: 4 out of 5

JONNY QUEST #1

Johnny Quest #1 picks up after the Free Comic Book Day special which is typically not the kind of thing to leave readers lost, but there are times where writer Joe Casey doesn’t always make things super clear. Like the classic cartoon there are moments of exposition where visually one might expect static, but series artist Sebastián Píriz and color artist Lorenzo Scaramella go out of their way to keep the energy up that makes them fun. The pair build on this with the issue’s big action beat, which bleeds across panels and concludes on a super fun, if obvious, reveal. — Spencer Perry

Rating: 4 out of 5

Other Publishers #2

KARDAK THE MYSTIC #1

Archie’s resident mystic conjures up an entertaining one-shot this week. The story and setup are simple, yet the comic still delivered intrigue and redemption on the part of Kardak. For fans who may not be familiar with him they are given a quickly digestable setup of a magician down on his luck, and offered a “too good to be true” proposition. While he takes it and is ultimately betrayed, instead of pouting about it, Kardak goes about fixing his mistake. This is a good lesson to be learned by all. — Tim Adams

Rating: 5 out of 5

KILL ALL IMMORTALS #2

Thanks to the debut issue of Kill All Immortals getting the stereotypical exposition about immortal Vikings out of the way, this second chapter in the story can cut to the chase to embrace the inherent bloodshed of such a storyline. This issue puts the action at the forefront as Frey attempts to escape her family, but not without facing down a few deadly obstacles. From a narrative perspective, there’s not much that this second installment of the series offers that feels entirely fresh, but what it lacks in narrative creativity it makes up for in pulpy mayhem. We don’t quite know what to expect from the rest of the series, though if it continues to embrace the more chaotic elements of the concept, it’s sure to earn its fans, if only to see the Viking combat juxtaposed with the contemporary environments. It’s not especially engaging, yet it’s also hard to deny the visceral reaction of seeing an ax getting buried in people’s faces. — Patrick Cavanaugh

Rating: 3 out of 5

MIDST: ADDRESS UNKNOWN #1

The first Midst comic shows the founding of the sci-fi/western’s central town of Stationary Hill, with a group of disparate castaways building a settlement in a seemingly stationary islet protected from the “Un,” a nightmarish night-state. The Un is such a fascinating part of Midst and it was fantastic to see it come to life in such a haunting form, with plenty of danger when the town gets caught in an unexpected tremor. If you like Midst, you’ll love this comic; and if you haven’t given Midst a try, you may want to after reading this. — Christian Hoffer

Rating: 4 out of 5

PROFANE #3

There’s such a great narrative hidden at the center of Profane, with its lead character struggling desperately to break his programming and become something other than what he was designed to be. Unfortunately, as interesting as that story can be at times, the book too often gets lost in its own meta mechanics. You spend so much time focusing on the confusing elements of Profane‘s real world vs. fiction world problems that everything else tends to fall by the wayside. — Charlie Ridgely

Rating: 2.5 out of 5

RICK AND MORTY: FINALS WEEK – CONTESTED CONVENTION #1

The Finals Week string of one-shots continues with a topical, and unabashedly wacky, dip into the world of politics. James Asmus and Jim Festante’s script is a frenzy of fun jokes and tightly-constructed scenes, which manifest in a fun but not quite groundbreaking storyline. Suzi Blake’s art is so effective in translating the world of the show, it veers dangerously close to just looking like a sequence of screenshots from the series, but still captures the series’ madcap energy. — Jenna Anderson

Rating: 3.5 out of 5

S.I.R. #1

It only takes two words to sell S.I.R.: motorcycle jousting. That’s also what makes the first issue a disappointment as even when the motorcycle jousts arrive, they lack any context to make sense of them. Much of the issue is devoted to introducing Avery, a new university student exploring a fantasy-influenced campus in a world seemingly resembling our own. There are hints of past trauma and old friendships that lack sufficient substance to land any emotional punches. Rather, it’s a lot of vague exposition for a setting, characters, and conceit that never quite coheres. Motorcycle jousting isn’t even addressed as a concept until it appears like an underground fight club maintained in a highly populated locale’s arena like another mystery. As much fun as the concept and design may be, there’s too little on the page to offer much insight into the sport or its stakes. The end result is a deflation of expectations and little cause to follow on to issue #2. — Chase Magnett

Rating: 2 out of 5

TEENAGE MUTANT NINJA TURTLES: NIGHTWATCHER #1

[READ THE FULL REVIEW HERE]

Nightwatcher #1 has the vibe of a compelling pilot episode, making a clear case for the book’s existence (Who is looking after the people of Mutant Town while the Turtles are scattered to the wind?), and giving its mystery hero the opportunity to break out like never before. Readers and TMNT fans should be looking forward to seeing what Ba and Pe build on this cornerstone. –– Jamie Lovett

Rating: 4 out of 5

TINY TINA’S WONDERLANDS: LAND OF GIANTS #1

There are a lot of great ways to tell stories about people playing D&D, and this Tiny Tina adventure tries very hard to be one of those. Unfortunately, it just misses more often than it hits its target. The back and forth between the campaign and the game itself never finds any sort of solid rhythm, causing the whole thing to feel disjointed. –– Charlie Ridgely

Rating: 2 out of 5

The post Comic Book Reviews for This Week: 8/14/2024 appeared first on ComicBook.com.

One of my favorite pop culture theories is the connection between vampire stories and recessions. While the macabre storytelling tactic has endured for centuries, some have noticed that it thrives in times of economic strife. Subconsciously, this has begun to be reflected in the world of comics, as other publishers have folded adult-oriented vampire stories into their superhero events. In their attempt to meet the moment, DC returns to the well of DC vs. Vampires, its fan-favorite violent alternate universe. Now under DC’s recently-relaunched Elseworlds banner, the franchise returns with the sequel series DC vs. Vampires: World War V. For better or for worse, this week’s debut issue essentially delivers more of the same – a flashy, but inconsistent battle. 

DC vs. Vampires: World War V #1 dives back into a DC universe ravaged by a vampire plague, with Barbara Gordon / Batgirl ruling over a vampire army, and Oliver Queen (a.k.a. Green Arrow) leading a dwindling human resistance. When Damian Wayne (a.k.a. Robin) goes rogue and begins upending the status quo, the two factions are tested in ways they could not have expected.

Compared to some of the other Elseworlds titles in DC’s banner relaunch, World War V may alienate those with no prior knowledge of the franchise, only making up for that with the occasional bit of expository dialogue. A lot of the issue’s other dialogue is devoted to pontificating about the power level of the various characters, or about the threat of being a human or a vampire in the central conflict, without effectively conveying to the audience why this world remains so intense. There are some successes in writer Matthew Rosenberg’s script—particularly a grounding heart-to-heart between two characters—but the vampiric dialogue displays a smug nihilism that grows grating as the issue goes along.

For any reader who isn’t a diehard fan of the DC vs. Vampires franchise, aware of all of the previous betrayals and heartbreaking descents into darkness, this all makes tension in the issue come across as uneven. Even then, a lot of specifics surrounding the original series were left nebulous, and there isn’t really a sense that this sequel series will tighten up its narrative. Especially on the heels of the original series’ controversial ending, the storytelling in this issue questions whether or not DC vs. Vampires can sustain itself as a storytelling universe unto itself, the same way that DCeased and Injustice were able to spin new yarns for several years.

Aesthetically, artist Otto Schmidt’s work on World War V is consistent with his work on the previous flagship series, with all of the good and bad that that can entail. A handful of panels, particularly when conveying gorey action, have a clear kinetic energy that is fun to behold. But there are some flaws: his penchant for sparse backgrounds not only make a reader feel less attached to the war-torn world, but feel a bit like cut corners. The many snarls and grimaces on the faces of characters also grow a repetitive, and some characters aren’t immediately easy to identify without their brightly-colored supersuits. One sequence, in particular, has to verbally address every character by name in order to help readers understand who is who. Pierlugi Casolino’s color work makes good use of blues, greens, and greys, but particularly shines whenever the violence is turned up a notch. Tom Napoitano’s claustrophobic lettering matches Schmidt’s general aesthetic, and conveys a scrappy sentimentality to the whole proceedings. 

Just like its flagship series, DC vs. Vampires: World War V #1 isn’t necessarily a bad comic, but it is a frustrating one. This sequel drops readers right into the conflict regardless of their prior investment, and tries to keep them hooked with a story that is bombastic, but inconsistently executed. Even if vampires are a cultural harbinger of our times, there is an even better version of DC vs. Vampires percolating under the surface, and it remains to be seen if World War V will become a showcase for it. 

Published by DC

On August 14, 2024

Written by Matthew Rosenberg

Art by Otto Schmidt

Colors by Pierlugi Casolino

Letters by Tom Napolitano

The post DC vs. Vampires: World War V #1 Review: An Idea Bled Dry appeared first on ComicBook.com.

There are a lot of adjectives that come to mind when thinking of comics created by writer Garth Ennis and artist Jacen Burrows, but readers are unlikely to put “fun” anywhere in that list. Whether it’s in viscerally upsetting horror series like Crossed and The Ribbon Queen or nihilistic war comics like Punisher: Soviet and Get Fury, the collaborators are known for delivering mature takes on genres largely devoid of colorful superhero trappings. That makes Babs—a new fantasy series at Ahoy Comics featuring a sword-wielding heroine facing a world filled with dragons, orcs, and other monsters—a pleasant surprise. The new series showcases their range as creators, embracing the fantasy genre with a sense of humor and delivering a debut issue unlike anything they’ve crafted before or on the stands today.

Babs #1 introduces readers to a setting that resembles “generic D&D land” with individual adventurers seeking out treasure in the dangerous lands between towns and pubs. Babs arrives fully formed on the first page, resembling fantasy heroines like Red Sonja but presenting a sardonic attitude and cutting wit. She’s a charismatic, if not charming individual and it’s apparent from the start that her travels will be filled with both laughter and bloodshed. Perhaps the most remarkable element of the debut for readers familiar with Burrows and Ennis is how effectively it plays the fantasy elements in a straightforward style. 

Intrigue and wrinkles seep in at the corners. A run-in with dangerous wildlife by the issue’s end revels in the heightened, often absurd nature of fantasy encounters with broad laughs. There’s a creativity embedded in each of the action sequences that showcase the creative duo as outstanding purveyors of action; one bit featuring a troll’s tonsils is unforgettable in this regard.

What’s more is the arrival of the series’ first major antagonist by its final few pages. As readers are introduced to Babs, she only has to contend with overconfident orcs and forest fauna, even if the former provide some toxic attitudes that will resonate with any fantasy readers who’s seen too much of Twitter or Reddit. But shining white knights bearing a standard resembling the Schutzstaffel logo hints at what sorts of conflicts are yet to come. 

The slow development of intriguing enemies across Babs #1 allows the issue to focus on her and her companions, including both a horse and sword with speech. Despite Babs’ hard edges and penchant for violence, they collectively reveal an undeniable warmth and even a sense of admiration for Babs’ libertine lifestyle. These characters are simply fun to spend time with and would be provide enough charm in their own right to return for issue #2.

Burrows’ penchant for detailed panels and background gags elevates this slow development of overarching conflicts and character arcs as every page contains plenty for readers to parse in the foreground and background. Even in the introductory approach through the forest on page one, readers can track the local fauna as they move and interact around Babs’ march. Regardless of the setting, Burrows fills his panels with life making even a generic pub feel as vital and interesting as the most imaginative DMs might hope to project.

The result is a new fantasy comic that doesn’t rely on arcane concepts or lore to entice its audience. Instead, Ennis and Burrows emphasize what works in the genre through their unique style and tone resulting in a riotous start to Babs’ adventure. Wherever she may roam, I’m interested to follow after finishing Babs #1.

Published by Ahoy Comics

On August 14, 2024

Written by Garth Ennis

Art by Jacen Burrows

Colors by Andy Troy

Letters by Rob Steen

Cover by Jacen Burrows

The post Babs #1 Review: A Two-Fisted Tale of Fantastical Savagery appeared first on ComicBook.com.

The Immortal Iron Fist, real name Danny Rand, has officially been a part of Marvel’s ever-growing stable of characters for 50 years. With such a milestone arriving, Marvel pulled out all the stops to celebrate The Living Weapon by making an oversized one-shot crafted just for longtime fans of the character. Within this single comic issue are five stories staggered throughout the Marvel Comics timeline, providing readers a glimpse into backing material surrounding some of Iron Fist’s most pivotal moments. 

Warning: Character-altering spoilers are a part of this review! Proceed with caution if you’ve yet to read the stories inside.

This review, however, focuses largely on the final tale in the issue as it’s not only the most significant story within this particular issue but one of the most important amongst the entire Iron Fist canon. Titled “Happy Birthday, Danny,” the story sees the eponymous character celebrate his 34th birthday with long-time friends Luke Cage and Jeryn Hogarth. To understand the importance of Rand’s 34th birthday, remember the Immortal Iron Fist series revealed those with the power of Shao-Lou only live until they’re 33.

While Danny Rand makes it out of his 33rd year, it’s not for long as the character—one of Marvel’s most prominent martial artists—meets his demise at the hand of Ch’i-Lin. The death of Danny Rand lands like a swift punch to the gut, partially because of how suddenly it occurs, and partially due to how well the story is told. Taking up the most real estate of the issue’s pages, Loo’s script is largely lighthearted, celebrating a feat no Iron Fist has accomplished before. Portacio’s lines, however, offer the earliest hint that something may go wrong.

Earlier in the issue, Elena Casagrande’s manga-inspired line art paired well with a story much more comedic in tone whereas Portacio’s borderline realistic artwork signals a much darker tone; and it takes little time to tear Rand apart – primarily mentally, but also physically. The seismic shift of the story’s final pages is one that will reverberate throughout Iron Fist history, changing the trajectory of the character for some time to come. While the 50th Anniversary one-shot is ultimately a celebration of the character, it’s hard to shake the feeling of sorrow what with Rand’s passing and all, and that’s largely because Loo and Portacio combine for an Iron Fist tale of epic proportions.

Published by Marvel Comics

On Wednesday, May 14, 2024

Written by Chris Claremont, Alyssa Wong, Justina Ireland, Frank Tieri, and Jason Loo

Art by Lan Medina, Von Randal, Elena Casagrande, Ty Templeton, and Whilce Portacio

Colors by Israel Silva, Arif Prianto, Espen Grundetjern, Dee Cunniffe, and Alex Sinclair

Letters by Travis Lanham

Cover by Alan Davis and Alex Sinclair

The post Iron Fist 50th Anniversary #1 Review: A Celebration with Impact appeared first on ComicBook.com.

IDW Publishing’s recent Teenage Mutant Ninja Turtles #1 got the new era of TMNT comics from the publisher off to a strong start. Not content to stop there, IDW is expanding the line, first with Teenage Mutant Ninja Turtles: Nightwatcher #1. Written by Juni Ba, a newish comics industry talent on a stellar rise, and artist Fero Pe, who previously drew some stellar issues of the previous volume of the Ninja Turtles ongoing series. Undergirded by a solid premise and produced by capable creators, NIghtwatcher #1 makes the case for a further exploration of the Teenage Mutant Ninja Turtles universe.

Nightwatcher #1 introduces a new Nightwatcher. In previous incarnations of the Turtles and their universe, Nightwatcher has been a ruthless vigilante persona donned by Raphael to patrol the streets and dole out justice as he sees fit without the judgment of the rest of his family. Nightwatcher #1 introduces a different character under the mask. We won’t spoil the reveal here, but while it wasn’t all that shocking, it was quite satisfying to see who the true lead of this series turned out to be.

Nightwatcher #1 borrows a structure that longtime superhero comics readers may recognize. Nightwatcher is chasing down a would-be kidnapper trying to make it out of Mutant Town. The issue follows this pursuit but at times pulls away to TV news interviews getting the “man on the street” perspective on Nightwatcher and Mutant Town. The opinions voiced by the “average citizens” reflect the common, unthinking prejudice that often creeps into the public consciousness. When the hypocrisy of these views is pointed out they are often doubled down upon. Other such vignettes spotlight mutants living in the Mutant Town neighborhood, offering a different point of view from the community itself. These pages use a 9-panel grid to slow down the pace and stress the mundanity of the moment in contrast to Nightwatcher’s escapades. It’s a clever bit of storytelling that serves to both establish what Mutant Town is for anyone who wasn’t following along with the final few years of the old TMNT ongoing and also grounds the characters and their unusual world in a sense of reality.

This lends itself to the artwork. Jason Aaron has talked in interviews about wanting to bring back some of the grit of the original black-and-white TMNT comics in his run. The creators behind Nightwatcher seem to be operating on the same wavelength. While not black and white, the opening page splash depicts a rundown New York City, the kind of shot you’d expect to see in any 1980s cop movie, except for the animal people in the foreground. The watery colors add to the effect, almost as if we’re seeing the city through haze, and the tire-screech sound effect curling out toward the reader immediately grabs the reader’s attention. It’s an impressive bit of economical scene-setting that tees up the pages that follow well.

The issue isn’t without its flaws. During Nightwatcher’s tussle with the would-be kidnappers, the trafficker’s mouth is at times wide open with no sound coming out, which is an odd distraction. Similarly, there’s at least one panel in one of the “man on the street” sections where I cannot figure out what the subject is doing with their fingers.

There’s also some confusion with the narration, as the narrator isn’t immediately identified. Once the reader knows who is speaking, the text reads fine on revisitation—in fact, this is where the issue’s themes are richest, as a scared child’s inner thoughts of strength are contrasted with the outward bravado of an adult with a chip on their shoulder looking to find a sense of power at others’ expense—but at the moment, with the way the issue plays out, it’d be easy to misattribute it to a different character.

Still, Nightwatcher #1 has the vibe of a compelling pilot episode, making a clear case for the book’s existence (Who is looking after the people of Mutant Town while the Turtles are scattered to the wind?), and giving its mystery hero the opportunity to break out like never before. Readers and TMNT fans should be looking forward to seeing what Ba and Pe build on this cornerstone.

Published by IDW Publishing

On August 14, 2024

Written by Juni Ba

Art by Fero Pe

Colors by Luis Antonio Delgado

Letters by Nathan Widick

Cover by Fero Pe

The post Teenage Mutant Ninja Turtles: Nightwatcher #1 Review: Mutant Town Gets a Dark Avenger appeared first on ComicBook.com.

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 Venom War #1, Gotham City Sirens #1, The Power Fantasy #1, and Prodigy: Slaves of Mars #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

ABSOLUTE POWER #2

Absolute Power marches on with a frenzied, but significant enough, issue. Mark Waid’s script is densely filled with violent action and occasional moments of character, all of which are delivered at a disorienting speed. Dan Mora’s gorgeous art remains nothing short of thrilling, cracking with electricity even in the issue’s most grotesque or dire sequences. While we’ve only begun to see the full picture of what Absolute Power is delivering, this issue adds some major and necessary details. — Jenna Anderson

Rating: 4.5 out of 5

BATMAN #151

Batman #151, for being a tie-in issue for the “Absolute Power” event, is actually fairly solid. We get a Batman/Catwoman team up that includes a little undercover work and a master plan from the World’s Greatest Detective that goes a little sideways which leaves room for some good story beats but also doesn’t neglect the long history between Bruce and Selina. However, while the main story is decent, the real standout – and the story that feels more like a genuine story that stands on its own outside of being a tie-in is the Harley-centric backup. That one is not only true to the character and her recent in-canon journey, but is a delight to read as well. — Nicole Drum

Rating: 3.5 out of 5

BATMAN AND ROBIN AND HOWARD: SUMMER BREAKDOWN #2

Batman is the hidden comedy in Batman and Robin and Howard. His overthinking and analysis goes well with Talia al Ghul, and Robin could not care less about their awkward relationship. However, one relationship that has been fun to watch evolve is the one between Damian Wayne and Howard. There’s a lot more humor in this issue, and it’s all thanks to Talia and her band of ninjas. And I wasn’t expecting the two guest stars that showed up on the final page. — Tim Adams

Rating: 4 out of 5

BIRDS OF PREY #12

The penultimate chapter of “World Without End” continues to showcase everything that makes this series great. Kelly Thompson’s script has a clever and impossibly-earnest approach to the various team dynamics, as their fight to get out of the pocket dimension gets even more complicated. Javier Pina and Gavin Guidry’s art is as dynamic and boundary-breaking as possible, with Sophie Campbell’s chibi illustrations being an endlessly-charming interlude, and Jordie Bellaire’s color work creating a genius effect reminiscent of animation cels. Birds of Prey remains an absolute blockbuster of a comic book. — Jenna Anderson

Rating: 5 out of 5

BLUE BEETLE #11

This era of DC’s Blue Beetle comes to a close in Blue Beetle #11, and yet much of the issue sets the stage for a new beginning as opposed to bringing its remaining threads to a close. The team of writer Josh Trujillo, artist Adrian Gutierrez, colorist Wil Quintana, and letterer Lucas Gattoni start to navigate of the fallout from the Pinnacle project, and it has a substantial effect on just about everyone. In many ways this feels like the bridge to a new arc, moving personal relationships forward and painting a vivvid picture of a battle yet to come. As has become the series’ trademark, the conversations between friends and family make the biggest impression, with one particular conversation between Jaime and his father stealing the show as the book winds to a close. Gutierrez, Quintana, and Gattoni’s art throughout the issue is simply stunning, and while it’s sad to see the story brought to a close while it still had plenty of gas in the tank, it’s still a lovely farewell to one of DC’s most underrated series. — Matthew Aguilar

Rating: 4.5 out of 5

DC #2

THE BOY WONDER #4

The Boy Wonder #4 depicts Damian Wayne experiencing a dark night of the soul, beginning with his familial roots steeped in violence and unmet expectations before arriving at the present moment in which Damian is sent careening into a cavern where he must confront his own greatest fears. It’s an intimate portrait layered with Batman lore, but unwilling to engage in the easy tropes or moralistic pablum of superhero comics. Instead, it addresses the complexity of generational trauma and irrevocability of harm, specifically murder, in a fashion that grounds this story in the human experience. Ba’s depiction of Damian’s cave—an experience reflecting his own father’s origin—is absolutely stunning. While readers will certainly be captivated by an imposing Ra’s al Ghul and his cadre of monstrous servants, the all-consuming black panels lit only by distinctive lettering and ghostly figures is the most impactful sequence yet in DC’s most impressively presented comic of 2024. It serves to imbed readers in Damian’s mindset, acknowledging guilt, self-loathing, and even love in an undeniably compelling fashion. While Damian’s final battle still lies ahead in The Boy Wonder #5, issue #4 makes clear why the character resonates with readers and delivers a timeless saga of the terrors and wonders of growing up in such a demanding and too-often unforgiving world. — Chase Magnett

Rating: 5 out of 5

GOTHAM CITY SIRENS #1

[READ THE FULL REVIEW HERE]

The latest take on Gotham City Sirens doesn’t flip the script on the trio but it does strengthen what works about these three popular femme fatales. Gotham City Sirens has an energetic, light feeling to it that might have some moving parts requiring a bit more grease to make it a stellar outing, but it’s a solid start for this new gathering of the anti-heroines. — Evan Valentine

Rating: 3.5 out of 5

KNEEL BEFORE ZOD #8

The final issue (for now) of Zod’s first solo series lands with something of a thud. Joe Casey’s script has occasionally fun moments of character, but from the opening quote from Camus to the closing moments, there is a sense of hollow pretentiousness on display. Dan McDaid’s art feels a little too messy and goofy to match that tone, even with a few panels that are truly effective. I don’t necessarily regret reading Kneel Before Zod, but it was definitely an unremarkable experience. — Jenna Anderson

Rating: 2 out of 5

MY ADVENTURES WITH SUPERMAN #3

My Adventures With Superman #3 continues the series’ very strong classic Superman storytelling in which we get a balance of Clark Kent the man and Superman the hero, both of which put doing the right thing as priority even in the face of authority figures who read as corrupt or inflexible. This issue does pull back a great deal from those around him—Lois and Jimmy have reduced roles here, though they are integral to things especially with the addition of two other key people in Superman’s life—and while there is a pretty predictable revelation at the end of the issue, the story still feels very authentic to what one expects from a classic and wholesome Superman adventure. — Nicole Drum

Rating: 4 out of 5

SHAZAM! #14

As the invasion of the submen ramps up, Shazam! gets to be a whole lot of fun as it divides attention between the eldest siblings of the Batson clan. Although Billy is still unwilling to let The Captain return, his angst is balanced by Mary and Freddy’s attempts to save the day. Mary, alongside a delightfully innocent Uncle Dudley, takes the battle directly to the monsters as events in the subway tunnels grow more harrowing. Meanwhile, Freddy engages in a plan that offers just the right balance of humor and exposition, while isolating what makes him a unique addition to the ensemble. The slowly escalating threat of monsters (and other magical figures) combined with a tumultuous but never dour family dynamic makes for a colorful romp promising an increasingly grand adventure next month. Shazam! #14 is a great example of what Shazam comics do well in the superhero genre. — Chase Magnett

Rating: 4 out of 5

Marvel #1

THE AVENGERS #17

Count me among those fans thrown off by the change to Valerio Schiti’s art style. Or perhaps its just having a different colorist. Either way, Earth’s Mightiest Heroes are reeling from “Blood Hunt,” and each individual member is processing what that means. For one member, it means turning to Storm and recruiting her to join the Avengers. Meanwhile, Hyperion makes his return and looks to address the disappearance of his world from the “Heroes Reborn” event. — Tim Adams

Rating: 3 out of 5

BLOOD HUNTERS #1

Blood Hunters #1 picks up on threads from Marvel’s summer “Blood Hunt” event with a newly formed team of Blood Hunters, including Elsa Bloodstone, Dagger, White Widow, and Hallows’ Eve, tracking down and curing leftover vampires in New York City before encountering the newly vampiric Miles Morales. It’s an outstanding collection of characters with a dynamic villain and clear mission, which makes it all the more disappointing when this issue strips everything interesting from that conceit to deliver a paint-by-numbers superhero comic. Dialogue is barely distinguishable between the protagonists besides occasionally inserted accents, as they all rely on the same blend of expositional dialogue and bland quips. The villains—recently revealed in startling fashion in Blood Hunt #1—bicker like a standard assortment of supervillains with designs notably reduced without Pepe Larraz’s pencils. The action is passable but beyond a few panels in the final sequence and a great looking cliffhanger, it struggles to maintain interest on the page. There’s a lot of things the concept for Blood Hunters could have been, but it unfortunately opted for boring. — Chase Magnett

Rating: 2 out of 5

DAREDEVIL #12

Faith is often pushed to the back burner in many Daredevil titles, something Saladin Ahmed was quick to rectify. Daredevil #12 puts the character’s right smack dab in the middle of that coveted front right burner, and it’s a delectable little treat for the Man Without Fear. Couple with Kuder’s epic balance of demonic entities—see his work on Ghost Rider, after all—and this issue is about as well-rounded as a Daredevil comic can be. Ahmed even does some great things with Kingpin too! — Adam Barnhardt

Rating: 4.5 out of 5

DOCTOR STRANGE #18

Jed MacKay utilizes his final issue of Doctor Strange not for bombastic action or never before seen magic spells, but quiet contemplation. What makes a man when he no longer has the title that defines him? Series artist Pasqual Ferry takes the challenge of this drama heavy, lite-on-action script and harnesses the reflection of Stephen Strange into his visuals, like a moment between Strange and Clea where the shot lingers closer and closer on them through the panels. Readers will see this ending for what it is, a celebration that keeps things set for the next writer, and this may be one of the better versions of that in years. — Spencer Perry

Rating: 5 out of 5

THE INCREDIBLE HULK #15

How often does a major superhero title take an entire issue in the middle of its run to turn back the clock 3,600 years and tell a standalone story about characters you don’t know at all? That sounds like a recipe for disaster, and the kind of thing that could derail a great run, but Johnson & co. just continue to deliver excellence with The Incredible Hulk. — Charlie Ridgely

Rating: 5 out of 5

THE SPECTACULAR SPIDER-MEN #6

Peter and Miles are still trapped in Arcane and Mentallo’s robotic nightmare, now having to deal with a combination of robotic and organic familiar foes. Weisman and Ramos are once again doing their career best here, with both shining when it comes to their past experience with Marvel’s resident wall crawlers. There are some well known villains but Weisman is taking the opportunity to inject a brand new antagonist into the Spider-Lore acting as our big cliffhanger here. Once again, Spectacular Spider-Men proves itself to be the best Spider-Man series on the shelves today and that trend doesn’t appear to be stopping any time soon. — Evan Valentine

Rating: 4.5 out of 5

SPIDER-MAN: BLACK SUIT & BLOOD #1

Spider-Man: Black Suit & Blood is a new anthology series using a limited color palette and a darker story tone. While Spider-Man doesn’t shy away from violence and tragedy when needed, several of the stories—especially JM DeMatteis’s opening story—are surprisingly optimistic given the overall theme. Other comics focus on the darker impulses brought by the black suit, with Alyssa Wong and Fran Galan’s story exploring the fear that MJ experiences while Peter’s wearing the suit. If you like the darker side of Spider-Man, you’ll enjoy this new limited anthology series. — Christian Hoffer

Rating: 4 out of 5

Marvel #2

SPIDER-MAN: REIGN 2 #2

The idea of an older Peter reckoning with his failed responsibilities as a young man is an interesting premise for a series; it’s what made Old Man Logan so special. Unlike that book, however, there doesn’t seem to be any real work being done in Peter. His maniacal revenge tour churns the same bit of narrative over and over again, and it sours rather quickly. The non-Peter B-story of the book, however, finds a way to be a pretty fun read. — Charlie Ridgely

Rating: 2 out of 5

STAR WARS: INQUISITORS #2

The Fifth Brother is tasked with tracking down the Jedi Tensu Run in the wake of his fellow Inquisitors failing, only for the figure to learn that Tensu Run actually wants to be found, as he has a larger plan in mind for the Sith. Despite the book being title “Inquisitors,” after only two issues, what has made the series so compelling is how Tensu Run factors into the plot. We’ve seen countless stories about how monstrous various Sith can be, and while Inquisitors delivers on that front, it’s the book’s depiction of an all-new Jedi that is so compelling. This book might not be breaking new ground for Star Wars, but given how many stories have felt like it was repeating the steps of storytelling avenues we’ve already seen in the past 50 years, the overall outlook and narrative trajectory of Tensu feels like one of the freshest new Star Wars characters we’ve seen in years. We won’t necessarily be disappointed to see the titular characters ultimately overtake the Jedi, but we’re surely enjoying the ride this hunt is taking us on. — Patrick Cavanaugh

Rating: 4 out of 5

STAR WARS: THE HIGH REPUBLIC #10

This feels like the final chapter of a book that you already know is getting a sequel. Not much feels final, and you do wonder sometimes what the last 10 issues have really been building to, but the very last page puts you exactly where you didn’t know you needed to be. It’s shaky, but High Republic reaches its destination and does a solid job of getting you fired up for what comes next. — Charlie Ridgely

Rating: 3.5 out of 5

ULTIMATE BLACK PANTHER #7

At its core, Ultimate Black Panther has a propulsive story that it’s fighting to explore, but issues like this feel like the series is spinning its wheels. Every piece of momentum that is gained feels like it has to stall for an unknown reason, be it trade waiting or a lack of commitment to ideas. Series artist Stefano Caselli and color artist David Curiel do get the opportunity to really deliver on action that readers are expecting from Black Panther series, with Curiel’s colors elevating even the dramatic moments into great spectacle. Promise continues to peek its head out in Ultimate Black Panther, but why won’t it let its ideas loose? — Spencer Perry

Rating: 3.5 out of 5

UNCANNY X-MEN #1

Uncanny X-Men emerges as the first “From the Ashes” X-title with a clear purpose achieved in its debut issue – no surprise coming from veteran superhero writer Gail Simone. Rather than aiming for high concept, the series focuses on a core cast of favorite X-Men: Wolverine, Rogue, and Gambit (with an appearance from Nightcrawler). It establishes who they are in the wake of Krakoa’s fall and provides them an array of adventures to develop their relationships and sow seeds of future trouble. Although the issue engages heavily in foreshadowing, there’s plenty for readers to marvel at here including a dragon battle and moving moment at a hospital. Each individual sequence serves a purpose and draws the trio closer together for conflicts they can’t quite discern, presenting them as a family unit more than a superhero team. Artist David Marquez makes both the big action sequences and small emotive ones work well set side-by-side in the issue. Readers can Marvel at an Aztec-inspired dragon in splash panels, but those fireworks never overshadow the tenderness found between the core trio and their mission. Altogether, it makes for the most promising new beginning as the X-line develops its new status quo. — Chase Magnett

Rating: 4 out of 5

VENOM WAR #1

[READ THE FULL REVIEW HERE]

Venom War is the rare event series that really builds upon everything that came before it. Not only are all of Venom’s hosts over the years acknowledged to a degree, but the many facets of his own characterization in that same time is understood to have been pivotal to reaching this point. That’s not only decades of continuity that is being taken into consideration, but vastly different takes on the character as well. Artist Iban Coello does his best to keep his own visual stamp on the character throughout the issue but also makes sure to balance a mix of what fans have come to expect. Ewing mostly makes the balance work throughout the issue, which kicks off the event in a fun way, but its less interesting elements remain stuck in second gear. — Spencer Perry

Rating: 3.5 out of 5

WOLVERINE: DEEP CUT #2

Claremont’s signature mutant stamp is all over Wolverine: Deep Cut #2 from the moment you open the cover to the second you breathlessly put down the issue. The comic is an earnest tribute to every X-Man, both new and old. Plus it’s elevated incredibly well by Edgar Salazar’s moody line art. — Adam Barnhardt

Rating: 4.5 out of 5

Image #1

AIN’T NO GRAVE #4

Ain’t No Grave #4 is the penultimate issue of this series and it’s striking because it’s nearly wordless, but that near-silence is deafening. It’s a fantastic example of just how much storytelling art can actually do as we see Ryder quite literally buried by her past, her present, and her future on her journey to face Death. While one could argue that the stage of grief presented in this issue—depression—isn’t exactly a direct fit and instead this feels more like an amalgam stage, there’s something extremely powerful in watching Ryder process her journey to now and it is beautifully done, making it one of the stronger entries in this series. — Nicole Drum

Rating: 4 out of 5

C.O.W.L. 1964 #1

The Massive-Verse’s latest entry is a familiar titles for longtime fans of Kyle Higgins and Rod Reis. The third volume of C.O.W.L. kicks off a few years after the end of volume two, expanding both the world of the title and the world of the Massive-Verse that much further. Not only does the script from Higgins and Siegel including wonderful world-building, but Reis’ art is perfect for the mid-century setting. One hell of a debut for a new indie superhero book. — Adam Barnhardt

Rating: 4 out of 5

THE DEVIANT #7

The Deviant has done such an excellent job at making this ever-evolving journey about so much more than just one person. The initial lead character has been largely absent for a couple of issues now, but the story itself hasn’t taken a step back in any way. If anything, if feels like the momentum is growing. Each character is so realized and intricate, which only adds to the devastating mystery that has taken hold of the comic. — Charlie Ridgely

Rating: 5 out of 5

FREE AGENTS #2

Busiek, Nicieza, and Mooney are attempting to create a new superhero team that takes the elements of tried and true super groups comic fans have grown to love but ultimately fail at making the members of the Free Agents click. The likes of Salvo, Katari, Maraud, Shakti, Pike, Chalice, and Ridge simply never are given enough time to make them compelling characters, making any big moments in the second issue fall flat. There are some mysteries interweaved in the panels but there’s so much clutter that diving to discover their secrets hardly seems worth it. On top of the cramped storytelling, we get artwork that follows a similar route and has some glaringly major flaws such as characters’ eyes disappearing and quite the lack of environment in some panels. Free Agents is a ship sailing toward disaster and I don’t know if it can right its course. — Evan Valentine

Rating: 1.5 out of 5

KAYA #20

Kaya #20 sets the stage for the series’ newest arc as Kaya and Jin travel the legendary Dragon Road, and everything established in this issue marks a big promise for the story to come. The most obvious elements are the introduction of new characters in both Kaya’s story and that of the Robot Kingdom with the arrival of an auspicious anti-hero and obvious villain who emerge fully formed on the page. From their designs to manner, readers are made to instantly understand what they bring to the page and it’s evident that both will have a big impact on the story. But these hints at what’s to come shouldn’t detract from a truly outstanding opening sequence that defines the issue beginning with a silhouette on the title spread. It’s a much simpler scenario that doesn’t rely on lore or war to make it’s point, instead opting to focus on the humble toll of adventure upon both Kaya and Jin as well as those they encounter. This emphasis on characters beyond fantasy archetypes has empowered Kaya throughout its run and Craig’s attention to detail in the lives and faces of a few unnamed farmers grounds this as an important moment, regardless of the epic story surrounding it. All of this is to say, Kaya is back and as good as ever so don’t miss one of the best fantasy comics on the stands. — Chase Magnett

Rating: 4 out of 5

Image #2

THE POWER FANTASY #1

[READ THE FULL REVIEW HERE]

By the end of The Power Fantasy #1, the reader is left with the impression they’re waiting for a bomb to go off. Or perhaps six of them. It’s intense, yet understated, and gripping. Ripe with the potential for drama, intrigue, nuance, depth, and meaning, The Power Fantasy is primed to explode superhero comics. — Jamie Lovett

Rating: 5 out of 5

PUBLIC DOMAIN #7

There’s an excellent bit of dialogue about writing dialogue in Public Domain #7 made to feel all the more poignant because Zdarsky’s dialogue throughout the issue is superb. Yes, the issue includes some excellent gags surrounding the outlandish lifestyle of Carter Dusk and his “art bro,” but the exaggerated elements never detract from the undeniable humanity radiating from nearly every character on the page. Office meetings and a stop at the local bar are elevated by the words and expressions used to deliver each line, offering at least as much subtext as text in most panels. Public Domain #7 holds all of the comedic charm and allusions to American comics culture that initially made the series a hit, but what’s most impressive is how affecting these mundane scenarios are made to be. — Chase Magnett

Rating: 4.5 out of 5

SCARLETT #3

While the first two issues of Scarlett have mixed in various aspects of Scarlett’s spy skillset, Scarlett #3 is an electrifying mad sprint to the finish, and it’s fantastic. Writer Kelly Thompson keeps fans on their edge of their seats as the action moves from the water to the skies with a host of close combat violence in between, all brilliantly crafted by the stellar team ofArtist Marco Ferrari, colorist Lee Loughridge, and letterer Rus Wooton. The combat is bigger than life but also feels grounded in its messiness, though there’s an efficiency in that messiness that showcases how skilled Scarlett truly is. Capping things off with an anticipated reunion and the tease of big players moving forward makes this a hit across the board and one of my favorite comics of the week. — Matthew Aguilar

Rating: 5 out of 5

SWEET PAPRIKA: BLACK, WHITE, & PINK #2

Sweet Paprika: Black, White, & Pink #2 introduces fans to a new set of charming and sultry stories set in the Paprika universe, and fans will likely eat up these new stories with a spoon. That’s especially true of “Sapore di Sale,” the first story of the issue from Mika Andolfo and Godtail. The story puts series leads Paprika and Dill front and center in a situation that only these two would find themselves in, and the results are hilarious. “Food Lovers by Jarrett Melendez and Franco Thomas Greco also centers on the beloved couple, and the mixing in of food creates some unique circumstances of its own, all perfectly complimented by Greco’s unique style. “My Sweet Sweet Cocktail” by Sylvain Runeberg and Valentine Pasche is another stunner, bringing an almost rom-com vibe to the issue, and “Pussy Control” from Tim Seeley and Emanuele Ercolani delivers an unexpected comedic gem with Anisette at the helm. “#Outdoor” by Samuel Spano and Nova is also fun, if not quite as strong as the previous stories, but it brings the issue to a solid close. All in all, fans of Sweet Paprika will more than get their money’s worth when they dive into Black, White, & Pink #2. — Matthew Aguilar

Rating: 4.5 out of 5

Other Publishers #1

ARKHAM HORROR: THE TERROR AT THE END OF TIME #1

The Arkham Horror tabletop franchise has come to comics. Parasomnia collaborators Cullen Bunn and Andrea Mutti are the creative team behind the new Arkham Horror: The Terror at the End of Time, a new comic miniseries featuring Joe Diamond and Jenny Barnes from the famed tabletop games. The Arkham Horror franchise mixes Lovecraft horror with pulp and noir elements, and Bunn and Mutti seem to understand exactly how this differs from a standard cosmic horror experience. Even within the context that this is a licensed comic, Bunn is probably the perfect writer for this franchise, as he has often touched on those themes and elements in his other books. This is a fun comic, even if you’re not familiar with the franchise, and really provides a strong showcase for Arkham Horror. — Christian Hoffer

Rating: 4 out of 5

BEYOND THE PALE #3

The twists in this issue of Beyond the Pale is much more barbarous than anything I would have expected, and really sells the idea of setting a horror comic in the middle of the Vietnam War. To really outpace the actual real world horrors of the conflict, the creative team presented an awful but simple twist – the US soldiers at Tartarus Base were feeding human sacrifices to a strange occult entity they found in a jungle. What’s more, the sacrifices picked weren’t “just” POWs from the other side, but members of their own ranks, chosen from fresh troops. It’s a frankly fantastic twist for a horror comic and leads to what should be a dangerous and frightening ending. — Christian Hoffer

Rating: 4.5 out of 5

CANTO: A PLACE LIKE HOME #3

The first two issues of Canto‘s final cycle have been battle centric, but now with that big moment passed in the narrative the series finds its footing in a slower-paced issue that keeps the strong storytelling going. Scribe David M. Booher and artist Drew Zucker are rewarding the patience of readers by not only building on everything they’ve done up to this point but effortlessly deploying major new story beats that will shape the entire series. Zucker’s art continues to impress as well, with excellent colors by Vittorio Astone, finding new ways to continue to push the visual style of the series while still telling its story. — Spencer Perry

Rating: 4.5 out of 5

CYBERPUNK 2077: KICKDOWN #2

Kickdown #2 imbeds its protagonist ever deeper into the life of a double agent as she seeks to build trust with local gangs and hide her affiliation with the police. The heart of the issue is a seemingly simple mission as she retrieves a target to earn trust, but it’s how this task unfolds that steeps the miniseries in layers of intrigue. Each interaction draws in new perspectives and creates new wrinkles in the plot, setting the stage for a very messy conclusion. Yet the emphasis on human drama between old friends and allies, as well as plenty of enemies, makes that mess incredibly enticing. Combine this excellent staging and pacing with car chases and action sequences that exude the Cyberpunk aesthetic, and fans of the franchise are bound to be pleased. Even if a few specific panels aren’t entirely clear in what they portray, the overall effect is still impressive for any fan of bleak, sci-fi-infused crime stories. — Chase Magnett

Rating: 4 out of 5

DEADWEIGHTS #5

Deadweights #5 features some stellar visual storytelling, but not much new ground in the character department, and a jarring recontextualization of much of what has come before. Cannonbulk faces the accusation that his attempts to find normal life on the straight-and-narrow are really about him denying his mutant identity and attempting to assimilate. The idea adds complexity to Cannonbulk and his struggles. However, if the concept of being “mutant” as part of a person’s identity has been present in past issues of Deadweights, it wasn’t presented in a way that left much of a mark on my memory five issues in. Thus, the pivot feels confusing, altering the theme thematic throughline that has run through Deadweights from redemption and whether someone is worthy of it into something complicated involving one’s sense of self. This theme’s sudden introduction is lampshaded by an on-the-nose, borderline cliché surprise at the issue’s end that doubles down on the idea that this story is and always has been about Cannonbulk’s struggle with himself.  It’s worth reiterating, as the theme seems likely to make Cannonbulk more sympathetic, that there’s been little mention of whether he should do much to make amends for the life-altering destruction and chaos he caused in his previous “career,” instead finding arguably unearned grace from those who were nearly collateral damage in one of his past missions. Ultimately, this is all thematically muddied, with Deadweights suffering an identity crisis that mirrors its main character. — Jamie Lovett

Rating: 2.5 out of 5

GARFIELD #1

The first story in this two-part book plays out like a series of Garfield comic strips, as the story itself is broken into days of the week, resulting in relatively clever and brief setups and punchlines that express Garfield’s desires for midnight snacks. The backup story focuses solely on Jon Arbuckle when Garfield and Odie aren’t around, and as if that isn’t uninteresting enough, the final panel explains that the reason the beloved pets are missing is because of their shenanigans in The Garfield Movie. Even if the first half of the book isn’t especially impressive, in addition to offering a new visual interpretation of iconic figures, it feels like it captures the spirit of the source material and a relatively clever concept. The story in the back half, however, isn’t quite as engaging, with its highlights being how terrified nearby restaurants are of Garfield, as he earns nicknames like “beast” and “tornado” due to his eating habits. Still, the book is harmless enough and could inspire younger readers to dive into Jim Davis classics. — Patrick Cavanaugh

Rating: 3 out of 5

GODZILLA: HERE THERE BE DRAGONS II – SONS OF GIANTS #2

Godzilla: Here There Be Dragons II – Sons of Giants #2 offers Inaki Miranda another opportunity to prove their versatility, presenting the tale of Beowulf, with a kaiju twist, in an immersive style appropriate to the tale’s era (even if some of the lettering is a bit hard to parse at first). However, this leaves Sons of Giants #2 with the same issues as Sons of Giants #1, which is that dividing focus between a tale of kaiju legend, whatever happened in ancient Rome, and the early 19th-century kidnapping of an American journalist means that, while the first story is self-contained, the other two move at a sluggish pace. At this point, there’s little plot at all to the series, which feels more like an excuse to explain the lore that the creative team has worked out surrounding this secret cabal of kaiju worshippers (and the choice to focus much of the attention on historical figures whose lives where highlighted in a recent hit Broadway musical means that certain mysteries are thus far not all that mysterious). Sons of Giants hasn’t made a strong enough case for why readers should be this invested in the titular group and is taking too long to get the point of this sequel. — Jamie Lovett

Rating: 2 out of 5

Other Publishers #2

THE GOON: THEM THAT DON’T STAY DEAD

Readers are reminded that there’s a lot of history behind The Goon at this point as conversations surrounding both Goon and the Zombie Priest take up a lot of real estate on the page to explain how these men reached their current positions. While a callback to Frankie’s eye-stabbing habit is delightful (along with all of the violence inflicted upon the undead in this issue), reminding readers of all the dead women who have driven Goon’s miserable existence seems too close to a recap page. The same can be said of Zombie Priest’s interactions exploring both his own fate and that of villainous allies. While the exposition may be useful for new readers, it notably slows the pacing of a comic driven by action and humor. The result is an issue with multiple highlights that ultimately reads as set up for better things ahead. — Chase Magnett

Rating: 3 out of 5

GRENDEL: DEVIL’S ODYSSEY – DEFIANCE #2

After discovering new allies, Grendel Prime receives a lesson in Earth’s recent history providing much of the exposition readers had to intuit during his exploration of the planet in issue #1. This serves to provide both of Prime’s new companions with distinctive personalities and purpose, as well as providing the Grendel-perspective on recent centuries of conflict. These elements are delivered succicntly and with detailed montage pages filled by untold stories of Grendels and mass death missed while Prime was traversing space. It also serves to highlight how ugly the planet’s current status quo is as both vampires and humans have constructed a nihilistic culture predicated on death. That’s evidenced in an action sequence that upstages issue #1 in a big way as a nigh-invulnerable automaton crashes the equivalent of a raiding party from Fury Road. It’s a gnarly bit of violence expertly distilled into a few pages, which makes it all the more impressive that by the final page it’s suggested the worst is still yet to come. — Chase Magnett

Rating: 4 out of 5

HERCULES #4

While your mileage on the issue’s frustrating central conflict might vary, Elliott Kalan’s script still keeps the momentum building for the overall series. George Kambadais’ art maintains the “house style” of the animated film with some simple reinventions here and there. For diehard Hercules fans, this issue surely won’t disappoint. — Jenna Anderson

Rating: 3.5 out of 5

LESTER OF THE LESSER GODS #3

The final issue of Lester of the Lesser Gods culminates in a goofy, but unpleasant manner. Eric Powell and Lucky Yates’ script is chock-full of halfhearted and painfully topical jokes, which work a bit too hard to undercut the journey of self-discovery within. Through it all, Gideon Kendall’s art is at least ambitious in its intentions and execution. There’s a chance that this brand of humor might be for you, but I’m glad to move on from this series. –– Jenna Anderson

Rating: 2.5 out of 5

PRODIGY: SLAVE OF MARS #1

[READ THE FULL REVIEW HERE]

The third volume of writer Mark MIllar’s Prodigy arrives this week with a new publisher (shifting from Image to Dark Horse) and a new sub-title, Slaves of Mars. The first issue reintroduces readers to Edison Crane, the world’s smartest and richest man until the story inevitably requires seemingly smarter or wealthier men to challenge him (and it’s always men in this series). Edison is a character who arrives on the page fully formed, which is to say two-dimensional, in a debut that only provides readers cause to seek out better comics. — Chase Magnett

Rating: 1 out of 5

RANGER ACADEMY #9

After a major turning point last issue, Ranger Academy #9 is allowed to open up in a big way, both in terms of its characters and its larger story. With the revelations of last issue, many of the secrets are now out in the open, allowing writer Maria Ingrade Mora to fully take advantage of the delightful main cast that is now fully in on the mission. They’ve always been great as a group, but Sage’s story is made all the better with their increased involvement, especially regarding the camaraderie between Sage, Lindy, and Mathis. Artist Jo Mi-Gyeong and colorist Joana LaFuente accomplish so much through expression alone, and that is once again true here. I didn’t really think it was possible, but somehow this series discovered even more ways to charm both longtime fans and those new to the Power Rangers world, and the future continues to be absurdly bright as well. — Matthew Aguilar

Rating: 5 out of 5

Other Publishers #3

RED BEFORE BLACK #1

The litany of twists in Red Before Black range from impactful to predictable, but Stephanie Phillips’ script begins to lay the groundwork for enough intriguing characterization. Goran Sudzuka’s art and Ive Svorcina’s color work blend together to create an underground comix feel, which is both a little understated and fitting of the series itself. Red Before Black definitely posesses potential, but it will remain to be seen if it becomes truly memorable. — Jenna Anderson

Rating: 3.5 out of 5

SPACE GHOST #4

Jan and Jace might have proven themselves to be valuable allies, but when it comes to facing Zorak, Space Ghost knows better than to let children confront the rutheless creature Zorak. Understandably, the young heroes don’t take well to being told to sit out the confrontation, as they show their rebellious side and potentially spell doom for the trio. This installment easily feels like the most fast-paced entry in this series, which makes the adventure breeze by but at the cost of feeling chaotic. The more action-oriented spirit of this installment helps demonstration how monstrous Zorak can be while grappling with Space Ghost, yet without the chance to catch our breath, it’s easy to be overwhelmed by the events unfolding. Still, we’d rather things move by too quickly than too slow and we look forward to seeing an even more instense conflict in the next issue. — Patrick Cavanaugh

Rating: 3 out of 5

STAR WARS: THE HIGH REPUBLIC ADVENTURES #8

This comic book just feels so busy. It’s likely a combination of the multiple narratives and the hard-edged art style, but it’s often difficult to concentrate and really dive in to the story here. Even when the characters have wonderful moments to share, it’s more of a chore to get through their saga than shared experience. — Charlie Ridgely

Rating: 2 out of 5

THUNDERCATS: CHEETARA #2

Despite the era of peace Thundera finds itself in, there’s still a wealth of intrigue to be found in Thundercats: Cheetara #2. Cheetara’s visions of the future provide the series with weighty stakes, and writer Soo Lee also provides a welcome look at Thunderian society and how highly regraded Cheetara is through the reactions to her warnings. We’re also given a glimpse at her way of shepherding Lion-O, and in doing so becoming more and more like a parent to the future leader of the ThunderCats. King Claudus and Jaga also provide unique perspectives and allow fans to see a new side of Thundera as well as early relationships Cheetara forged along the way. Artist Domenico Carbone and colorist Chiara Di Francia make sure Cheetara pops off the page when she’s in the mix thanks to her bright yellow hair, and the book is at its best when that brightness is played off the shadows and nighttime locales towards the book’s end. The dreams and visions are also big standouts, and that final tease delivers a solid hook to keep fans intrigued for what comes next. A win all around. — Matthew Aguilar

Rating: 4 out of 5

VAMPIRELLA: DARK REFLECTIONS #3

Readers get to witness Vampirella pleading with another multiversal Vampirella to join their cause and turn against Queen Tenebris. The resistance is rising up, but Tenebris has her sights sets on becoming the queen of all realities. The stakes seem big, but so far the sense of urgency isn’t resonating. — Tim Adams

Rating: 2 out of 5

A VICIOUS CIRCLE #3

A Vicious Circle comes to an unsatisfying conclusion in its third issue, although anyone showing up to see Lee Bermejo show off his considerable artistic talent and versatility won’t be disappointed. The comic book’s duo of dueling time travelers fight across various eras, with Bermejo varying his style to give each a distinct feeling. All are stunning except for the post-apocalyptic future, which suffers from muddy coloring (the only segment Bermejo did not color himself). However, the conclusion lands with a frustrating thud. Neither character gets a satisfying conclusion and that seems to be the point—it is a vicious circle, after all—but this feels more vacuously clever than meaningful. It’s especially disastrous when the final page tries to add some obtuse gravitas at the last minute that, given the identities of the two leads, could lend itself to a truly vile (if, perhaps, ungenerous) racial reading. A Vicious Circle feels like a story built on a clever plot device desperately grasping for meaning and coming up empty. — Jamie Lovett

Rating: 2 out of 5

The post Comic Book Reviews for This Week: 8/7/2024 appeared first on ComicBook.com.

The third volume of writer Mark MIllar’s Prodigy arrives this week with a new publisher (shifting from Image to Dark Horse) and a new sub-title, Slaves of Mars. The first issue reintroduces readers to Edison Crane, the world’s smartest and richest man until the story inevitably requires seemingly smarter or wealthier men to challenge him (and it’s always men in this series). Edison is a character who arrives on the page fully formed, which is to say two-dimensional, in a debut that only provides readers cause to seek out better comics.

Prodigy: Slave of Mars #1 emphasizes Edison’s familial relations, introducing his father in a flashback sequence at the issue’s start and setting the stage for a mysterious older brother. Edison remains unchanged whether he’s depicted as an adolescent or grown man, though. It’s not sufficient that he is as intellectually, economically, and physically blessed as the most indulgent imaginings of Batman, he has to constantly remind everyone around him and the reader that this is the case. Whether he’s arriving to rescue his kidnapped father or sailing home aboard a cruise ship, every scenario becomes an opportunity for Edison to explain in dialogue exactly what he’s doing and how it makes him superior. 

This sort of egoism goes unacknowledged in the issue as everyone who interacts with Edison, besides the issue’s villain, responds with awe even when he makes mistakes. There’s a sense on the page that readers should embrace this godlike figure and celebrate him because of his incredible accomplishments. But there’s nothing substantial to what is being explained; whether it’s a world-saving idea or Olympian feat, every success is primarily delivered in expository dialogue that hardly differentiates Edison from those around him. The comic book seems to be shouting at readers about how cool its protagonist is without offering much cause to follow their story.

The action sequences and imaginative settings that are shown on the page are all adequately depicted by artist Stefano Landini (replacing Matteo Buffagni from Prodigy: The Icarus Society). There’s never any uncertainty about what’s unfolding and Landini shows a knack for distilling expressions into a few essential lines. Unfortunately, there are no expansive setpieces or emotive sequences to showcase Landini’s skills, reducing their contributions to laying out the bones of a truly skeletal script.

It would be enough to dismiss Prodigy: Slaves of Mars as banal, boring, bland, or any number of synonyms further down the alphabet, like so many other superhero comics that declare its hero exceptional without bothering to develop them as an interesting character. However, Slave of Mars possesses an uncomfortable subtext that makes its subtitle read like a red flag. 

Nearly all of the named characters in the issue are black with the only notable exceptions being a pair of tourists, staff at Edison’s company, and a villain complete with twirled mustache. Edison is implicitly exceptional not only because he is the best at everything he tries, but because he is black. This connection is highlighted by every other black character who appears in the issue. It opens with African warlords seemingly dedicated only to murder and pillage without motive and closes with Edison’s brother shown smoking in a trap house and speaking a form of Ebonics filled with racist assumptions. 

The effect of this is to contrast Edison with his own race and Millar’s depiction of black individuals across the globe is overloaded with racist imagery and ideas. It’s deeply uncomfortable upon first reading and subsequent readings only confirm this ugly worldview embedded in the issue’s pages. In the world of Prodigy an exceptional black hero reads as outlandish even in the genre of superhero comics, while every other consideration of blackness reflects some of the nastiest stereotypes imaginable; the result is an exceedingly ugly comic book.

Published by Dark Horse Comics

On August 7, 2024

Written by Mark Millar

Art by Stefano Landini

Colors by Michele Assarasakorn

Letters by Clem Robins

Cover by Stefano Landini and Michele Assarasakorn

The post Prodigy: Slaves of Mars #1 Review: A Comic Book of Unexceptional Qualities appeared first on ComicBook.com.

The good news about Venom War is its accessibility. Series writer Al Ewing has been building to this moment since taking over Venom and leading its post-King in Black era into a galaxy-brained science-fiction epic. Trails of that narrative have fallen off along the way which have partially made this story easier to follow for newcomers, but even if the last thing you read was King in Black, or even another era of Venom, there’s something for you to grab onto here. With that however comes plot threads where your mileage may vary, and this being a culminating event means it has a lot of stories to tie together.

The short version of Venom War #1’s plot is that Eddie Brock has aligned with versions of himself from the future, and is on the search for his original symbiote, Venom. One of the forces standing in his way is his son Dylan, who has assembled his own army of symbiotes too. Finally, Venom himself has attempted to retreat from their battle and has sought refuge in a place that readers may suspect would be the last place they’d find him, Peter Parker’s closet (unsubtle symbolism there). If that’s a lot to process, series artist Iban Coello manages to make it all fun to look at throughout with abundant style.

For a series where the narrative thrust is in a father vs. son throwdown, each believing themselves to be in the right because of visions of seemingly inevitable futures where the other has fully harnessed Venom’s abilities, one may be surprised to find that the tender moment of a reunion between Venom the symbiote and Peter Parker is the best part of the entire first issue. As much fun as Al Ewing and Iban Coello are having in the opening pages of this issue, wherein Eddie Brock leads his Symbiote team into a sold out wrestling show to make their presence in the world known, the tender conversation that Venom himself ends up having with Peter Parker in his home is this concept at its best. Ewing injects so much pathos into Venom as he reflects on his entire existence, showing remorse and confusion even about everything he’s had to do, and who better to be the shoulder to cry on than Peter? Even though it’s largely a conversation, Coello manages to find unique ways to keep it visually engaging be it Venom-centric paneling or a splash page that will have longtime fans hollering.

That said, the flipside of this narrative thread being not only emotionally resonant but visually appealing is that it must come alongside a thread that isn’t either of those things. The Dylan Brock angle of the new Venom series has struggled to be as noteworthy as any other part of the story, and that remains the case here. Dylan is lackluster at best and has no identity beyond his famous father, which makes his place in the larger narrative feel static. Though he doesn’t take up a lot of real estate within the first issue, Dylan’s story just isn’t compelling, and the expository moments he has to sit in carried a washed out look that makes them feel phoney.

The hook that starts and ends Venom War #1 is the kind of momentum-holding art and storytelling that fans love to see though, and which makes comics the most fun medium to bask in. Eddie Brock throwing down in a wrestling ring sounds like something from a dream, but Ewing has earned the right to bring him to this place. Iban Coello and color artist Frank D’Armata are also clearly having a blast with this stuff, injecting energy and flair into these moments that will make some of the other pages feel boring by comparison.

Venom War is the rare event series that really builds upon everything that came before it. Not only are all of Venom’s hosts over the years acknowledged to a degree, but the many facets of his own characterization in that same time is understood to have been pivotal to reaching this point. That’s not only decades of continuity that is being taken into consideration, but vastly different takes on the character as well. Artist Iban Coello does his best to keep his own visual stamp on the character throughout the issue but also makes sure to balance a mix of what fans have come to expect. Ewing mostly makes the balance work throughout the issue, which kicks off the event in a fun way, but its less interesting elements remain stuck in second gear.  

Published by Marvel Comics

On August 7, 2024

Written by Al Ewing

Art by Iban Coello

Colors by Frank D’Armata

Letters by Ariana Maher

Cover by Iban Coello and Frank D’Armata

The post Venom War #1 Review: An Event For All the Marbles appeared first on ComicBook.com.

The Gotham City Sirens have a long history at DC Comics, with Harley Quinn, Poison Ivy, and Catwoman always skirting the line between heroism and villainy. Unlike the Birds of Prey, Gotham’s biggest female supervillains aren’t afraid to do what is necessary to either save a life and/or take home a rather big score. In this new four-issue miniseries, the premiere comic shows that the trio are having to take on a whacky and almost unbelievable threat to Gotham that is being ushered in by a very familiar face. Have the Sirens landed in their latest miniseries or did they flub the dismount?

Our issue begins with the villain White Rabbit running from some shirtless cowboys rampaging across Gotham City with an army of unseemly bison trailing them. Like many other Sirens series, each member of the trio is essentially off doing their own thing when the stars align which bring them back together. Harley is walking her hyenas, Ivy is testing a mysterious new compound, “XO Punch,” while feeding her man-eating plants, while Selina Kyle is trying to get to the bottom of the mystery with a direct approach. As is revealed on the final page, it turns out that Joker’s latest “girlfriend” Punchline has a new plan in the works. 

When it comes to the characterization of the Sirens here, writer Leah Williams is on point. Harley Quinn is equally bubbly as she is menacing at times, Ivy is restrained and intelligent, while Selina has a take-charge attitude that works as a good foil to her on-again, off-again teammates. Much like Harley Quinn herself, the story is fast and frantic, throwing out a lot of infectious energy in its panels. The latest Gotham City Sirens story doesn’t break the wheel in depicting any of the characters here but it gives readers a fast and loose read that feels more than appropriate for the trio. Williams has a strong understanding of the DC universe and the characters housed in Gotham City and it shows. 

Punchline has always been a character that had been a hard sell for me, as it always seemed like she would perpetually be in Harley’s shadow. While we don’t see a lot of her in this issue outside of its final pages, her scheme here is one that is certainly original and it works well at assembling the Sirens. There’s little gristle on the bone when it comes to the issue overall, whether it focuses on Harley, Ivy, Selina, or Punchline, and it’s often made better for it.

Of course, a writer isn’t alone when it comes to their duties as artist Matteo Lolli and colorist Triona Farrell help the energy leap off the page in this issue. The scenery and colors pop in a way that identifies each Sirens, feeling in step with the Gotham we’ve seen in the past while also weaving in the identities of the trio into each of their roles here. It’s a flashy, meaty debut and the art fits the story like a glove, even if that story leverages into what’s worked before versus treading new ground.

The latest take on Gotham City Sirens doesn’t flip the script on the trio but it does strengthen what works about these three popular femme fatales. Gotham City Sirens has an energetic, light feeling to it that might have some moving parts requiring a bit more grease to make it a stellar outing, but it’s a solid start for this new gathering of the anti-heroines. 

Published by DC Comics

On August 7, 2024

Written by Leah Williams

Art by Matteo Lolli

Colors by Triona Farrell

Letters by Hassan Otsman-Elhaou

Cover by Terry Dodson with Rachel Dodson

The post Gotham City Sirens #1 Review: The Girls Are Back in Town appeared first on ComicBook.com.

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 X-Force #1, Super-Pets Special: Bitedentity Crisis #1, Saga #67, and Mighty Morphin Power Rangers: Darkest Hour #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

ABSOLUTE POWER: TASK FORCE VII #3

Task Force VII read like outtakes from Absolute Power across its first two issues, emphasizing scenes and connections not important enough to be included in the event miniseries but too insubstantial to stand on their own merits like illustrated superhero trivia. Absolute Power: Task Force VII #3 does significant work to address this flaw by emphasizing the strange connection made between Alan Scott and the Amazo Jadestone and offering more than a summary of what’s happened to the JSA since Absolute Power #1. The handful of encounters are scattered across the DC universe and will require plenty of outside knowledge, although an appearance by the Oblivion Bar offers some standalone humor and fun cameos. It’s Alan’s wisdom and the internal thoughts of Jadestone that develop a conflict across the entire issue, one that’s effectively depicted in lettering and artwork that adheres to DC’s standard style. It’s enough to leave readers wondering what happens to these two next and how their choices will impact those around them; that may not be a very high bar for expectations but it still exceeds existing  expectations for this lackluster tie-in series in a big way. — Chase Magnett

Rating: 3 out of 5

RED HOOD: THE HILL #6

The final issue of Red Hood: The Hill has arrived and it concludes with more of a thud than a bang. As has been somewhat the case from the first issue but especially since Batman showed up part way through, the story ended up being not really about Red Hood at all and, particularly this final issue, focuses a lot on Batman just stepping in and handling pretty much everything. Batman largely directs traffic and moves the various players into place, sending Strike and her sister where they need to go in order to expose Korlee Jr. and Red Hood does get a moment of delivering the painful truth to someone, but in the end, it’s just a Batman story, one that sets up a new rivalry and in doing so undermines a lot of the character work with some of the other characters in the story. It’s not bad, it’s just very predictable. — Nicole Drum

Rating: 3 out of 5

SUPER-PETS SPECIAL: BITEDENTITY CRISIS #1

[READ THE FULL REVIEW HERE]

Super-Pets Special: Bitedentity Crisis #1 is the right kind of one-shot that gives its underutilized pets the spotlight they deserve, while also adapting popular comics like Watchmen for some entertaining storytelling. New Comic Book Day Wednesday Warriors don’t have to worry about missing the latest from the DC universe, but if you’re looking for something offbeat and different, then Super-Pets Special: Bitedentity Crisis is worth picking up. — Tim Adams

Rating: 4 out of 5

Marvel #1

THE AMAZING SPIDER-MAN #54

The climax of Zeb Wells’ run on Amazing Spider-Man is a stunning showdown between Peter Parker, Norman Osborn, and their alter-egos that discovers a new take on this iconic conflict, one that reveals the timeless heart of Spider-Man and what makes the character a hero. There’s not much that current readers won’t anticipate as the decks were cleared by the end of issue #53 to focus on this battle and Ed McGuinness (alongside a who’s who of modern inkers) delivers a pitched battle filled with memorable splash pages and one spread that captures the essence of Spider-Man. Although the exact nature of Osborn’s sins remains muddled, the concept of him being separated from the Goblin is essential to what unfolds and that’s enough to keep readers engaged through a sometimes surreal action sequence. This is accompanied by good humor from the supporting cast and quick notes to tie up key story threads, but the issue is ultimately about Spider-Man confronting his greatest enemy. What unfolds is the sort of finale that ought to define heroism and will remind readers why Amazing Spider-Man is still the standard in superhero comics. — Chase Magnett

Rating: 4.5 out of 5

ANNIHILATION 2099 #5

Annihilation 2099 draws to a close with Dracula’s origin as the antagonist for Conquest 2099. It’s an anti-climax following four issues of succinct origin stories and hints of an oncoming crisis. But the crisis that’s delivered here is exactly what readers would have anticipated at the start of Annihilation 2099, albeit with the addition of a very well-designed avian companion. Going through those paces sets the stage for an exciting sequel, but does little beyond imbue some sympathy with Dracula here. Rather than arriving at a climax, issue #5 reads like yet more prologue leaving any excitement for this cosmic battle until October. — Chase Magnett

Rating: 2.5 out of 5

BLACK WIDOW: VENOMOUS #1

Regardless of your feelings about the larger “Venom War” storyline, it’s hard to deny that Natasha Romanoff bonding with a symbiote makes sense in a clever way. The first installment breaking down this partnership is a bizarre and legitimately cool delight, as Erica Schultz’s script crafts a campy scenario to plunge the unlikely duo into. Luciano Vecchio’s art is some of my favorite of his yet, with kinetic action sequences and gorgeous designs. I have a feeling this is going to be one tie-in that’s not worth missing out. — Jenna Anderson

Rating: 4 out of 5

BLOOD HUNT #5

With few options to defeat Vernae, the Avengers do their best to battle with his physical form as Doctor Strange makes an unlikely deal that looks to be the only path towards defeating the ancient vampire, though this understandably comes at a major cost to the future of the Marvel Universe. Given that the entire premise of Blood Hunt has featured vampires and monsters and many of the darker corners of Marvel, this final issue delivers all the pulpy goodness you could have expected from such a premise, though understandably not all fans of Marvel have been as excited by the event. Like many Marvel events, things seem to have wrapped up as cleanly as necessary as to not leave much collateral damage that the world can’t bounce back from, yet does manage to hint at one of the universe’s most powerful villains gaining even more might, surely kicking off a new reign of terror in the coming months. — Patrick Cavanaugh

Rating: 4 out of 5

CAPTAIN MARVEL #10

Captain Marvel #10 brings this latest era of Cap to a close with one of the most action packed issues in the series. Alyssa Wong keeps the foot on the gas all the way through, and though Captain Marvel is legitimately one of the most powerful beings in the Marvel universe, Ruairi Coleman, Bryan Valenza, and Roberto Poggi brilliantly convey the weight and pain of every punch, cut, and bruise throughout her battle against The Undone. In The Undone a credible threat has been created for a rogues gallery that sorely needs more impact, and Wong has certainly delivered. While there are many positives regarding the issue, one thing that can’t help but stick out is the abrupt nature of the book’s ending, though not necessarily the final pages. As revealed on the final page, the series is going on a hiatus for a while, and one can’t help but feel as if this wasn’t supposed to end here. There’s just an unfinished quality to the story. Perhaps that’s not the case, but it just leaves things feeling rather uneven. There’s a lot to like about Captain Marvel #10, especially the bombastic action, but the ending just feels a bit flat. — Matthew Aguilar

Rating: 3.5 out of 5

FANTASTIC FOUR #22

The second part of this “Blood Hunt” tie-in provides the sense that it could have been kept to one issue. There are a variety of satisfying story beats as Reed and Alicia overcome new challenges, the family at the farm puts their powers to good use, and it wraps with an endearing, if on-the-nose, lesson for Mr. Fantastic. And all of these elements were present in the first part and more effective the first time around. It’s a stalling pattern not helped by artwork that’s often compressed into being functional as it largely depicts individuals huddling in a stadium or other dark setting. Only the final couple of pages make clear why Fantastic Four readers should be interested in the events of Blood Hunt, offering a great cliffhanger to a largely forgettable tie-in. — Chase Magnett

Rating: 2.5 out of 5

Marvel #2

HELLVERINE #3

You have to at least have some idea what you’re getting when you pick up a comic book called Hellverine. Benjamin Percy has had a strong showing with his run on Ghost Rider, recently seeing the villainous Hood claim the Spirit of Vengeance, and it’s clear that he’s having a blast here by throwing everything and the kitchen sink at the current Ghost Rider with hellfire claws. Julius Ohta gets the assignment here, blending fast-paced action with particularly brutal panels. Hellverine is a roller coaster ride that isn’t afraid to explore the darker supernatural sides of the Marvel universe and it works well at shining a stronger light on both Logan and Daken. — Evan Valentine

Rating: 3.5 out of 5

THE IMMORTAL THOR #13

There’s something in the way that Immortal Thor #13 is structured that feels like a throwback to the best versions of superhero comics from the past. There’s a confidence here that allows Al Ewing to spend the first several pages of the book on a simple personal conversation between Thor and Hercules, discussing the relatively recent losses of their respective fathers and the states of their romantic lives. The dialog is assured, reading believably as the respectful but familiar rapport between two brothers-in-arms and not relying on the crutches of out-of-character quips and self-effacing humor. There is action to be had as well. Jan Bazaldua draws Hercules, Thor, and other warrior types as barrel-chested fighters while everyone else – the tricksters and such – are pixie-like waifs. Again, there’s something classical about that, almost a harkening to sword and sorcery stories. Hollingsworth’s colors are unobtrusive but subtly depict the heroes going from the bright sunlight of Greece to the dark long night of Antarctica like a descent into darkness. Ewing also shows his talent for effortless worldbuilding, connecting the current Immortal Thor story with past Marvel tales – both his own and those from before his time – and touching on how the conflicting mythological traditions coexist in the hodgepodge of inspirations that is the Marvel Universe. Most importantly, Immortal Thor #13 presents a compelling and entertaining story with strong characterizations, captivating action, and an immersive atmosphere. — Jamie Lovett

Rating: 4.5 out of 5

MARVEL & DISNEY: WHAT IF…? DONALD DUCK BECAME WOLVERINE #1

Have you ever wondered what Old Man Logan would look like as a Disney pastiche? Wonder no more, as Marvel Comics has published an American translation of the “What If Donald Duck Became Wolverine?” by Luca Barbieri and Giada Perissinotto. The comic depicts Marvel-ized versions of Mickey, Donald, and Goofy fight the Pete-Skull, who has taken over Duckberg. The comic is a weird mix, with all of the guts, gore, and shock of Old Man Logan replaced with cutesy Disney moments. The best Donald Duck comics have a sense of wonder and joyful humor in them, and this comic was sadly missing most of it save for the joy of watching classic Disney characters cosplay as Marvel heroes. While I’m a big Donald Duck fan, this comic book was a big miss. — Christian Hoffer

Rating: 2 out of 5

MIDNIGHT SONS: BLOOD HUNT #3

It takes about half of Midnight Sons: Blood Hunt #3 before it really takes off, which somehow leads to an ending that feels half-baked and nearly out of place. Series artist Germán Peralta and color artist Arthur Hesli have to bide their time through the opening pages to get to the big action moment. That moment is spaced out across its layouts to create a fluid action beat, but happens so quickly that you can’t help but wonder, “That’s it?” by the end. On the whole this was the perfect Marvel event to revive this team, but it squandered its potential. — Spencer Perry

Rating: 3 out of 5

MS. MARVEL ANNUAL #1

Much credit is due to Marvel for getting me invested in the Infinity Stones in back to back weeks, and the last example is the delightful Ms. Marvel Annual #1. I’ve been somewhat burnt out on Infinity Stones stories as of late, so when Infinity Watch as a concept came up, I wasn’t exactly excited. Immortal Thor then packaged that story wonderfully with a mix of charm and fun, and now Ms. Marvel‘s Iman Vellani and Samir Pirzada have hit another home run, utilizing the Soul Stone in a way that informs the story without overshadowing the characters in it. Multitude is now a character I’m keen to follow, and much of that is due to the interactions with Kamala Khan and the superb Ms. Marvel cast, as well as the family dynamics they bring along for the ride. Artist Giada Belviso, colorist Yen Nitro, and letterer Joe Caramagna make the action sequences pop and show off Multitude’s abilities, though some of their best work are the more slice of life moments, whether that be homecoming jitters or deciding which rollercoaster to ride. Kamala Khan’s presence alone makes every character better, but the Ms. Marvel Annual utilizes that perfectly to build up yet another compelling new hero. We even get some Captain Marvel and Nick Fury in the back-up story, so for Ms. Marvel fans this is a win across the board. — Matthew Aguilar

Rating: 4 out of 5

SPIDER-GWEN: THE GHOST-SPIDER #3

Gwen’s extreme adventure in the 616 continues as Phillips and Mancin hint at Ghost-Spider getting a new upgrade while she takes on a Chamelon who seems to have done the same. This third issue feels like the strongest of the series so far, giving us some nice emotional moments with Gwen as she “reunites” with her father and struggles with fumbling the ball while in the field. As was apparent in my first two reviews, I wasn’t keen on the idea of Gwen’s new status quo in the 616, and while this issue doesn’t alleviate my issues, it does push the series into an interesting direction. Bonus points for making Black Tarantula a threat of the New York City underworld once again as well. — Evan Valentine

Rating: 3 out of 5

Marvel #3

SPIDER-MAN: SHADOW OF THE GREEN GOBLIN #4

J.M. DeMatteis is a legend in the history of Peter Parker and the prolific comic writer once again shows why with the Shadow of the Green Goblin. It is exceptionally difficult to not only explore the past of a character but J.M. not only excels with this but it able to add some exceptionally powerful, new scenes that permeate not just Spidey, but his supporting cast. There are heart-wrenching scenes here that were never explored in the original comic book run, and it will be a real shame if this mini-series is overlooked as it feels like an essential story in the life of the wall-crawler. If you are a fan of Spider-Man, this comic book is a must read. — Evan Valentine

Rating: 5 out of 5

STAR WARS: DARTH MAUL – BLACK, WHITE & RED #4

Despite his power and fury, Darth Maul is tasked by Emperor Palpatine with a mission to lay low on a distant planet, and while he’s not looking for trouble, chaos has a way of following Maul, resulting in him unleashing his more menacing side to maintain any sense of peace. Even though Maul typically works best as a supporting character than as the focal point, a majority of this issue tells the exploits of figures existing in his periphery, with their actions resulting in him interjecting himself into their lives. Even when Maul springs into action, he’s far more ferocious in previous issues, so while this installment in the more violent miniseries isn’t necessarily poor in quality, so the concept’s sendoff to be much more lackluster compared to the stories that came before it ultimately sours the whole experience. Whether the run of the series had been cut to three issues or this entry had merely been released earlier, the overall execution would have been much more effective, though fans of Maul are sure to appreciate every single panel we get to spend with the iconic Sith. — Patrick Cavanaugh

Rating: 3 out of 5

ULTIMATE SPIDER-MAN #7

Seven issues in and Ultimate Spider-Man continues to be an amazing balancing act of storytelling. Writer Jonathan Hickman is not only still remixing the classic Spider-Man mythology into its own unique place but has found ways to make it even more classic and surreal, while also maintaining its place in a larger brand new (and connected!) universe. Series artist Marco Checchetto gets the chance to really deliver some classic Spidey fight scenes in this issue as well, delivering what may well be the best layouts of the series so far in one sequence. The day that the new Ultimate Spider-Man isn’t the best comic book we’re reading every month will be when you should take notice, but for now it’s still at the top. — Spencer Perry

Rating: 5 out of 5

X-FORCE #1

[READ THE FULL REVIEW HERE]

X-Force #1 neither sinks nor swims, it simply is – and that much is the cardinal sin of the medium. The issue is unable to stand-out from casual superhero storytelling, and it’s a rather tame debut to follow one of the best X-Men eras Marvel has ever published. It doesn’t help that the team, and story itself, is framed around a rather insufferable Forge, a character who brings the whole issue down. — Adam Barnhardt

Rating: 2.5 out of 5

X-MEN: HEIR OF APOCALYPSE #4

The final issue to Heir of Apocalypse brushes past Archangel’s sudden appearance and the return of failed contestants to shine a spotlight on the final four. Each sequence delivers a succinct consideration of the character in question, but each one is largely detached from the miniseries so far occurring seemingly at random with no clear conflict defining the winner. While these moments might work in a vacuum, they read more strangely when assembled, especially when setting aside a final sequence revealing the winner that plays with so much ambiguity it’s difficult to develop much interest in where it will lead. While the task of this miniseries is accomplished, it’s uncertain if readers will be given cause to consider it again. — Chase Magnett

Rating: 2 out of 5

Image #1

THE DEPARTMENT OF TRUTH #24

The Department of Truth‘s exploration of Lee Harvey Oswald is… fine for the most part. It’s an exploration of a man pushed by greater powers into a position he doesn’t necessarily want to be in, but can’t find the will to resist. The most compelling moments of the comic are when Oswald questions the path he’s been put on and reaches out to the most unlikely people for a way out, but isn’t given one. Of course, the flaws of The Department of Truth remain, but this arc still leaves plenty of questions surrounding one of the biggest moments in American history and one of the biggest unsolved questions of the comic. — Christian Hoffer

Rating: 3.5 out of 5

DRAWING BLOOD #4

Drawing Blood has crossed the Rubicon of its own meta-awareness in the latest issue, not only bringing in series co-creator Kevin Eastman for a cameo, but making the entire story a thinly veiled remix of something that actually happened with the creator and the Teenage Mutant Ninja Turtles franchise. It’s fine, but makes you stop and think, what are they actually trying to do with this? Small pieces of the bigger picture are there, but they’re overshadowed. Luckily Ben Bishop’s artwork with colors by Tomi Varga remains interesting to look at. The issue does feature a back-up story by Amanda Deibert, Skylar Patridge, and Ellie Wright which is honestly more interesting than the main story that preceded it. — Spencer Perry

Rating: 3 out of 5

THE FORGED #9

Every arc of The Forged fundamentally alters the series’ story and the conclusion of its third arc in The Forged #9 is no exception. Although observant readers (and those engaging with back matter) will doubtless have picked up on foreshadowing, the series’ biggest twist to date finally arrives in these pages and it’s wonderfully delivered. What’s impressive is how a shift in perspective is reinforced across multiple layers of the story as battles afar and on the home front are impacted with each conversation seeming almost  as impactful as the heavy metal combat featured throughout. It is, simply put, a surprisingly smart fireworks factory that sets up even more exciting adventures to come. In the spirit of avoiding spoilers, I’ll avoid divulging much more beyond saying that The Forged #9 is filled with far-out sci-fi visions, outstanding action, and sincerely endearing character beats. It’s the sort of cliffhanger that leaves readers craving more and after three rounds of succeeding on all of those fronts, there’s no reason to doubt that The Forged is well prepared to deliver. — Chase Magnett

Rating: 4 out of 5

GROMMETS #3

Grommets develops an ensemble cast as plans for a house part are made in an issue filled with hallmarks of adolescence that bring a bitter edge to accompany any nostalgia. Jokes about smoking weed and flirting with girls are consistently endearing as Rick and Brian’s friendship remains the forthright, if not innocent heart of this narrative. But it’s impossible to miss the small cruelties and indiscretions that foreshadow difficult choices and harsh consequences to come. The resulting expansion of the story, as the Jens and a couple of other teenagers are further integrated into their friend group, maintains the same delicate balance of tone that made Grommets #1 so charming. Everything in issue #3 is developing future threads, but the humor and danger present throughout makes that development exciting unto itself. Combine that with a few outstanding visual gags and you have another great issue of Grommets. — Chase Magnett

Rating: 4 out of 5

LORE REMASTERED #2

Collaborators T.P. Louise and Ashley Wood continue to push the limits of what readers can expect from a horror book, blending together a variety art styles and narrative storylines to immerse us in this unsettling world of monsters and secret organizations. It’s difficult to even put into words any type of summation of the issue, given its sprawling and bewildering nature, and an attempt to break down these events would be doing the book a disservice. What we can say, though, is Louise and Wood aren’t easily scared off from delivering what they want to tell the readers about the Shepherds seemingly keeping the supernatural peace, even if it means alienating some readers. Horror fans can expect their minds to be a bit blown, yet might not be able to anticipate those minds being put back together, as there isn’t anything especially accessible about this issue. Whether you want to or not, Lore #2 will make you lose a little bit of your mind, making for a journey not quite like any other horror comic currently out there. — Patrick Cavanaugh

Rating: 4 out of 5

NIGHTS #9

The middle of summer isn’t usually when you expect to see a special Christmas issue of a comic, but I’m not the kind of person that’s ever going to complain about a holiday adventure. This trip to New York City brings more than winter vibes, moving forward each character’s story with a brisk pace, building on the great rhythm that Nights has found over the last couple of months. — Charlie Ridgely

Rating: 4 out of 5

SAGA #67

[READ THE FULL REVIEW HERE]

After nearly another year away, Saga returns with a self-aware first page today in which an alien ringmaster announces, “And now, the moment you’ve been waiting for.” It’s a feeling familiar to nearly every Saga reader, especially those who began the series 12 years ago when Hazel was was born in Saga #1. It is a series that thrives in serialization with every issue and arc designed to offer new surprises, unforgettable moments, and consistent cliffhangers – the work of creators who grasp the unique pleasures of long-running comic book series. Although recent hiatuses in Saga‘s publication have led to some feelings of frustration, it’s impossible for me to look at Saga #67 and think it was not worth the wait. It is still the same wondrous, exciting, and often-heartbreaking series that’s kept readers returning to watch its heroine Hazel grow, year-by-year, toward adulthood. — Chase Magnett

Rating: 4 out of 5

Other Publishers #1

ANANSI BOYS #2

As with the previous issue, Anansi Boys #2 feels like a chapter of a book meant to be read in its entirety at once. It begins at full stride where the previous issue left off, and ends suddenly, without much warning. The artwork is clear and easy to read, with compositions on the flatter side, and simple four-tiered layouts throughout. One might call it a comic designed for people who aren’t used to reading comics, but it also fits the character-centric narrative. To that end, the artwork manages to make mundane characters feel distinctive through their varied body shapes and sense of style. The stakes still feel low, as “Fat Charlie” is still simply tidying up after his deceased father. He’s currently not at risk of losing anything, and his father’s mysterious godhood and the supposed brother he’s unaware of appear as mild curiosities made up by family friends and of little import. However, the issue remains compelling thanks in part to the stories within the story structure, which befits a tale titled after Anansi, to whom all stories belong. There’s a great contrast in the way Charlie’s run-down existence is colored compared to the vibrancy of his father’s folktale youth. The art also attempts to use a sense of scale to emphasize how small “Fat Charlie” feels, succeeding more in the splash page of Charlie standing in the rain than with the forced perspective applied when Charlie first walks into his boss’s office. While it’s a bit awkwardly paced for a monthly release, the strong, if straightforward, visual storytelling keeps it from being a cumbersome read, and one that will likely be elevated once the entire adaptation is complete. — Jamie Lovett

Rating: 3.5 out of 5

ARCHIE COMICS: JUDGMENT DAY #3

Archie Comics: Judgment Day #3 will not surprise any readers with the bleak climax to this apocalyptic vision for Riverdale; everything is awful and that’s where some fun can still be found in this abbreviated saga of the world’s end. Given the lack of substance in these characters eschewing many of their most familiar traits, it’s the visual design that provides some notes of interest. Betty and Veronica’s return to the page and Archie’s final developments are all eldritch terror set to inspire some vivid nightmares. The gore-soaked final battle lacks the definition required to make any particular moment stand out as wounds are drenched in red with little to tell just how bad things really are. It makes for a final few pages (prior to an improved epilogue) that linger without much punch. — Chase Magnett

Rating: 2 out of 5

THE BUTCHER’S BOY #3

The distance between what’s hallucination and reality grows wider in The Butcher’s Boy #3 with flash forwards from the first issue returning with new folds in their meaning, but the issue often struggles to define whose perspective readers occupy, making that distinction as challenging as it is intriguing. The horrific imagery coating this ghost town like a charnel house is the one consistently effective element as every transformation summons something chilling, regardless of its context; one splash panel of a couple in bed is bound to inspire a few nightmares. Yet the issue as a whole reads like the increasingly frantic rush to a climax found in much of horror media with little concern for understanding how those elements cohere. It’s only in the final few pages that a new hook is offered and the possibility of understanding how all this madness coheres is suggested, so here’s looking forward to next month’s issue. — Chase Magnett

Rating: 3 out of 5

FIREFLY ‘VERSES #1

With an oversized page count, the pacing of Firefly ‘Verses #1 matches that of a snail with a bout of the flu. It lurches forward ever so slowly, allowing Parrott and Sharma to explore its sci-fi world in great detail. Despite the slow burn, the 1-2 punch of Sharma and Segala’s art provides some intense action sequences when the script calls for them. It’s too bad they’re few and far between. — Adam Barnhardt

Rating: 2.5 out of 5

GHOSTLORE #12

Ghostlore #12 concludes the story and it does so perhaps more quietly—and a little more cliche—than one might expect. Lucas and Harmony and their allies face off with Shane but it isn’t so much a face off as it is a quick fight fueled briefly by Harmony having an unexpected crisis of faith before having a breakthrough that changes everything. In the end, the story comes full circle, returning to the idea that passing on peacefully is all about having your story heard, and while it’s a nice way of coming back to the beginning of things. it feels a little unsatisfying and, perhaps, a little stereotypical that, in the end, the troubled cynic finds their way through great sacrifice. Artistically, however, the issue has some great horror moments that makes it visually fascinating. — Nicole Drum

Rating: 3 out of 5

GRIM #19

I’m loving how each of these recent issues have taken time to put the spotlight on a different character and their origin story. This one puts the focus on Annabel, and with so little action in the issue, the art team excels at the character acting, especially the scene that take place back in 1965. The colors and emotions that are written on everyone’s faces tell the story by themselves. You know you’re reading a great comic when it can release a stellar issue that has the main character nowhere to be found. — Tim Adams

Rating: 5 out of 5

HOUSE OF SLAUGHTER #25

“The Butcher’s War” comes to a momentous close in the pages of House of Slaughter #25, and the team delivered a finale truly worthy of the last son of Family Boucher. Jace has trudged through a wealth of tragedy and pain to get to this point, and you feel the weight of all of it in every single page. Writer Tage Brombal has taken fans on quite the journey with Jace’s evolution, but now there’s only one way forward, a path beautifully illustrated by Antonio Faso and Miquel Muerto. In the face of severe adversity, one can’t help but cheer our hero on as he faces a rather certain outcome, and yet those moments before the leap are some of the most powerful of the entire issue. Jace’s story has now come to an end, but the journey was incredible, and it leaves an indelible mark on the franchise. — Matthew Aguilar

Rating: 5 out of 5

MASTERPIECE #6

Masterpiece and her crew take down Zero Preston in style. This was a full-on “masterpiece” of manipulation and payback on a personal level. We even got to see a quick cameo by Masterpiece’s parents. The art team got to show off with some trippy hallucination pages, but at it’s core Masterpiece is still based in gritty realism. — Tim Adams

Rating: 4 out of 5

Other Publishers #2

MIGHTY MORPHIN POWER RANGERS: DARKEST HOUR #1

[READ THE FULL REVIEW HERE]

After an 8-year journey that set a quite high bar for what Power Rangers could be and the stories it could tell, it’s finally time to bring that larger-than-life saga to an end. That conclusion occurs in the much anticipated Mighty Morphin Power Rangers: Darkest Hour #1, and it was never going to be easy landing this eight-year flight in a truly satisfying way. That said, the team of Melissa Flores, Simona Di Gianfelice, Raul Angulo, Jose Enrique Fernandez, Ed Dukeshire, and editors Allyson Gronowitz and Kenzie Rzonca managed to somehow make that happen while also delivering a few unexpected moments that will undoubtedly stay with you, especially if you’ve been here since the beginning. — Matthew Aguilar

Rating: 4.5 out of 5

Other Publishers #3

MIGHTY MORPHIN POWER RANGERS: DARKEST HOUR #1

[READ THE FULL REVIEW HERE]

After an 8-year journey that set a quite high bar for what Power Rangers could be and the stories it could tell, it’s finally time to bring that larger-than-life saga to an end. That conclusion occurs in the much anticipated Mighty Morphin Power Rangers: Darkest Hour #1, and it was never going to be easy landing this eight-year flight in a truly satisfying way. That said, the team of Melissa Flores, Simona Di Gianfelice, Raul Angulo, Jose Enrique Fernandez, Ed Dukeshire, and editors Allyson Gronowitz and Kenzie Rzonca managed to somehow make that happen while also delivering a few unexpected moments that will undoubtedly stay with you, especially if you’ve been here since the beginning. — Matthew Aguilar

Rating: 4.5 out of 5

THE ODDLY PEDESTRIAN LIFE OF CHRISTOPHER CHAOS #11

As The Oddly Pedestrian Life of Christopher Chaos further develops itself as an ensemble series, each issue benefits significantly from the fractured perspectives and overlapping plots. It’s fair to say that issue #11 contains four key points of view and even those that seem villainous reveal new layers of complexity and even sympathy. All of the foundations laid in the series’ first arc are expanding and every new addition to the cast or minor encounter brings plenty of pop art charm. Expressive interactions at home and school make for nearly as much humor and excitement as the series’ more action-oriented issues. With so many pots of plot on this metaphorical stove, even issues like this—focused on watching each of them prepare to boil over—make for an excellent installment. — Chase Magnett

Rating: 4 out of 5

OPERATION SUNSHINE: ALREADY DEAD #4

Operation Sunshine: Already Dead #4 concludes the story, but the ending leaves quite a bit to be desired, both narratively and functionally. Functionally, the issue suffers from issues with pacing and with explanation with the final “showdown” of sorts feeling both rushed and disjointed and there being no real explanation of what is going on. Instead, there’s just some disjointed action scenes with a surprise twist about Hex’s bracelet and then, with no real explanation, everything’s over and we’re getting a resolution, one that addresses the fates of the characters, but doesn’t really explain anything. Instead, all we get is someone riding off into the sunset (or sunrise, as it were). It’s an ending that feels sort of slapped together and speaks to the potential the overall story had but never quite reached. — Nicole Drum

Rating: 2.5 out of 5

RICK AND MORTY: KINGDOM BALLS #4

The finale of Rick and Morty’s Kingdom Hearts send-up comes to a close in a just-fine manner. Josh Trujillo and Ryan Little’s script is whimsical but not completely memorable, and Jarrett Williams’ art does keep the creativity afloat, especially where the more esoteric visuals are concerned. While it had some fun and clever moments, it is by no means required reading for fans of either franchise. — Jenna Anderson

Rating: 3 out of 5

SONIC THE HEDGEHOG #71

Sonic the Hedgehog #71 would be an impressive display of developing mystery, tension, and character in any genre, but that it does so much while remaining entirely accessible to young readers is a genuine feat. The newest issue expands the role of the Phantom Rider while following five distinct perspectives on the conspiracy-laden sweepstakes. Each perspective develops the overall mystery – sometimes providing readers with ironic knowledge and other times offering bigger questions. It’s all satisfying as each question or turn relates back to the many racers involved in this event. The result is an issue set squarely in the middle of a story that only builds momentum for everyone involved. Villains grow more devious; anti-heroes find reasons to improve; heroes display their best selves. It’s exciting stuff even without a young reader to accompany you on the adventure. Combine that with well-crafted pages and sequences that seamlessly juggle the large ensemble and deliver each twist clearly, and readers have an issue that’s impossible to set down. Sonic the Hedgehog sets the standard for modern all-ages comics and it’s only picking up speed as this story’s finish line nears. — Chase Magnett

Rating: 4.5 out of 5

TEENAGE MUTANT NINJA TURTLES: BLACK, WHITE, & GREEN #3

Teenage Mutant Ninja Turtles: Black, White, & Green continues to be delightful in issue #3. As has been the format for the previous two issues, there are four stories each focusing on a different turtle or aspect of the turtle’s story, generally. This issue, while the first story, “The Beast That Bleeds Green” somewhat misses the mark with a slightly confusing ending, “Sin Sewer” and Miami Vacation” are both absolute delights with wildly different tones and pacing. Specifically, “Miami Vacation” is both funny and has a good message about being open minded while “Sin Sewer” has a great noir look and feel. — Nicole Drum

Rating: 4 out of 5

WILLIAM OF NEWBURY #3

William of Newbury #3 finally explains what happened to William and his brother, and the truth of it reframes what has been shown of their tense relationship thus far. It’s less that Edward has become swept up in church politics and the day-to-day aspects of running an institution as it is he has a different opinion of how best to go about saving his and his brother’s souls. He sees engaging with the “fae” (Is this the same or different than the demonic? It’s unclear.) in any way as pouring gasoline on the fire and prefers to focus his energy on proving his worth through his devotion, leaving his and others’ fates in God’s hands exclusively. William feels the need to go out and make the lives of those around him better more directly, challenging supernatural evil wherever he sees it. It’s the kind of faith versus works argument that has compelling centuries of theologians and scholars, but playing out in a world where the devil’s minions can be seen all around. Throwing Winnie into the mix with William and Edward, acting as the practical skeptic, creates a great personality troika that feeds into the continuing demon-possession-of-the-week structure of the series. Oeming’s deep shadows contrast sharply with the infernal green hues that pop off the page whenever foul energy is at play. There’s some awkward phrasing in this issue’s dialog that may require repeat reading to parse, but it’s a minor flaw in what continues to be one of 2024’s best new series. If this continues, William could soon be standing alongside the likes of Hellboy, Miyamoto Usagi, and the Goon as part of the pantheon of iconic adventure heroes published by Dark Horse Comics. — Jamie Lovett

Rating: 4.5 out of 5

The post Comic Book Reviews for This Week: 7/31/2024 appeared first on ComicBook.com.

It wouldn’t be a true new age of X-Men without the X-Force, a mutant-filled team not too far from the Thunderbolts or even DC’s Suicide Squad. The members of the team typically decide to make the decisions and complete the tasks other squeaky characters refuse to do, giving the team a gruff reputation throughout the vast majority of its duration. That much is definitely the case in writer Geoffrey Thorne and artist Marcus To’s new X-Force series, part of Marvel’s “From the Ashes” X-Men publishing initiative.

Unfortunately for longtime fans of the series, the latest debut is a bit of a snooze from some high-flying, pulse-pounding, wall-to-wall action that may often accompany the team. At the root of the story is Forge, lonely and depressed after the fall of Krakoa and his miserableness filters out into the pages of the comic, making things dark and bleak from cover to cover. Not even the trademark snark of Deadpool can lift the debut from its dreary depths.

As with most X-books, X-Force also features an ensemble, something that can crush a title if a writer doesn’t balance things well enough. Though Thorne’s script doesn’t quite crumble under the weight of the X-Force ensemble, the characters don’t soar through intriguing plot points or interesting character beats. Then there’s To’s line art, which lends itself more to kinetic action pieces, only for the script to call for ample dialogue and walk-and-talk scenes that take up the majority of the space throughout the comic. That said, the team’s new costume designs are far enough from anything we’ve seen before to put what shine it can on the series.

X-Force #1 neither sinks nor swims, it simply is – and that much is the cardinal sin of the medium. The issue is unable to stand-out from casual superhero storytelling, and it’s a rather tame debut to follow one of the best X-Men eras Marvel has ever published. It doesn’t help that the team, and story itself, is framed around a rather insufferable Forge, a character who brings the whole issue down.

Published by Marvel Comics

On July 31, 2024

Written by Geoffrey Thorne

Art by Marcus To

Colors by Erick Arciniega

Letters by Joe Caramagna

Cover by Stephen Segovia & Bryan Valenza

The post X-Force #1 Review: A Mutant Kill Squad Made Unremarkable appeared first on ComicBook.com.

When you have a collection of the most popular animals to participate in superhero comics, you have to group them all together in a spectacular one-shot. And that’s exactly what DC has done with Super-Pets Special: Bitedentity Crisis. I’m typically not a big fan of anthologies, but if you’re someone who wants several one-and-done tales featuring your favorite characters, then this is something you’ll want to check out, especially if you are a pet lover. Each story lands on the emotional scale, hitting you right in your feels with happiness, sadness, and more.

“Pup, Pup and Away” focuses on the breakout character of Nightwing – Haley Grayson, a.k.a. Bitewing. A short trip to the Kent Farm in Kansas leads to a team-up between Bitewing and DC’s premier Super-Pets. We’ve got Krypto, Ace the Bat-Hound, Jumpa, Gleek, Green Lantern B’dg, and Bat-Cow going on a rescue mission to save Streaky the Supercat. It makes sense that this would be Bitewing’s first official mission as a member of the Super-Pets, and it gets off to a rocky start. The art masterfully captures Bitewing’s excitement from interacting with their new teammates to leading a breakout aboard the Menagerie Man’s floating ship. Just as it appears like Bitewing will have more adventures in the future, the pup has other mundane tasks on its mind.

Jarro, the miniature version of Starro the Conqueror, had a hilarious “behind-the-music” documentary about its time as a rockstar. Of course, there is some slight mind control at play, but Jarro means well! Jarro still considers himself Batman’s sidekick, and has a Robin outfit to prove it. The story I found the most touching was “Refuge,” which featured the forgotten members of Batman and Robin’s pet collection. It mirrors how pets and other animals are erroneously forgotten by their masters, winding up in some awful situations. You can see the fear on Ace and Bat-Cow’s faces when they’re confronted by bio-tech goons. However, they all stick by each other and fight as a team, willing to risk their lives for their very own protection. Damian Wayne also displays the appropriate amount of shame and guilt once he discovers how his mistake led to these events.

Dex-Starr’s “The Little Cat” is an adorable story with elegant art, and “Who Woofs the Woofmen” continues DC’s tradition of wringing content out of Watchmen. The way the panels are laid out mimics the popular comic, except we have canine stand-ins for Rorschach, Ozymandias, Doctor Manhattan, and more.

Super-Pets Special: Bitedentity Crisis #1 is the right kind of one-shot that gives its underutilized pets the spotlight they deserve, while also adapting popular comics like Watchmen for some entertaining storytelling. New Comic Book Day Wednesday Warriors don’t have to worry about missing the latest from the DC universe, but if you’re looking for something offbeat and different, then Super-Pets Special: Bitedentity Crisis is worth picking up.

Published by DC Comics

On July 31, 2024

Written by Tony Fleecs, Alexis Quasarano, Michael W. Conrad, Dan Watters, and Kyle Starks

Art by Mike Norton, PJ Holden, Sami Basri, Christopher Mitten, and Kyle Starks

Colors by Brad Simpson, Rex Lokus, Ivan Plascencia, and Michelle Madsen

Letters by Steve Wands, Ferran Delgado, and Tom Napolitano

Cover by Pete Woods

The post Super-Pets Special: Bitedentity Crisis #1 Review: The Pets Time to Shine appeared first on ComicBook.com.

After nearly another year away, Saga returns with a self-aware first page today in which an alien ringmaster announces, “And now, the moment you’ve been waiting for.” It’s a feeling familiar to nearly every Saga reader, especially those who began the series 12 years ago when Hazel was was born in Saga #1. It is a series that thrives in serialization with every issue and arc designed to offer new surprises, unforgettable moments, and consistent cliffhangers – the work of creators who grasp the unique pleasures of long-running comic book series. Although recent hiatuses in Saga‘s publication have led to some feelings of frustration, it’s impossible for me to look at Saga #67 and think it was not worth the wait. It is still the same wondrous, exciting, and often-heartbreaking series that’s kept readers returning to watch its heroine Hazel grow, year-by-year, toward adulthood.

Saga #67 is the reintroduction, a storytelling model that has been deployed 10 times thus far at the start of each new story arc. Although the model is familiar, what it accomplishes in the span of a mere 22 pages shows why it persists. Hazel’s narration guides readers through the updated status quo of the main cast, introducing new characters, roles, and conflicts that have evolved in the time jump between stories. And it allows readers to intuit much of this change by joining each character’s story in media res.

Readers will be initially delighted to find Hazel’s world at peace, if not rest. The issue opens with her working in the circus alongside Sploot, one of Fiona Staples’ many instantly-adorable animal designs for Saga. Alana is engaged in show business again, Squire is safe and loved, and even the series’ longest-running antagonists seem to have taken a step back. The overall vision reminds readers that life continues and not every day is a battle, emphasizing how each of these characters have developed outside of crises.

Yet the function of these return issues is rarely to throw readers into the fire, it’s to sow the seeds of further discontent and that is something Saga #67 also does exceedingly well. Beyond the foreshadowing found in Hazel’s narration, there are cues in dialogue (both verbal and visual) suggesting problems that must be confronted soon. Squire and The Will both reveal big problems to come, even as they devote themselves to solitude and inaction. The irony surrounding so many pleasant moments upon re-read is palpable as the end of this circus-bound period already looms.

That’s what makes the seemingly leisurely pacing and low-key stakes of this reintroduction work so well. Readers already know how quickly things can go awry in Saga, so the investment in this new status quo establishes the foundations for future tragedy. Friends, family, and colleagues are instantaneously imbued with life in Staples’ work. Expressions, outfits, and body language fill even minor characters, including foreman Whist and a pack of clowns, with more than two dimensions. There’s a vitality to these people and their work that suggests a six-issue arc following Sploot’s exploits with Hazel would be worth reading. But the only thing that’s certain for this series is that peace is never permanent.

That’s all of what I expect from the start of a new arc in Saga: reestablishing relevant story threads by showcasing growth in characters, while introducing alarming new threats and wondrous new designs. It’s a model that doesn’t feel formulaic as the elements involved are constantly changing, but the reading experience is consistently excellent. It’s enough to remind readers why Saga is still setting the standard for serialized dramas in comics 12 years after it began.

Published by Image Comics

On July 31, 2024

Written by Brian K. Vaughan

Art by Fiona Staples

Colors by Fiona Staples

Letters by Fonografiks

Cover by Fiona Staples

The post Saga #67 Review: Another Return to Form appeared first on ComicBook.com.

After an 8-year journey that set a quite high bar for what Power Rangers could be and the stories it could tell, it’s finally time to bring that larger-than-life saga to an end. That conclusion occurs in the much anticipated Mighty Morphin Power Rangers: Darkest Hour #1, and it was never going to be easy landing this eight-year flight in a truly satisfying way. That said, the team of Melissa Flores, Simona Di Gianfelice, Raul Angulo, Jose Enrique Fernandez, Ed Dukeshire, and editors Allyson Gronowitz and Kenzie Rzonca managed to somehow make that happen while also delivering a few unexpected moments that will undoubtedly stay with you, especially if you’ve been here since the beginning.

The Darkest Hour

The Rangers have continued to find ways to survive against ever-mounting odds, and while there have been moments of hope throughout “Darkest Hour,” there hasn’t been all that much in the way of momentum for the good guys in quite some time. That’s part of what makes Darkest Hour #1 work on a few different levels, with one being the simple ability to cheer on some wins and take a deep breath as the finale moves toward its epic close. There’s also a payoff in regards to the sheer grit of every Ranger left standing, who despite the lack of light at the end of that tunnel never hesitate to keep moving forward.

That’s not applicable if the challenge feels easily overcome, and that’s been far from the case throughout the series. At every turn, it seems the Rangers are confronted with another problem and fewer resources to fix said problem, and those stakes and the tension that tags along feel rewarded when the Rangers finally close some of those loops. 

Decisions Matter

That brings us to the other rather unexpected element throughout the finale, and there will likely be some that come away mixed on this. A prevalent theme throughout these past few issues of Power Rangers and especially in Darkest Hour #1 is the meaning of consequences and the ripple effects every action ultimately has on the world. Whether large or small, those ripple effects matter, and no matter the intent, any action will carry its own consequences, positive or negative. If you expected every arc and story built to this point to be left in a satisfying place, I think you’ll be in for a shock, and not necessarily a negative one.

In fact, it’s part of what has stuck with me most since first reading the issue. Not everyone makes it, and even those that do are left changed in significant ways. Certain character arcs are brought to their conclusion in a fashion that evades the happily ever after of it all, and that might not be the ending some had hoped for. All that said, for me that’s part of why it all works. When consequences feel real, decisions have weight, making those crossroad moments feel earned, especially when they live in the grey. Billy and Zordon are a perfect example, as not all of Billy’s choices have paid off on the road here, and despite how things may turn out, there is real fallout that can’t be magically fixed.

By the way, don’t fret in the slightest, as while I prattle on about internal conflicts and big decisions, there are a ton of delightful action sequences throughout the issue that will feel bigger than life. It never gets old seeing eras of different Rangers portal through to join the battle, and special props for allowing Baboo, Squatt, and Goldar to pilot a Zord. I’d watch a half-hour sitcom of that on its own. I’d be remiss not to give some praise to an outstanding morphing sequence in the issue’s second half as well. It’s gorgeous, as are several other moments away from the battlefield (or at times still on it) that once again highlight the interpersonal relationships that have helped make this series such a dream for fans of the franchise.

End of an Era

It’s not perfect, though many of the issues are connected to the practicalities of space and real estate. There just seems to be too much to address and wrap up in one issue, even if it is 40 pages. While many of the key characters in this chapter of the story get a moment or two, there also seems to be a lot left on the table, and it’s a quick jump from the climax of the battle to the ending and resetting of a status quo. There just isn’t enough space to move through the world and explore how this really affected everyone, with the exception of one or two conversations. The ones that are there are fantastic mind you, but I did find myself wanting to see more of them.

That brings me to the ending, and as previously mentioned, I love that it takes the world and everything done within its parameters seriously. There are consequences to what has come before, and it’s happened to stick with me quite a bit. I love where we leave things, even though I clearly have questions. There’s a bit of melancholy to the finale that I didn’t expect, but the willingness to explore moments of complexity is part of the indelible mark the comics have made on the franchise, and with one era now behind us, here’s to what the future holds.

Published by Boom Studios

Written by Melissa Flores

Art by Simona Di Gianfelice

Colors by Raul Angulo and Jose Enrique Fernandez

Letters by Ed Dukeshire

Cover by Taurin Clarke

The post Mighty Morphin Power Rangers: Darkest Hour #1 Review: The End of An Era appeared first on ComicBook.com.

There is certainly no shortage of stories about teen superheroes. DC’s Teen Titans, Young Justice, the Legion of Super-Heroes and even the earliest incarnation of Marvel’s X-Men were the entry point for entire generations of Marvel and DC readers. This fact creates an interesting dichotomy for a new young adult title, as it sets out to either draw in the newest comic readers, appease fans of the canon, or meet somewhere in the middle. This week’s NYX #1, a quasi-relaunch of the X-Men spinoff from the mid-2000s for the new “From the Ashes” initiative, seems to set out to accomplish both, and time will only tell if it successfully threads the needle. NYX #1 is a fun, but somewhat-forgettable, entry point for Marvel’s latest mutant team.

NYX #1 follows Kamala Khan a.k.a. Ms. Marvel in the newest chapter of her life, as she enrolls in a mutant-focused study program taught by Prodigy. Through buddying up with Sophie Cuckoo and fighting battles as Ms. Marvel, Kamala begins to learn the hidden difficulties of navigating her life as a mutant. All the while, new allies—such as Anole and Laura Kinney a.k.a. Wolverine—and adversaries begin to reveal themselves in the post-Krakoa landscape.

For those who read and enjoyed the original volumes of NYX, which dramatically showcased the status quo of homeless and downtrodden mutants in the Big Apple, the prospect of this relaunch could be met in a number of different ways. The dark and often-controversial themes of the previous runs are cast aside, in favor of the xenophobia and overall prejudice that the characters feel post-Krakoa. Collin Kelly and Jackson Lanzing’s script does deliver some poignant moments in that regard, both with regards to Kamala and to the larger mutant population. For better or worse, these moments are only a brief part of the issue’s lively storyline – a choice that both conveys the dizziness of being a young adult, and that leaves this particular issue feeling a little shallow.

In that regard, for readers simply looking for a flashy new ensemble of young heroes, NYX #1 leaves its various players a little scattered to the wind. Don’t expect any sort of team to be fully formed by the end of the issue, but the installment does lay a bedrock for those eventual alliances to be something special. The dynamic between Kamala and Sophie, in particular, is simultaneously true to both characters and a throwback to the stories of teen girl duos I consumed voraciously in my younger years.  

Francesco Mortarino’s art exhibits the sense of liveliness that the script of NYX #1 demands, both in the massive superpowered battles and in the smaller sartorial flairs of its characters. The occasional awkward facial expression or underdeveloped background element is too small to really worry about, especially as the events of the issue begin to heighten. Raul Angulo’s color work bathes everything in vibrant blues and golds without ever losing a sense of realism. Joe Sabino’s lettering is expressive while smushed together just a little bit, as if to convey the exuberance of its protagonists’ dialogue. 

NYX #1 is a charming, albeit restrained, menagerie of Marvel’s mutant adolescence. The character dynamics and sure-to-escalate stakes will undoubtedly make this series a unique entry in Marvel’s new X-Men relaunch, without immediately reinventing the wheel. As with Marvel’s recent X-Men #1, there is definitely admirable work on display across this debut issue, but that might not be enough to leave a lasting impact.

Published by Marvel Comics

On July 24, 2024

Written by Collin Kelly and Jackson Lanzing

Art by Francesco Mortarino

Colors by Raul Angulo

Letters by Joe Sabino

Cover by Sara Pichelli and Federico Blee

The post NYX #1 Review: The Kids Are Alright appeared first on ComicBook.com.

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 The Nice House By The Sea #1, NYX #1, Teenage Mutant Ninja Turtles #1, and Spawn Kills Every Spawn #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

ABSOLUTE POWER: ORIGINS #1

“Absolute Power” as a crossover event has a rather interesting premise as the Suicide Squad creator, Amanda Waller, is front and center as she attempts to create a new DC universe in her image. For quite some time, The Wall’s origin story is one that doesn’t get told that often. Presented as a mirror to Bruce Wayne’s origin story, the premiere issue of the mini-series does a fantastic job telling Amanda’s unique origin story and walks readers through how the iron-willed villain came to be. It’s a more mundane origin story than being bitten by a radioactive spider or jettisoned from an alien world, but it’s significantly effective. This marks a strong start and a worthy addition to “Absolute Power.” — Evan Valentine

Rating: 4 out of 5

ABSOLUTE POWER: TASK FORCE VII #2

Task Force VII #2 introduces Depth Charge – the Amazo unit tasked by Waller to imprison Aquaman and pacify Atlantis. Readers watch its mission unfold largely from the Doom Patrol’s perspective as they lose their own powers before hoping to help living below the ocean’s waves with similar results to every encounter between metahuman and government forces in “Absolute Power” thus far. Although the story is already formulaic this far into the event, artist Max Raynor brings plenty of energy to the B-list superheroes and extraordinary settings involved in establishing this section of the map. There’s plenty of spectacle to behold as an over-sized Depth Charge brings an army of sharks to heel. Yet the story itself hardly resembles a complete narrative as the cliffhanger promises more will be revealed in the pages of Absolute Power. Much like the first issue, it seems that this miniseries primarily serves to flesh out brief sequences from the event to enhance its condensed page space without providing much satisfaction on its own right. If readers are interested in seeing how the Doom Patrol and Aquaman confront such powerful foes, they’ll have to look elsewhere. That makes for a deeply unsatisfying comic book read. — Chase Magnett

Rating: 2 out of 5

BATMAN: DARK AGE #4

Batman: Dark Age starts to introduce the counterculture as Batman’s war on crime enters a new phase. This comic largely introduced characters from Batman’s mythos, like Catwoman, Joker, Penguin, and the Riddler, more as sideshows rather than substantive parts of Batman’s story… at least so far. I do think it’s interesting that Pariah (a key part of the comic’s tie to Russell’s previous “Age” series) hasn’t been a factor so far, although a last page confrontation with Ra’s al Ghul could majorly upend Batman’s world as he knows it. — Christian Hoffer

Rating: 3.5 out of 5

BATMAN: THE BRAVE AND THE BOLD #15

A wide cavern of tones and stories are on display in Batman: The Brave and the Bold, showcasing that the anthology series definitely has something for everybody. The finale of “Time Jerks” is easily among the highlights, as Mark Russell’s clever script and Jon Mikel’s ambitious art bring Booster Gold and the Jurassic League’s adventure to a close. The final chapter of Joshua Hale Fialkov and Lisandro Estherren’s “The Invader” also delivers a lot of charm, adding a bizarre but poignant note to Guy Gardner and Batman’s unlikely team-up. While this is far from The Brave and the Bold‘s strongest issue, it still has many positives. — Jenna Anderson

Rating: 3.5 out of 5

DETECTIVE COMICS #1087

Batman and a few surprising allies start to cut off the Orghams at the knees, starting with several key lieutenants. While the likes of Mr. Freeze and Two-Face are strange bedfellows for Batman’s reclaiming of Gotham, both characters have been part of this story since the outset and deserve a heroic moment or two as well. The B-story featuring Batman and Azrael is a particular highlight, in part due to Francesco Francavilla’s fantastic artwork. — Christian Hoffer

Rating: 4 out of 5

THE FLASH #11

The Flash #11 continues to split the series’ focus between Wally’s increasingly hallucinogenic experience with metaphysical beings seeking to reorganize reality and his family and fellow speedster’s mundane organization as they grapple with this new threat. Artist Ramón Pérez does an excellent job delineating between these very different experiences, stretching forms and panels to suggest Wally’s rapidly shifting consciousness before drawing readers back into much more familiar layouts amongst the gathered allies. This serves to provide plenty of interesting visuals and contrasts as the issue works to explain the high-concept antagonists driving The Flash‘s conflict. Those explanations are necessary and set the stage for whatever comes next, even if they slow the series’ pace in this issue. It’s clear that big things sit on the horizon and, with any luck, the staging found in this month’s issue will summon a big payoff for readers soon. — Chase Magnett

Rating: 3.5 out of 5

DC #2

GREEN ARROW #14

It’s just fun seeing Team Arrow working together, and without Green Arrow as the center of attention. Sure, he’s turned on his friends, but there’s got to be a reason behind it. The art team is splendid here, and each panel on each page is just as colorful and filled with energy as it can be. As an Absolute Power tie-in it works well, and their mission appears to be vital and important. — Tim Adams

Rating: 4 out of 5

HARLEY QUINN #42

Harley Quinn #42 has a lot going on. The issue circles back around to the issue of the corrupt cop with a personal vendetta against Harley, but it spends most of its time on a team-up between Harley and Robin that functions more like an (unwanted) therapy session about bisexuality. While there’s action layered into it—they’re taking on Freeze, after all—the overly verbose nature of the team up feels a little distracting and a little past due considering that Robin has been canonically bisexual for awhile. The issue also feels a bit like it suffers from forward motion as everything with the police officer comes back around with Vandal Savage intervening. The net result is an issue that feels a bit like it’s treading water. The backup story, however, is a delight. — Nicole Drum

Rating: 2.5 out of 5

THE NICE HOUSE BY THE SEA #1

[READ THE FULL REVIEW HERE]

The Nice House on the Lake was a series characterized by all of the very best adjectives starting with the letter S; it was surreal, subversive, smart, and scary-as-hell. The story of a handful of accomplished friends gathered in a seeming paradise to be held as captives by an alien consciousness while the Earth ended was immediately something special and only grew in its promise across 12 issues. Its sequel, The Nice House on the Sea, can be described with those same words as it introduces a new gathering of individuals at a new location under the same premise, but what makes it so impressive is how quickly it builds upon what’s come before to change everything readers know once again. — Chase Magnett

Rating: 4.5 out of 5

POWER GIRL #11

This is definitely a much heavier Paige issue than it is a Power Girl adventure, but there’s absolutely nothing wrong with that. The best superhero stories are able to give solid time to alter ego lives and weave them into interesting narratives. That’s exactly what Williams has done in this series. So there may not be quite as much Power Girl as you might hope, but it’s still a fun and breezy issue nonetheless. — Charlie Ridgely

Rating: 4 out of 5

ZATANNA: BRING DOWN THE HOUSE #2

Zatanna: Bring Down The House #2 delivers on the demon battle promised at the end of issue #1 and manages to make that extraordinary spectacle seem like a secondary concern in a rapidly expanding saga of magic and childhood trauma. Zatanna and the powerful stranger appearing at her shows both reveal plenty of heroism and attitude as the stage comes crashing down, establishing a tense but rewarding dynamic that only grows better as a secret society of sorcerers is revealed. There’s a sense of going down the rabbit hole as Zatanna’s past and present are bound together in allusions to her father and the first issue’s disappeared child in which every answer introduces a new question. That sense of discovery is exhilarating, especially when the issue introduces yet another mysterious figure and facet of the truth by its end. But it’s Javier Rodríguez’s artwork that makes these many timelines, settings, and perspectives blend with such wonder on the page. Alterations in style instantly inform readers whenever the sequence shifts and implies arcane concepts far better than any prose explanation might. Every stage of the battle and use of magic brings about splendid new effects that suggest reality-altering power in their very presentation. Bring Down the House #2 effectively shifts its tone between excitement, humor, and terror between panels, but every moment will leave readers wanting to discover more, no matter how dark the story may grow. — Chase Magnett

Rating: 5 out of 5

Marvel #1

ANNIHILATION 2099 #4

The Silver Surfer is a character cast in Old Testament lore, from his original conception as God’s avenging angel through the Faustian bargain he strikes. Steve Orlando, in reimagining Marvel’s cosmic characters for Earth-2099, siezes upon that mythology to construct a servant of Mephisto who’s torment and power plays upon similar themes in a new fashion; the result is the best issue of Annihilation 2099 so far. The origin of this Surfer is cast in the form of parables with brief contemplations of temptation and sacrifice revealing the character’s fundamentally tragic nature. Everything in this issue may function as staging, but it’s iconic staging with a stunning redesign by artist Ario Andidito showcasing a heart on fire within the Surfer’s chest. The final appearance of Dracula at this issue’s end casts the fallen angel from the stars against a devil thrown into the darkness of space, making this compact storytelling surprisingly effective. — Chase Magnett

Rating: 4 out of 5

CAPTAIN AMERICA #11

Straczynski’s Captain America continues to put concept over character, for better or for worse. Admittedly, this supernatural-tinted story brings an entirely new aura to Steve Rodgers—only for it to feel empty and hollow. Saiz does great work when he gets to dive into the wackier of ideas but unfortunately here, the story of Captain America #11 is a bit too restrained. — Adam Barnhardt

Rating: 3 out of 5

DEADPOOL & WOLVERINE: WWIII #3

Joe Kelly’s nod to Deadpool & Wolverine is timely and entertaining, a worthy story in its own right. He manages to balance the eponymous characters with ease, and the series—this issue in particular—is only elevated by Adam Kubert’s exemplary lineart. There are some two-page splashes in Deadpool & Wolverine: WWIII that are quite astonishing, perhaps even some of the best layouts you’ll see this year. — Adam Barnhardt

Rating: 4 out of 5

NYX #1

[READ THE FULL REVIEW HERE]

NYX #1 is a charming, albeit restrained, menagerie of Marvel’s mutant adolescence. The character dynamics and sure-to-escalate stakes will undoubtedly make this series a unique entry in Marvel’s new X-Men relaunch, without immediately reinventing the wheel. As with Marvel’s recent X-Men #1, there is definitely admirable work on display across this debut issue, but that might not be enough to leave a lasting impact. — Jenna Anderson

Rating: 3.5 out of 5

STAR WARS: DARTH VADER #48

Vader and Luke both know that they must face each other soon and that this conflict will likely result in one of their deaths, as they both grapple with facing their fears in various ways. As Luke questions if he’s really strong enough to face his father, even if it means killing him, Vader questions just have devoted to Palpatine he really is and what the fallout of a betrayal could mean. Readers likely know the trajectory of both Vader and Luke, so with only two more issues to go in Star Wars: Darth Vader, everything unfolding feels like moot points. The creatives aren’t entirely giving up on the series, as we still see glimpses of existential reflections from both characters about where their destinies are headed, though these elements are a bit muddled in the more immediate narrative that is taking place regarding the Imperial Schism. We hope the next issue can resolve that plot thread entirely so the true finale can focus on the more philosophical aspects of Vader, especially given how unlikely it will be that we’ll be getting a series focused on the Sith Lord in the near future. — Patrick Cavanaugh

Rating: 3 out of 5

STRANGE ACADEMY: BLOOD HUNT #3

Things wrap up pretty nicely for the Strange Academy kids. The Darkhold kid proves he’s not too much of a scumball, and naturally is recruited to join the students at Doctor Strange’s school. With Agatha All Along on the horizon in October, I’d wager we’ll see Strange Academy and the Darkhold again real soon. — Tim Adams

Rating: 3 out of 5

Marvel #2

ULTIMATE BLACK PANTHER #6

Ultimate Black Panther approaches the precipice of something really unique in its latest issue, having up to this point mostly been only marginally different from what we might expect from Earth-616’s Black Panther rather than a radical reinvention. Series writer Bryan Hill takes it up to a point but doesn’t fully commit just yet, though the energy of a daring risk in storytelling would no doubt but some juice into the series. Carlos Nieto steps in as a guest artist for this month’s issue, filling the gap between issues by Stefano Caselli, and though there are noticeable differences, for the most part it is a smooth transition within its visual fidelity. — Spencer Perry

Rating: 3.5 out of 5

VENGEANCE OF THE MOON KNIGHT #7

Marc Spector made his glorious return to the land of the living in Blood Hunt #4, and thanks to Jed MacKay also helming that series, the moment felt fittingly grand and like a satisfying payoff for longtime fans. That leads to a bit of déjà vu in Vengeance of the Moon Knight #7, which essentially takes us back to that moment and traces the steps of Khonshu’s rescue. While there is additional context in these early pages, it’s not until after Spector returns a bit less than halfway through where it begins to explore new ground. Several moments can’t help but shine, especially the reunion between Marc and Tigra, and the issue is drop dead gorgeous thanks to the always stunning work of Alessandro Cappuccio, Rachelle Rosenberg, and Cory Petit. For those who have followed this story from the beginning, it is more than worth it, but for those who are looking for more in the way of forward progression, they might not find that here. — Matthew Aguilar

Rating: 3.5 out of 5

VENOM: SEPARATION ANXIETY #3

The greatest strength with the new Venom: Separation Anxiety is that penciler Gerardo Sandoval puts his soul into every inch of the artwork here. Unique layouts and Venom-specific paneling make this a treat to look at, with Sandoval’s art elevated by inker victor Nava and color artist Romulo Fajardo Jr. Series writer David Michelinie has an interesting idea for a plot here but the old-school style of filling up every panel with gigantic world balloons brings this one down, especially when the art is what’s really selling it. — Spencer Perry

Rating: 3 out of 5

VENOMVERSE REBORN #2

The frame story of Venomverse: Reborn #2 attempts to connect the three stories it introduces by questioning whether the Venom symbiote has any limits and stretches that premise to its own limits. The first considers whether there are limits to where the Venom symbiote could appear in time by presenting a tale of historical fiction in which Venom bonds with a young warrior to stand against Harald Fairhair, king of Norway, thus altering the timeline. This story has a compellingly rugged visual style but mostly feels like an underdeveloped pilot story. The second story takes a much more humorous tone, as Captain Venom – depicted in a cartoonish style more reminiscent of a newspaper strip than superhero fare — recruits Eddie Brock to his multiversal basketball team consisting of some of Marvel’s biggest bad guys all bonded to their Venoms. While mostly played for light gags (which land effectively), the story also works as a fine criticism of how lazily one can attach the Venom symbiote to any multiversal iteration of another character with little noteworthy effect. The third story carries that theme in a way, with the Venom of Venom: The End, who becomes an avatar and defender of all biological life, rejecting the very notion of a multiverse for how it cheapens the individual nature of each being in existence by replicating them infinitely, turning the very idea of them into an aggregate being. It’s a notion that reflects a common complaint levied against the glut of multiverse-based storytelling in recent pop culture. Unfortunately, while original Venom: The End writer Adam Warren has no trouble tuning back into the voice he used in that story, he’s paired with an artist who isn’t up to the task, with muddy visuals and one panel where featuring a rendering of Venom that I’d swear was drawn using the Drake “Hotline Bling” meme as a reference. It’s an uneven issue, but one with some interesting things to say. — Jamie Lovett

Rating: 3 out of 5

WOLVERINE: BLOOD HUNT #4

Wolverine’s Blood Hunt tie-in series comes to its roaring conclusion here, a suitable ending for the story at hand. Waltz’s script does a lot in little time, making huge leaps through the story to make sure it’s wrapped in just four issues. Ryp’s strong lines provides a nice balance with the cloudy, atmospheric colors from Guru-eFX. — Adam Barnhardt

Rating: 3.5 out of 5

Image #1

BLOOD SQUAD SEVEN #3

Blood Squad Seven #3 is delivering the opening mission for a cynical superhero squad taking down one of their own who’s gone on a homicidal rampage only 20 years after The Ultimates managed the same concept in far better fashion. The inconsistencies in characterization and motivation as the team plans how to take down Ripcord in the most mismanaged fashion imaginable make it difficult to even appreciate this story as homage. Combine that with an insistence on violence against women as a convenient trope to define evil and one that regularly emphasizes the naked corpses of women (often contrasted with armored men), and you have a comic that’s ugly to look at and read. Brief sequences featuring old members speaking outside of the core story seem to reflect another comic altogether; it’s possible in these spaces to imagine this series playing upon established histories and actions. But without any continuity and so little to care for across the opening three issues, there’s nothing for readers to uncover in Blood Squad Seven beyond ideas that were already going out of vogue (and for the better) in the 1990s. — Chase Magnett

Rating: 1 out of 5

FERAL #5

At the cost of becoming a broken record, Feral is one of the most gut wrenching books you’ll read, and yet the most impressive quality is how the series is able to convey a sense of warmth and hope amidst all of the death and chaos. Also worthy of praise is the team’s ability to keep the reader from becoming numb to the more brutal moments with twists in expectations or in how moments are executed throughout the story. One particular moment near the end of Feral #5 comes to mind, and without spoiling, let’s just say it wasn’t at all what I was expecting, and yet still introduces the tension and stakes that this series has become known for. While Tony Fleecs keeps you guessing as the path progresses, artists Trish Forstner, Tone Rodriguez, and colorist Brad Simpson continue to deliver outstanding visuals across the board, including one series of pages about midway throughout that will leave you distraught and reeling, something the moment undoubtedly required, and it certainly left an impression, as did the issue overall. — Matthew Aguilar

Rating: 4.5 out of 5

LOCAL MAN #12

This Local Man arc melds an impressive smattering of elements together, sending Jack and his allies and adversaries towards a major nexus point. Tim Seeley and Tony Fleecs’ work continues to be a delightful and poignant throwback, both narratively and in the ambitious nature of their respective art designs. While this might not be as revolutionary as some of the series’ previous issues, it still shows why the series remains such a joy to read. — Jenna Anderson

Rating: 4.5 out of 5

MONSTRESS #53

Monstress #53 has quite a few surprises and drops a couple of bombshells on readers and in doing so, does what Marjorie Liu does best: reveals just the right amount of information at the right time to not only keep the story moving forward but simultaneously change the game. The issue sees Maika have her drug-induced sleep meeting with her father, but also reveals that the mighty Lord Doctor might not be as strong as he wants everyone to believe. It’s a revelation that shifts things for Maika but as things are further revealed to the reader, one sees just how grim the situation is. The stakes get higher in this issue and while it still feels like we’re a long way off from a resolution, these new details make this rich story more interesting than ever. — Nicole Drum

Rating: 4 out of 5

NO/ONE #10

The final (for now) installment of the twisty murder mystery has only gotten more timely, but loses a tiny bit of its intrigue in the process. The majority of this culmination issue seems to hint at everything being pretty neatly tied up in a bow, only to pull the rug out from underneath us in an equally-unsatisfying manner. There is still a clear sense of craft on display, from the character moments in Kyle Higgins and Brian Buccellato’s script to the unfussy art from Geraldo Borges. If anything, No/One  #10  makes me regret that I didn’t tune into the franchise’s spinoff podcast and get the complete picture, and that sense of incompleteness isn’t great when dealing with a finale of this kind. — Jenna Anderson

Rating: 4 out of 5

ROOK: EXODUS #4

Rook gets some payback for his deceased friend Swine, and we get more warden-on-warden action between Dire Wolf and Kaa. As far as new comics and new worlds goes, the one the Rook: Exodus team has crafted has managed to keep my attention. I’m curious to find out who Ursaw is, but it’s possible he’s just someone else we haven’t met in this world. — Tim Adams

Rating: 3 out of 5

THE SACRIFICERS #10

The absence of artist Max Fiumara is the first thing readers will likely notice in The Sacrificers #10; his style and storytelling have defined the best high fantasy elements of this series and filled its figures and settings with such power. But the inclusion of André Lima Araújo makes for an excellent addition to the series, especially given this issue’s focus. Araújo shifts away from divinely powered battles to Soluna’s sorry, mortal state and the clean lines and minute details of their style serve to emphasize the poverty and suffering Soluna suffers as a serf. While the issue heaps new miseries upon her, it also broadens reader understanding of how mundane people relate to their gods and never veers to far into ugliness purely for its own sake. Instead, Soluna is presented with terrible predicaments both deeply understandable (i.e. poverty) and profoundly terrifying (as found by the issue’s end). The resulting reintroduction produces a strong contrast to Pigeon’s story in The Sacrificers #9 and plays into the strengths of the series’ newest collaborator for a compelling new hook by the issue’s end. — Chase Magnett

Rating: 4 out of 5

Image #2

SELF HELP #2

Self Help continues to toe the line between being innovative and tiresome, and both issues so far have a little like a roller coaster in that regard. There are great moments that breathe new life into genres. There are others that make you wonder if the book will get better or worse. In spite of its mess, though, Self Help is at least consistently entertaining. — Charlie Ridgely

Rating: 3 out of 5

THE SIX FINGERS #5

The Six Fingers brings its saga (as well as that of its companion series, The One Hand) to a bleak end. Carefully considered layouts that convey the sense of time ticking away create a tense atmosphere, undergirded by the repeated use of clocks, drinking birds, and Newton’s cradles that emphasize themes of time and automation (a particularly nice bit of lettering placement involves captions appearing between the spheres of the clicker, the character’s voice filling the space between pendulum swings). The denser layouts give way to more open pages as the story begins to spin out of control, culminating in a two-page spread depicting a mass act of sacrificial defiance. There are no easy or clear answers to be found in The Six Fingers, any more than there were in The One Hand‘s finale, and nor should there be as such tidy summations would only betray the weighty spirit of the world these creators have built but the conclusion will likely linger with readers for some time. — Jamie Lovett

Rating: 4 out of 5

SPAWN KILLS EVERY SPAWN #1

[READ THE FULL REVIEW HERE]

Spawn Kills Spawn doesn’t do much to draw in readers of the titular character’s universe or potential new fans, seemingly trying to bring in both but ultimately failing in the attempt. The humor never manages to push Spawny to the forefront in a way that makes readers want to follow this character and his long-winded monologues as he searches for revenge. The miniseries simply feels like a missed opportunity and doesn’t make good on any of the angles that it takes in this surreal side of the Spawn universe. — Evan Valentine

Rating: 2 out of 5

SUPERMASSIVE #1

This year’s iteration of the Supermassive crossover one-shot is full throttle from start to finish, with a visual style that is kinetic to the point of exhaustion and replete with exaggerated fight scenes. That’s not to say it looks bad, but it does look busy. Packing five major characters into the issue also means that not all of them get to be fully fleshed out, but they are distinct contrasts to one another, each representing a different point on the hero-antihero-sort-of-reformed-villain moral spectrum. This is my first real brush with the Massive-verse, but I’m of the opinion that if you put a “#1” on the cover you should be prepared for newcomers to pick the book up. As far as that goes, it’s hardly a satisfying first chapter of anything, given that it takes place alongside a major event occurring in Radiant Black, but work as a way for readers to taste test each of these characters, and it wouldn’t be surprising for readers to follow any one of them back to their namesake series. — Jamie Lovett

Rating: 3.5 out of 5

UNIVERSAL MONSTERS: CREATURE FROM THE BLACK LAGOON LIVES! #4

Universal Monsters: Creature From the Black Lagoon Lives! #4 is a testament to the power of horror across media and generations to powerfully reflect the human condition. Even framed as a sequel, the characters colliding in this issue’s climax are all defined by motives and personalities developed across only four issues of comics and each one’s denouement resonates like the gunshots ringing through the creature’s cave. Every page turn lands like a punch as the bittersweet ending unfolds. Throughout all of the action and confrontations, Matthew Roberts’ utilizes tropes of reflections and watching eyes to illustrate the story’s essential questions. Every choice is given weight and consequence in the panel in which it’s made and many of the splashes are bound to haunt readers long after the final page is turned. Even rushed pacing at a couple of points cannot detract from undeniably powerful highlights that make Creature From the Black Lagoon Lives! one of 2024’s best horror stories – timeless in its appeal. — Chase Magnett

Rating: 4.5 out of 5

VOID RIVALS #11

Void Rivals sees Darak and Solila finally come to an understanding of sorts, as the void rivals (see what I did there?) show their respective skills and mutual respect as they battle their way to safety. Darak noticeably has a change of heart regarding Zertonians, as he goes out of his way to ensure that his once-hated rivals have access to technology that could save lives. Of course, the détente couldn’t last long, but it seems that Darak and Solila have reached a new level of their relationship, strengthening the core around which this entire series is built. — Christian Hoffer

Rating: 4 out of 5

Other Publishers #1

THE BIG BURN #1

The execution is a little inconsistent in the back half, but man is The Big Burn playing with a stellar idea. A heist story about trading your soul to the devil then trying to rob his casino-themed hell to get it back? It’s a fantastic hook and a mostly great exploration of that story in this debut issue. — Charlie Ridgely

Rating: 4 out of 5

BLOW AWAY #4

Blow Away #4 is good, but suffers from a few minor issues. The book follows Brynne as she is injured during her investigation and then the subsequent fallout of her escape which in turn brings the story to the point where we may well find out the truth next issue. To do that, we finally get her backstory and a glimpse into whatever happened with one of her previous jobs that led to her reputation being tarnished as well as what her personal trauma is. While that part of the story is interesting and welcome, the way the issue then hard shifts back into leaning into her paranoia and almost too-quickly “resolving” things about the mystery of the hikers feels a bit like whiplash. Part of that is simply perspective, but there’s also this sense of things feeling a bit uneven in terms of characterization. What continues to ring true is the locals versus outsiders sense of things and the desolation of the environment that give this mystery an eerie feel, something that remains strong as we head into a conclusion. — Nicole Drum

Rating: 3 out of 5

BRZRKR: A FACEFUL OF BULLETS #1

Another standalone story in B.’s history, BRZRKR: A Faceful of Bullets follows the character through the Midwest—specifically Kansas and Missouri—at the very beginning of the Civil War and sees him once again finding himself involved in violence and something like justice, mostly as told through the eyes of one of the people he rescues. However, while the idea of examining B.’s history is of course interesting, the story itself—written by Jason Aaron—feels more like a cliche swiped from b-movie Westerns with the violence dialed up for shock value. It’s less Wild West and more bad stereotype and while the book looks nice in terms of its art thanks to Francesco Manna, it misses the mark. — Nicole Drum

Rating: 2 out of 5

CONAN THE BARBARIAN #12

This isn’t Zub’s most innovative Conan arc to date, but it’s also not on the other end of the spectrum either. This series continues to be everything it intends to be, while delivering some excellent art and exciting endeavors. This issue also makes you realize there should be a lot more Conan stories set in the snow. — Charlie Ridgely

Rating: 3 out of 5

CRUEL UNIVERSE #1

Reviving the Entertaining Comics brand, Cruel Universe could have merely cashed in on the nostalgia of the brand’s legacy in the world of horror in sci-fi, but with this debut issue, the experience goes above and beyond expectation to deliver four tales of terror that feel both timeless and incredibly contemporary. From a twist of fate using a black hole to time travel to the true cost of being an intergalactic gladiator, this issue offers up drastically different stories that push the boundaries of technology, science, morality, and mortality. Each story feels like we’re watching an all-new episode of Black Mirror, given the overall fresh feeling and modern voice of each story, and while other throwback comics might aim to channel a familiar art style, Cruel Universe doesn’t rest on its laurels and, while some of the compositions of the panels might evoke the ’50s and ’60s style, the overall aesthetic is entirely modern. Oni Press had their work cut out for them with this revival of EC, and not only did they meet expectations, but they completely shattered them. We won’t get ahead of ourselves and assume every installment in this revival will be as impressive, but even if future installments are a step down in quality, it’ll still be more compelling than most other sci-fi and horror titles out there. — Patrick Cavanaugh

Rating: 5 out of 5

EPITAPHS FROM THE ABYSS #1

Epitaphs From the Abyss is supposed to be horror satire examining various aspects of modern society—everything from politics to the internet to even vaccines—and while the four stories in the issue are all interesting in that old school Tales From the Crypt vein of things, most of them feel a little too gimmicky or superficial to really be shocking or thought provoking. The most interesting of the set, “Family Values” written by Stephanie Phillips, might be the most chilling and surprising with its twist at the end. Beyond that, the stories just lack the substance to be genuinely interesting. — Nicole Drum

Rating: 2.5 out of 5

FENCE CHALLENGERS: LONG SHOT #1

Fence Challengers: Long Shot #1 brings back one of the best Boom titles in recent years. With our team back in action, all eyes are on the fencing state championships. The stakes are high as Nicholas and Seiji must face their own demons with the sport. With some gorgeous illustrations backing the comeback, Fence Challengers: Long Shot is off to a good start, so we’re officially en garde.– Megan Peters

Rating: 4 out of 5

GODZILLA VS. MIGHTY MORPHIN POWER RANGERS II #4

Godzilla vs Mighty Morphin Power Rangers II has featured plenty of bigger than life action, but even compared to what’s come before, issue #4 somehow kicks up the insanity to 11. The bonkers nature of the story is what makes it so thoroughly entertaining, and Cullen Bunn fully embraces the fantastical aspects of the series, and the enthusiasm for the premise can’t help but leap off the page. Likewise, artist Baldemar Rivas, colorist Andrew Dalhouse, and letterer and designer Johanna Nattalie took the Kaiju Rangers and topped themselves with some of my favorite Zord designs ever. That’s not hyperbole either, and if someone doesn’t make toys of these I’m going to lose my mind. While Godzilla is actually relatively absent here, the universe’s other Kaiju stars get some welcome limelight in his stead, and the throw down teased by book’s end is as epic as it gets. Absurdly fun and a must for franchise fans. — Matthew Aguilar

Rating: 4 out of 5

Other Publishers #2

GODZILLA: SKATE OR DIE #2

Feeling as though they’re the only ones who might be able to understand what’s happening with Godzilla, our skaters make a rush to get to their path of destruction, while also evading authorities on their journey. With comics as a medium and with Godzilla stories in any medium, you won’t get very far by calling into question the logic behind a premise, and while the inherent absurdity of skaters aiming to square off against the titan could be overlooked for the sake of an entertaining story, there’s nothing outside of the premise that accomplishes anything of interest. We’d be willing to stop questioning why these skaters are setting their sights on Godzilla or why authorities are preoccupied with stopping them, despite a massive beast causing a trail of destruction on its way to the city if the book itself was entertaining or engaging enough to distract us, but that’s not what this book is. We’re given chaotic and colorful artwork and the bare minimum of stereotypical skater dialogue, though little else. The aesthetics of the book could appeal to GodzIlla fans who also share an interest in skater culture, but outside of that, we’re still scratching our heads about what the point of this book is in the first place. — Patrick Cavanaugh

Rating: 2 out of 5

HELLO DARKNESS #1

Anthologies are rare beasts in the direct market these days, especially ongoing ones, which makes the superb collection of talent and terrifying tales found in Hello Darkness #1 this week a very welcome change of pace. The first issue collects a half-dozen stories (some of which standalone, two of which are labeled part one) alongside single page cartoons and pin-ups; each entry is distinctive in its style and approach to the horror genre. It’s a testament to the eye of series curator Bryce Carlson more than anything else, as horror fans of all stripes are bound to find some installments that capture their bloody hearts. Several modern comics icons bring stories, including Garth Ennis, Becky Cloonan, and James Tynion IV; readers of Something is Killing the Children or War Stories will not want to miss these additions to already fabled bibliographies. Yet the introduction of other writers and artists with less of a reputation proves every bit as exciting with Sarah Anderson summoning up a bone-chilling tale in just more than a dozen panels and David Cousens serves up something for gorehounds. The result is a debut that reflects the immense talent found within horror comics today and an irresistible invitation to dive deeper into Hello Darkness. — Chase Magnett

Rating: 4.5 out of 5

JOY OPERATIONS 2 #2

Joy has been framed for a crime she didn’t commit, but she’s handling it like the boss that she is. Some of the more interesting developments come with the supporting characters; mainly Joy’s wife and Hampton’s sister. They have a new interesting dynamic that should hopefully continue to develop in future issues. Again, I have to praise the art by Stephen Byrne for being the true highlight in the book. — Tim Adams

Rating: 3 out of 5

MASTERS OF THE UNIVERSE: REVOLUTION #3

A stirring final page in Masters of the Universe: Revolution #3 serves as the kind of bombastic storytelling that could define the entire series, but sadly does not. Daniel Hdr’s pencils create a clear moment of transformation, which is elevated by Keith Champagne’s inks and Brad Simpson’s colors. This isn’t to say that the rest of the art in the book isn’t up to par, it looks good, but the larger narrative thrust is lost in the awkward and burdensome word balloons that cover so many of its panels. — Spencer Perry

Rating: 3 out of 5

MIGHTY MORPHIN POWER RANGERS #122

“The Darkest Hour” has lived up to its billing, though Mighty Morphin Power Rangers #122 provides a slight light at the end of the tunnel. Writer Melissa Flores had me on a rollercoaster of emotions throughout this penultimate issue, with a number of conversations highlighting how far these characters have evolved from the book’s debut 8 years ago. That couldn’t be more apparent than in the exchanges between Billy and Zordon and Ari and Kimberly, and at times their stances can even become frustrating, simply due to the nature of what we’ve seen them go through and experience. That’s part of being human after all, and it’s part of what’s defined the Power Rangers comics since they debuted. Flores has a way of bringing that humanity to the forefront, even when the bigger than life action comes into play. That said, when the action does kick in, Simona Di Gianfelice and colorists Raul Angulo and Jose Enrique Fernandez, and letterer Ed Dukeshire are experts at bringing some flair to the occasion, and one particular Ranger-filled splash page will certainly have fans over the moon. All of the pieces are now in place, and we’ll see how this epic chapter finally ends in Darkest Hour #1. — Matthew Aguilar

Rating: 4 out of 5

MINOR THREATS: THE FASTEST WAY DOWN #4

The thing that has always made Minor Threats a stellar read is its consistency in making stars out of the mundane. The title’s second arc wraps up in The Fastest Way Down #4, arguably the most action-packed, heartfelt issue in the entire series. Oswalt and Blum continue juggling an ensemble with ease and are masters at making heroes out of villains. — Adam Barnhardt

Rating: 4.5 out of 5

NEMESIS: ROGUES’ GALLERY #1

Artist Valerio Giangiordano does great work in establishing action and setting immediately in Nemesis: Rogues’ Gallery with color artist Lee Loughridge giving his dynamic movement an elevated look and an overall grounded feel. Too bad that the larger story here is stale as ever, with even the veneer of edginess that has defined this “character” becoming even more hackneyed than the other follow-up stories that featured him. Even knowing what happened in Nemesis Reloaded and Big Game won’t make this somehow more exciting either; in fact, it might make the impact of those particular stories, whatever they might have had, feel lessened. — Spencer Perry

Rating: 2 out of 5

ORCS!: THE GIFT #4

What a satisfying and entertaining finale! There is so much to take in with the different tribal classes between orcs, wolves, and elves, and even though they may feud with one another they do come together and work in tandem when the time calls for it. We also see the passing of the Mother Tree mantle, which delivers a happy and sad ending all at the same time. — Tim Adams

Rating: 3 out of 5

Other Publishers #3

PROJECT: CRYPTID #11

Ahoy’s surreal anthology series continues by focusing on The Jersey Devil and a monstrous “Capelobo.” Ultimately, both these stories are serviceable though they do suffer from some storytelling issues that make them fall flat in comparison to some of the stronger stories of the series focusing on Cryptids. To start, the Jersey Devil tale has the legs to be much more than it could have been but is weighed down on overuse of exposition rather than letting the story of a faux-Action Park being created as the “Devil’s Playground.” The follow-up story feels better put together but still has some foibles in presenting its story. While the overall issue is serviceable, it doesn’t stand out as one of Project: Cryptids best. — Evan Valentine

Rating: 3 out of 5

RESIDENT ALIEN: THE BOOK OF LIFE #2

Things proceed very quickly with the pregnancy in The Book of Life #2, an issue that makes excellent use of montage to move ahead without losing a sense of important details or Resident Alien‘s essential human touch. Outside of a brief addition of suspense, the issue emphasizes familial connections and the special blend of excitement and terror that precedes a first child. Harry and Asta go through the motions of multiple trimesters with familiar bouts of morning sickness and their own unique predicaments. The anxiety radiating from their many concerns is deeply sympathetic portrayed with careful expressions and dialogue that ring true. It’s an impressive compression of time and one that sets the stage for a different back-half to The Book of LIfe than many readers may have anticipated, but that’s the joy of the journey. — Chase Magnett

Rating: 4 out of 5

SOMETHING IS KILLING THE CHILDREN #39

With the arrival of “Road Stories” part four, Something is Killing the Children is making yet another case for series of the year, something immensely impressive when you consider that we’re now 39 issues deep. James Tynion IV has utilized these smaller standalone stories to give readers a welcome glimpse at the more vulnerable aspects of Erica Slaughter, though issue #39 is easily the most raw and relatable glimpse yet. Now, when I say relatable, I don’t happen to hunt monsters for a living, so not in the literal sense, but effect of grief and how one attempts to compartmentalizing those feelings is certainly something many can identity with. Werther Dell’Edera, Miquel Muerto, and Andworld Design pull so much emotion from every small mannerism and shift of expression, and then the flashbacks hit even harder while also further building the mystery of exactly what happened to Jessica. Road Stories has become one of my favorite arcs in this consistently stellar series, and no fan should miss it. — Matthew Aguilar

Rating: 5 out of 5

STAR TREK: DEFIANT #17

Star Trek: Defiant launches into its new arc confidently as it throws readers midway into a mission involving the Defiant‘s crew with physical alterations masking their identities. Star Trek: The Next Generation spent plenty of episodes diving deep into the heart of the Klingon Empire and its culture but didn’t spend nearly as much time fleshing out the Romulan Star Empire. Star Trek: Defiant seems to be trying to rectify that oversight by entangling the Defiant‘s crew in a web of intrigue typical of the Romulan affinity for espionage and secrets. It primes the story as a fine companion to TNG, deepening not only fans’ understanding of how Romulan politics work but specifically the character of Sela, and likely setting the stage for the seemingly sudden coup that occurs in Star Trek: Nemesis. Back on Earth, Miles O’Brien is having a bad day at work (a familiar song), being called the TNG era’s equivalent of Oppenheimer, opening up an interesting next act for the beloved character. The shadow art fits perfectly with Defiant‘s darker tone, though it falters during the sunnier scenes. However, that’s a minor flaw in what is otherwise a strong start to this series’ next chapter. — Jamie Lovett

Rating: 4 out of 5

TEENAGE MUTANT NINJA TURTLES #1

[READ THE FULL REVIEW HERE]

In Teenage Mutant Ninja Turtles #1, Aaron and Jones offer longtime fans something that feels undeniably inspired by the original TMNT comics published by Mirage 40 years ago without being slavishly devoted to them, all while making the Turtles’ wild and expansive universe easily digestible for new fans. — Jamie Lovett

Rating: 4 out of 5

UNCANNY VALLEY #4

The pace picks up in Uncanny Valley #4 with characters colliding and the series’ antagonist finally taking the stage. It’s an issue that provides both much-needed background regarding Oliver’s origins and the suggestion of real consequences in a cartoon landscape seemingly lacking in them. However, even as things go from bad to worse, it’s unclear what might harm any of these characters, a problem exacerbated by the cartoonish style of Fleecs’ artwork as the cliffhanger seems silly even as the issue seeks to imply a sense of gravity. Discovering how this world functions will help to better establish stakes as right now the jokes are landing much more clearly than the action. — Chase Magnett

Rating: 3 out of 5

UNDERHEIST #5

Underheist‘s conclusion sends David to the bottom of the pit he’s occupying and that can be read in both a metaphorical and literal sense. Although the conflict he faces in choosing between companions and extricating himself will likely be clearer when read in collection, the atmosphere and design surrounding Hell’s revelation is impressive in its own right. A sudden shift in New York City’s established environment makes for an outstanding splash and the entire, tense standoff sequence at the issue’s end is impressively paced outside of a single shootout. Although not all of the elements connect in this serialized format, the final few pages are still haunting and call for readers to return to the start and rediscover every sad step in this journey through Hell. — Chase Magnett

Rating: 3.5 out of 5

THE WRITER #2

With Stan having an unexpected reunion with his estranged father, he learns that his father bestowed upon him a mystical ring that he thought was ordained to be passed down to his son. There’s understandably some room for debate on whether that was the right thing to do, though none of those details matter to the Nazis hoping to destroy Stan and his family. At one point in this issue, Stan’s dad sarcastically says, “Prepare yourself for some length exposition,” which feels like a self-reflexive comment on just how weighed down with prose this issue is. It’s all relatively dense and is recalling events from the past, which rob them of their urgency and excitement, while also leaving the reader to question their importance. While we’re only two issues in, it makes you wonder if this concept would have been better executed as a novel, because even though the artwork in the book is impressive, it fails to ignite much excitement about the exploits our characters are engaging in. Still, all the pieces of this story with all its religious mythology and monsters and occult organizations are interesting on their own, this specific recipe in issue two just doesn’t entirely come together as satisfyingly as in the debut installment. — Patrick Cavanaugh

Rating: 3 out of 5

The post Comic Book Reviews for This Week: 7/24/2024 appeared first on ComicBook.com.

Superhero universes are no stranger to creating outside-of-continuity stories that see their heroes placed into dire apocalyptic stakes. In Marvel Comics, the likes of Deadpool, Wolverine, and the Punisher have killed their respective universes, and comic book readers have seen their fair share of evil Batmen and Supermen threatening their respective locales. Now, Image Comics is taking their turn by taking a particularly strange Spawn and sending him out on a suicide mission to take out all other Spawns. Unlike those other universe-ending stories from Marvel and DC, Spawn Kills Every Spawn takes a far more humorous approach but is it better for it?

Spawn Kills Spawn focuses on “Spawny,” a version of the Hellspawn that is far more like Deadpool than Al Simmons. Attending an event dubbed “Spawn Con”, the pint-sized Hellspawn finds himself shoved to the side as the more popular Spawns are receiving the lion’s share of attention from fans. Following his disastrous time at the Hellspawn con, Spawny returns home only to see his hatred of his fellow Hellspawn grow. Wanting nothing more than to be the most popular Spawn of them all, Spawny sets out to make sure that he reigns supreme despite his stature.

At the end of the day, Spawn Kills Spawn is not what I was expecting it to be when I was assigned this review. This isn’t your typical Al Simmons venturing forth into the multiverse to take down his fellow heroes who were cursed with supernatural powers and a living suit. Your enjoyment of Spawn Kills Spawn is entirely contingent on your enjoyment of Spawny and his characterization, the fourth-wall-breaking pint-sized terror who isn’t afraid to shoot his mouth off at every occasion. Unfortunately, I found the series’ humor to be very hit-or-miss, leaning much more into the latter than the humor.

Spawny’s look as a “Chibi Spawn” is one that seems counterintuitive to the message of this miniseries, as the gore and violence clash with the childish look of the main character and the “edgy teen” style of humor that he belts out. Humor is always subjective but for me, it falls flat so much in this opening issue. The first issue luckily doesn’t need you to know much about the “Spawn universe” before you dive in but in that fact, it feels like humor that could be pointed at Al Simmons and the fight between heaven and hell is also lost. It’s a case of “having your cake and eating it too”. Spawny just doesn’t feel like a character that you want to rally behind and considering the future tasks that are alluded to here, it’s an element that would be greatly important.

While the humor might fall flat, the art certainly doesn’t as Spawn Kills Spawn has a lot occurring in each panel. Rob Duenas and Robert Nugent handle the artistic chores here handling the pencils and color respectively. A lot is going on within each page but it never feels too cluttered and the exaggerated facial features work for this world. It’s a great mixture of art across the board, seeming like it would fit right into stories like Invader Zim and other surreal animated comedies. 

Spawn Kills Spawn doesn’t do much to draw in readers of the titular character’s universe or potential new fans, seemingly trying to bring in both but ultimately failing in the attempt. The humor never manages to push Spawny to the forefront in a way that makes readers want to follow this character and his long-winded monologues as he searches for revenge. The miniseries simply feels like a missed opportunity and doesn’t make good on any of the angles that it takes in this surreal side of the Spawn universe. 

Published by Image Comics

On July 24, 2024

Written by John Layman

Art by Rob “Sketchcraft” Duenas

Colors by Robert Nugent

Letters by John Layman

Cover by Rob Duenas & Todd McFarlane

The post Spawn Kills Every Spawn #1 Review: Too Many Spawns appeared first on ComicBook.com.

The Nice House on the Lake was a series characterized by all of the very best adjectives starting with the letter S; it was surreal, subversive, smart, and scary-as-hell. The story of a handful of accomplished friends gathered in a seeming paradise to be held as captives by an alien consciousness while the Earth ended was immediately something special and only grew in its promise across 12 issues. Its sequel, The Nice House on the Sea, can be described with those same words as it introduces a new gathering of individuals at a new location under the same premise, but what makes it so impressive is how quickly it builds upon what’s come before to change everything readers know once again.

Readers who have not read The Nice House on the Lake should not be bothered to give this issue a try until reading the original; The Nice House on the Sea is designed as a sequel and relies upon familiarity with the concept to deliver a thrilling return, rather than a muted reintroduction. There are 11 new characters, including one alien companion Max, all quickly introduced through the perspective of Oliver Landon Clay (designated The Actor). Many of the fantastic surprises revealed throughout The Nice House on the Lake are already taken for granted in this space as Max casually reveals his phantasmagorical form and inhabitants bicker over the weather controls. Two years into the apocalypse and these folks have already figured out much of what the original cast discovered.

This issue’s interest lies in the contrasts, both interpersonal and in relation to their environment. What’s immediately evident is that the relationships of this space function very differently. All of the characters are still highly accomplished individuals with distinct areas of expertise, but they lack the history and warmth that characterized the friends sharing a lake house. They may know one another, but there’s a distinct lack of care in this atmosphere. That shift entails a difference in approach as the characters have gone about their apocalypse in more individualistic pursuits resulting in a variety of new revelations. 

By the issue’s end, readers are given at least some sense of how each person functions within the household and can see the future fissures set to destroy the seeming paradise. The issue builds upon the many smart designs and motifs developed across the original series to serve up the entire scenario in a single day-in-the-life story. Of course, there’s one final twist that will remind readers why the wait between issues was a killer for The Nice House on the Lake. 

The growth in characters, setting, and understanding is matched by growth in artist Álvaro Martínez Bueno’s style for the story. Throughout much of the first series a sense of mystery inhabited the artwork with flourishes primarily appearing to disrupt the quiet ambience stalking the panels. Here, the inhabitants of this space have embraced its oddity and the result is an increase in disturbing geometries and impossible forms. Max’s alien appearance is the most notable element and one defined both by Bueno’s masterfully twisted shapes for it and exceptional color design by Jordie Bellaire. But there are plenty of other touches that continue to affirm just how unnatural this idyllic place really is. Readers will be left eager to return, but glad they can always shut the cover on this nice house by the sea.

Published by DC Comics

On July 24, 2024

Written by James Tynion IV

Art by Álvaro Martínez Bueno

Colors by Jordie Bellaire

Letters by Andworld Design

Cover by Álvaro Martínez Bueno

The post The Nice House On The Sea #1 Review: A Supremely Confident Return of This Strange Form appeared first on ComicBook.com.

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 Namor #1, Dark Knights of Steel: Allwinter #1, Witchblade #1, and Paranoid Gardens #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

BATMAN/SUPERMAN: WORLD’S FINEST #29

Waid and Mora bring the latest storyline featuring Mxyzptlk and Batmite to an end, once again showing that the comic has earned its place as the top title in DC’s superhero roster. It can sometimes be tough thinking of new ways to say that World’s Finest is the best superhero book on the market but luckily, I’ve once again found a way. Mora and Waid’s series feels like a large, universe-changing arc in every issue and the larger-than-life battles and character moments continue to have me wanting nothing more than buying collections of the series in the biggest formats possible. Here’s hoping that this pairing of the Dark Knight and the Man of Steel simply continues forever as the paramount for all superhero books on the market. — Evan Valentine

Rating: 5 out of 5

CATWOMAN #67

The “Nine Lives” arc has, in so many ways, fundamentally changed Selina Kyle and the way I’m going to view her going forward. This new installment, which folds in a number of allies, adversaries, and everything in between for a final battle, is certainly no exception. While there are occasionally some slow or clunky sequences, Tini Howard’s script has a central earnestness that is a joy to behold, and makes me excited for whatever her future holds next. Carmine di Giandomenico’s art occassionally ventures into an uncanny valley, but juggles the menagerie of characters and costumes pretty well. Here’s hoping “Nine Lives” sticks the landing. — Jenna Anderson

Rating: 4 out of 5

DARK KNIGHTS OF STEEL: ALLWINTER #1

[READ THE FULL REVIEW HERE]

Allwinter is a solid expansion to the original Dark Knights of Steel and I’m glad that DC sees value in this fantasy-inspired take on their superhero universe. Taylor ushered in a bold and dangerous ethos with the original miniseries and Allwinter, at least at the outset, appears ready to continue this. — Christian Hoffer

Rating: 4.5 out of 5

GREEN LANTERN: WAR JOURNAL #11

The grand tale of the Radiant Host and the Dark Star of the Fenn is reaching its epic conclusion, and with just one issue left before that conclusion, Green Lantern: War Journal #11 seeks to connect all of the book’s bigger ideas and events. Mission accomplished on that front, as Phillip Kennedy Johnson dives into the history of the Gods that set all this into motion so long ago and where John Stewart fits into that equation, and while there are some heady concepts at play, the payoff is worth it, with the issue successfully laying out the larger threat, the meaning behind that threat, and the stakes for Stewart and the world at large. In the midst of the bigger cosmic threat, there’s also the very personal threat to Shirley and Ellie, and the moments between them are some of the book’s most powerful. That’s also thanks to the stellar work of Montos and Adriano Lucas, who are able to hit you with moments of raw emotion and then pivot to grand action and unsettling terror on a dime. Hopefully the finale can hit just as hard and send this epic journey out on the right note. — Matthew Aguilar

Rating: 4 out of 5

JOHN CONSTANTINE, HELLBLAZER: DEAD IN AMERICA #7

Dead in American #7 shifts the narrative forward in time and reintroduces readers to an isolated and decaying John Constantine seeking out one last desperate lead in his quest from the spectral figure of Doctor Diablo. Discovering who this “psychologist” of the New Hollywood era provides the issue’s centerpiece in a terrifying tale of occult conspiracy and sacrifice. Aaron Campbell’s depictions of crimes, both mundane and supernatural, is simply chilling offering readers just enough form to understand exactly what they are seeing and filling panels with agonizing linework and suggestions to inspire further nightmares. Jordie Bellaire’s colors make that presentation absolutely hellish. But Doctor Diablo isn’t the protagonist of this issue and his own story serves to reflect Constantine’s character in tragic fashion before producing the series’ best twist to date. As Dead in America sets the stage for its final act, it’s clear that there’s no prologue in its travelogue of both the American landscape and history – there’s horror wherever you might look. — Chase Magnett

Rating: 4.5 out of 5

NIGHTWING #116

“Fallen Grayson” continues its breakneck pace forward, racing to the critically-acclaimed run from Tom Taylor and Bruno Redondo. It’s an interesting choice to put action on the backburner in this final arc, given Redondo’s best when he’s able to flex his artistic muscle with larger than life set pieces. Still, Taylor knows how to beat the hell out of Dick Grayson, and he’s making sure ol’ Nightwing gets put through the wringer one last time. — Adam Barnhardt

Rating: 4 out of 5

SUPERMAN #16

The original Superman all-star team of Joshua Williamson and Jamal Campbell are back together for Superman #16’s Absolute Power tie-in, and it’s a truly marvelous reunion. Campbell and letterer Ariana Maher make an immediate impression in the book’s opening pages, and the book only picks up steam from there. The ability to bring in other heroes is already proving fruitful, as Zatanna’s sections alone are must-read material, and this will only make fans want a Zatanna ongoing that much more. The series has always made its supporting cast a priority, and that is once again the case here, letting them carry substantial parts of the book even when Superman is back up and running. That’s especially true of Mercy, who has become a pillar of this series even before Lex’s current predicament. Now that he’s not himself as it were, that’s only all the more true, and Mercy’s scenes with Clark are some of the book’s best. Those who were worried that Absolute Power would overwhelm what’s made this series so magical in the first place can relax, as this continues to be one of DC’s best month in and month out. –– Matthew Aguilar

Rating: 5 out of 5

TITANS #13

This Titan‘s run, at times, has struggled to balance its ever-growing ensembles and Titans #13 is no different. On one hand, the Raven plot is dragging unnecessarily long and on the other, Taylor’s methodically building something massive. So massive, unfortunately, that almost too much is involved with this issue. At the very least, Di Nicuolo’s manga-inspired lineart lends itself splendidly to an epic fight sequence in this issue. — Adam Barnhardt

Rating: 3 out of 5

Marvel #1

ALIENS: WHAT IF…? #5

In the culmination of this What If…?, Carter Burke and his daughter make a last stand against the xenomorph and their queen, hoping to save as many unexpected victims make it to safety as possible. When this series was first announced, fans were excited that Paul Reiser has returned to help create a narrative about one of the sleaziest corporate characters in sci-fi history. Over the course of five issues, we were given a narrative that explored a hypothetical future for the character, but it also offered us an Alien story with a bit more sardonic and sarcastic humor, thanks to Reiser’s contributions. The conclusion of this story does little to push the narrative to new heights in any fulfilling way, even going so far as to leave the narrative on an open ending. It’s not that any particular issue, this finale included, was necessarily poor, but with the goodwill built into the concept of reviving the character, it ultimately feels like a squandered opportunity. We don’t quite know what’s next for any of these characters, as the door is open for Burke to potentially return, but this fifth issue feels like it’s running on empty. This miniseries as a whole might make for an entertaining read for devout Aliens fans, yet won’t appeal to many readers outside of that demographic. Perhaps this was a “What if?” that would have been left better off unanswered. — Patrick Cavanaugh

Rating: 3 out of 5

THE AMAZING SPIDER-MAN: BLOOD HUNT #3

As hundreds of New Yorkers die or are transformed into vampires, Spider-Man continues to deliver quips that would have landed with a thud when Lee and Romita were on Amazing Spider-Man. The final installment of The Amazing Spider-Man: Blood Hunt follows its predecessors in delivering an entirely disposable plot filled with inconsistent characterizations and dull action sequences. Despite the apparent growing pains of those involved in the project, what ultimately undermines the tie-in is its total lack of tonal consistency with a final page gesturing at themes that are not evidenced anywhere in the story as it is told. — Chase Magnett

Rating: 1.5 out of 5

ANNIHILATION 2099 #3

Having Annihilation 2099 follow in the original event’s footsteps—with each issue, rather than miniseries, introducing a key player and plot thread before diving into the central conflict—makes for the most enjoyable formatting of these 2099 weekly miniseries to date. This issue summons Red Hulk 2099 who has no connection to Gamma, but doesn’t require one for this bleak origin story. The set up is at least as good as the pay off with writer Steve Orlando leaning into his sci-fi bona fides to quickly develop a scenario reflecting 2099’s hyper-capitalist dystopia and providing this Red Hulk with sufficient personality and motive to matter when he reappears in a couple of weeks. The artwork leans heavily into the ludicrous nature of Marvel’s cosmic characters producing action sequences that lean into both horror and excitement. It’s a fun pitch for a concept that doesn’t offer much promise – enough to keep me interested in what Annihilation 2099 is building toward at its climax. — Chase Magnett

Rating: 3 out of 5

BLOOD HUNTERS #4

Blood Hunters comes to an end with one of its overall weakest issues to date, but it still has some things to like here, especially for those long-time fans of the Marvel Comic universe. The first story focusing on Silver Surfer is the strongest of the trio, as Norrin Radd encounters the unique problems that have arisen from the vampires’ never ending night. Nicieza and Zircher have worked on the Marvel world for decades and their partnership here helps push their strengths to the forefront. Ultimately, the follow-up stories focusing on Satana and the formation of the B. Hunters weren’t as strong but they were serviceable enough. Blood Hunters as a whole justified its own existence, warts and all. — Evan Valentine

Rating: 3 out of 5

DAREDEVIL: WOMAN WITHOUT FEAR #1

Elektra swings back into her own solo series once again, this time in Daredevil: Woman Without Fear. From the mind of Erica Schultz and Michael Dowling, the debut of this series carries on the abrasive feel readers have come to know and expect from the character. The premise explored here is far from new, but Schultz’s use of a few surprising characters is keeping the idea fresh. Coupled with Dowling’s atmospheric line work, Woman Without Fear #1 is a seriously satisfying debut. — Adam Barnhardt

Rating: 4.5 out of 5

DRACULA: BLOOD HUNT #3

Dracula and Brielle, daughter of Blade, temporarily form an alliance in hopes of stopping the vampiric threat that has been descending on all corners of Marvel’s Blood Hunt event, and while Brielle is relatively equipped to handle the situation, the pair are facing off against an ancient evil, which causes some complications. The first two entries in the series were promising, as we got a more horror-themed exploration of the crossover event, though it also felt less like a part 3 of a unique story and more like a middle chapter of a sprawling saga. Understandably, this book is technically a middle chapter of the overall Blood Hunt event featuring dozens of titles, but given how the first two issues avoided that feeling, this issue expedited narrative barely gave us time to find our footing to enjoy the ride. Admittedly, the events of this series don’t feel as pertinent to the overall Blood Hunt event as some other books, and it does still make good on some horrifying imagery and encounters, it overall just felt like a meandering issue that failed to offer a fulfilling resolution. What makes this issue feel especially underwhelming is how promising those first two issues are, so while issue #3 is far from abysmal, we had higher hopes for this concluding chapter. — Patrick Cavanaugh

Rating: 3 out of 5

Marvel #2

THE IMMORTAL THOR ANNUAL #1

While the trials of Powerstone and Thor wasn’t a story that was on my bingo card at the moment, I must say it was easily one of the week’s biggest highlights. As someone not deeply invested in the former Prince of Power or the Infinity Stones, there were already two strikes against it, and yet Al Ewing, David Baldwin, Federico Blee, and Joe Sabino delivered an issue so filled with bombastic action and comedy gold I couldn’t help but be taken with it. The Immortal Thor Annual finds the perfect mixture of iconic Asgardian elements and then throws them all in a pot with a bumbling would-be hero that you can’t help but root for as the adventure plays out. The battles themselves are gorgeous and yet also embrace the more comedic sensibilities that Powerstone brings to the table. The back-up story was fine, but didn’t reach the same heights of the main story. That said, it didn’t even matter, as I’d recommend this to just about anyone, though if you’re a Thor fan, you’re going to be over the moon with it. — Matthew Aguilar

Rating: 5 out of 5

THE INCREDIBLE HULK #14

Welcome to the Hulkscape. Remember that series where Banner had Hulk trapped in a mind prison so he could harness his power? Now the shoe is on the other foot and this entire issue follows Banner inside a twisted world only the Hulk could create. Nic Klein gets the opportunity to go absolutely bananas here and the result is an entire issue of glorious, grotesque goodness. The momentum for this series just continues to surge and I truly cannot recommend it enough. — Charlie Ridgely

Rating: 5 out of 5

THE INVINCIBLE IRON MAN #20

As far as finale’s go, the epic conclusion to Gerry Duggan’s Invincible Iron Man series is exactly what the doctor ordered. Even though the dust has settled from the “Fall of X,” Duggan takes his times to make sure all loose ends are wrapped up with a nice little bow. In addition to making sure no holes were left unfilled, there are even some teases of what’s to come from the next creative team, making The Invincible Iron Man #20 as complete of a comic as one can be. — Adam Barnhardt

Rating: 5 out of 5

NAMOR #1

[READ THE FULL REVIEW HERE]

At the end of the day, superhero comics should make you cheer under your breath and cause involuntary fist-pumps at the end of a good page. Namor had me doing both on a consistent basis. This is the Namor we’ve dreaming of and, if Aaron’s history is any indication, this might be the start of a run that redefines the character forever. Strap in and hold on tight. — Charlie Ridgely

Rating: 5 out of 5

PHOENIX #1

As Marvel’s new X-Men initiative continues to roll out it’s surprising that a solo book like this new Phoenix title would be among the initial wave, but after reading it it’s clear that a concise vision of the character and a strong debut made it perfect for the first batch. Scribe Stephanie Phillips and artist Alessandro Miracolo have taken Jean Grey off Earth for a galaxy-trodding adventure that feels like a fresh take on this corner of the Marvel universe (with plenty of unexpected cameos). The framing of the entire issue is a commonplace one in modern comics, but the care put into making Grey’s character be felt in her personal expression and body language by Miracolo is what make this feel different. If this series, like last week’s X-Men #1, is an indicator then X-Men fans will continue to have a lot to look forward to. — Spencer Perry

Rating: 4 out of 5

SCARLET WITCH #2

This new jumping-on point for Scarlet Witch easily establishes itself as something ambitious and beautiful. Jacopo Camagni’s art is truly the star of the issue’s proceedings, rendering small interactions and massive otherwordly creatures with an equal sense of wonder, without ever differing too far from house style. Steve Orlando’s script carries us from one threat to another with only a few narrative snags, all while introducing some components that will only make the series better going forward. Wanda Maximoff’s latest chapter continues to display promise. — Jenna Anderson

Rating: 4 out of 5

Marvel #3

THE SPECTACULAR SPIDER-MEN #5

Peter and Miles have a traditional “misunderstanding” of the superhero variety as Weismann and Ramos’ story focusing on the Manhattan and Brooklyn Spider-Men continues. The creative team clearly is still having a ball with what I consider to be the best Spider-Book on the market this side of Hickman’s Ultimate Spidey. Ramos puts forth some of his best work to date here and Weismann shines in his writing that almost feels like a continuation of the Spectacular Spider-Man television series than traditional Spidey fare. The creative team also plants some interesting seeds for the future here, and while Spider-Men doesn’t necessarily revolutionize the game, it plays up to its strengths. — Evan Valentine

Rating: 4.5 out of 5

SPIDER-WOMAN #9

Jessica Drew’s move to San Francisco has delivered a welcome change of scenery, but it hasn’t taken away the very personal stakes at hand that caused Drew to leave New York in the first place, and now things have come full circle in Spider-Woman #9. Steve Foxe didn’t rest on laurels after the move, introducing an intriguing new team of heroes known as The Assembly, and that’s turned out to be another fantastic decision, as the group has given Jessica a bevy of personalties to play off of while setting up some bigger revelations that Jessica couldn’t be a better fit for. The relationship between Jessica and Liberty quickly becomes one you hope to see more of, something the team of artist IG Guara and colorist Arif Prianto deserve high praise for. Their scenes together can’t help but endear you to Jessica’s cause and Liberty’s plight, and it only makes the big reveal hit that harder (though that sequence is no slouch in the visuals department either). Now that the truth is out, I’m eager to see how this all ties together moving forward and the fate of a team I suddenly find myself crying about quite a bit, so a win-win across the board. — Matthew Aguilar

Rating: 4 out of 5

STAR WARS #48

No matter how much time might have passed, Leia still struggles to come to terms with the guilt she feels for the part she played in the destruction of Alderaan, so when signs of life appear in a vessel from the planet’s surviving fleet, she is compelled to investigate. It’s been quite some time since any Star Wars comics from Marvel were able to get introspective, let alone retrospective with Leia, making this issue a welcome change of pace. While the first half of the book is promising, the back half derails from offering much emotional insight, while also setting up a narrative that will be a bit more action-packed than emotionally revealing. Still, after the slog of Lando’s trial, whatever direction the book might be heading in with its upcoming final two issues. We won’t give up hope for a satisfying sendoff to the series based solely on this issue, but whatever this narrative might be, it’s not off to a particularly strong start. — Patrick Cavanaugh

Rating: 3 out of 5

ULTIMATE X-MEN #5

Ultimate X-Men is rapidly approaching the formation of the actual X-Men as issue #5 introduces new mutants, their origin on Earth-6160, and the first mention of that all-important letter. It’s the introduction of some of these elements near the issue’s end that results in some of the only stilted narration and storytelling of the series to date, but it’s dispatched with efficiency. Beyond those developing elements, Ultimate X-Men #5 leans heavily into what’s best about the series as both Hisako’s small group of friends and their seeming rivals continue to explore and discover abilities. The evolving definition for mutants in this space ties into the shadowy figure haunting the series in one of their most viscerally creepy appearances to date. It’s an outstanding continuation that promises this is only the beginning of a proper saga. — Chase Magnett

Rating: 4 out of 5

X-MEN: BLOOD HUNT – LAURA KINNEY THE WOLVERINE #1

Big event one-shot tie-ins are very much their own thing, most of which offer little value to either the characters at the center or the event they’re a part of. The Wolverine’s “Blood Hunt” standalone at least provides some interesting moments for both of its lead heroes, even if the overall action of the vampire-centric book is never all that exciting. It’s a harmless, inoffensive issue that could be better, but could also be a whole lot worse. — Charlie Ridgely

Rating: 2.5 out of 5

Image #1

DESTRO #2

Destro #2 parallels its protagonist with rivals Xamot and Tomax as each arms manufacturer responds to the attack at the end of Destro #1 and prepare their next moves. It effectively constructs a conspiracy (bound to lead into the broader Energon universe) with consistent methods and motivations for each half of the conflict. The biggest flaw is that the two sides, including their leaders, are barely distinguishable beyond superficial differences (i.e. whether one has a twin or chrome mask). The action sequences that play out from their reprisals offer some excitement but struggle to match the bar established in other Energon-related series as hardly differentiated robots and masked men are decimated. It’s only the final sequence calling back to Destro’s heritage and introducing a new figure to this growing conflict that manages to promise more than well-trod ground in Destro‘s future. — Chase Magnett

Rating: 3 out of 5

FISHFLIES #7

Surprise, Jeff Lemire concludes his latest series in a devastating fashion with art that will leave you wanting more. Lemire’s strength as a cartoonist is that he knows he can fill in the gaps of his narrative with the art and vice-versa, he’s able to relish in the small details either through a facial expression or sorrowful prose. The final issue of Fishflies checks all of the boxes you could want from a Lemire story with unique imagery and a melancholic narrative that all wrap up with just a hint of optimism. — Spencer Perry

Rating: 5 out of 5

G.I. JOE: A REAL AMERICAN HERO #308

G.I. Joe: A Real American Hero #308 ramps up the tension as all parties converge on Springfield for the climax of this long game of espionage. The artwork in this issue is clean and clear but less textured and narratively dense than in past issues. That makes for a brisker reading experience, and the linework is strong, but it loses some of RAH’s distinct flavor while also clashing with the coloring, which layers on extra texture. The dialog is a mix of RAH’s slightly old-school exposition. At points, it also betrays G.I. Joe‘s toyetic roots as it veers into discussions of vehicles with names like “the Thunder Machine” and different classes of cannon fodder troops, which some (like me) will find delightful, but others may struggle to take seriously. But then, maybe you’re not supposed to take it seriously. Possibly to match the lighter artwork, RAH #308’s script has a lighter tone, with jokes scattered throughout and a few moments of pure absurdity, such as a full-tier panel of a mutant who looks like Cthuhu’s cousin performing air traffic control and a van full of Arashikage leisurely driving down a busy highway in broad daylight while they’re all wearing their full ninja regalia as if it’s the most normal thing in the world. This issue of RAH may lean a bit more into G.I. Joe‘s cartoonish aspects than readers are accustomed to, but it will still leave them eager to see what happens when it all goes down in Springfield. — Jamie Lovett

Rating: 4 out of 5

NAPALM LULLABY #5

Napalm Lullaby #5 finally offers some much needed backstory and context to the overall story and while interesting, it also feels a little cliche – an unwilling messiah controlled by those with dubious goals and plans, our heroes the only people who can save him from torment and thus, the world because of their unique tie to said manipulated messiah. While it’s clear there’s a larger commentary here about the nature of false prophets and people who would manipulate things like tax loopholes and use religion for their own financial gain and power no matter the emotional damage to others, it again feels a bit overdone, asking the reader to go along with something that seems very out of left field given everything we’ve seen to date. All that said, this twist might just be what the series needs to keep the momentum going even this is a very text-heavy issues. — Nicole Drum

Rating: 3 out of 5

PLASTIC: DEATH & DOLLS #2

The visual panache of Plastic: Death & Dolls remains a unique one as the juxtaposition of its grisly violence should butt heads with the elegant pastels that make up the rest of the world. It’s a righteous balancing act by artist Daniel Hillyard and colorist Michelle Madsen and they handle it well. Plastic‘s larger narrative however is not as interesting as the clear workload put into making its visuals work. Scribe Doug Wagner has something interesting here with the lead character but there’s limited actual story in this month’s issue. — Spencer Perry

Rating: 3 out of 5

PURR EVIL #5

Talk about a complicated and messed up family dynamic that’s going on here. We’ve got decapitations, arms being chopped off, all in the backdrop of these pretty girls doing diabolical things. On the bright side, at least Purr Evil doesn’t take itself too seriously. — Tim Adams

Rating: 2 out of 5

Image #2

REDCOAT #4

If nothing else, Redcoat feels like Geoff Johns and Bryan Hitch have been unleashed upon this series with no restraints, which ultimately helps this series stick with readers. Simon Pure and Einstein continue their time hopping “adventures” and are once again presented with some familiar challenges, one of whose identity will cause some readers’ eyes to bulge out of their skulls. Considering the fact that said shocking figure is also given a “Superhero Style” summary of text the following pages also got a chuckle from yours truly. Redcoat feels like high adventure that works well in terms of giving readers enough to stick around following each issue and I’m anxious to see where Johns takes this component into his new Image Comics’ universe. — Evan Valentine

Rating: 4 out of 5

REMOTE SPACE #2

Cliff Rathburn once again is able to create a feast for the eyes in further exploring the futuristic landscape of Remote Space. In learning that this series is only four issues, I’m left to wonder how this series can be wrapped in a tidy fashion though I’m interested to see. There’s a lot of moving pieces when it comes to this new universe but said moving pieces are compelling, weaving a story that is well worth checking out when all is said and done. — Evan Valentine

Rating: 4 out of 5

RIFTERS #2

Rifters #2 begins and ends with a chase sequence set in the early 20th century as if the mechanism of time travel was only good for a single sort of comedy-action bit. It’s a reflection of a seemingly one-note series presenting depthless characters, sophomoric humor, and only the vaguest hints of a plot. That wouldn’t necessarily be a problem if the jokes about feces and castration were genuinely funny, but any American who’s passed through a public middle school will recognize this fare. Not even the visual presentation of these time-spanning oddities assists in evoking any enjoyment as it suffers from excessive cross-hatching, poorly utilized splashes, and a lack of definition in both setting and figures. Middle schoolers may find plenty to enjoy in these pages purely through the sake of novelty, but any connoisseurs of fine stoner humor will be well served looking elsewhere. — Chase Magnett

Rating: 2 out of 5

THE WEATHERMAN #7

The finale of The Weatherman‘s third volume is a bittersweet but fitting and honest conclusion to the story. Ian Black survives only to find himself thrust into a different sort of light than what was expected—a hero instead of a villain—and after that, the issue busies itself with the details of life going on and what that looks like for him. The issue feels like a nice coda to the story but also subtly and honestly shines a light on the mental toll all of the trauma has taken while offering just the slimmest glimmer of hope. It’s a beautifully done finale that is both haunting and comforting while still leaving the door open for more stories. It’s a fantastic issue to an incredible story. — Nicole Drum

Rating: 4.5 out of 5

WHAT’S THE FURTHEST PLACE FROM HERE? #19

What’s The Furthest Place From Here? #19 provides readers with another side story that still has connections and ramifications for the main story. We get to see a retelling of how the old world fell and how the adults ran away to their secret floating city in the sky. One of the highlights of What’s the Furthest Place From Here? has been its expansive cast. There’s so many characters to keep up with, but they all add a unique layer to the overall storytelling. — Tim Adams

Rating: 3 out of 5

WITCHBLADE #1

[READ THE FULL REVIEW HERE]

It’s been four years since the last attempt at rebooting Witchblade came about, and while that series opted to try something new and introduce a fresh face to be its title character the 2024 version is returning to what fans know. This new series, hailing from writer Marguerite Bennet and artist Giuseppe Cafaro, brings back New York City detective Sara Pezzini as its lead and is a back-to-basics take on the material. However, the new Witchblade succeeds by not trying to emulate the 1990s version; it’s more interested in just looking ahead and trying to forge its own path, even if the franchise it’s building on houses layers of tedious world building. — Spencer Perry

Rating: 3.5 out of 5

Other Publishers #1

AVATAR: FRONTIERS OF PANDORA – SO’LEK’S JOURNEY #5

Avatar: Frontiers of Pandora – So’lek’s Journey #5 breaks with the series’ format as it moves toward its climax.  Rather than learning the ways of another Na’vi tribe, So’lek is once again forced to face the “Sky People,” whose arrival on Pandora triggered his quest. The issue opens with a series of splashes, that, in theory, emphasize So’lek’s hard-won sense of freedom and peace. However, the first of these pages features only flora, leaving the reader to wonder at its purpose. Once So’lek does appear, he’s posed appropriately enough, but the splash pages prove incapable of conveying the passage of time, making the visuals seem detached from events relayed in the narrative captions. As the action picks up, the layouts become more complex, and the issue ultimately ends with So’lek boxed in by the panels around him as he’s taken prisoner. It’s an worthwhile technique that binds the plot to the visual storytelling, but the panel-to-panel execution is wanting. The human machines feel weightless, and the muted colors downplay how they clash against the background of Pandora’s wilderness. It’s also odd that So’lek narrates the early pages, but then that narration drops away as he retreats inward, when readers would most benefit from insights into his mental state. There are ambitious ideas here but a flawed execution results in a muddy reading experience. — Jamie Lovett

Rating: 2.5 out of 5

BIKER MICE FROM MARS #1

The next entry in the NacelleVerse is here, with the long-awaited Biker Mice From Mars debuting this week. The series’ first issue takes readers back to the basics, introducing them to a slew of protagonists and the location the IP takes place. The story itself isn’t revolutionary, nor does it flow along particularly well. Some emotional character beats help keep things afloat for a bit but Biker Mice From Mars #1 is largely hollow. — Adam Barnhardt

Rating: 2 out of 5

BRIAR #7

Briar’s situation goes from terrible to even worse, as she and Spider wind up in a terrible prison run by a cruel warden who actively wants to drive her prisoners into despair. Briar continues to be pushed further and further to the brink until the last page reveal hints that some relief could be coming soon. It’ll be interesting to see whether the comic continues to torment Briar, and what the increasingly brutal consequences when she inevitably reaches a breaking point. — Christian Hoffer

Rating: 4 out of 5

CHILLING ADVENTURES PRESENTS… TRUTH OR DARE #1

This is a fun idea for the students of Riverdale, it’s just a shame it was used on a one-off story to set up something else. Most of the big Archie characters are trapped in different rooms of a mansion and faced with the consequences of their drama, and it seems like one of the franchise’s most interesting stories is about to unfold. But just a couple of pages later everything is resolved and we get a tease for something totally different. You can’t help but be a little disappointed by what could’ve been, even if what we got was still pretty solid. — Charlie Ridgely

Rating: 3 out of 5

HEARTPIERCER #3

The flashback tale perfectly recapped the war between humans and werewolves, with Atala caught in the middle of the feud. This all ties together with the current-day, where we witness a Game of Thrones-style clash as the humans defend their stronghold. Heartpiercer doesn’t hold back from displaying blood and gore, but this is what comes with war. Atala must now face down an old associate who has gone full-werewolf. — Tim Adams

Rating: 4 out of 5

I HEART SKULL-CRUSHER #5

This first arc finale is one of the best issues of I Heart Skull-Crusher to-date, thanks to some important truths that come to light and absolutely perfect third act. The ending is both what you hope will happen and not at all what you’re expecting, setting up and even more interesting follow-up arc. I Heart Skull-Crusher is firing on all cylinders right now. — Charlie Ridgely

Rating: 4.5 out of 5

INTO THE UNBEING #2

The descent into the bizarre cave-like structure continues for the team, and while two of them seem oblivious to what’s going on, Zara not only seems oddly aware of the possible organism they’re exploring, she also might have a nefarious strategy to survive the ordeal. Into the Unbeing continues its descent into madness, and with its exposition out of the way in the premiere issue, this second chapter only gets more bizarre and experiential. Both the narrative and the artwork surprise us with every panel, blending together sci-fi, horror, and cosmic terror in a way we can’t quite figure out. In that sense, the reader is experiencing things similar to what the characters are going through, yet out advantage is we can put the book down and come back to reality. We don’t really know where this series could go, but it’s such a dizzying and ominous experience that we don’t dare back out of it now. — Patrick Cavanaugh

Rating: 4 out of 5

Other Publishers #2

LAWFUL #2

Much of Lawful #2 is spent reiterating key elements from the first, including multiple flashbacks to events published just last month. The series’ dual protagonists remain largely unchanged and there’s little depth provided to the city or culture surrounding them outside of a single raid sequence that struggles to deliver any tension or excitement. It’s only in the issue’s final sequence that the inevitable twist to the monstrous premise driving characters into exile is provided as new information. While it alters the story, the twist itself is hardly surprising and given the lack of any substantial new material, it’s difficult to justify sticking with Lawful as a serialized narrative with so little to offer after a month-long wait. — Chase Magnett

Rating: 2 out of 5

MAN’S BEST #5

Man’s Best‘s finale is faster-paced than previous issues, with actions speaking loudly enough that the usual internal narration is less necessary. In revealing the true intent of the psychedelic aliens that the animals have come into contact with, the series’ primary themes come clearly into focus: individuals as parts of a larger, communal whole. It works best as a learning experience for the three animal leads, who’ve come to realize that their clashing personalities complement one another, but applying it to the entire population of Earth feels like an unnatural upscaling after these last few issues were tightly built around the trio of companion beasts. The artwork is stunning, using shrinking panels to convey the sense of tension building and time dilating. The blend of unusual alien designs and graphics-influenced layouts gives a sense of controlled chaos that works throughout, and the colors bring out the shifting mood with violent reds and calming purples. There are some questionable plot points (A brilliant scientist builds a walking death machine with only one flimsy control device?), and narrative cohesion is sacrificed for thematic grandeur, but Man’s Best ends on the right note. — Jamie Lovett

Rating: 3.5 out of 5

MY BAD: ESCAPE FROM PECULIAR ISLAND #3

My Bad: Escape From Peculiar Island #3 is kind of a sad issue. While the first two stories—one centered around Captain Ohio and one around Chandelier—continue the stories of both of those heroes, they also get a little more personal. We see how simple and low-budget Captain Ohio is, lending to the idea that those who care the most are often those who are cared about the least and it makes for an interesting mirror to how society treats helpers. We also see how Chandelier has changed, so much so that those closest to him are starting to walk away which is insightful and interesting making that story perhaps one of the best in this series today. As for the Peculiar Island tale of it all, that still feels a little ham-handed and cartoony, though we finally get a little forward motion as more people start to figure out that Emperor King is a problem. It’s overall a little uneven issue-wise, but the first two stories are sad gems. — Nicole Drum

Rating: 3 out of 5

PARANOID GARDENS #1

[READ THE FULL REVIEW HERE]

On paper, the miscellaneous elements that compose Paranoid Gardens #1 shouldn’t make sense. Luckily, with Gerard Way and Shaun Simon’s one-of-a-kind yarn of a script and Chris Weston’s gloriously unsettling art, there is an undeniable sense that the series will be something distinct and memorable. While not without a handful of aesthetic flaws, the execution of Paranoid Gardens #1 is a bizarre and beautiful slow burn. — Jenna Anderson

Rating: 4 out of 5

THE POWERPUFF GIRLS #1

Kelly Thompson and Paulina Ganucheau get it, they’ve fully channeled the bombastic characterization of the Powerpuff Girls cartoon along with putting a fresh stamp on the series. Thompson maintains the exact structure that fans are used to experiencing within an episode of PPG while Ganucheau, who contributes both art and colors, delivers images that pop. Longtime viewers will be excited to see not only the care put into adapting that storytelling style into a new medium but also filling it with plenty of winks, nods, and Easter eggs along the way. — Spencer Perry

Rating: 5 out of 5

THE ROCKETEER: BREAKS FREE #1

Scribe Stephen Mooney has been working in the realm of Rocketeer for a while now, and with The Rocketeer: Breaks Free you can start to tell. There’s not a lot going on here that you haven’t already seen in one of his other Rocketeer comics, which is unfortunate as so many others have felt fresh and inventive. Series artist Staz Johnson does have fun with the opening action beats, but a lot of real estate is given to character drama that feels like wheel spinning. Special shout out to color artists Len O’Grady and Marco Lesko who manage to make their work blend together seamlessly in the issue.. — Spencer Perry

Rating: 3 out of 5

Other Publishers #3

STAR TREK #22

Star Trek #22 aligns the various subplots around the themes of legacy, family, and predetermination. The opening pages show Lily Sato collapsing under the weight of the expectations that come with her surname. Next door, Tom Paris basks his daughter in the glow of a Starfleet legacy, the contrast emphasized by the conflicting colors, cold blue on Lily’s side and a warm peach orange on Tom’s. As a reader, your heart breaks for Lily while you wonder what Tom’s well-intentioned doting means for Miral’s future. Wesley Crusher’s reunion with is as touching as it is brief, Wesley is ultimately pulled away again by his responsibilities. Elsewhere, the galaxy’s fate may rest on the outcome of a different mother-son conversation, between Ben Sisko and his mother, the Prophet. It’s a fun bit of worldbuilding to learn that even the godlike beings of the Star Trek universe find the atemporal entities that are the Prophets to be unnerving and incomprehensible, adding another layer to Trek’s fictionalized take on the Kardeshev scale. Their conversation is depicted beautifully as the Siskos travel across time and space, shown as the two taking a stroll across the panels of a two-page spread. The issue ends with choices that could have huge ramifications and will leave readers eager to know what happens next. Star Trek #22 runs the gamut of emotions, lines up themes with plot expertly, and is a total joy for a Star Trek fan to read. — Jamie Lovett

Rating: 4 out of 5

STAR TREK ANNUAL 2024 #1

Star Trek readers finally catch up with Data in Star Trek Annual 2024. Since leaving the Theseus, he’s been pursuing his brother, Lore. Now that he’s picked up the android’s trail, he’s setting his emotion chip aside and seeking help from an old friend, Miles O’Brien, to close this case. The issue could stand to lean into the mystery angle more, especially since Lore makes such a point of lampshading it when he and Data finally cross paths (after a wonderfully creepy, shadow-drenched, violent reveal). There isn’t much puzzle-solving as Data, Miles, and another surprise but not surprising character I won’t spoil here follow a trail of breadcrumbs to their destination. The artwork immediately sets the tone, with a closely framed depiction of Data shedding his Starfleet uniform and emotions before descending on Starfleet Academy, shown in much stormier weather than fans are accustomed to seeing. The story is surprisingly emotional as conflicts internal and external hinge on a lapse in Data’s learned humanity that may have derailed Lore’s redemptive arc as Data is unable to reckon with his error in judgment, the slight he inflicted on his brother when the hand of reconciliation was outstretched. All of this makes Star Trek Annual 2024 an essential and rewarding read. — Jamie Lovett

Rating: 4 out of 5

TEENAGE MUTANT NINJA TURTLES: THE UNTOLD DESTINY OF THE FOOT CLAN #5

Teenage Mutant Ninja Turtles: The Untold Destiny of the Foot Clan brings this chapter of the Foot Clan’s story to an end in spectacular fashion. The sharp linework that has characterized the series throughout is in full effect, using techniques commonly found in fight-focused manga – sparse backgrounds, speed lines – to bring plenty of action to the climax. The conflict between Karai and her would-be usurper is framed as one between magic and technology, and ultimately Karai’s hard-earned experience and well-honed craft overcomes what her opponent has obtained through machine learning. While the artwork is strong throughout, there are moments big and small that stand out, such as Bebop and Rocksteady dive bombing the Dog Star Clan’s base, the exaggerated features of a ninja struck by Casey Jones’ enchanted baseball bat, or the subtle humanity in seeing Karai – armored throughout the series – in simple funereal garb to pay proper respect to her fallen mentor. The issue manages to capably walk the fine line required of such a self-contained story in a larger, shared universe, bringing meaningful closure to this particular tale, and character development to its protagonist, Karai, while leaving plenty of interesting threads dangling to be picked up at a later date. Untold Destiny of the Foot Clan does not disappoint. — Jamie Lovett

Rating: 4 out of 5

THUNDERCATS #6

Panthro steps into the spotlight and absolutely commands it in Thundercats #6, as the series makes a major revelation that only builds the intrigue of the group’s new home. Declan Shalvey’s decision to view much of the issue through Panthro’s internal monologue is one of the book’s strongest elements, as we get a real glimpse of his internal conflicts about how he’s approached Lion-O and Cheetara, When Panthro isn’t mulling over his own choices that led to this moment, he’s dealing with an army of Vulturemen, and that battle is electric thanks to the talented team of Drew Moss and Martina Pignedoli, who crease an aura of menace around the Vulturemen that they don’t so often enjoy in past interpretations. They feel like a geninue threat, and that’s all balanced perfectly thanks to the appearance of the always delightful Snarf. That last reveal is a doozy too, and if this is any indication of what’s in store from here on out, fans are in for a treat. — Matthew Aguilar

Rating: 4 out of 5

USAGI YOJIMBO: THE CROW #4

As Usagi Yojimbo: The Crow nears its ends, its characters come closer to learning lessons about honor and compromise. In particular, Usagi’s young cousin, Yukichi, who began the arc by storming away after even the mention of taking a bounty hunting job begins to see the honor that still lurks within his kidnapper, a down-on-his-luck samurai who has had to turn to bounty hunting to survive. It’s impressive what Stan Sakai can imply through his character designs alone. Though Usagi and his allies (sans Yukichi) have all worked as bounty hunters, it’s clear through his angled grimace as much as his scar that Inuyoshi has had a much more difficult fall from grace since leaving his lord’s service. As is typical of Usagi Yojimbo, the action is swift and the characters are almost cartoonishly expressive. The digital coloring still brings a slightly artificial sheen to a series that often emphasizes natural beauty. Still, even that can’t take away from the masterful hatching that brings texture to this two-dimensional world. With its straightforward and clear storytelling – different permutations on three-tier pages throughout –Sakai blends simplicity with depth, making Usagi Yojimbo consistently excellent comic book reading. — Jamie Lovett

Rating: 4 out of 5

THE WITCHER: CORVO BIANCO #3

Betrayals and sneak attacks abound in Corvo Bianco #3 as the action heats up around both Geralt’s mission and Yennefer’s place on his vineyard. The humor and character work with Geralt’s ragtag band of adventurers provides the heart of this issue as their violent abilities and distrustful natures make for interesting, if tense alliances. However, the action itself, especially what occurs with a group of barely identifiable bandits at Corvo Bianco, lacks the same genuine quality as those conversations and quips. It’s clear that at the miniseries’ midway point that the stage is being set for a typically bittersweet Witcher conclusion, but the plot work required to make that happen is overt in certain sequences. While the artwork is consistently effective in depicting action, it lacks some of the polish and detail of earlier issues. Middle chapters are often messy and there’s still much to be appreciated here, suggesting Corvo Bianco will only improve before it reaches its own conclusion. — Chase Magnett

Rating: 3.5 out of 5

The post Comic Book Reviews for This Week: 7/17/2024 appeared first on ComicBook.com.

It’s been four years since the last attempt at rebooting Witchblade came about, and while that series opted to try something new and introduce a fresh face to be its title character the 2024 version is returning to what fans know. This new series, hailing from writer Marguerite Bennet and artist Giuseppe Cafaro, brings back New York City detective Sara Pezzini as its lead and is a back-to-basics take on the material. However, the new Witchblade succeeds by not trying to emulate the 1990s version; it’s more interested in just looking ahead and trying to forge its own path, even if the franchise it’s building on houses layers of tedious world building.

Bennet begins with an unconventional hook, which is inviting for both new and longtime Witchblade readers. Sara Pezzini introduces herself and her world to us, while the Witchblade itself begins the search for its host (surprise, it’s her!) with some onlookers waiting to see who it will select. Pezzini is a cop that joined the force to find her father’s killers, while the sudden arrival of the Witchblade alters her path in ways that open up the narrative. The first issue brings the origin together in a a fast, modern fashion, though by the time you feel like the story is finding its footing, it’s over. That’s showbiz when it comes to debut issues these days, but the immense amount of set-up required to get Witchblade to its final pages is a lot for a single issue, though wanting more by the end isn’t a bad thing either.

The narrative structure of Witchblade #1’s writing is strengthened by the artistic contributions. Giuseppe Cafaro contributes line art to the series, setting the stage with a great amount of detail in its establishing shots and in smaller moments that really sell you on what this world is. Cafaro also manages to deliver great splash pages that do what those kinds of images should, capturing your attention with a bombastic moment and a defining point in the plot. They even manage to deploy a splash page requiring you turn the book ninety degrees to really appreciate it. Arif Prianto is the color artist on the series, setting the mood for every image by adding depth and making sure layers of colors flow together.

At least one marked improvement in the material over previous versions of Witchblade is that the sleaze factor has been toned down. Rather than single panels highlighting cleavage or moments where a woman just takes her pants off to reveal a thong, the story doesn’t even have a place for that (not yet at least, but it seems to be foundational for this version). For some this is perhaps the series losing its appeal, but an attempt to make a character like this work in a modern context without a stringent adherence to bawdiness feels like a win.

As good as Witchblade #1 looks and as well structured as it narrative is, the first issue isn’t without its stumbling blocks. It’s not that anyone unfamiliar with the series will be lost, rather nothing about its plot or character feels new. There’s a hint of rejuvenation from a macro view of the 1990s comic, but nothing in this first issue hints that some kind of radical take is on the horizon. By the end of the issue it’s still not entirely clear what the Witchblade can even do beyond vague magic fighting, but the thing working in its favor is that it at least looks very cool when doing that. 

Published by Image Comics

On July 17, 2024

Written by Marguerite Bennet

Art by Giuseppe Cafaro

Colors by Arif Prianto

Letters by Troy Peteri  

Cover by Marc Silvestri

The post Witchblade #1 Review: Back to Basics appeared first on ComicBook.com.

You know how in comic book movies, every once in a while, it feels like we get an absolutely perfect pairing of character and actor? Robert Downey Jr. and Iron Man are now inseparable. Deadpool is forever Ryan Reynolds. You’ll never bring up Wonder Woman and not talk about Lynda Carter. The actual comic books can be that way as well, at least from the perspective of a character and the writer behind them. The Hulk and Al Ewing are now eternally linked; the modern Captain America doesn’t exist without Ed Brubaker; Thor wouldn’t be Thor without the work of Jason Aaron. And now Aaron looks to pull off that kind of feat once again, this time with the Sub-Mariner.

Namor #1 marks Aaron’s return to Marvel Comics, and the first time he’s handled the former Atlantean king outside the pages of team books. This first issue feels a lot like his first foray with Thor back in 2012, like a creator who was meant for that character at a specific moment in time. Namor is such a tricky character to get right, but Aaron’s take soars from the opening pages, delivering a Sub-Mariner that is both true to the anti-hero we love and revolutionary in ways that we don’t quite understand yet.

Aaron’s take on Namor begins with the Sub-Mariner imprisoned at sea, separated from the water that gives him power, with no intention of going back underneath the surface. He has resigned himself to a life of solitude after realizing that he might have done his people more harm than good. When the prison is attacked, Namor learns the truth of what has happened in the seas since he gave up his throne as King of Atlantis: World War Sea.

That’s literally how the all-out battle for oceanic dominance is referred to in the issue, and the smile on my face could not be contained when those three words appeared on the page. Seven kings have staked a claim for the throne, and the world on land is just waiting for an excuse to hate the water-dwellers. With so much at stake, Namor is challenged to get over himself and realize that, problematic or not, he is the only hope Atlantis has at this point. 

This new Namor series tells the titular character’s story in two different timelines, with Paul Davidson handling the present-day art, while Alex Lins takes over for the flashbacks to Namor’s past. It’s incredible to see these two different artists work so cohesively, even while telling two completely different tales. You can tell the art changes, but the styles don’t clash in any way. They’re fully complimentary, feeling more like one artist setting time periods apart rather than two separate individuals.

When the story goes back in time, the edges get a little less rigid, the colors get a little brighter, and there’s almost a boyish charm to things. You can see just how those flashbacks would fit into the memories of the exact version of adult Namor on the page. I really can’t say enough about how well Davidson and Lins compliment one another throughout this book, taking the entire project to a new level.

Even in the middle of two great art styles, what really sticks out here is Aaron’s pitch-perfect characterization of Namor. Namor is an anti-hero who has no problem taking the low road. He’s also charismatic and wildly likable, but not in the “wink at the camera and flash a sexy grin way that lets you know he’ll always eventually do the right-and-hot thing.” Namor can be a bad guy, but there’s always a noble element to his actions that can’t help but seem endearing. He’s easy to dislike and distrust but impossible not to love. When he speaks, you should be a little mad at him while also saying to yourself, “He’s not wrong and, frankly, I’d run through a brick wall if he asked me to.”

Aaron understands every bit of that rambling nonsense I just spewed at you. He understands it at a deeper level than just about any other writer that has touched the character over the years. It makes sense, given what Aaron did with a character like Loki throughout his Thor run, but it’s still refreshing to see such life and tenacity given to a character that gets the short end of the stick far too often.

The writing of Namor’s inner monologue alone is worth the price of the comic book. 

“I feel my blood become a storm-tossed sea.”

“Every night, I say a prayer to Neptune. I pray… for desiccation. I pray to be a beached whale rotting on a sunbeat shore.”

“Here lies the Last King of Atlantis, who died with his back to the sea.”

I mean, come on. On top of being the perfect level of brooding for a character like Namor, this dialogue is undeniably cool. At the end of the day, superhero comics should make you cheer under your breath and cause involuntary fist-pumps at the end of a good page. Namor had me doing both on a consistent basis.

There’s a lot more going on under the surface of Namor in this series, as Aaron is only just putting all the pieces into place. There’s so much still to come and we don’t yet know where it’s headed. But that’s the beauty of this book. Looking out onto Namor’s horizon fills you with nothing but unbridled joy; not because you’re expecting some grand twists or big character reveals, but because these initial pages did all of the little things right.

This is the Namor we’ve dreaming of and, if Aaron’s history is any indication, this might be the start of a run that redefines the character forever. Strap in and hold on tight.

Published by Marvel Comics

On July 17, 2024

Written by Jason Aaron

Art by Paul Davidson and Alex Lins

Colors by Neeraj Menon

Letters by Joe Caramagna

Cover by Alexander Lozano

The post Namor #1 Review: Aaron’s Sub-Mariner Is Leagues Above the Rest appeared first on ComicBook.com.

Much like his music with the ubiquitous emo rock band My Chemical Romance, the comics of Gerard Way seem to arrive in my life at exactly the right moments. The first volume of Way and Gabriel Bá’s The Umbrella Academy became a sacred text among my adolescent friend group, as we passed around a single dog-eared copy and reveled in the bizarre family drama within. Way and Nick Derington’s Doom Patrol revival arrived just before a period of great change in my life, with an explosion of creativity and personal agency that still lingers in my head. Time will only tell exactly how Paranoid Gardens, the newest Dark Horse Comics venture co-written by Way, will encapsulate the current chapter of my life, but the overwhelming promise on display in its debut issue has me thrilled. 

Paranoid Gardens #1 follows an eclectic menagerie of characters at Paradise Gardens, a reclusive care center which appears to be a lot more than literally meets the eye. Amid a mix of superheroes, aliens, and other bizarre creatures is Loo, an orderly beginning to doubt her role in the hierarchy of things, as well as her own memory. 

It is truly impossible to define Paranoid Gardens with a single genre or element, as the first issue already folds in gaps in memory, an untrustworthy superhero, grotesque-but-endearing humanoid monsters, and some sort of massive multimedia conspiracy. This smattering of elements could easily result in a disjointed premise and at first glance, Paranoid Gardens #1 can be read as a disparate series of kooky or unsettling vignettes. But through Way and Shaun Simon’s script, nearly all of these elements are strong enough to provoke curiosity as much as confusion. The only weak point, solely in the first issue, are Loo’s memory gaps, which are beautiful but unfulfilling when compared to other high-concept subplots.

It will remain to be seen if the lore of Paranoid Gardens becomes as operatic and beloved as Way’s work on The Umbrella Academy or The True Lives of the Fabulous Killjoys, but the series certainly has plenty of runway to reach that point. Following the age-old trend of mainstream comics funneling other art forms or cultural touchstones through their work, the multimedia menagerie of Paranoid Gardens seems to convey themes of age, agency, and discomfort. Again, the issue only has so much real estate to effectively establish those themes, but the execution gives each panel or bizarre sequence a surprising amount of narrative weight.

The aesthetic of Paranoid Gardens is inherently ambitious, betraying and baffling a readers’ own sense of reality at plenty of turns. Chris Weston’s art proves to be well-suited to that challenge, effectively (outside of the occasional overdesigned facial expression) grounding the issue’s humanoid characters and overall sense of space. As a result, the surreal elements of Paranoid Gardens #1 are presented for maximum impact, with the pacing and panel design furthering the proverbial punchline. Dave Stewart’s colors present nearly every hue imaginable, while once again grounding the ordinary elements in stale greens, grays, and browns. Nate Piekos’ blocky all-caps lettering gives weight to every one-liner while creating a kind of timelessness that suits the issue’s disparate elements. 

On paper, the miscellaneous elements that compose Paranoid Gardens #1 shouldn’t make sense. Luckily, with Gerard Way and Shaun Simon’s one-of-a-kind yarn of a script and Chris Weston’s gloriously unsettling art, there is an undeniable sense that the series will be something distinct and memorable. While not without a handful of aesthetic flaws, the execution of Paranoid Gardens #1 is a bizarre and beautiful slow burn. 

Published by Dark Horse Comics

On July 17, 2024

Written by Gerard Way and Shaun Simon

Art by Chris Weston

Colors by Dave Stewart

Letters by Nate Piekos

Cover by Chris Weston

The post Paranoid Gardens #1 Review: The Broken, the Beaten, and the Bizarre appeared first on ComicBook.com.

The world of Dark Knights of Steel grows with two new stories, one set in the past and another set across distant seas. The new Dark Knights of Steel: Allwinter miniseries features a brand new prestige story by Australian fantasy novelist Jay Kristoff and French illustrator Tirso alongside a prequel by writer Tom Taylor and artist Riccardo Federici. Although neither story features the Game of Thrones-style shocks that defined the original miniseries, both feature interesting takes on classic DC characters, with Kristoff and Tirso’s tale of a reimagined Deathstroke particularly standing out.

The original Dark Knights of Steel expertly threaded the needle between Game of Thrones-style shocks and a world that felt both familiar and strange to longtime DC Comics readers. Instead of imitating that style, Kristoff and Tirso opt instead for a grimmer and more melancholy take, using a palette of black and white to reflect a grim North where Vandal Savage has built an empire of eternal winter. One of the keys to Savage’s success is Slade, a grizzled and efficient mercenary with a talent for killing. There’s nothing superhuman about this version of Slade, besides perhaps a supernaturally precise aim, but he’s apparently someone Savage has come to rely upon during his conquests. Savage pays Slade to bring in an unnamed captive, but Slade quickly turns his back when he discovers that the would-be target is protected by Slade’s estranged wife. 

What I enjoyed most about Allwinter was how Kristoff and Tirso opted for something very different from the first Dark Knights of Steel series, with a “low” fantasy take and a Norse-inspired aesthetic instead of the Central European fantasy knights of the original. Additionally, Tirso uses an exclusively grey-toned color palette for Allwinter, reflecting both the grim winter of Savage’s rule and Slade’s outlook on life. It also provides contrast for the last page reveal of the comic (with Slade’s target fully colored), both to reflect the character’s importance to Slade both as a target and a drastic change to his melancholy outlook on life. The issue feels very different from the original Dark Knights of Steel series, but not so drastically changed that it seems like a separate universe. 

Meanwhile, Taylor returns to the world that he created in “Heir to the Sea” with a new prequel story about Jonathan and Martha Kent, two characters missing from Dark Knights of Steel. Here, they are renowned warriors working for the Waynes who are put on a collision course with an underwater tyrant and what seems to be a soon-to-be-born Aquaman. The idea of warrior Kents adopting Aquaman is interesting, especially as none of the characters appear in Dark Knights of Steel, which of course is set after “Heir to the Sea.” This story, at least at the moment, is mostly set-up, but I’m excited to see what Taylor and Federici do just based on that set-up. 

Allwinter is a solid expansion to the original Dark Knights of Steel and I’m glad that DC sees value in this fantasy-inspired take on their superhero universe. Taylor ushered in a bold and dangerous ethos with the original miniseries and Allwinter, at least at the outset, appears ready to continue this.  

Published by DC Comics

On July 17, 2024

Written by Jay Kristoff and Tom Taylor

Art by Tirso and Riccardo Federici

Colors by Tirso and Arif Prianto

Letters by Wes Abbott

Cover by Tirso

The post Dark Knights of Steel: Allwinter #1 Review: Dark and Grim Fantasy appeared first on ComicBook.com.

It’s 1966. An angel and a telepath are casually eating pizza on a street corner. The angel worries they will miss seeing The Lovin’ Spoonful play live if they don’t hurry. The telepath asserts that the ethical thing for them to do would be to take over the world. This is The Power Fantasy #1 from the reunited Peter Cannon: Thunderbolt team of writer Kieron Gillen and artist Caspar Wijngaard, an introduction to an alternate reality where the dawn of the nuclear age also heralded, not coincidentally, the age of “superpowers,” a term now specifically used for a handful of beings who each possess the destructive power of a nuclear arsenal.

The most powerful people to have existed ever discussing world domination over a slice is perfectly emblematic of the dissonance at the heart of The Power Fantasy‘s premise. How do the mundane, the fun, and the beautiful continue to exist in the shadow of all-powerful beings who could turn everything to dust on a whim or when losing their temper? Except that’s not a fantasy. That’s how we live every day, in the shadow of billionaires, tyrants, and the military-industrial complex.

One could label The Power Fantasy as a thinking person’s superhero comic. Gillen’s penchants for irony and wordplay are on full display, leveraging the double meanings of words like “superpowers” (i.e. The fantastical abilities, or the entities upon which the axes of political power swivel?) and the very notion of a power fantasy (i.e. It’s clear early that The Power Fantasy is not a comic book for escapist wish fulfillment but deconstructing notions of power and how it is wielded).

The entire first issue follows Etienne Lux, the telepath from the opening sequence. The Power Fantasy was born of ideas Gillen had while working on the X-Men during the second half of the Krakoan era. In that light, it’s easy to see Etienne as being loosely inspired by (though crucially, not analogous to) Professor X. During his time writing Immortal X-Men, X-Men Forever, and Rise of the Powers of X, Gillen continually challenged the notion that Professor X is a good man, pushing the question of what awful things such a person who is that comfortable in his power and entirely certain of his righteousness might do, unchecked, to achieve what he considers the morally correct ends.

That interrogation continues in Etienne who, unlike Professor X, is all about keeping power in check. Knowing that any battle between the superpowers would undoubtedly lead to mass extinction, Etienne has seemingly memorized the writings of all the great ethical philosophers, wielding their teachings like variables in an equation he has written to solve for right and wrong. And yet, his tense conversation with the book’s angel, Valentina, and his tendency to speak is qualified, realpolitik-accented doublespeak (the right to live should be extended to “as many people as possible,” “lying unnecessarily is unethical”) is unnerving, hinting that a more practical realist lurks beneath his benign and erudite demeanor, one who has the power to commit mass violence with a mere thought.

Yes, The Power Fantasy could be described as a thinking person’s superhero comic that walks in the footsteps of works like Watchmen (which may come off as somewhat ironic to anyone who has read Gillen and Wijngaard’s Peter Cannon: Thunderbolt). However, it is also a comic book for anyone who might enjoy seeing a superpowered hippy be incinerated by an orbital laser only to mend himself back together again in the aftermath.

With The Power Fantasy, Wijngaard has reined in some of the raucous energy of his most recent work, the weathered anarchy of Home Sick Pilots and brutal savagery of All Against All. It’s still recognizable as his artwork, but more focused and controlled, with some of his sharpest linework. It’s a visual style that fits a story where every violent action could mean the end of life. When violence does occur and the delicate balance of power comes precariously close to tipping, offering Wijngaard the opportunity to tap into the controlled chaos of some of his previous work, it makes those moments—such as when a man’s insides are burning away like the flickering of paper turning to ash—that much more arresting.

Superhero fans love to ask which hero would win in a fight against another of their kind if they ever came to blows. With The Power Fantasy, Gillen and Wijngaard suggest the answer is that no one would be left alive to declare a victor. It is a world that ups Watchmen‘s Cold War game by multiplying the threat of Doctor Manhattan by six and balancing humanity’s continued existence on their ability to self-police. The Power Fantasy #1 begins in 1966 with Etienne sharing pizza with an angel. It ends in 1999, with Etienne cutting an interview short, having committed multiple ethically correct murders before lunchtime. On the final page, depicting Etienne walking away, blank white negative space creeps up from the bottom right-hand corner, as if hinting at things already beginning to come apart.

By the end of The Power Fantasy #1, the reader is left with the impression they’re waiting for a bomb to go off. Or perhaps six of them. It’s intense, yet understated, and gripping. Ripe with the potential for drama, intrigue, nuance, depth, and meaning, The Power Fantasy is primed to explode superhero comics.

Published by Image Comics

On August 7, 2024

Written by Kieron Gillen

Art by Caspar Wijngaard

Colors by Caspar Wijngaard

Letters by Clayton Cowles

Cover by Caspar Wijngaard

The post The Power Fantasy #1 Advance Review: A Game of Superpowers appeared first on ComicBook.com.