Abel Loza Comic Reviews

1776 #2 ultimately accomplished what it needed to do: continue the story as a bridge issue while piquing our curiosity. The juxtaposition of American historical figures with modern pop culture icons can be empty at times; however, this issue does a good job of conveying a message through a decent comic book storyline.

​Questions and issues about our founding fathers are never easy to answer, and this issue adds context and complexity. It's not here to sway you one way or another, but it does raise the question, especially given the Avengers' entrenched place in American culture. It took two issues to get there, but 1776 #3 masterfully gave this series gravity.

The pacing is a bit off, and some of the age-old tropes do not fully work, but nothing detracts from the story as a whole. The art is as good as it has ever been, and it finally comes together in sync with the rest of the story. Ultimately, the job of 1776 #4 is to get us ready and set everything up for the final issue. Job accomplished.

The immediate legacy of this book will be how writer J. Michael Straczynski simultaneously tied the country's origins to the essence of the Avengers and reminded us that some of the issues we face now have always been part of this country’s complex history. It will also be determined whether other artists run with this sort of idea in future titles — Marvel characters involved in historical moments.

​While "Project Batman” might be a plot point that might turn me off in the near future, for now, there are a few things to complain about this generational run. If this truly becomes only a 50-issue run, Absolute Batman #19 will be remembered as a key issue that helped get us to what will be an extraordinary ending.

Absolute Batman #20 continues to push Bruce Wayne to his absolute (pun intended) limits as Batman tries to navigate around a collapsing world around him. The pace of the story is neck-breaking; however, it never feels overwhelming or excessive. While the headlines and podcast topics will surely talk about the big, grandiose ideas from Absolute Batman, for me, the devil (or Joker) is in the details. They change the fundamental story of Bruce's rise to Batman, making him a fascinating character, and Snyder and company give both Batman and Bruce an edge they haven't seen before.

This was a fantastic issue, one that not only continues the main story of the K.O. tournament but also satisfies the craving for more, as we wait for issue #3. There are so many instances where these tie-in issues feel more like a side mission or unnecessary for the main plot, but Aquaman #12 really does feel essential reading to fully grasp what is going on with the story as a whole. That is what these tie-in issues should be, and it makes you want to pick up the others immediately to get the complete story. While a little hiccup at the beginning, that didnt take away from the overall success of the issue. This was a watershed issue for Aquaman's character. Make sure to read it.

The introduction of Mera’s mother, Crimson Queen Lolanna Merana Challa, is an added element of storytelling not only to Mera and Arthur Curry, but also to Atlantis. The tension already building between Mera and her mother will be a detail that makes the next issue a must-read. The art is great and goes hand in hand with the story the creative team is trying to tell. The momentum is there for the book to pull off a great story and ending.

Emperor Aquman #16 continues to expand the Aquaman universe into places we have never seen before, as the King of the Ocean looks to grow his kingdom across the stars to keep it safe from the visions he encountered while in the K.O. tournament. The growth of Aquaman’s kingdom into uncharted areas makes this Emperor Aquaman so unpredictable and exciting, as Black Manta is on the horizon to mess with Arthur's plans. The potential of what can happen in this run is something that will undoubtedly create excitement among Aquaman and comic book fans alike. Jeremy Adams, John Timms, and the creative team behind Emperor Aquaman are building something special.

Emperor Aquaman #17 delivers a compelling exploration of how unchecked power, even when guided by noble intent, exacts a steep cost. The creative team behind Emperor Aquaman demonstrates exceptional skill, producing storytelling that expands Aquaman’s mythos. Black Manta and Lollana loom, poised for their revenge, enticing long-time readers with lingering tension. For newcomers interested in this reimagined Aquaman, this issue offers an ideal entry point. Not only is this the standout chapter of Emperor Aquaman, but it is also the highlight of Adam’s entire Aquaman run.

The anthology of stories in this first annual edition in Batman;Rebirth took a swing at something original and it hit a home run. Along with the issue having some very good and interesting stories, these stories are tied in with the holiday season and makes for a great read for the holidays.

Batman #8 helps transition the previous story to the next upcoming arc. This issue raises more questions than answers, but it does help build up momentum towards the new story line, "I am Suicide".

This issue is simple, but does a fairly good job of laying the out premise for the upcoming arc. Although it is a simple premise, it does not make it any less exciting. Really looking forward to seeing where this story ends up.

…237 dead. What am I supposed to do?

Overall I think that Batman #14 brought me back from being underwhelmed from the final issue of I am Suicide and really has ne excited for this upcoming arc, which I can safely assume will also involve Catwoman. Tom King did an excellent job humanizing not only Batman but Catwoman as well, and made them much more relatable to the readers. King also continues to use little known villains in his story arcs which bring some much needed villain-diversity in the Batman universe. Rooftops Part one sets up a very intriguing story line that will no doubt involve Catwoman.

What then did she steal, sir? The night, Alfred. The night. She stole the night.

Batman #16 started off light and humorous but ended up with a much darker and more serious tone. It looks as though the I am Bane story arc will bring an end to the story that has been building over the past 3 to 4 story arcs. Batman #16 starts off slow but ends with a bang. For the most part, I have enjoyed Tom King's take on the characters and I can't wait to see where he goes next.

The ride that King is taking us on I am Bane picked up on Batman #17. The tension that has been building up for the better part of two issues, was finally broken. This then is building towards the inevitable confrontations between Bane and Batman. This is a must read story arc!

Batman #20 was fitting ending for what has been building up for 19 issues. King makes some fundamental changes to the Batman character that make a much more well rounded person. This Batman story arc was a good start for Tom King in Batman and it has me excited to what he has coming up next!

Batman #21 did a good job of setting a tone for the rest of the mini-series. Its script and art made the story come to life, and it really showed of the brutality and anger that came of Reverse Flash. Although no Watchmen characters were physically scene, their presence in the DC Universe has never been stronger and that is perhaps the most important part of this issue!

Batman #23 was perhaps the best single issue of Tom King's run so far, and that is saying quite a lot since he has had some really good issues. I absolutely love when Batman and Swamp Thing team-up and when left in good hands, those characters can work very well together. This issue peals back so many layers in only a few pages, and this is true talent at work.

Tom King has taken Batman in an entirely new direction, one that we have not seen Batman in before, and is really reinventing on how we think of Batman. This is the most vulnerable Bruce has been and we can't wait to see where this plays into for the next story arc.

Batman #25 is the perfect set up for the The War of Jokes and Riddles story arc which will bring us Tom King's most adventurous and original story to date. King continues to explore who Batman really is, while at the same time exploring the war that nearly broke Batman. This continues Tom King's young, but great line of great Batman issues so far.

Tom King and Mikel Janin keep pushing the Bat-Envelope by telling and beautiful yet brutal story of batman's second year in action. As the Joker and Riddler continue to spill Gotham blood all over the streets, it is now up to Batman to determine what he is going to do to stop The War of Jokes and Riddles.

Batman #28 was an interesting and fresh way for Tom King to continue to tell a Batman "Year Two" story during The War of Jokes and Riddles. During this issue, King also continues to peal back more layers in the Batman myths which leaves Bruce Wayne as vulnerable and relatable as he has ever been. The art of Batman #28 also continues to excel and adds a dimension to King's story that gives the reader a full immersive experience of the The War of Jokes and Riddles.

Batman #29 raises the stakes for the main players and pushes Batman to pick a side of the ongoing War of Jokes and Riddles. Tom King, Mikel Janin, and June Chung create a story that makes you want to read each issue twice

The artwork by Gabriel Hardman gives the story a sense of fullness that only the author can provide. There is a sense of great anxiety between the artwork and the story themes that gets you hooked on this issue. Because of its themes and fantastic art, Batman/Green Arrow/The Question: Arcadia #2 is a cannot-miss issue and a cannot-miss series.

At the heart of Batman/Green Lantern/Question: Arcadia #3 lies a central question: do the ends justify the means when it comes to risking lives for the greater good of the world? By raising these dilemmas after emphasizing the shift from global to personal stakes, the narrative draws readers into deeper moral territory. These are precisely the types of questions that can be explored within the pages of a DC Black Label title.

Ultimately, the lack of any significant resolution between the battles is what sank this issue, but the story at large acted as a lifesaver in those waters of inconsistency. I’d love for DC to revisit the concept of a multiversal tournament that stretches beyond their universe—one where the combatants actually lose. But for now, what we got from Boss Battle #1 will have to do.

The Final VerdictDC K.O.: Green Lantern Galactic Slam is a world-merging, well-drawn single-issue comic book that is a must-read for any comic/wrestling fans. While not entirely necessary to the DC K.O., it's always great to see heroes who aren't entirely involved in the main story on their own side missions. Writer Jeremy Adams, artist Cian Tormey, and colorist Romulus Fajardo are true wrestling fans whose passion for the sport comes through on the page. They leave you wanting more of these characters and of this world. While one of the major plot points wasn't entirely necessary, the issue does more good than bad, which ultimately makes it a fun read.

The plot is simple enough, and Harley Quinn vs. Zatanna colors within those lines without straying from the framework. While some elements could improve—specifically the art and dialogue—this issue successfully takes the baton from the previous one-shot battles and hands it to the next. While not earth-shattering, it wasn't supposed to be; it moves the plot forward and gets us ready for next week’s round of tournament battles.

Even with all of its faults, DC X AEW #1 is still a fun and entertaining issue that should make every AEW wrestling fan celebrate how far the start-up company has come since starting 5 years ago. While being drenched in corporate synergy, it is nice to see the second-most-popular wrestling promotion in the United States on such a big platform. So while the comic might leave something to be desired, AEW wrestling fans should be extremely happy to see Darby Allin and Batman on the same page!

DC X AEW #2 turned out to be a fun, messy, and serviceable crossover that delivered enough fan service to AEW and DC fans to make up for the lack of plot and deeper storytelling. The characterization of the wrestlers was so spot-on that it’s clear writer Steve Orlando is the perfect person to helm any future DC/AEW crossovers. Even with its flaws, DC X AEW #2 is something that AEW fans can be proud of. For what it was, the issue does enough to bring lapsed readers back to comics—or vice versa—which is exactly what this crossover was designed to do.

Death Fight Forever #1 is a fun, hallucinogenic trip that provides a shot of nostalgia for elder millennials. It has a punk rock aesthetic and very much gives off DIY energy. This helps bring together all the elements that Andrew MacLean successfully got to work for this unique story. These elements range from scroller video game aesthetics to 1980s movie dialogue and 1990s action movie set pieces, all with an indie feel.

Death Fight Forever #2 continues the acid-trip vision of writer Andrew MacLean and artist Alexis Ziritt. Though brief, leaving the reader wanting more, it's still a fun, wild, and intriguing read. The highlight of this issue is the complexity and impact of the sketch art--when it’s not usually associated with deep storytelling or high art. Ultimately, I enjoyed how DFF #2 and the entire series offer an experience —utterly ridiculous in the best ways—that makes everything feel vintage, retro, and silly, a challenging feat this issue achieves.

We are over halfway through Death Fight Forever, and this issue could have done more to expand the already wild world. Still, it was a great, visually pleasing entry.

Death Fight Forever #4 leaves us wanting more in this uber-interesting world that Andrew Maclean has created, but it does enough to keep us intrigued for the final battle between our heroes and the main villain. This issue offers a shift as the artist and artwork change once again, creating a sense of freshness and world-building that does much of the storytelling. However, while the cinematic view of the story is grandiose and beautiful to look at, it takes up a chunk of the real estate that could be used for dialogue and more story.

Lobo #1 boldly reintroduces the character in a way that defies convention. The premise—a Lobo reality show—is interesting enough for this new chapter of DC comics, post DC K.O. This series will not be for everyone, as the story is very meta and the art style is very punk, but if you are still on board after that, you will really enjoy this.

Lobo #2 takes a dig at the entertainment industry in the name of those with creative freedom. While a lot of the jokes will hit you over the head with their lack of subtlety, there are enough creative and new ideas that readers will continue to come back on a monthly basis. The Emperor Aquaman crossover was unexpected but one of the issue's highlights. The art and story go hand in hand to create this unexpectedly beautiful universe. There is still a lot to be determined, and hopefully the rest of the run goes smoothly, but Lobo #2 2 was thoroughly entertaining.

​While Lobo has been an up-and-down affair, as far as storytelling goes, Lobo #3 seems to be the unofficial start of the official story. With Supergirl around the corner, Lobo is set to ramp up right in time for the summer.

The ambitions and justifications of the characters seem all over the place and fail to make sense or follow any logic. However, despite its faults, Marvel Zombies: Red Band #4 can still be fun if it is read without comparing it to the other, better chapters of the Marvel Zombies franchise.

The entire run will be remembered for what could have been, not what was, indicating missed opportunities and unfulfilled potential. Do you know how sometimes we get a “Director’s Cut” of a movie that makes the film that much better? I think that would benefit this run immensely. If we could get a director’s cut of this series that fills all the holes and adds layers to the main story, it would do wonders for Marvel Zombies: Red Band.

Between Prey, Badlands, Killer of Killers, and now Predator: Bloodshed #1, the Yautja are on a roll and have reinvigorated the popular franchise.

I have found the Predator adaptations far less interesting than the Alien Marvel adaptations, which is a shame because the Predator is just as interesting an IP as the Aliens franchise, but hasn't seen the same vigor as the Alien franchise has with Marvel. Hopefully, Bloodshed can end on a high note and set the tone for a book that is as good from start to finish.

This was a great hair issue, as the art from Matteo Lolli, Laura Braga, and Vasco Georgie brings to life Gardner’s bowl cut and John Stewart’s beard. Lolli’s art also gives the universe gravitas and brings scale to the world—when it's in space, everything looks big; on Earth, it looks smaller. This issue makes me want to pick up any current Green Lantern title and delve deeper into Guy Gardner’s lore. One of the better one-shot, single-issue comic books of 2026!

The team of Chris Condon and Jacob Phillips will have a set of eyes on them from one of the big publishers. If the start of The Peril of the Brutal Dark: An Ezra Cain Mystery #1 is any indication of what a first impression might be for first-time readers, Condon and Phillips will be writing for DC and Vertigo for a while.

The Peril of the Brutal Dark: An Ezra Cain Mystery #2 cements its status as a leading example of inventive genre-mixing in comics. While this issue isn't as exciting as its predecessor, it excels at laying the foundation for a complex world and nuanced characters. Its standout art demands attention and elevates the entire experience. #Peril 2 exemplifies storytelling that shows rather than tells, largely through Phillips' masterful art. Chris Condon, Phillips, and their team continue to prove they are among the best creative talents in comics.

Peril of the Brutal Dark #3 is the weakest of the three chapters so far, primarily because exposition and world-building overshadow the narrative, slightly diminishing the story's momentum. Despite this, it remains a well-rounded and engaging issue. The darkness of the world is a major highlight, vividly conveying the bleakness and hopelessness Cain and others endure. This chapter also showcases Chris Condon and Jacob Phillips' genre-blending talent and dynamic art.