Chase Magnett's Comic Reviews

Reviewer For: ComicBook.com, Comics Bulletin, Infinite Comix Reviews: 3597
6.8Avg. Review Rating

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.
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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.
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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.
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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.
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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.
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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.
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The result is an incredibly fun presentation of Wolverine focused on their undeniable 80s action movie appeal.
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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.
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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.
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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 Babsa new fantasy series at Ahoy Comics featuring a sword-wielding heroine facing a world filled with dragons, orcs, and other monstersa 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.
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Fantastic Four #23 is an endearing and funny issue that promises plenty more of that delightful approach ahead in #24.
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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 pagesthe only two to suggest at some larger story structureseem tacked on like an afterthought to remind readers to buy more Ghost Machine comics for the whole picture.
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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.
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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. -
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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.
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It's another excellent issue of Transformers that will leave readers eager to chase its entire ensemble into the future.
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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.
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There's a lot of things the concept for Blood Hunters could have been, but it unfortunately opted for boring.
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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.
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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.
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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.
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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.
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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.
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Shazam! #14 is a great example of what Shazam comics do well in the superhero genre.
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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.
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The result is an issue with multiple highlights that ultimately reads as set up for better things ahead.
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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).
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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.
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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.
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Rather than arriving at a climax, issue #5 reads like yet more prologue leaving any excitement for this cosmic battle until October.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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With so many pots of plot on this metaphorical stove, even issues like thisfocused on watching each of them prepare to boil overmake for an excellent installment.
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While the task of this miniseries is accomplished, it's uncertain if readers will be given cause to consider it again.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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 Andr Lima Arajo makes for an excellent addition to the series, especially given this issue's focus. Arajo 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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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The result is a dismal acknowledgement of what's occurring on the fringes of Absolute Power and raises the question: Couldn't all of this have been included in a few narrative captions instead?
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Inconsistent artistic styles and a sense of rising action without any clear destination make for an underwhelming installment of Amazing Spider-Man.
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Presentation isn't enough to make this slow burn less miserable.
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These men are not supervillains but reflections of very real historical actors, which fills their dialogue with subtext that ought to pull readers back for multiple rereads when Get Fury is complete.
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s. For better or for worse, The Domain #1 succeeds in being exactly what it's pitched as and joins an oversaturated market.
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The Whisper Queen #3 delivers readers both a satisfactory conclusion and undeniably enticing introduction in the miniseries' final issue.
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By the issue's end it's clear that the worst is yet to come and the stunning depiction of both action and character combined make that terrible future seem irresistible.
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Writer Deniz Camp's superhero work has garnered a rewarding as dense, rewarding reads and it's the careful juxtaposition of perspectives that makes this issue so effective.
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The action and gore may be great, but don't expect to think much about these characters or their struggles after the final page is turned.
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The steady winnowing of contestants continues in X-Men: Heir of Apocalypse #3 as the stage is set for the miniseries' climax later this month. While that ongoing conflict creates moments for humorous or dramatic character spotlights, specifically on Mister Sinister and Emma Frost, there's little drama to be found in a story with such a familiar structure.
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Fans of Cyberpunk in any form will be well served by Dark Horse Comics' publications, and it appears Kickdown is well prepared to continue that successful streak.
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It is a masterclass in effective comics storytelling and a surprisingly inviting issue #1 for any reader tempted to explore the Grendel saga.
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Public Domain returns with new characters and conflicts for this reflection upon the nature of creativity and control in superhero comics. Much of the new issue reads like the first episode in a new season of television; sequences are staged to remind readers of key character dynamics and plot threads, while introducing a couple of new ones to the mix.
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There's no doubt that artist Mike Norton's creature designs are outstanding with Hoppy and Tawny being the most expressive members of Billy's family and a design for King Kull that rivals Mike Allred's best superhero work, which makes inconsistent human expressions and forms less noticeable.
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The first installment of this racing story may have struggled getting out of the gate, but it is quickly picking up momentum and Sonic the Hedgehog #70 suggests it could be one of the current volume's best sagas to date.
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Whatever comes next as the story prepares its climax, it's already apparent that this bildungsroman has uncovered what's best in Batman's supporting cast and is capable of presenting those ideas with unparalleled style.
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The entire ordeal (including a back-up story featuring a resurrected Phil Coulson and largely-forgotten plot from Aaron's Avengers) arrives appearing rushed with only the most familiar notes of a Spider-Man morality play and serviceable artwork to show readers.
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Events are explained as they proceed leaving no space for tension or curiosity to develop as every page turn announces "and then this happened." Combine that with artwork that suffers a number of minor inconsistencies before delivering the issue's only effective horror panel at its very, and you're left with a one-shot that seems already prepared to be forgotten.
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Rather than exploring the underlying tensions and causes of rising fascism, Animal Pound begins dipping into apologia. It has no space to consider the other, only the tragedy of how (entirely unexamined) grand founding ideals are twisted into something cruel. In this way it serves to inform us of the cat's perspective, one seemingly lacking in self-awareness.
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Perhaps a one-shot format would have provided a more satisfying framework as this miniseries reads like much ado about nothing.
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Blood Squad Seven isn't without merit, especially for readers with both a familiarity and appreciation for early Image Comics history, with cameos, humor, and action that pay homage to this era with some updated sensibilities. But the underlying premise of yet another take on Youngblood filled with gore-laden violence and bad attitudes offers little to enjoy beyond recognition.
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The density of plot in Dune: House Corrino #4 prevents the issue from providing any more than a handful of pages coated with expository monologues.
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The Flash #10 flirts with DC Comics' summer event "Absolute Power," but carefully walks the continuity-driven tightrope of immersing itself in DC's shared universe without losing the threads of its own story.
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So even as Grommets #2 lays the groundwork for character developments and confrontations yet to come, it's already apparent that this sort-of-memory is an honest interpretation of the good, the bad, and the inextricable overlaps between the two from this specific space.
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Rare Flavours is a comics dish bound to keep feeding the souls of readers for many years to come.
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If there were any doubts about what more Resident Alien had to say about creating a life in the 21st century, The Book of Life lays them to rest with the same confidence and nuanced humanity that have defined this series from its start.
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Even for its intended audience, the result is an underwhelming mystery lacking in surprise. Yet the familiar personalities and consistent quality of artwork still make it a charming, if slight diversion.
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The Penguin #11 sets up the series' climax next month, but struggles to offer any surprises along the way.
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As a result there's little excitement or tension beyond the immediate bloodshed, which is striking enough to carry this issue but probably not the entire series ahead.
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The bloody action is plenty of fun, but readers will be looking for a lot of fast-paced explanations to wrap up this story with only one issue left to go.
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The penultimate issue of Creature from the Black Lagoon Lives! seems to develop the plots and characters already introduced to readers along familiar, if not predictable lines until its final page arrives.
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There's still fun to be had here, but Heir of Apocalypse is quickly losing momentum as it falls into familiar superhero storytelling models with only ambiguous stakes attached.
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All superhero comics might have the potential to be magic, but Bring Down the House is absolutely filled with the stuff.
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Although the stakes are high, the issue doesn't veer away from the series' characteristic humor making for a fast-paced and thrilling read.
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The depiction of grindhouse horror offers readers something notable with plenty of monsters and gore-tastic encounters, but there's little suspense or fright found in such rushed sequences as the miniseries plots toward its conclusion.
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Captain America #10 provides a challenging reading experience, not in that it is difficult to parse but that the stilted dialogue, overt exposition, ill-considered plot mechanics, and other problems make it challenging to maintain interest.
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What's engaging about the start of this 5-issue miniseries plays its two sides against one another. On one hand it is a revitalization to resell corporate IP and all of the associated franchise opportunities with a new face, an entertaining if hollow pursuit. On the other hand, Destro #1 dares to imagine its central figure as a complex anti-hero who deftly shifts between notes of horror and fascination reflecting terrors of modern warfare. It's enough to tempt even a cynical reader to take Destro seriously.
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It's easy for readers to lose themselves in the visual splendor of issue #3, but it doesn't mean this story loses any of its ambition in the telling.
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Invincible Iron Man #19 wraps many of its plots in a fine manner, but those individual pieces never cohere.
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It's another superb issue of John Constantine, Hellblazer and one bound to keep comic book readers talking as they await issue #7.
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Connections to the town's "mystery meat" and distrust amongst themselves sets up action for issue #3, even if there's nothing mysterious about what's to come. Most of what is found in this installment reads like more of the same.
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With its cast established, a range of villains and settings at work, and a great sense of pacing, it's easy to imagine Christopher Chaos carrying on for years with these storytelling norms.
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There's a noticeable gap between intent and execution as Raven's rising threat emerges, but the irony of Titans #12 is that she's already behaving as a villain on the page and only the creative team can prevent the Titans from seeing that.
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Uncanny Valley has previously read with plenty of potential hindered by minor flaws and with issue #3 it begins to cohere into something as interesting to read as its initial pitch.
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With inconsistent artwork that sometimes fails to align with dialogue or appears to feature half-melted facial features, it seems like this title exists primarily because the market would bear another miniseries bearing the label "Amazing Spider-Man" and so it was published with minimal concern.
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Fantastic Four #21 finds an exciting angle on this summer's event, but struggles in its initial execution but there's only upside for the second part of this story next month.
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I expect that G.O.D.S. was not what many readers anticipated from a Jonathan Hickman penned comic featuring such a title, but the intimate romance and character portraits set against a backdrop of apocalyptic eons has been one of Marvel's most charming comics in years.
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Gary Frank still fills Geiger's skull with fury and the landscape with loneliness and dread, and those offer cause enough to continue reading Geiger, even if there's not much to be found beneath that surface.
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Writer Greg Pak and artist Diego Galindo's new urban fantasy series Lawful addresses these challenges admirably in a debut issue that effectively establishes the series' premise, even if it lacks depth that may still develop.
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Artist Chris Johnson salvages some of these efforts with hyperbolic style that plays up the rude and crude elements so that their visual delivery still succeeds, even if the concept lands flat.
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Like most miniseries published as preludes to larger events, Dream Team struggles to deliver a satisfying conclusion.
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Even as a middle chapter, The Whisper Queen #2 provides plenty of pathos, suspense, and splendor making it clear that no space will ever be wasted in Zdarsky and Anka's fantasy saga.
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It's another exciting installment in Dark Horse's consistently successful Witcher adaptations.
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Amidst the action there are plenty of cliffhangers that are left either ambiguous or rely on existing reader knowledge for full effect, but as an accelerating middle chapter, there's no doubt Transformers #9 succeeds in maintaining the series' epic momentum.
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Not only is Ultimate X-Men the most ambitiously inventive and stylishly distinctive of Marvel's impressive new Ultimates line, but it also seems to be the best paced superhero comic arriving on a monthly basis.
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The cynic in me dreaded opening X-Men: Heir of Apocalypse as it seemed a cattle call of beloved, but second-tier characters to reset their stories for a new era of X-Men comics; it certainly serves that purpose, but writer Steve Foxe elevates this assignment with a deft blend of characterization and indulgent style that has me sincerely excited to read issue #2.
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The overall story continues to build suspense as the risk to Peter's life grows increasingly evident and a collection of supporting characters prepare to rally for his side. It's another excellent issue that promises the best is still yet to come.
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There are some charms to be found in the friendly banter, but not enough to make readers seek out Deadweights from the sea of similar superhero fare it struggles to play against.
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There's a lot of ground to cover in the final installment of Friday, but the Panel Syndicate publication model provides the issue space to sprawl and delivers a finale bound to both thrill and satisfy readers.
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Get Fury #1 introduced the miniseries' premise, but Get Fury #2 introduces the story as the background behind these events is revealed in a true-to-life FUBAR scenario that could only be brought to comics by writer Garth Ennis.
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Kaya delivers another outstanding interlude, building out the story chronologically with an in media res portrait of an adult Kaya waging an uncertain war in the not-too-distant future.
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Love Everlasting is only gaining momentum and if future issues even match the standard set in this arc, it's bound to be a postmodern comics classic.
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The mortal portion of the story in Shazam! #12 delivers some effective emotional story beats following the return of Billy Batson's mother to his life.
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King Shark certainly brings a few charming lines as he attempts to defer the violence, but it ultimately builds to nothing as the issue ends exactly where the miniseries promised the start of a much-panned video game.
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As the miniseries shifts its style and aesthetic to cover darker material, it makes clear how effectively Ba's artwork can showcase the best and worst of humanity. And it's evident that although The Boy Wonder functions as a showcase of Batman's supporting cast, it works even better as a fable unto itself in which readers can discover and explore an array of perspectives on family, identity, and self-worth.
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The Infernals maintains a pitch-black sense of humor, summons up some devilishly good action, and hangs it all on a family succession crisis literally from Hell for an appallingly fun read.
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Relaunching Ultimates as the narrative foundation for an entirely new Ultimate Marvel universe nearly 20 years later provides writer Deniz Camp and artist Juan Frigeri with inevitable expectations for how their vision of a remade Earth-616 will measure up against once-revolutionary superhero comics. Camp and Frigeri prove they are more than up to the task in The Ultimates #1.
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There are moments of great catharsis, characterization, and promise, but there are plenty of blunders and overly complex reversals even within the relatively short span of 86 pages.
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There's no denying that House Corrino effectively adapts its source material, but that seems to have cursed its effectiveness as a story in the comics medium.
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The Flash #9 is an exciting issue bound to satisfy readers pondering the series' mysteries since issue #1 while providing plenty of suspense for the adventure to come.
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The first issue strikes a truly unique tone in the marriage of script and art that is equal parts cartoonish and sincere to deliver some big laughs and surprising depths.
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Once Upon a Time at the End of the World is a series that is bound to be an even more fulfilling read in collection than serialization as its final issue draws together the three distinct timelines and art styles into a cathartic, but bittersweet climax.
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While I'll certainly return for any future Pine and Merrimac adventures, if those final few pages really are the end then they offer an unnecessary sour note that doesn't fit the story preceding them.
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Sound meets fury in Rise of the Powers of X #5 signifying nothing except the end of one Marvel Comics brand soon to be replaced by another.
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It's a fine introduction and one bound to improve as the story picks up speed next month.
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There are still plenty of fine dialogue exchanges and a few outstanding character moments, but it's hard to deny that the comics adaptation of The Expanse is the least fulfilling of all the media available to audiences.
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Even if readers find themselves uninvested in the characters involved, there's still a thrill to be found in watching the Cobblepots' titanic criminal infrastructure begin to collapse.
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Underheist relies upon its potent mood and capable cartooning to keep readers invested in a story that may or may not provide a satisfying resolution; there are no hints available at this point to discern which way it is going, though.
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It's already clear that the real monsters of this story are human, but what forms their monstrosity might take and who among them are monstrous remain open and intriguing questions. I, for one, can't wait to delve deeper into those dark waters for answers next month.
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The Amazing Spider-Man #50 delivers an over-sized anniversary issue filled with twists and back up stories for one excellent superhero reading experience.
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The relationships, internal struggles, and characterization that made Afterlife with Archie a surprisingly compelling hit have been set aside for a fast-paced thrillride of horror set in Archie Comics.
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Black Widow & Hawkeye leans into Hawkeye's natural charm as God's beautiful idiot in a nostalgic flashback to the foundational partnership of his and Natasha's careers. It's a fun bit of action that plays up Clint's roguish nature in a classic costume that still looks great.
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It seems that much like the superhero comics that inspired it, Blood Squad Seven is a concept best left in the 90s.
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Spurrier and Campbell have presented an insightful perspective on modern myth-making in the United States examining the many horrors of empire. In Dead in America #5 they carve out space to clarify just how rich their conceit is delivering three outstanding short stories from a collection of artists whose different interpretations of the southwest all resonate with readers who know the environment.
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Six young adults set out on a road trip to a rural ghost town with a hundred year old slice of folk horror haunting it; readers will certainly recognize familiar tropes in the premise, but the execution of The Butcher's Boy #1 makes it an irresistible new comic book tale of terror.
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In The Forged's three-act structure for each arc, the middle segments continue to be strong additions that strengthen all of the surrounding action and mystery by emphasizing character and making sure that the wait for each new climax is unbearably tense. Bring on The Forged #9.
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Titans #11 is an exemplary bit of how to make big superhero comics accessible and I'm already anticipating issue #12 as a result.
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Union Jack the Ripper is an early contender for the best of the "Blood Hunt" tie-ins as it delivers a horror comic that could stand on its own but still benefits from playing in Marvel's universe.
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The Amazing Spider-Man: Blood Hunt #1 is an affair that can only intrigue the most die-hard event readers or Spidey collectors, as it fails to deliver on the best qualities of either.
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The result is a thrilling read that speaks to the heroic qualities found in its leading men and the pure joy of reading a great adventure tale told by such talented artists.
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For any fan of Doctor Doom, Doom #1 is an obvious triumph that presents this comics icon at their absolute best.
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Fans of the Japanese monster are bound to enjoy this collection of varied comics talent who make clear why Godzilla still resonates with global audiences 70 years after its first appearance.
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Ice Cream Man #39 is a painful read and an exceedingly well executed one bound to haunt readers long after they finish taking their time to read this issue.
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Dream Team may not be subtle, but it's returning the Squad to its geopolitical roots and finding plenty of strength in that vein of stories.
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There's no doubt that Ultimate X-Men has set an exceedingly high bar for itself as the single most interesting new Marvel series of 2024 to date and even a transitionary issue like Ultimate X-Men #3 delivers the goods.
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Oliver rushes headlong into cartoon-inspired adventure with his grandfather Pecos Pete in a sophomore issue that plays upon the series' conceit in fun fashion, even as the narrative remains at a slow boil.
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This issue delivers a top-notch example of how to utilize an event tie-in to support the best elements of an ongoing series, and regular readers ought to be glad that vampires paid Amazing Spider-Man a visit this month.
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Horvath utilizes understated details and some outstanding page turns to ensure that the first read keeps readers at the edge of their seats and later reads will be even more satisfying.
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There's merit to the humorous script and the superhero style of this issue, but they fail to effectively support one another when combined on the page resulting in a sub-par team-up.
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Geiger #2 may not reinvent any of the ideas it touches, but it offers sufficient style to keep them entertaining.
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Overall, Shazam! #11 is a middling middle chapter that utilizes the series' humor to stall for time as the real conflict arrives just in time for issue #12.
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Even if much of Kill Arkham Asylum has lacked charm, issue #4 makes the most of a tie-in premise to make for a fun bit of anti-hero action that fans of Boomerang will definitely want to seek out.
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Cartoonist Juni Ba's The Boy Wonder leans into that meta-knowledge of these characters and their frameworks to present a genuinely iconic take on one of the relatively recent additions to Batman canon: Damian Wayne.
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The final few pages alone justify the price of admission with a startling spin on lycanthropy, but the entire issue makes good use of its supernatural elements to keep events visually engaging.
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The Sacrificers #8 is certainly building to something big and those final few pages make the appeal of Max Fiumara's art undeniable possessing the scope of epic fantasy that grounds itself in an absorbing, visceral quality.
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Whereas much of Dark Horse's Witcher comics play like short storiesGeralt walking into a specific adventure and resolving it before moving forwardCorvo Bianco #1 plays like the next chapter in Geralt's serialized adventures, for better or for worse.
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Although there are some issues of consistency in portraying the scale of Transformers, there's no denying that panels emphasizing scale will still leave readers demanding more.
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Although Crave leaves the door open for more stories to be told, it proves to be a well-told story unto itself by its final few pages and sets the stage for an evergreen Image Comics trade in the future.
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The Flash 2024 Annual #1 proves to be absolutely essential reading for the current run of The Flash, as it compresses some heavy loads of exposition and ongoing storylines into a single, over-sized issue bound to read better as a whole than stretched across multiple months.
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Even figures like Castle and Fury are made to seem like minor figures in a much larger world and when the introduction is complete by issue's end, readers are readied to read a bona fide war story and all that it really entails.
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War for Humanity presents kaiju as only comics can with deranged monsters and fantastical elements erupting from every page and issue #5 sticks the landing; the result is one of the best Godzilla comics of the past decade.
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With action sequences characterized as standard superhero fare and smarmy narration explaining everything that's currently happening and what's to come on the page, it's difficult to develop much excitement for this climax.
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Kaya #18 delivers everything I look for in fantasy comics: grand spectacles, character-driven action, impossible decisions and sacrifices, and a sprawling web of events and consequences still to come.
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It's plain to see by now that regardless of age or fondness for Lilo & Stitch, readers will be better served looking for new stories of this titular duo elsewhere.
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Although the characters and backgrounds sometimes lack the vibrancy expected from this line's cartooning, most of the pages meet the high bar of quality established across IDW's Sonic line as they conclude another fine addition to it.
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The Blood Brothers Mother #1 is an undeniable success in delivering a nihilistic vision of the Western portraying bleak men against a harsh environment.
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By the issue's end, the three women of this adventuring party possess clear interpersonal dynamics, distinct combat abilities, and a personally and politically engaging quest; it's everything a reader could hope to find in a fantasy comic book as The Whisper Queen #1 promises to expand upon one of the best in recent memory. -
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This two-part story reads like a brief diversion in the grand scheme of Amazing Spider-Manreframing some key figures on the board while staging future eventsbut the adventure it delivers is classic Amazing Spider-Man-fun with plenty of melodrama, twists, and expectations setting.
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Blade #10 delivers a fine climactic battle sequence, though, as it incorporates all of its characters in a quick-paced brawl, which Casagrande executes with plenty of panache. It's unclear what any of this was about, but the fights were certainly thrilling to read.
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It's an engaging second installment that promises plenty of excitement that, while inessential to Dune itself, provides plenty of related spectacle.
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This serves to develop in-roads for the upcoming The Flash 2024 Annual and anticipated crossovers, but the story itself essentially maintains a holding pattern. There's lots of movement, but little progress as The Flash prepares for the stories ahead of this issue.
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Regardless where readers focus their attention, If You Find This, I'm Already Dead delivers on the promise of its first issue with a finale that's satisfying on every level.
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The penultimate issue of Once Upon a Time at the End of the World blends the three distinctive aesthetics it presents in an emotional climax that ties the excessively gorey conflict found at the end of issue #13 to the series' actual finale awaiting in issue #15.
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Pine and Merrimac #4 tees up the story to achieve far more than the reader expectations it reliably meets; readers should expect a very tense wait for issue #5.
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Every image of food crafted at a cart or the great cities occupied by so many of those carts suggests a million more stories and recipes beyond the beauty found in this small sample, and affirms the sense of wonder found throughout Rare Flavours.
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It's no surprise that the "Fall of X" has been a messy affair, but if nothing else, Rise of the Powers of X #4 sets the stage for a spectacle filled finale when it all finally comes crashing down in one last franchise-encompassing superhero brawl in issue #5.
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Although the build to this confrontation has been stretched across one or two too many issues, now that it has arrived the payoff seems to be largely worth the wait.
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The Forged returns this week and is as good as it has ever been; with the extradimensional Phobe threat established and the political intrigues of a far-future empire spinning, The Forged #7 delivers an issue in which both are merged as Vic's Forged team finally takes the offensive.
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As The Infernals establishes its cast, power dynamics, and conflicts, each new issue provides a more rewarding reading experience.
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The first arc of The Ministry of Compliance draws to a close with a hastily assembled final battle and a twist building upon almost no foreshadowing or ground work.
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After the series' introductory arc, it seems reasonable to wonder whether there's a single person that the Penguin cares about outside of himself and The Penguin #9 really wants to convince readers there's at least one. Given what's actually on the page, skepticism is more than warranted for whatever twist is being arranged with these romances.
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With monsters of all sorts taking refuge in the fascinating and intimidating terrain of the Amazon, Creature from the Black Lagoon Lives! possesses the still-outstanding aesthetic and fascinating premise of its source material. But the choice to update the narrative with new perspectives and antagonists proves exceedingly wise in this introduction, refocusing the series on modern storytelling by some of the best writers and artists operating in comics today.
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It's an impressive looking comic book that, having arrived at its thesis, becomes a much more interesting and exciting read.
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The relationship between these villains-turned-heroes is one of the longest in Marvel Comics history, but Black Widow & Hawkeye seems prepared only to acknowledge that point of interest without building upon it.
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As the broader story develops, Bilquis Evely's presentation of every portion of this setting remains absolutely stunning. Even the interiors of the manner are bound to impress with vaulted ceilings and detailed backgrounds filled with books, wine, or weapons. Yet the exterior establishing panels are consistently jaw-dropping and provide readers sufficient cause to keep reading with wondrous green fields and gardens that appear to be from another world, perhaps they are.
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Even as ghost stories remind us of the worst of our past, there remains a consideration of what should be done now and Dead in America #4 makes an incisive case against falling into despair.
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Wherever Underheist is headed, the crime elements are plenty satisfying until the horror has an opportunity to deliver on the promises presented here. -
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The only thing better than the chaos found throughout The Amazing Spider-Man is the storylines bound to unfold from these introductions as things get very hectic by the final page.
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It's the exploration of Batman and Dylan Dog's combined worlds that drives the sophomore installment of Batman/Dylan Dog; given what's displayed here, readers will be left wishing this series was an ongoing feature.
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The overall effect is stunning and sets the stage for a very exciting conclusion. By the end of issue #5, readers will be anxiously gripping the pages of Beneath The Trees Where Nobody Sees wondering when issue #6 will arrive.
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Fantastic Four #19 absolutely delivers on the promise of Alex Ross's noir cover art.
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As satisfying as it is to have the Master of Magnetism returned, he currently lacks for a satisfying narrative to occupy.
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The initial mission of Suicide Squad: Dream Team is resolved in short order as it establishes the foundation for this miniseries' story. Although there's plenty of confusion in tying up the loose ends from Dream Team #1, once Waller arrives on the scene the new status quo is presented clearly enough.
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Transformers are every bit as distinctive and expressive in Corona's style and the action sequences still stun with explosive and sudden violence. Corona proves a suitable partner for Johnson with styles that complement one another and maintain a sense of consistency in Transformers' aesthetic. It seems that this series is bound to be good for a long time to come.
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Ultimate X-Men #2 reaffirms the tremendous strength found in the series' debut with another powerhouse issue telling a story of peerless style and unlike anything Marvel Comics has printed before.
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It's an interesting debut but one that certainly needs more space to develop its ideas and a narrative worth following.
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It's a story readers have encountered many, many times before and the stellar pencils and inks displaying its banalities cannot counter them.
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What's most impressive is how effectively Wes Craig alters his own style and balances three distinct narratives so that they enhance one another and build toward an irresistible climax next month.
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Whatever answers are coming, Love Everlasting #14 ensures readers will be resting on the edge of their seats pondering what comes next.
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Shazam! #10 would be an outstanding issue on its own; it delivers a succinct treatise on the fantasy of Billy's family, reminding readers why they treasure so many of their collective adventures. But it's even more promising as the start of a new spin on an already excellent ongoing series.
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The consistent cartooning of the series is utilized very effectively here, especially in the final action sequence with cuteness, comedy, and tension often intersecting to deliver plenty of exciting sequences and gags capable of eliciting an actual laugh.
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There's simply nothing on the page to recommend Kill Arkham Asylum to gamers or readers who would be better served seeking out other Suicide Squad comics or just playing the game.
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The issue plays out about as well as an irrationally destructive and angry soldier suddenly discovering their heart of gold a few pages before the story ends effectively communicated, but hollow.
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There's a sense that The Sacrificers #7 is re-establishing the story but doesn't manage to finish that task within a single issue. -
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It's an outstanding issue that signals Amazing Spider-Man is ready to deliver its best with recent events behind it.
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It's the final installment of Batman: The Brave and The Bold #11 that saves the issue from being a total turnoff to the anthology and it's price tag.
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The Flash #7 may frustrate some readers with increasingly idiosyncratic plot lines and plenty of strange science, but those who appreciate those genre elements are bound to have a good time.
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Jill and the Killers is a terribly messy story that lacks even the charms of style or character that might make it possible to overlook that mess.
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It's a fine epilogue that marks Newburn as one of the best new series from Image Comics in the past several years. -
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There are individual elements to admireRasputin IV's story stands outbut that good is outweighed by the unwieldy nature of this event and sci-fi concepts that serve the function of continuity more than theme or character. It's a drag to read, especially given the comparison evoked by its title.
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Somna serves as both excellent historical fiction and romantic-horror in a story that's bound to capture readers' dreams and nightmares for many years to come.
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The issue plays out several threads of creeping tension, some of which escalate in an entirely predictable manner with others emerging from left field. Every set up presented in this issue offers some element of suspense or excitement, though, with plenty of space to pay off these arrangements in two more issues.
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There may not be much in the way of genuine surprises here, but there's an abundance of familiar charms and a cartooning style that has only improved over time.
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The Ministry of Compliance #4 does introduce some alien technology that is equal parts horrifying and fascinating on the page, though a much needed contribution of visual interest where the story has none.
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The second interlude issue focused on the origins of Adam Frankenstein continues to reimagine familiar sequences from their inspiration's source material in both literature and film. It's the issue's second half which makes the most of playing upon these classic scenarios, when Adam encounters a young girl, while the first half depicting Victor's monstrosity is less engaging.
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It's the bookends and penultimate sequence that pull the issue together and create an outstanding sense of tension for the progressing story. Not only does it serve to clarify who the primary actors are in the coming narrative, but it does so in a fashion where each revelation about what's still to come heightens the intrigue.
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It's strange and not entirely dissatisfying to watch a title that never quite defined why it was Thunderbolts play itself out with the pomp and circumstance of a series that lasted longer than a season.
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50 issues is a rarity in comics today and there's no disputing that X-Force has crafted a rare legacy with its era-spanning run.
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Closely knit panels and flashes of events from the first issue serve to create traps that the reader cannot escape as events quickly go from bad to worse.
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It's a frustrating rush to a conclusion that still features some solid action sequences and the promise of Blade at its best next month in the finale. Here's hoping.
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There is plenty of expository dialogue and narration, but there is plenty of spectacle to accompany the wide array of settings and concepts introduced here.
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Fantastic Four #18 can't meet all the potential it contains with artwork that hues so close to superhero standards, but it's still an inventive and enjoyable read.
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Readers would be forgiven for believing that the debut of If You Find This, I'm Already Dead laid out the series' entire premise; it condensed a tremendous amount of worldbuilding and exploration into a single adventurous issue. If You Find This, I'm Already Dead #2 makes it clear that was only the start of this rabbit hole and readers can anticipate the same thrilling expansion of concept as Robin's saga continues.
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It was already obvious that Spurrier and Campbell were effective critics of the United Kingdom's current crises, but here they show themselves every bit as adept when addressing the United States.
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It mostly tracks as a very well drawn continuation of an unclear narrative. However, the quick set up and conclusion of a mystery provides a last page with plenty of potential to deliver a clear conflict and drive for Justice Society of America as it continues.
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Readers would be better served simply rewatching the movie for the umpteenth time.
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Man's Best #1 is a delightful introduction to a concept bound to be irresistible to animal lovers and sci-fi fans alike.
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There's no subtlety to be found here, but the action sequences and slow montage of two figures crossing a wasteland painted in terrible reds and soaked in terrible detail make for a very enjoyable read. If you're into that sort of thing.
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Depictions of the Shadow King from behind his many disguises help to provide some interest for bored readers like myself, but it's tough to ignore that this miniseries now reads like a continuity-oriented one-shot stretched too thin to earn a few more dollars.
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While the cast still lacks for a truly charming protagonist (no reasonable reader would look for a good one) and the dialogue reads as broad at times, The Infernals #2 finds plenty of fun to be had with its premise and locks in a tight structure making for an enjoyable single issue.
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The combination of Lowe's net quality of creators on the Spider-line and many genuinely fun story hooks makes for a teaser anthology that rises above the pack and makes for decent Wednesday reading on its own.
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Adventureman: Ghost Lights takes off in the final few pages of this issue with a countdown and climax that's some of the tensest comics you'll read this week.
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That uncertainty is as meaningful as any big battle in Central Park and makes the cliffhanger reveal at the end of Amazing Spider-Man #45 all the more sinister.
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The only truly new element in the issue is the combination of these two characters' narratives, but the execution is so good that readers will be reminded why both names are considered icons.
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Black Widow & Hawkeye is bound to please devoted readers of either character as they lean into their most familiar traits, but there's not much present to hook those who may not already be dedicated to collecting their comics.
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Every character they encounter not deeply rooted in Marvel Comics lore is dead within a few panels and the endless array of severed heads and limbs quickly grows dull. Even when a splash page delivers a wide array of simultaneous vivisections and broken forms, it's easy to wonder what the purpose of all that carnage is.
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Wherever Helen of Wyndhorn #1 may lead, the debut promises a fine literary mystery with an absolutely stunning sense of style and presentation.
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This presentation of the earth goddess leans heavily into the imagery surrounding all of the Ut-Gard figures witnessed so far, considering what exactly the Earth's interests and aspects would reflect. Although this dialogue works hard to lay the narrative groundwork for the series to come with plenty of exposition, the depiction of this history is vivid enough to distract.
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Rick and Morty: Super Spring Break Special is a poor simulacrum of the thing it imitates that loses what makes the source material work in favor of its most superficial elements.
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Suicide Squad: Dream Team #1 balances an exposition-heavy introduction with a curious collection of B-list characters and some intriguing layouts.
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The creeping paranoid mood is palpable in The One Hand #2, a detective story with roots embedded in classic Hollywood noir no matter how far flung its setting or idiosyncratic its concepts.
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Transformers #6 sticks the landing and assures readers that the Energon universe it introduced them to will continue thrilling readers so long as Johnson sticks around.
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Daredevil: Gang War #4 manages to deliver one genuine surprise in its final issue but seems uncertain what to do with it.
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It makes for an effective balancing act that both deepens the lore and raises the stakes in another exciting issue of Kaya.
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Love Everlasting only seems to be improving as it expands its horizons and finally reveals more details about the endless cycle of romance and death consuming Joan's life.
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Pine and Merrimac #3 is a solid middle chapter, but its best work lies in further investing readers in the series' protagonists before everything goes to hell.
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There are a handful of clever turns in interactions between the innocent Captain and cynical Creeper, and their contrasts make for a pleasantly distracting, if inessential, issue of Shazam!.
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Neither the action nor the new story threads possess much impact suggesting this story concept would have been much more fun to play as a video game than to read as a comic book.
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There is an undoubtable charm to Superman '78 with cartooning that captures the essence of performers from Superman: The Movie and dialogue that effectively imitates the understated humor and warmth of Richard Donner's films. Yet the languorous pacing and lack of tension surrounding Metallo's threat leaves The Metal Curtain lacking even in contrast to earlier comics adaptations.
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Ultimate X-Men #1 ultimately sets itself apart by being a comic no one saw coming. It certainly utilizes elements of X-Men lore, but emphasizes itself first as a magical girl story featuring an irresistible lead, wondrously depicted powers, and undeniable teen pathos.
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Assuming that there's a clear narrative underlying these creepy mysteries, Underheist is prepared to unleash a crime saga unlike anything else in comics today with an undeniably enticing, if horrifying tone.
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The emotional payoff after the action subsides marks the issue's best qualities with heartfelt reunions and coldhearted progressions. It's clear that "Gang War" is building to something bigger and its' finale shares in some of that future promise.
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Although this reset misses more than it hits, both "The Cheeseburger" and "Mother's Day" are set to provide readers with sufficient satisfaction.
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While Borealis #3 may conclude this Dark Horse miniseries, the issue itself reads like the final chapter in a rushed prologue.
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There's a lot of potential in prior issues, but none of it is drawn together in The Flash #6, a detour without much purpose.
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It proves to be an effective approach for a miniseries that is clearly celebrating tropes of the Godzilla franchise with roots sunk into the Showa era.
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It's an exceedingly strange concept and one that readers already familiar with Ice Cream Man's aesthetics ought to find very rewarding. The final page is a wonderful celebration no matter how ephemeral it may ultimately prove to be.
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Jill and the Killers reads like the first draft of a mystery and can't quite justify its cover price, even if there are a few gems hidden within the overall iffy effort.
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It has been apparent that the return of Newburn marked an acceleration in the series as long-running tensions and mysteries quickly came to a simmer, but the series' consistently deliberate pacing to this point still makes the climax of Newburn #15 an absolute shocker.
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The miniseries has been a wonder to behold so far, but it's in Rare Flavours #4 that it finally showcases a powerful thesis on what makes our appetites a wonder.
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Resurrection of Magneto #2 presents readers with a disquisition on Magneto's moral merits within Marvel Comics, leaning into recent events requiring exposition that is not immediately relevant to the narrative at hand. It is a tedious reading experience to say the least.
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The core trio remain vivid in their projections of personality and the humor that stems from that, but the style is certainly lacking in Sonic the Hedgehog: Fang the Hunter #2.
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The Expanse: Dragon Tooth #9 makes a strong case for continuing the televised adaptation of the novels in comics.
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The Penguin #7 presents the best of what this series has to offer in a crime-genre oriented take on the Batman mythos.
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Readers interested in political science will recognize many of the competing arguments at play as a pure democracy devolves into chaos and the subsequent republic debates how to weigh individual votes. It's an interesting thought experiment but also one that readily explains to readers why specific ideas will not work. That didactic approach makes long segments of narration in Animal Pound read like a lecture, especially as the reality surrounding these animals remains so ill-defined.
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While readers familiar with Saga of the Swamp Thing and Hellblazer will benefit from how this new saga is in conversation with those classics, all that is required to appreciate this issue can be found on the page in a terrifying sophomore outing.
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From the introductory montage broadly recapping Luke Cage's place at Marvel Comics through his final broadly heroic speech made to no one in particular, Luke Cage: Gang War #4 is composed of banal tropes played in the most obvious fashion imaginable.
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The overall effect is a handsome looking comic book that effectively plays upon any nostalgia readers may feel for Marvel's original Secret Wars, of which I certainly still harbor some.
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There may have been potential in examining these iconic characters or the public domain, but what's found on the page in Sherick Holmes and Mortson hardly qualifies as a quality first draft.
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Rise of the Powers of X #2 fails to deliver on the manifold ideas playing into one another that deliver an overburdened series of expository dialogue and action sequences resembling a superhero comic.
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Readers who have followed all 49 issues of X-Force thus far are sure to appreciate the finale's staging in X-Force #49 as the series' longest and most interesting threads are drawn together.
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There are individually excellent elements, specifically the final focus on Tombstone and Beetle, but the issue itself fails to hold up this climactic battle with nearly two-dozen tie-ins structured around it as a significant event.
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Blade #8 provides a clear direction forward and recaptures the series' momentum; bring on issue #9.
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If the goal of Black Armor was to capture what was best in the Daredevil comics of this oft-maligned time in the 90s and inspire the thought that it really wasn't that bad, then it generally succeeds.
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It would have been okay for this comic's plot to be boring, but there's nothing exciting on the page to balance that stale structure.
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If You Find This, I'm Already Dead #1 is an engrossing introduction to a sci-fi odyssey without an ounce of fat on its bones.
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The concept and visuals are immediately impressive, but whether this story has the legs to make them resonate beyond a first impression has yet to be seen.
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The Ministry of Compliance #3 is a quickly rotating series of talking heads that spend more space discussing traps and betrayals than ever delivering upon these topics. It's simply too dull to be memorable.
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While Wild Animals may ultimately serve as a diversionone more side quest in the long and storied history of Geralt of Riviait also captures the essence of The Witcher that has made that title so compelling across novels, video games, comics, and more.
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Thunderbolts #3 is a very fun read that blends its spy and superhero genre elements well.
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Few artists working in comics today can capture so much chaos so effectively on the page as Daniel Warren Johnson.
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By the issue's end, there's progress made albeit progress that raises more questions than answers. Regardless, Horvath has made clear that this journey will both pay off and subvert reader expectations, so I can't wait to see what Beneath the Trees Where Nobody Sees #4 shows us next month.
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Each sequence in Daredevil: Gang War #3 reads as if there were an accompanying narrator saying, "and then this happened." The story ties into "Gang War" neatly enough, but adds no additional drama to that particular event or in its own proceedings.
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It seems as if writer Ryan North has puzzled over the intricacies of defeating a nigh-omnipotent time-traveling supervillain and delivers an excellent response that is also rooted in character. The overall effect is an incredibly satisfying standalone feature reminding readers what's fantastic about Marvel's first couple just in time for Valentine's Day.
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Whether it's the exploration of a new space or a climbing-chase sequence, the issue is never dull, even as it provides a respite from open violence.
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Wherever Love Everlasting is wandering next, Charretier assures readers the journey will provide plenty of wonder whether or not the underlying story does.
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Once Upon a Time at the End of the World #12 is the series most effective entry to date and forecasts a similarly impressive climax on the horizon.
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Starks also appreciates the value of a strong supporting cast, including minor allies and enemies who offer humor to balance the poignant darkness witnessed by the end of Pine & Merrimac #2, leaving readers to anxiously anticipate what comes next month.
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Shazam! #8 continues to slow the series' pacing and style in the second part of "The Captain vs. Black Adam." Both of the problems presented in Shazam! #7the return of paperwork-obsessed alien dinosaurs and Black Adam's battle at the Batson householdare resolved in its follow up, but in an entirely unsatisfying fashion.
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It may be obvious why Kill Arkham Asylum is being produced, but it's unclear who might actually enjoy a story that lacks all of the merits that made Rocksteady's DC-related games so popular to begin with.
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Overall, DC Power 2024 reflects a diverse lineup of storytellers under DC Comics' publishing umbrella at the start of this year and makes it clear that this pool of talent contributes significantly to the ongoing success of the entire line.
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The central rule of Shang-Chi comics, ever since Paul Gulacy arrived on Master of Kung Fu, is to make the action look incredible. The character has been defined by many artists, some legendary and some simply well-suited to the genre. But that's the missing heart of Deadly Hands of Kung Fu: Gang War with action sequences where readers could imagine any costumed superhero delivering a montage of generic blows.
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It's plain to see there's a conspiracy afoot (as plain as a human foot, really) and, with so many strange and disconnected pieces, it could be an alluring one. But the story built around these questions is too obvious to draw much interest beyond answering those questions.
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Lilo and Stitch #1 may distract and amuse very young readers seeking more of the titular character, but those reading it to them or seeking more from the form of children's comics (and literature) will be left wanting.
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It's Pat Olliffe's art that really makes Battleworld work as well as it does, though. Stong draftsmanship and a dynamic mix of costumes that haven't lost their appeal in intervening decades creates a grand sense of warm nostalgia paired with genuine skill in its execution.
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With every page composed as a spread, the darkening shadows surrounding Cloonan's sharp linework and increased clarity of form in Lotay's fantastical watercolors suggests a detachment from reality. It is an impressive, informative, and absolutely gorgeous feat
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The Brave and The Bold #9 is an outstanding artistic showcase and all of its best features are penned by cartoonists, as well.
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The final installment of Cyberpunk 2077: XOXO plays out what's left of the story, but after the climax of issue #3 there's not much left to be told.
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Existing fans of Dune will find elements of merit within these pages and, given that the artwork is this story's greatest feature, possibly even more merit than the novels from which they are adapted.
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If you were a fan of the original Dungeons & Dragons cartoon, you'll probably enjoy this bite-sized dose of nostalgia served up in comics form.
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The Flash #5 assures readers that no matter how strange this story is prepared to become, it won't lose track of the human heart at its center.
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Newburn #14 adds some necessary context and depth to the story at hand, but it mostly serves to leave readers ready to return to that story.
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Resurrection of Magneto #1 promises to provide a well-crafted if perfunctory saga starring two of Marvel's most beloved characters, and that's enough to maintain interest.
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The Penguin is in the best form it's been since debuting and "An Unimportant Man" already feels like an important Penguin story.
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Universal Monsters: Dracula is a testament to the undying power of the vampire metaphor and how each new generation of artist is capable of finding new terrors and value from within it.
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It's possible that future issues will prove the expectations established here wrong, but there's still nothing of much substance to be admired in X-Force #48.
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"Gang War" still possesses plenty of energy from the characters and style on the page, but the middle chapters have lost a lot of the early momentum. Readers can hope that with the end now in sight that things pick up in Amazing Spider-Man #43.
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As Borealis plugs away toward its conclusion, there's at least some sense that whatever dark mysteries this story is oriented around might be addressed before it ends.
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This penultimate installment is another outstanding presentation of a one-of-a-kind comics style with a surreal tale perfectly suited to that aesthetic.
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As frivolous asides go, it's hard to beat a fun one-and-done like this.
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Much like the components of a spell, Dead in America #1 is ultimately about potential. The characters, their dynamics, settings, themes, humor, and style are all displayed, and they are all impressive.
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The conclusion of Kaptara is bound to satisfy readers who discovered the series in 2015 and 2023 alike. While the climactic battles on Kaptara deliver an abundance of absurd humor, the focus in Universal Truths #6 turns to the aftermath with sequences of Keith returned to Earth in the future woven throughout.
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Even if the final few pages read like an afterschool special explaining basic elements outside of character's voices, there's plenty of charm, action, and comedy to make Nightwing #110 an enjoyable detour.
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The first issue of Fang the Hunter is an absolute laugh riot.
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Perhaps Superman: Lost will read better when collected, but as the final installment of a sprawling, often disjointed narrative, Superman: Lost #10 can't convey half of what it hopes to.
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The mission itself and related action provides some opportunities for idiosyncratic visuals and a few humorous beats, but the heart of the story resonates in a bond established across years of comics (and millennia of plot).
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It's a joyful return to an idea that has always been fun and absolutely delivers on the genre-oriented promise of its title with plenty of adventure for readers to enjoy.
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Blade #7 arrives as a detour that's forgotten as easily as if the series had taken a month off.
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Daredevil: Gang War #2 takes what was introduced in issue #1 and adds nothing.
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Wherever this story is leading, readers will find themselves anxiously anticipating the arrival of Kaya #15 based upon the outstanding storytelling evidenced across every page of Kaya #14.
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The only takeaway from Luke Cage: Gang War is that the hero for hire would have been better served left in his mayoral office during "Gang War" and off the page altogether.
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As the getting the band together story begins, Masterpiece relies heavily upon familiar tropes with a cast of ill-defined characters.
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The staging throughout Rise of the Powers of X #1 suggests this miniseries has the style and substance to offer a potentially satisfying ending, than the slog-like and ill-defined battle against Orchis presents.
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As an entry in Swan Songs, issue #6 seems out of place but as part of Prince and Morazzo's collected work, referenced in multiple poems, it fits perfectly and finds a final page that manages to draw Swan Songs, Ice Cream Man, and Silverstein's legacy together splendidly.
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Tear Us Apart #4 rushes to its finish in an issue that provides plenty of visual style and action sequences, but regularly relies on shortcuts to arrive at the most impressive panels.
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The Sacrificers is a gorgeously rendered fable playing with familiar themes of power, dominance, and time, but it appears that it will take a long road to provide those ideas and their depiction with the depth they merit.
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The one-and-done approach to this new Thunderbolts leaves much of issue #2 half-baked as Bucky assaults a meeting of villains at the Hellfire Club to heist Red Skull's wealth from a C-list figure with plenty of potential.
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Transformers is a powerful comic book and Daniel Warren Johnson is its undeniable Allspark.
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"Gang War" has slowed to a crawl in its middle section and it saps the energy from tie-ins and Amazing Spider-Man alike. It's past time for the story to meet the energized artwork of the artist carrying this event forward.
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As a follow up to both the A.I. plot and cliffhanger found in Fantastic Four #14, issue #15 is a triumph.
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Just as the most recent formula was proving tiresome, King and Charretier reinvigorate the series once more and provide plenty of excitement for the arrival of issue #12 next month.
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The arrival of Nick Dragotta as the primary artist on Once Upon a Time at the End of the World is very welcome as their detailed linework summons a madness-drenched wasteland loaded with gnarly effects.
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The questions are enticing, but it's the quality of character work, the stylized and vibrant artwork presenting them, and the deft presentation of these fundamental units in a detective story that promises to keep readers interested month after month. I'm already hoping they get a second case when this one is solved.
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Sequences of mystical bank heists and dinosaurs in space lake the richness and depth that made the Silver Age tone of prior issues so appealing, and so Shazam! #7 falls a bit flat.
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Lim's work on Silver Surfer throughout the 80s and the "Infinity" Trilogy remains seminal and a new addition with similar energy is welcome, even if the quality of story and invention pales in comparison to the past.
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Watching Sonic and Tails rely upon one another's wits and good nature to get out of trouble and leave the world a bit better than they found it makes for a reassuring and often delightful read. It's a back to basics approach that showcases the simple heart of this long-running comic book no matter how busy it may become at times.
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Star Trek: Picard's Academy generally passes itself off as an inoffensive repurposing of Star Trek tropes for young readers (and some consistent character continuity for older ones, like myself). Yet the Saturday morning cartoon tone and appeal loses some of its luster when translated to comics without much innovation; it also makes the seams more apparent.
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Much like later installments of its inspiration, Superman '78: The Metal Curtain seems to be lacking a clear purpose as it stretches the fallout of Superman's first encounter with Metallo across its entire third issue.
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There remains a reliably portrayed plot that never actively confuses readers, but it also never answers the question as to why readers should seek out the next issue.
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The potential found in The Oddly Pedestrian Life of Christopher Chaos is clearly evident at the end of its first arc and, with all of its best elements already in place, suggests the series has plenty more to tell readers in 2024.
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Despite outstanding inclusions like "Here Comes Trouble," The Brave and The Bold is filled with more misses than hits suggesting this anthology can't continue to justify its steep cover price.
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Deadly Hands of Kung Fu: Gang War proves to be the best of the limited series tie-in to this Amazing Spider-Man event, although the bar hasn't been set terribly high.
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It's an excellent continuation of the ideas introduced in this new volume's introductory issues and one that suggests The Flash is prepared to run a long and satisfying race as it explores these concepts.
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Justice Society of America #8 may present its sequences well, but there's not enough there to make following this serialized story worth the effort between months.
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The primary draw to this miniseries remains the classic depictions of familiar Marvel characters engaged in unlikely battle across different settings.
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While Terrorwar #8 may provide one of the series' cleanest scripts to date, it's clarity found in familiar superhero tropes that rob this story of any idiosyncratic charms it previously possessed.
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The Expanse: Dragon Tooth #8 delivers the series' best issue to date with plenty of action and intrigue building momentum towards a climax just out of reach but trembling with possibilities.
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The violence and power dynamics laid out in The Penguin #5 set the stage for Cobblepot's return to Gotham, and it promises a brutal and excessive story to come; readers will likely be relieved just to learn that the prologue is finally over.
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There are still a few good scares to be found, but the finale of this miniseries primarily serves as the prologue for another. Perhaps it will read better when collected, but it falls short of satisfying as the conclusion to this particular installment.
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The newest iteration of Timeless proves that the potential charms of this annual Marvel Comics one-shot were already thin when it first appeared in 2021.
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While the story of Dracula is familiar and this particular source nearly a century old already, Simmonds' work reminds us why Dracula remains ever-relevant in horror.
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X-Force is hurrying toward its ending and threatening to repeat its cycles from the last couple of years along the way, and it shows by the end of this issue.
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With plenty of colorful bad guys and untold chaos still to unfold, "Gang War" remains a very fun event in the pages of Amazing Spider-Man.
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The new miniseries from writer Tom King and artist Peter Gross maintains the fable-like quality of the original and establishes the foundations for a political allegory within a modernized framework.
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Perhaps with additional space this story will take root, but in Borealis #1 it's far too many ideas being forced into too few pages without a single convincing story hook to be found.
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It is unexpected and deeply affecting, whether or not you're already a fan of Cyberpunk.
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Although the fun atmosphere and buoyant artwork of War for Humanity has carved out plenty of space for silliness, it stretches that tone a bit too far in issue #3.
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Kaptara: Universal Truths #5 is a riotous issue that provides plenty of madcap action and effective reunions in staging next month's grand finale.
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As a culmination of 12-issues and clarification of this cypher-like protagonist, Newburn #13 reveals itself to be a crime saga that appreciates and pays dividends upon subtlety.
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Rare Flavours is a journey of discovery and issue #3 promises that it will never rest on its (already notable) laurels.
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Woven through a wide array of titles across the past several years of X-Men comics is a singular Nightcrawler narrative that would have made for a seminal series and will doubtlessly still influence the character for many years to come, and Uncanny Spider-Man #5 may be its well-earned farewell.
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Much of Gargoyle of Gotham #2 is dedicated to laying out the tensions and clues of a larger mystery and leaves readers to contemplate many sequences and how they may fit together. It's a tantalizing set of circumstances grounded in Gramp's outstanding action sequences and moody splashes.
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From cover to cliffhanger, it makes for a suspenseful journey with an excellent payoff.
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Blade #6 is certainly competent in its telling and suggests a dynamic between Marvel's most famous vampire and vampire hunter that could be worth exploring, but it's largely dull terrain in this telling.
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Danger Street #12 is best characterized as anti-climax, although that's a purposeful approach.
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With artwork and story that seem to color by numbers, the only compliment that can be afforded to Daredevil: Gang War #1 can be shared with many merchandising promotions featuring Marvel characters: it is competently displayed.
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Luke Cage: Gang War #2 proves the first issue wasn't a fluke, this miniseries is the most egregiously banal repetition of superhero cliches bundled in a meaningless tie-in imaginable; it exceeds satire.
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It's a romp that offers plenty of laughs and fun in a package perfectly sized for a brief holiday treat
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There's an element of returning toys to the chest in Superman: Lost #9 as solutions are produced to avoid change in Superman's slowly resumed status quo.
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The framing of animal liberation within The Witcher's medieval setting has proven to be a fascinating journey as two conflicting moral perspectives leave Geralt in the midst of an island community's conflict.
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Underheist #1 delivers readers an undeniably enticing introduction to the newest hit from the Laphams. Don't miss it.
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Across 32 pages there's hardly a single page not focused on talking heads; even when characters are literally lifted into space, the emphasis is placed on discussing shifting power dynamics. It's a concept well suited to the prose provided by Lois Lane's report, but resulting in a comic book that's often dull and lacking any visual invention to display these ideas.
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The final issue of X-Men: Red hews closely to the series' ambitious spirit and grand scale, a concept that maintained its quality amidst too many crossovers and tie-ins to ever solidify its own concept as a series.
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It's a very exciting time to be reading Amazing Spider-Man and the fireworks found in the first issue of "Gang War" suggests it will be an unforgettable event.
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It's a fascinating and ultimately strange distraction leading to the expected return of the Baxter Building and a very enticing cliffhanger.
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Shazam! resolves its first crisis with the gods empowering Billy just in time for new antagonists to arrive in issue #6 and the climax at the Rock of Eternity is a delightful encounter to behold.
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Sonic the Hedgehog #67 offers enough in its dialogue and character work that readers likely won't even notice that it only stages future action; that's a testament to the excellent character work in each panel and dialogue in each word balloon.
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Combined with multiple, arctic expenses defined almost entirely by wide swaths of snow and a nebulous Fortress of Solitude, there's not much originality or expansion to be found in The Metal Curtain #2.
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Catching up on The Hunger and The Dusk is the best decision I made this week and issue #4 only confirms that the best is still to come in this outstanding new series from IDW.
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The Sacrificers #5 merits some credit for surprising readers as the death and misery visited upon its characters this month is certainly unexpected. However, it's difficult to say whether there's much beyond the shock of seeing what unfolds on the page.
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Regardless of the pitfalls found in Bucky Barnes' preceding adventures, Thunderbolts #1 makes a convincing case for taking a chance on its team of Marvel B-listers.
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This is what happens when you attempt to compress ten issues of story into a roughly two-issue package and, when combined with a less-than-competent artistic portrayal, it results in a mess that is functionally unreadable.
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Transformers #3 is all about escalation and the high cost associated with it and, while the fights may be impressive, its the underlying consequences and emotions that will make Transformers #4 a must-read next month, as I simply can't wait to find out what happens next.
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The set up for this chaotic event is abundantly tantalizing and First Strike walks the line as both a catch-up for new readers and entertaining addition to the story.
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The Brave and The Bold is still collecting some outstanding comics talent, but it's clear that most of these stories would be considered B-sides for good reasons, all but Wild Dog's, at least.
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Wherever The Flash is going, it has shown readers it has the style, story, and skill to make this mystery one worth following wherever it leads next.
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While most of the issue is composed of this introductory action sequence, it scratches the itch for wonder, suspense, and thrills before delivering the necessary exposition for the third arc's core story.
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Let's just hope the rest of "Gang War" gets off to a better start than Luke Cage.
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"The End of Anhedonia" is set entirely in a single therapy session, which might make Swan Songs #5 sound like the dullest entry in the series to date, but an impressive application of fumetti effects by artist Alex Eckman-Lawn and metaphorical construction of the protagonist's mindscape makes it a highlight in this already impressive series.
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The promising aspect of The Penguin #4 is the promise that the story will begin in the next issue. While the addition of an ex-flame and advisor makes for the best of the "getting the band back together" installments, that doesn't set a terribly high bar either.
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Watching creators weave a widely panned mistake into a compelling comic book is the sort of magic that can only happen in the exceedingly strange history of Marvel Comics.
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Rek-Rap's adventures wrap up just in time for "Gang War" to begin and readers of Amazing Spider-Man have a lot to appreciate in this ludicrous, streamlined adventure through the halls of Limbo before excessive crossovers and a dour mood take hold.
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Although Cyberpunk 2077: XOXO sometimes moves at a languorous pace, the plot is largely beside the point as readers are injected into a hardly-human cyborg's perspective.
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Defining exactly what Justice Society of America is about or who its central characters are is difficult and with single issues stretched as thin as this one, it's becoming increasingly difficult to care.
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Although Kaptara: Universal Truths certainly has humor in its heart, issue #4 reminds us that the laughs land as well as they do because the characters involved still possess surprising depths.
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When the first issue's cliffhanger arrives it's with a thud that only evokes more questions, providing readers a clear exit sign.
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Marvel Comics' ongoing effort to squeeze new tales between the margins of classic comic book runs from the 1980s proves to, once again, be a mixed bag at best.
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The miniseries' debut this week showcases two resplendent styles intricately woven together to immerse readers in a setting and headspace they won't want to leave, even as it grows ever more disquieting.
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In this issue it's most impatience that drives readers to wonder what's really happening.
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The penultimate issue of Uncanny Spider-Man hurries to stage the pieces for its finale and the end of "Fall of X" resulting in the miniseries' messiest issue to date.
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Although this story may be familiar, the vision of Dracula found in Universal Monsters: Dracula is stunning in its novelty.
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There's a lot of spectacle, but much of it seems unearned in an adventure that only spans a few issues and chronological days. While this quick turn of events serves to provide a very enticing cliffhanger, the continually rushed pacing of Blade detracts from the series' obvious potential.
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Children of the Vault provides one of the few notable victories in the "Fall of X" line as the buddy cop duo of Cable and Bishop deliver big sci-fi solutions to this tech-heavy brand of false saviors.
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Danger Street #11 is terrific fun and sets a high bar for whatever finale follows this issue's excellent cliffhanger.
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Dune: House Harkonnen #11's best promise is that only one issue remains.
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Fantastic Four #12 and #13 serve as a model for this incarnation's potential with an abundance of colorful ideas reflecting challenges that require more than bombastic battles and a strong focus on familial relationships if only Thing's head didn't appear like a volleyball unattached to his tose. I'm already anticipating re-reading this particular adventure, though.
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Walking into the final two issues of Superman: Lost, issue #8 makes it apparent that they'll provide readers plenty to talk about at the comic book store.
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Each issue of The Forged provides outstanding artwork combined with a good sense of humor and ambitious sci-fi craft, and issue #6 assures readers that streak will continue for many issues to come.
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Ultimately, The Ministry of Compliance #1 reads like an illustrated script designed for screens and budgets lacking in the visual aplomb that makes sci-fi stories in comics so appealing. It's a disappointment that never answers the question why all of this grandiose plotting looks so dull on the page.
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The Oddly Pedestrian Life of Christopher Chaos #5 seems to embrace what the series has avoided acknowledging until this moment as it assembles its four teenagers like a horror-themed superhero team facing a supervillain and their many minions.
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Despite the middling to mediocre qualities of this final issue, The Vigil leaves behind an idiosyncratic team staged to feature within old Wildstorm's increasing influence in current DC Comics. Their strained dynamics and odd personalities will be very welcome.
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Wesley Dodds: The Sandman offers itself as an excellent pulp detective fiction with an irresistibly modern style in what threatens to be a spiritual successor for one of Vertigo's best overlooked series.
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Rek-Rap continues to deliver big laughs and a satisfying mystery amidst Peter Parker's (and Norman Osborn's) exasperation at the absurd entities of Limbo intruding in their lives. The humor evident in Amazing Spider-Man #36 remains, but Wells and McGuinness find new twists to keep this story fresh.
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Groo in the Wild ends on a high note as King Putrio tries one more scheme, an old rival (or victim?) reappears, and Groo makes a fateful decision regarding endangered species in the wilderness.
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After this very messy adventure in space, it's apparent that events are coming to a head in Shazam! and future issues hold even more potential for this indomitable creative team.
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It's another excellent installment of Sonic the Hedgehog and that shouldn't surprise any reader.
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There's too little novel to be found in this new entry to differentiate it from what came before, which may show that what we fans already have is enough.
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Transformers #2 further establishes the stakes for this new Transformers saga and there's no doubt that what lies ahead will deliver both beautiful comics and a story capable of handling the franchise's most mature themes.
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Uncanny Spider-Man has been a highlight of the mixed bag that is "Fall of X" capturing the essence of what makes Nightcrawler an iconic Marvel Comics hero in a miniseries that demands an ongoing.
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X-Force may become one of the definitive legacies of the Krakoa era, but reading it in a collected format as opposed to serialization will improve the series a great deal.
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Red has attempted to blend the individualized action of superhero comics with the sweep and scope of a global war, and issue #17 manages to capture both halves of that coin well.
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It's unlikely readers will ever discover what that purpose was and, after five issues of Here There Be Dragons, even less likely they'll be interested in finding out.
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Readers seeking some straightforward fun in their funny books this week will be delighted to discover It's Jeff: The Jeff-Verse awaiting them.
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Despite some engaging individual elements, Red Light #1 struggles to clearly articulate its premise and tone to its detriment.
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Tear Us Apart has captured its own rhythm with a compelling collection of protagonists and abundant opportunities for more severe action ahead. It seems this series is only improving as it progresses.
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There's no doubt that Fiumara's depictions of these bourgeois beings and their transformations are stirring and the sulking behavior of the mysterious foreman adds a new wrinkle, but after waiting a month and paying full cover price The Sacrificers #4 moves its narrative along at a lethargic pace.
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It's a delight to see Rek-Rap back in action in The Amazing Spider-Man #36 in a story that feels significant to the series' ongoing concerns and plays off its creative teams' best qualities to tremendous effect.
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It's a clear fifty-fifty on quality, which is more disappointing than ambitious misses combined with strong anchors.
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Readers are able to clearly visualize terrifically complex concepts using the comic's space. It makes each step forward in this phase of Wally's first journey in a new series a joy, even if the cliffhanger is likely to leave new readers scratching their heads.
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The penultimate installment of Friday is primarily focused on connecting the pieces of its mystery, whether they be related to Lance's murder, time travel, or newly emerged monsters, to frame the final chapter. And I suspect only that final chapter will be able to inform the success of this connective tissue.
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Ice Cream Man #37 introduces the Figglybumps, a collection of innocuously adorable furry children's characters sent to war in "The Flight of the Figglybumps." It's the sort of concept that could quickly grow wearisome across 20+ pages, but when contrasted with the suicide of their creator it makes for a bittersweet pairing that grounds colorful cartoons within the very real human beings who create them.
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If this issue's momentum is indicative of where the series is headed, then the long wait for more Kaptara will prove well worth the time.
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Newburn #12 delivers the most satisfying sort of single-issue mystery and sets the stage for a series that's about to dramatically turn up the heat on its characters (and readers).
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While Nick Dragotta's brief return to picture Maceo and Mezzy as hardened, post-apocalyptic warriors is still enticing, it offers little to balance a conclusion that's talked about but never portrayed on the page.
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Given the ways in Rare Flavours #2 both reaffirms the series' interests and expands its concept, readers ought to expect both delicious variations on this story and many more surprises ahead in one of 2023's best original new concepts.
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The Expanse: Dragon Tooth #6 may not be mandatory reading for fans of The Expanse, but it offers an accessible take on the characters that works well within the serialized comics format.
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Even though the issue saves its best sequence for last, before a cute denouement, it loses much of its effect coming at the end of a very familiar pattern.
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The island and its inhabitants are all well depicted and the potential action ahead makes even a rote rendition of Geralt's typical narrative will offer plenty of rewards for fans.
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The array of challenges posed and how his decisions reflect his character (and idiosyncratic array of abilities) make one extended action sequence a very satisfying read in a story that's just taking off.
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There's little doubt that this was the ideal creative team to update this familiar legend and reaffirm all of it's horrifying potential.
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There's the promise of much more Batman: White Knight Presents to come made in the final few pages, but after finishing Generation Joker it's difficult to see what the continuing appeal is.
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The most regrettable aspect of Beneath the Trees Where Nobody Sees #1 is that the solicit pitches the entire miniseries and so acts as a synopsis for the entire first issue. It's unfortunate because this debut establishes its tone and identity so well that the lack of discovery undermines this excellent aspect.
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Luca Maresca's depictions of over-sized guns and impossibly destructive ammunition makes the case that it's worth flipping through, even if not necessary.
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It's difficult to justify this cover price on two quality installments, but dedicated fans of both Marvel Comics and Halloween ought to find sufficient fun in this holiday one-shot.
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XOXO #1 delivers on an outstanding aesthetic and has just enough of a story hook to keep readers returning for more.
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House Harkonnen #10 is at its best when tracing a central theme through its various plot threads, that of children defined by their forebearers. Whether it's the Harkonnens or Atreides, there are heirs apparent in nearly every sequence and their innocence contrasts the plans and actions of the adults who claim to hope for their success and growth.
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An epilogue and other elements that hurry to make these first five issues function as a satisfying whole offers the appearance of a poorly mapped course, much like this ice cream truck's entire journey through Hell.
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Swan Songs simply doesn't miss, even when its scope is significantly narrowed.
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The Forged #5 is the series' quietest issue to date, but that's no problem as the various members of Victory's team enjoy their shore leave and offer readers a better sense of the women behind the warriors.
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In well-executed suspenseful stories there is almost always a moment where the climax clicks into place as multiple strands of plot are quickly drawn together. That incredibly satisfying moment arrives at the end of Nightmare Country The Glass House #5 and sets expectations exceedingly high for next month's finale.
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Vampirella vs. The Superpowers drags out the engagement between Vampirella and Projection 1948 in an issue that moves the story forward very little, doing so little that one wonders whether the miniseries should have been condensed to five (or fewer) issues.
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The early potential of this story hits a snag as the ill-defined notion of Norman Osborn's sins (which sent Spencer's run into a tailspin at its conclusion) comes back to haunt the story.
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Blade arrived with a lot of potential, but the sudden compilation of events and announced final issue of Blade #5 suggests it lacked the pre-orders to make a great take on the character last.
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What's most exciting is how it provides a clear sense of direction for each individual, whether that means seeking redemption or normalcy, and these motives lay out the series' climactic conflicts. The resumption of the series' fractured narrative also reinvigorates the pacing and makes each action or dialogue sequence play in a much terser tone. What's most impressive is how seamlessly Jorge Forns blends the childlike mutants, looming savages, desperate men, and gods into a cohesive whole promising that the finale will serve each of these distinctive threads well.
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Groo in the Wild #3 is another excellent installment in Groo's journeys, as if there was ever any doubt.
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Amidst the storm and zombie-like returning crew members, there's abundant chaos to be found in Haunt You to the End #5, but little sense to be made out of what is on the page.
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Every break in Kaya's ongoing narrative affords an opportunity for readers to explore the expansive world surrounding Kaya and Jin's increasingly thrilling adventures together.
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While the series prepares for its next big story, issues like Sonic the Hedgehog #65 provides a fine way for young readers to bide their time.
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Superman: Lost has emphasized alien civilizations and sci-fi parables reflecting Earth for much of its length, but it seems to be discovering the heart of its narrative in returning its focus to Earth and the planet's most mundane tragedies and struggles.
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X-Men: Red opts to focus on the individual battles between tremendously powerful mutants to lay out the broader scope of the war on Arrako. It avoids event-like crowd scenes, after delivering so many in the prior issue, and makes the terrible condition of Storm's forces less bothersome.
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Fantastic Four #12 is the new series' best installment to date as it combines all of the series' core charms into an idea that's every bit as good as what's advertised on the cover
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Here There Be Dragons #4 turns in the miniseries' most enjoyable installment to date and with a bit of cleverness in the present day and more monstrous battles in the past, suggests that a grand finale awaits readers in October.
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If this is the best Peacemaker can do at DC Comics, then readers will want a lot more of Peacemaker Tries Hard!.
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Shazam! is simply a joy to read and issue #4 suggests that won't change anytime soon.
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Tear Us Apart improves upon an overly busy debut with additional context that offers a clearer tone and concept.
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The first two issues of The Sacrificers read as prologue setting the stage with characters, settings, and a mystery that was never really a mystery to anyone who read the debut's solicit or the series' title. That inevitable turn finally arrives in The Sacrificers #3 and, while a larger mystery about the exact nature of this sacrifice remains, it seems to kick off the series.
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The first issue is but an introduction and it's one that does everything required by a new miniseries: introducing sympathetic characters, presenting an outstanding aesthetic with stylish action, and providing a premise with plenty of room to expand.
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It's clear that years of slow rolling are coming to a head and no amount of further stretching the story can remove the tremendous excitement evoked in this very effective cliffhanger.
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Batman: The Brave and The Bold #5 presents the return of "The Winning Hand" and with it a return to form in a collection of four stories wherein three certainly land.
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Even the most workmanlike qualities often attached to serialized superhero comics are well delivered in Blade and set a very high floor for the series as it continues.
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The Next Round was always competent in its presentation and the special touches made to portray ASL in comics are noteworthy, but there's simply not much there there when it comes to this lackluster miniseries.
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The Flash #1 reads like lightning in a bottle and there's no better approach to The Flash.
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The kaiju antics on display in Godzilla: War for Humanity #2 are excellent as Jake Smith's cartooned forms capture the abundant details and eccentricities of each new appearance in vivid fashion.
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Even with a poor memory of where Kaptara left off so long ago, the madness on the page in Universal Truths makes for an amusing read at all times.
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The pressure on Newburn to balance so many highly volatile and violent interest increases once again in Newburn #11 resulting in what may be the operator's most daring plan yet.
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Any fan of Sonic is bound to revel in Amy's own adventure this week in a very enjoyable celebration.
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The Expanse: Dragon Tooth #5 is a middling entry that will be quickly bypassed when read in a collected edition likely the best way to read Dragon Tooth when its finished.
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The Oddly Pedestrian Life of Christopher Chaos has assembled an entire team of adolescents based in classic Universal monster tropes, but their purpose, antagonists, and origins all remain muddled and make it difficult for readers to invest in whatever adventure they're on.
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All of this action occurs within a setting that is wonderfully realized by De LaTorre with violent sequences every bit as impactful, but it's difficult not to question whether there's actually a story worth telling beneath those appealing aesthetics after this second outing.
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It is a dull, rote affair from the start with a trio of characters who seem entirely detached from the narrative and world they occupy. Leave it.
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Ultimate Invasion has revealed itself to not be a mystery box, but rather a multi-faceted vision of a radically different timeline in which a strange and unpredictable future may unfold.
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Unstoppable Doom Patrol #6 is a fast-paced read that simultaneously urges readers to discover what happens next and linger on the truly bizarre elements revealed with each page turn. It may be the most fun you'll have in superhero comics this week.
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If Amazing Spider-Man can sustain this energy, it's well on its way to producing another classic storyline for Marvel's flagship series.
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Throughout Generation Joker #5 the most consequential visual elements consistently fail to land on the page.
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The action and plot advancement are plainly told, but there's too little meat on the bones of a miniseries focused on tertiary Amazing Spider-Man characters to make even that mundane delivery worth much attention for all but die-hard fans.
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While characters remain largely two-dimensional and the prelude reliance upon reader knowledge of Dune continue to hinder the overall series, Dune: House Harknonnen #9 provides some of the best adapted elements from the comic book to date.
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That's a problem for the overall miniseries; each distinct sequence functions well enough independently with frightening artwork from Andrea Mutti, but they fail to cohere and create a sense of overall momentum.
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There are new twists and cliffhangers to be found, but when tied to such a flimsy comedy tale that regularly fails to deliver any laughs, it's difficult to find a thread of interest anywhere in In Hell We Fight #4.
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The final, few moments are soft, sweet, and sometimes sad, but Craig is every bit as capable of detailing emotion on the page and setting the stage for a long run to come filled with action, adventure, and genuine, heart-stirring drama.
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With wondrous depictions of simple recipes, deep-seated emotional experiences, and a sense of wonder at the mundane, it summons an odyssey of memory bound to remind readers of the most profound flavors from their own past.
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Whether or not the new concepts introduced in this issue will pay off is a story likely years ahead of us, but the introduction makes the sort of bold promise that originally set Saga on the map and promises that the series still has plenty of good road to travel.
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Beneath the ploddingly obvious developments of plot spoken into existence, there is a gnarly aesthetic given abundant opportunities to depict mayhem and carnage as the Terrors tear into the city. It's a style that fits well with the premise but can't mitigate the poor execution that structures this issue and series alike.
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Wherever The Witcher: Wild Animals is heading in future chapters, readers may anticipate them without any worry that they're getting anything but the best Witcher story available in comics today.
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Uncanny Spider-Man #1 is an excellent debut for the rare Nightcrawler solo series one that weds the character's intrinsic joy with the tragic optimism he must possess in a world filled by so many shadows.
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The Vigil #6 will decide whether this miniseries stands out as one of DC's most ambitious additions in 2023 or an interesting effort that couldn't quite stick the landing.
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Wherever this gothic murder mystery is heading, readers may rest assured knowing that they will experience a viscerally tense saga of vengeance and obsession only possible in the comics medium.
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While following their two-man war against the children provides a fun romp, the titular antagonists of this series seem to lose their focus.
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Reading Damn Them All #8 it's impossible to resist the urge to continue down the rabbit hole, even as Ellie advises against it, because Damn Them All is a series with enough ideas, style, and heat to run for a very long time.
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Forns does find opportunity wherever it is available to depict elements like acceleration or unanticipated new elements, but so little of value is to be found in this particular confrontation that it cannot help but stand as a disappointment when compared to the 8 issues preceding it.
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While it's nice to read about Miles' life between big showdowns, the sequences seen in this month's issue might be better served by better pacing between issues, rather than packing so much of Miles' more mundane life into a single shot.
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Something Epic is so devoted to its own significance that it seems to have forgotten to portray the sort of storytelling value it purports to cherish. Leave it.
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Given the quick move to potentially reveal Mimic in issue #63, I was skeptical about this story's staying power, but Sonic the Hedgehog #64 is a fine reminder of just how flexible this series can be when morphing itself to showcase different genres in a broadly accessible style.
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Rather than striving to be the biggest adventure ever, Sonic the Hedgehog's 900th Adventure relishes being another installment in a long pantheon and provides a potent reminder why these comics remain popular amongst new generations of readers and those now raising them.
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As the series barrels ahead and continues revealing new layers to itself, Lost remains a fascinating character study featuring the Man of Steel.
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Much of the conspiracy will require readers to review earlier issues with long gaps between installments making it difficult to track the wide array of codenames, connections, and internecine plotting. Yet the structure of issue #3 showcases an unexpected climax that's bound to pay dividends when read as part of a whole when Waller vs. Wildstorm is collected.
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The team seems to exist primarily for their to be a team titled X-Force and with middling action sequences to serve their ongoing quest for revenge, the central question of the series and one that remains unanswered in this issue is: What exactly is X-Force about now?
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While X-Men: Red #15 primarily serves to stage the next battle in a seemingly long war, it finds opportunities to develop characters within that staging and delivers another winning issue along the way.
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Amazing Spider-Man #33 (already a notable number) lays out an enormous feat for the story ahead as it seeks to rival a piece of the Spider-Man canon but the tact and skill displayed in this set up makes that feat seem entirely achievable. This may be the best story yet in an already excellent run.
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This issue is a heartwarming affair in the best sort of way, opting to succeed on reader's expectations rather than defy. I, for one, am very excited to see more of The Thing and his new best friend.
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A spread featuring ancient civilizations from around the world confronting different monsters sets Here There Be Dragons as a gateway to a secret history of antiquity, but it would be much more intriguing if the series had a way to show readers this discovery instead of simply telling them about it.
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The energy present in the second arc of Justice Society of America recalls Johns' earliest work at DC Comics on the same title in a warm fashion that promises this series' best days still lie ahead of it.
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The mounting deaths possess plenty of creativity, especially one involving roses and thorns, and Leila Del Duca's visual metaphors for the distance and lack of connection between the pair work well on the page. Yet the plot itself is stretched so thin with issue #9 seeming only to repeat what was already known as events grow worse that it all becomes wearisome.
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Peacemaker Tries Hard! summons both R-rated action and laughs along with a surprisingly sweet story that could only exist in superhero comics; the only bad news is that only one issue remains.
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Shazam! Is a bona fide can't-miss comic for anyone who loves fun-filled superhero series.
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Swan Songs #3 provides another wonderful fable grappling with modernity and some of humanity's oldest myths at once.
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Given time it's clear that Tear Us Apart has plenty of style and potential, but the first issue reads in too short of a fashion to establish much of a connection with the story.
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Wherever The Sacrificers is building toward, its purposeful pacing and gorgeous realization promises readers this is a story worth their patience.
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Blade remains a sleek and sexy action thriller that builds upon what Blade is best known for killing supernatural baddies and looking damn good while doing it.
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There are some immediate threats and Spider-Man is nearby, but presenting Liz's story in a new light ultimately leaves Cult of Carnage: Misery feeling like another iteration of Liz's cycle of suffering to support other narratives.
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G'Nort's Illustrated is a special that reminds readers why these goofy titles are often worth the investment for a few laughs and well-curated artwork, especially when they mix up their format.
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Kaptara: Universal Truths #1 returns a long-absent series and quickly reminds readers there's still nothing else like it in comics today.
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It is a striking collection of work that reminds readers with each new story that this is a who's who of current comic book artists and writers.
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There is some sense of a Savage Dragon-like ambition and scope to be combined with best examples of Drew Craig's artwork, but Starstorm struggles to find the balance that would make it a rewarding read.
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Ultimate Invasion has revealed itself to not be a mystery box, but rather a multi-faceted vision of a radically different timeline in which a strange and unpredictable future may unfold. Besides a few panels with distractingly thick linework, Ultimate Invasion #3 puts the final pieces in place for a sprawling finale ready to set the stage for something utterly fantastic within Earth-1610. Bring on the finale.
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Whether it's comedic back-and-forths, displays of fearsome power, or some sincere dialogue between old associates, every sequence serves up these disparate tones well and ensures they all blend together making Amazing Spider-Man #32 a diverse set up for a forthcoming story that's not to be missed.
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Batman: The Brave and The Bold #4 presents four stories, all of which are essentially new additions to the serialized anthology. Only "Stormwatch: Down With The Kings" continues an existing story, but even it is drawn into the events of "Knight Terrors" in a fashion that only serves to push the narrative forward in the final few pages; however, most of the nightmares witnessed in this addition read as unnecessary distractions lacking in both style and substance.
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As the series leans into its chaotic style of action and delivers on the promise of hulking figures breaking one another, the possibility of a future return sounds far more promising than it did just a few months ago.
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Rivalries are central to most of the best story beats in both the Rocky and Creed boxing franchises and Creed: The Next Round delivers its best issue yet when it centers Amara Creed's emerging rivalry with young champion boxer Jamie Pierce.
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The humor surrounding an appearance by a wooden puppet consistently land and depictions of various stages throughout the whale provide Morazzo with abundant material for sight gags, making Ice Cream Man #36 one of the most amusing versions of this sad story imaginable.
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The balance between serialization and self-contained mysteries continues to blur in the second round of Newburn as the pressures on its eponymous anti-hero mount.
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There is a trickle of new information with little definition and the desperate motivations driving much of Muhammad's crew is simply reiterated. That superficial approach to story and character makes the tragedies and mysteries summoned at the end far less alluring than they might be otherwise.
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The Oddly Pedestrian Life of Christopher Chaos is finally revealing the shape of its story, but lacks a significant hook to pull readers deeper into that narrative beyond its consistently clean line work.
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The Penguin #1 promises DC Comics and Batman fans alike a story grounded by elements of crime and subterfuge not requiring any superhero hijinks to function, and in doing so discovers what makes Oswald Cobblepot such a compelling anti-hero.
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Unstoppable Doom Patrol #5 is an outstanding action issue that provides readers plenty of reasons to return for whatever new chaos is set to arrive next month.
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This far into the miniseries, it's clear that readers invested in a multiversal Vampirella saga still need to only worry about the final installment of this particular addition.
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X-Force is posed to play a central role in resisting Orchis and readers will anticipate learning what that is when the story is able to advance past July's releases next month.
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Generation Joker #4 begins to frame the miniseries' finale as the Joker's hard drive changes hands once more and the cast of characters rush ahead to their next location. However, the story beats already appear repetitive.
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Daredevil #14 is a reminder that heroism is not defined by great abilities or grand sagas, but the everyday work represented by Matthew's work as an advocate for justice both within and beyond the systems he occupied, providing an inspirational and humanizing perspective on the superhero genre.
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There's a sense of excitement surrounding the ever-worsening plights of those marching towards their fates in Dune: House Harkonnen resulting in its best entry yet.
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Godzilla: War for Humanity #1 delivers exactly what I want from a Godzilla comic, which is a vision I wasn't expecting.
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Many of the best elements of In Hell We Fight remain in the background, but the addition of new villains and a much busier setting promise more of Jok's skill ahead.
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While the final conflict with Insomnia is only foreshadowed by the final pages, Superman's struggle to save himself and his dearest friends from the nightmares is resolved in a stylish fashion that can be appreciated entirely on its own.
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Lacking the show's confident style and stretching this series' premise thin, Heart of Rickness grows stale in its second issue.
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Whether it's the Diamond Cutter's upcoming hunt or building new bonds across the series' sprawling cast, Sonic the Hedgehog #63 provides readers plenty to enjoy and promises the best is still ahead.
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Whereas much of The Vigil #4 feels familiar after three issues, it offers just enough at the end to assure readers that it is quickly arriving at a destination worth witnessing.
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X-Men: Red #14 sets the stage for Arrako's future and promises abundant excitement as some of the most powerful and intriguing new characters in X-lore battle for the future of Arrako.
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While extended page counts and increased cover prices may test some readers' patience, Amazing Spider-Man #31 earns all of its space in a return to form for the current iteration of Amazing Spider-Man.
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This series is shaping up to be the silver lining of Hellfire Gala 2023 and perhaps a whole lot more.
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Damn Them All returns this week and makes clear that the best new horror series in all of comics isn't going anywhere, but it certainly promises to get even wilder as angels enter the picture.
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Danger Street #8 is an exercise in building anticipation and it's incredibly successful in doing so.
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Although the narrator's voice remains hokey and the artwork struggles to showcase key images, Godzilla: Here There Be Dragons #2 provides plenty of fun era-appropriate details and a hook good enough to keep readers on the line before it ends.
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Haunt You To The End is certainly heating up, but it's difficult to make out what's happening through the haze on these pages.
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Altogether, it makes for an incredibly immersive issue and prepares readers for a quickly developing climax as a wide array of factions prepare to converge and decide Jin's fate.
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Knight Terrors: Shazam! operates by the same ill-defined dream logic of so many other miniseries in this event, but finds itself much more appreciated for binding that oddity to the heart of an already excellent ongoing series.
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Knight Terrors: The Flash paints a sincerely nightmarish vision that could only be imagined from a speedster's point of view. While it would be fair to compare the ultimate irony of this story to this summer's blockbuster flop The Flash, writer Alex Paknadel distills that concept into a much more streamlined tale and artists Daniel Bayliss and Tom Derenick cast Barry's transformation in a far more terrifying light.
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While Miles Morales: Spider-Man #9 makes a strong case for Hobgoblin as a recurring villain in the series, it struggles to set up exactly what that means for the story of characters going forward and never manages to escape the scene it starts over the course of 20 pages.
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Swan Songs continues to stun in a second installment drawn by the inimitable Caspar Wijngaard depicting the end of a marriage.
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With artwork that forgets to develop any interesting settings in favor of bland superhero splashes and a conclusion that is anything but satisfying, it's clear Adventures of Superman: Jon Kent is best skipped altogether.
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This annual touches on interesting elements running through Marvel Comics today, but doesn't contribute anything substantial to them in terms of style or story.
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In a series often defined by long-running relationships and grand epics, Fantastic Four #10 showcases just how much the team (and their stories) can accomplish in a single, standalone issue.
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The first arc in Justice Society of America manages to deliver a satisfying conclusion and establish a new team status quo after four issues of time travel shenanigans.
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Knight Terrors: Black Adam is ultimately a pair of issues reserved only for the most intense Black Adam (or "Knight Terrors") completionists.
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Even though I often felt the series dragged in early issues, what occurs here is based on a pattern that could not have succeeded without that investment. It makes the final few pages read like a revelation simultaneously shocking and fun.
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There are allusions to the supernatural and past antagonists, but both the literal and metaphorical source remains a mystery through the final pages of issue #8. Instead, space is devoted to developing a mood of creeping dread, even if the inclusion of a floating hand in the magical, wintertime hot tub room seems silly given the juxtaposition.
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Peacemaker Tries Hard! started well and continues to get better with each passing issue, and #4 promises the best is (somehow) still to come.
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The Oddly Pedestrian Life of Christopher Chaos #2 begins providing a sense of its story's shape after a conflicted and overstuffed debut, and it appears to be (another) fusion of superhero and horror elements set amongst high schoolers.
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In taking its time The Sacrificers #1 proves to be an excellent introduction to the ambition contained in any high fantasy saga worth its salt.
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Building upon now-classic stories ranging from Green Goblin's earliest victories through Superior Spider-Man, it's clear this vision of Amazing Spider-Man is creating a very bright future for the series and character, alike.
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The Brave and The Bold continues to curate an outstanding array of talent in an anthology bound to please any Batman fan.
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Creed: The Next Round is on the upswing and seems ready to continue developing an interesting set of new characters in this boxing saga.
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There's a video game sort of logic that pervades symbiote-centered comics as the muck occasionally shaped like characters endlessly reforms itself amidst waves of action. That continues in Cult of Carnage: Misery #3.
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Ghost Rider #16 functions like a ghost story told by a campfire with a narrator detailing the narrative of a mysterious hitchhiker who crosses paths with all three of Marvel's most prominent Ghost Riders. The concept makes for an intriguing one-shot, especially with the tightly paralleled trio of stories providing plenty of material to reflect the broad strokes of this new villain's origin.
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The shape of the plot is familiar, but it provides every element well and carves out space for a few surprises by the end.
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Combine that excellent return with the series' best back-up story to date, contributed by Nick Dragotta and David Brothers, and readers have a can't-miss issue of crime comics that promises the best is still yet to come. I can't wait.
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She-Hulk, in its finale, delivers on all of the promise contained, not only in the current story "Girl Can't Help It," but the entire series to date; it is funny, thrilling, dramatic, action-packed, romantic, and sincere across that entire range.
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Superman: The Last Days of Lex Luthor #1 reaffirms Hitch's place in comics and is worth reading, if only to see his depiction of grandiose Superman adventures. Yet the underlying premise proves far weaker than it appears on the cover.
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While readers can discern the ultimate outcomes, the journey to them is less than thrilling on the page. Yet the new intrigues and clarity of broader political conflicts here are sufficient to keep a fan of the television series, like myself, hooked.
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Stack another lackluster roster of Justice League knockoffs at the end of the issue, and it's apparent that The Savage Strength of Starstorm is dedicated to throwing half-baked ideas against the wall and largely ignoring its own artistic merits.
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Readers shouldn't walk away from this finale disappointed, but they likely won't find themselves remembering it in the same fond light as X-Statix, if at all.
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Alternate versions of Marvel heroes and villains are pulled into a sci-fi spectacle with violent sequences that remind readers why Ultimates was such a hit. More answers are teased in the final few pages and they can't come soon enough.
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Any reader familiar with the genre will find nothing to surprise (or, even, intrigue) them as it runs in a paint-by-numbers fashion with interruptions and collisions between multiple conflicted parties playing out in predictable fashion.
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Four years after House of X and Powers of X revitalized the entire X-line, Hellfire Gala 2023 has extinguished any interest I still held in a truly dismal affair.
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Generation Joker #3 provides the series' best action to date and moves quickly enough that the series' flaws never become too pronounced.
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After years away it seems that Battle Chasers is reluctant to arrive at any sort of point.
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Only time will tell if this iteration of Blade has the legs to define its hero in comics, but Blade #1 certainly has enough juice to suggest it might.
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While new issues still feel scattered with a half dozen plotlines quickly addressed in each issue, there is finally a sense of momentum in Dune: House Harkonnen #7 as these disparate threads begin to converge.
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Spider-Gwen: Shadow Clones concludes on a familiar set of notes that will likely please longtime fans of the multiversal heroine's solo adventures while leaving others nonplussed.
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The action is a mess, but the cliffhanger and set up for it promise something actually terrifying may still lurk behind the next page.
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The Vigil #3 presents the series' best concepts to date as the team seeks out a setting dreamed into existence and one member engages in an unsettling day of subterfuge.
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There's a useful infusion of humor, specifically in the introduction of a new member of the Great Ring, that helps to balance the tense political dialogue and underlying promise of action.
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The Amazing Spider-Man #29 walks the line between big, bouncing action and tragic character twists with ease, delivering readers one of the most fun Spidey issues of the year so far.
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Danger Street #7 is a remarkably engaging issue, especially when one considers how much of it is devoted to the concept of waiting around.
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While Ms. Marvel will inevitably return, her temporary death creates an opportunity for this issue of Marvel Comics to remind us how superheroes may inspire us in life.
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Much like its debut issue, Haunt You to the End #2 provides a perfectly functional ghost story, but still lacks the sort of hook that will draw readers into whatever future frights it may have planned.
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The lack of definition for Hell persists in In Hell We Fight #2, and it makes it difficult to invest in the series' action or humor in a setting that resists any sense of stakes or suspense.
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Although it's unclear what the exact stakes of this tale are, readers already invested in the Shazam family will find plenty of emotional attachments to follow as Mary falls deeper into her own night terrors.
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No installment of "Knight Terrors" has integrated the concept of dreaming so neatly into a hero's own story as The Flash, and the result is one of the better Barry Allen stories I have read in a long time.
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Hobgoblin's appearance is always welcome and artist Federico Vicentini imbues the iconic design with madness and fury that hint at underlying mysteries.
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Heart of Rickness #1 may not deliver the same highs of a great Rick and Morty episode, but it captures enough of the humor to hold the line while the next season is still in production.
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It seems that as the maxi-series reaches its midway point that it has found the heart of its narrative.
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The Great British Bump-Off resolves both its murderous mystery and competition in outstanding fashion with issue #4 this week.
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There are no breaks in the nature of this action and transitions between characters often go unnoticed as their climaxes are often slight. The pieces of Unstoppable Doom Patrol #4 are ultimately stronger than the whole and will make a welcome return to the series' typical frantic action next month.
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With next to no effort provided in progressing the present status quo, the colorful diversions of the past three issues are made to feel just like that diversions.
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For those interested in knowing what happens next, Adventures of Superman: Jon Kent #5 delivers more, but there's not much to be valued beyond the plotting.
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As it stands, Clobberin' Time #5 wraps up its own plot neatly and provides a fine showcase for Ben Grimm as an icon of superhero comics and unforgettable character in dialogue and spirit, but it also makes clear that there's not much left to be mined from this particular version of The Thing.
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There's an epic majesty evidenced in Marco Checchetto's artwork as it depicts a sprawling vision of Hell defined by tall towers and staircases that hearken back to epic poetry. It makes for a grand spectacle as Daredevil, now garbed in white, battles The Beast's enormous form.
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With three distinct stories and styles all playing upon the same character concept in very different fashion, Extreme Venomverse makes a case for itself to be enjoyed by comics readers of all stripes.
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Throughout the issue, all three of the team mates with their memories intact enact clever ideas that play out with a genuine sense of spectacle on the page. Metatextual adjustments, including a page depicting Alicia's perspective, contribute to the action rather than distracting from it.
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I Hate This Place #10 secures it a spot as one of 2023's best miniseries, one bound to be fondly remembered in years to come.
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Knight Terrors: Black Adam primarily serves to remind readers what they're missing with Priest's Black Adam on hiatus.
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Yet without any clear sense of what reality is or how to consider Joan's increasingly strange current trajectory, the mystery remains the focus of Love Everlasting and it provides few satisfying additions here.
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While there are a number of entertaining ideas embedded throughout, the issue-long introductory tour proves too long to sustain itself.
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There are a couple of instances in which tall panels result in a confusion reading order, but overall Peacemaker Tries Hard! continues to present itself in outstanding fashion with some of the most expressive characters in DC Comics' current line.
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Sonic the Hedgehog #62 positions itself as a filler issue, focused on setting up future stories while Sonic is out of the spotlight. That's not an inherently bad thing for a series that thrives on the presentation of its supporting cast, but when a slower pace is paired with sub-par presentation it makes for one of the series' more forgettable issues.
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While Prince's black humor and idiosyncratic notions are evident, they are applied for different effects than in Ice Cream Man to reveal a sense of tragic optimism where beauty can still be found in even the worst circumstances.
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With so many classic characters arranged in a genuinely new fashion, Amazing Spider-Man #28 manages to summon the magic of classic 1970s Spider-Man action in a modern style. Wherever Doc Ock's plan may lead, readers will want to follow.
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The series assembles a collection of headlining writers and artists, each of whom could carry a solo series featuring the characters from their stories, together in one of the most ambitious anthologies of 2023.
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If "Carnage Reigns" is a detour on the journey, then this set of symbiote-infused series ought to remain a mainstay read for those who have discovered their surprisingly high bar of quality.
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Creed: The Next Round introduces itself as a capably told sequel that lacks the punch found in its filmic predecessors.
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Most of Maskerade #6 consists of exposition dumps in which character's voices fill narrative captions over related illustrations. It's the sort of concept that can easily be excused for its efficiency in a single page, even a few, but when filling an entire issue it's a tedious use of the comics form.
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The Neighbors #4 reveals further layers of a family's new setting as they go on their separate journeys to discovering exactly what The Neighbors are.
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Many comics toy with a "will they-won't they" routine, but few have pulled it off with the same fun and flair as She-Hulk #14.
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Although it's fair to refer to The High Republic Adventures as sleight, it arrives at its end competently and with a splash of style that ought to please young readers and provide older ones with enough to enjoy.
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Characters are flat and humor is non-existent in an issue that bases its title and far too many jokes on the idea that hurting a clown is funny maybe in a better comic.
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There's still a sense that the story is laying the stage for a much larger conflict, but where that pacing often worked to the television series' benefit it feels drawn out with a month, rather than a week, to wait between new installments in comics.
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Whether readers are looking at an unreliable narrator, metaphor, or another answer altogether, it's not clear in The Oddly Pedestrian Life of Christopher Chaos #1. Where that might encourage one to keep reading in the moment, especially given the charming artwork, that patience may expire in the course of a month.
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After two issues, it's difficult to state what exactly The Savage Strength of Starstorm is about or why readers ought to take a chance on it.
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Thor #35 reflects the run it concludes well in that it never quite coheres, but offers some gems amidst a lot of messiness.
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Until the next issue arrives though, Vampirella vs. The Superpowers reads like it's stalling for time.
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This may not be necessary reading, but for those invested in the current and upcoming X-sagas, it sets the stage nicely.
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There are evident ideas beneath the mess, but the script and its mediocre execution on the page barely cohere and fail to provide a story deserving of much more than a summary blurb on the Wikipedia page for Batman: White Knight.
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Black Adam continues to be excellent and the promise of further chapters is all but demanded by this concluding note for the current series.
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Altogether, these three tales present a fun summertime diversion that will leave readers yearning for Halloween without overstaying its welcome. Mission accomplished.
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Detached even from the current "Carnage Reigns" crossover event, Carnage: Cult of Misery is a development that's just as likely to be forgotten within the next year and that's likely for the best.
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Dune: House Harkonnen continues to suffer from clipped pacing and a scattered story, but issue #6 offers the most cohesive installment in the series to date.
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Godzilla: Here There Be Dragons combines two favorite sources of children's entertainment: kaiju and pirates. Why exactly the combination of these two concepts is entertaining is left to readers' imaginations, however, as the first issue is dedicated simply to setting up the premise.
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Hallows' Eve is well situated for its upcoming climax, but the quality of even a simple issue like this one makes the case for more from this character and creative team.
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Kaya #9 fleshes out both its protagonists and antagonists by providing them with plenty of new problems on a journey that already seems bound to be Kaya's most exciting chapter yet.
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In some ways, Saga #65 reads like a flex as it reminds readers this series can still break their hearts as beneath all of the excitement are characters invested with life. Saga #65 is an impressive issue and one that will leave many ready to slow down.
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The action sequence is capably drawn with a number of well designed single-page showdowns. It's not enough to make this issue read as much better than filler promising more of the same before finding any genuine intrigue in this story.
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Regardless of one's feelings about the Ultimate universe or its upcoming return, Ultimate Invasion #1 makes the case for itself not by promising future series but offering one that is immediately relevant.
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The Vigil is recognizable and capably told, but not terribly intriguing as of yet.
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Even as their confrontation with the primary Beast looms large, this quest across time pulls upon so many long-standing plot lines readers won't want to rush through the future Beasts too quickly.
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After a long detour Amazing Spider-Man is back to what it does best and promises readers the best may still be yet to come.
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Although the story itself is filled with familiar fantasy tropes and the characters all resemble archetypes encountered all too often, Battle Chasers #10 moves too quickly for those tedious elements to detract much from a still-stylish return.
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There's an abundance of humor that springs naturally from the odd couple pairing and Skroce's focus on small details (like what one eats in a multiversal void) provide a touch of mundane humor amidst such grandiose exploits.
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Haunt You To The End starts as a run of the mill ghost story, give or take a sci-fi twist, but will likely satisfy fans of the genre looking for their fix.
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The overall shape of Superman: Lost begins to cohere as Superman returns to the strange Earth-like planet he recently departed and finds he's needed there, too; although it makes the prior issue seem like an unnecessary detour, this setting is filled with potential.
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If issue #4 can stick the landing of this intriguing plot, The Great British Bump Off may be bound for a sequel as one of 2023's funniest and most charming new comics.
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Much of The Glass House #3 is devoted to carefully developing the motivations, relationships, and power dynamics that shape this multifaceted drama. Every being has their own purpose and nature, which fills the many conversations throughout the issue with a simmering tension.
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With Zeitgeist still teetering on the verge of godhood, his own team still unsuccessfully plotting against him, and the X-Statix still bemoaning their position, The X-Cellent #4 reads like a miniseries with one too many issues spinning its wheels.
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The trouble with conspiracy stories is that they require a lot of context to be understood; what's clear by the end of Waller Vs. Wildstorm #2 is that this miniseries is ramping up to be an excellent conspiracy tale and the context required to appreciate it is finally established by the final few pages.
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While X-Men: Red remains one of the most exciting series in the entire X-line, this surprisingly quiet chapter is largely focused on past stories being drawn into this one.
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Jon Kent continues to tour the world of "Injustice" and inform readers about this very popular alternate reality in a fashion that will be repetitive for those already familiar and direct, but dull for those who may not be.
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With such shoddily designed characters and settings combined with ineffective action sequences and a story that resembles a collection of notes more than a coherent narrative, Almighty is one series best left forgotten by the end of 2023.
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Matthew Wilson's beautiful rendering of cherry blossoms amidst the violence makes for splendidly sincere melodrama. The stage is set for one last fight and Zdarsky & Checchetto's spin on Daredevil is still throwing haymakers.
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Fantastic Four #8 is slow to get started as it establishes a new status quo for the team while they take shelter at the "Fantastic Farmhouse," but once the mystery begins revealing itself things become increasingly interesting through a "To Be Continued" that's bound to keep readers hooked.
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I Hate This Place #9 frames the upcoming series' finale with some revelations that begin to make sense of the horrific ensemble of nightmares that occupy a lone ranch. It's a satisfying lore-drop, too, as it provides just enough information to begin weaving the various pieces together without ever losing track of Gabby and Trudy's narrative.
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This juxtaposition of the mundane and familiar (i.e. kids stealing candy) alongside the outlandish (i.e. children trapped in Hell) is packed with possibilities, but In Hell We Fight #1 rarely seizes upon that strangeness, instead opting to trot out a plot and approach that feel all too familiar.
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Wherever this series' rabbit hole may lead, Love Everlasting #8 promises a fascinating journey.
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Whatever is ahead for the duo and their dying Earth, it's bound to be romantically-focused and readers can expect to find that those adventures will continue to appear in excellent fashion assuming there's still a story worth telling.
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Peacemaker Tries Hard! captures the incredible action and comedic tone fans of Peacemaker loved and distills them into the comics form as only Starks and Pugh can.
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Shazam! is quickly taking its place as the best, new all-ages comic of 2023.
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The Diamond Cutters remain utterly charming and their combination of powers in action is a blast to read. Yet given the enormous scope of this project, the final chapter reads like the conclusion for a much shorter and smaller adventure.
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The Amazing Spider-Man #26 mostly arrives as a relief that this kayfabe spectacle of death can be addressed elsewhere and mysteries drug out for more than a year can be resolved. Wells and Romita remain an excellent partnership and fit for Spider-Man, but when the needs of the publisher undermine the style and tone that made early issues of the current volume so good, it's difficult to continue applauding such odd outcomes.
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Carnage #13 walks the tightrope of a mid-chapter tie-in issue in near-perfect fashion. Readers invested primarily in this series get to see its core characters receive crucial steps of development, while those characters are gracefully introduced to any readers invested solely in "Carnage Reigns."
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The inclusion of dark magical entities provides an excellent backdrop for this humorous affair, including a pair of devilish children who deliver Skroce's unique brand of violence with gusto. That all of this serves as an origin story for Clobberin' Time's antagonist and sets the stage for another mighty team-up makes it clear that this series still has plenty of hits and haha's to deliver.
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Although the mystery remains intact, it seems all of the pieces are in place for a potent climax as time travel, summoned monsters, and childhood friends find themselves bound up in one of the most enthralling comics of the month.
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All in all, Power Girl Special #1 will provide fans of these characters with some outstanding imagery, even if the story being told is less than memorable.
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This series has been unlike anything in the Punisher's long history to date and concludes with a unique and compelling understanding of an anti-hero Americans cannot escape.
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There's little relief to be found amidst a story with no more depth than a puddle, but there is some artistic skill upon display in pages that pay homage to early Image Comics with bold villains and a spread filled with horizon-aimed starships. It's not nearly enough to redeem the issue, but it's better than a poorly drawn version of this non-starter.
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It's a difficult task for any artist to deliver a script that's so poorly suited to the comics medium and an admirable effort is delivered here with panels that provide clear and consistent settings along with expressive characters. Yet they ultimately all fall flat on the page as they illustrate something more like a Wikipedia entry than a narrative.
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Fury #1 utilizes a writer with a deep appreciation for comics and superhero history with a lineup of impressive artists applying their distinctive approaches in appropriate settings; it has all of the pieces necessary to thrill Nick Fury fans. Yet it lacks a story or purpose capable of thrilling, prioritizing style over substance in an issue that few Marvel readers would ever notice they missed.
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Hallows' Eve remains an unexpected treat with plenty of tricks still up its sleeve.
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It's competently conveyed and depicted with some flourishes of style, albeit alongside splashes and spreads that underwhelm, although none of that is terribly exciting.
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Whether it's chance cliffside encounters or treacherous climbs, each new set piece introduced by Wes Craig in this issue simultaneously highlights both the colorful setting and gripping action sequences found in nearly every issue of Kaya.
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It's not exactly exciting comics, even if it consistently continues one of the 21st century's best sci-fi sagas so far.
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Although this mystery has drawn to a close, and lays additional groundwork for other Sandman Universe tales along the way, it will leave readers looking for the next Dead Boy Detectives adventure, especially if it comes from Pichetshote and Stokely.
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The X-Cellent is aimed square at those with a sure appreciation of irony and twisted humor, and it regularly lands its punchlines in that zone.
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Vampirella vs. The Superpowers is overstuffed and struggles to cohere, but there's sufficient promise for those who find themselves intrigued to return. I'll count myself amongst those readers for issue #2 next month.
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Overall, The Brave and The Bold #1 makes a strong case for itself as an artistic showcase with room for the many mysteries inside to grow into something more compelling.
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However events shake out between the series' anti-hero and the expansive cast now surrounding him, Black Adam #12 is set to be an explosive issue (and hopefully one that will lead to more Black Adam stories from Priest).
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Although the artwork and plotting always meet the marks of competence, it's increasingly clear that run may never really "start" as its 700th issue celebration turns out to be terribly dull.
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Fear of a Red Planet is a series that remains interesting despite some consistent faults and its final chapter still offers the promise of one worth adding to any reader's sci-fi comics collection.
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Hulk Annual #1 provides readers a much-needed change of pace and the best issue of Hulk in about a year's time in an Annual that reads like a genuine Annual.
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While the concepts and designs are intriguing, they read slowly and in a familiar style that often makes them burdensome to the pacing.
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Although She-Hulk #13 may technically feature some villains, it showcases the series' strengths outside of the superhero genre's stock and trade by emphasizing its romance and work-drama angles.
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It's a perfectly serviceable issue of Sonic, but one that leaves me craving whatever it's slowly building toward.
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The Vigil certainly possesses potential, but its introduction is ultimately run-of-the-mill.
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X-Force continues to improve its stock as it builds toward the series' greatest conflict.
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With only one chapter remaining in this pivotal story, Amazing Spider-Man #25 does an excellent job of reframing the story and making it clear why these characters can never go home again.
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Some comics are pure product, meaning they simply exist as more of a thing to be purchased without justifying their own existence. Such is the case with Batman: White Knight Presents Generation Joker #1, which continues to expand the moderately popular miniseries Batman: White Knight into an alternate vision of DC Comics that underwhelms at every turn.
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Although the plot is competently detailed, there's never a reason provided for readers to care about these events or characters leaving Cosmic Ghost Rider dead in the water for all but the most devoted fans of this Marvel Comics portmanteau.
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Danger Street #6 makes it clear that this miniseries is designed to be read as a whole (and hopefully will only be published as a 12-issue collection) because the middle chapters are merely that. Characters and plot threads continue to be slowly woven together in a format that promises big revelations and conflicts to come, but they aren't found in these pages.
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After the climactic events of the past several issues, it would be easy for Daredevil #11 to play like an epilogue as it winds down various character arcs and conflicts from across Zdarsky and Checchetto's titanic run. Yet even as Daredevil returns to New York City and goes about tying off loose ends, it's clear that the story is still cooking and building momentum.
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It's a unique problem that challenges the iconic superhero in new and surprising ways, and Superman: Lost #3 lays out the daunting journey ahead alongside its potential consequences quite well.
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What's clear by the end of The Great British Bump Off #2 is that this miniseries has the style and sensibilities to deliver plenty of jokes alongside a compelling whodunnit without ever relying on the same note. I'm greatly anticipating digging deeper into the mystery.
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The Glass House #2 carefully weaves the new story elements of Nightmare Country introduced last month, including a lovelorn fund manager falling for a corpse and a nightclub literally from Hell, into the prior Nightmare Country series and decades of earlier Sandman lore.
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WildC.A.T.s is clearly not designed for casual readers or those looking to see what made the old Wildstorm icons exciting, but it may deliver some ingots of value for diehard fans.
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X-Men Red #11 balances the aftermath of multiple consequential eventsboth "Sins of Sinister" and Judgment Daywhile reestablishing its own ongoing story and status quo after a 4-month hiatus.
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Told with more wide open panels, familiar, MCU-style humor, and an embrace of superheroes as enforcers of the world as it is, Superman: Adventures of Jon Kent remains an utterly lifeless affair.
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Almighty carries over its ongoing issues with pacing and generic antagonists that serve up a cliffhanger that serves just as well as a jumping-off point.
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The exposition and storytelling is certainly competent throughout, but without answering the question of "why" it's difficult to recommend Cult of Carnage: Misery even to readers who are all in on this corner of Marvel Comics.
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As an individual adventure, The Flash #798 may seem standard, but it's bound to excite readers looking to celebrate a well-regarded run on the Scarlet Speedster's title.
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In many ways I Hate This Place #8 serves as a turning point for the series as it provides the clearest direction of what's still to come, and readers won't want to look away no matter how horrific it gets.
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Love Everlasting #7 continues the prior issue's story for the first time in the series' publication and opens new avenues for this still-mysterious concept that make for the most intriguing installment yet.
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Fans of The Suicide Squad and Peacemaker are bound to find plenty to enjoy in this humorous action romp, even if it's simply par for the course when it comes to the consistently excellent work of Starks and Pugh.
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If this is the baseline for what's to come, then Shazam! is bound to be another stellar series from two of the most accomplished creators working at DC Comics today.
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Where Monsters Lie is an amusing and often funny miniseries, but it wisely ends its run with 4 issues as there's little left to chew once the obvious jokes are delivered.
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This is a chapter that will likely be better appreciated when collected as part of the "Fall of X" saga, but for now it's an interregnum installment that gets the job done as well as it can amidst so many concurrent plot lines.
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The connections between different timelines and definition of various antagonistic roles remains somewhat jumbled in a sprawling mythos rushing to tell a complete story, but the emotions and motives surrounding Greyson and his problematic ward are clear enough to provide them with a satisfying conclusion.
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All of the most obvious qualities from the first issue remain in an irreverent team-up between Ben Grimm and Logan with plenty of gags and some of the most viscerally thrilling action sequences put to the pages of Marvel Comics this year.
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Whether Zdarsky and Checchetto can stick the landing remains to be seen, but the promise of this Daredevil has never been clearer.
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Dune: House Harkonnen #4 functions more like an illustrated history of lore than a narrative.
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Kaya has already proven itself to be one of the most visually innovative and engaging new tales in comics, and issue #7 makes it clear that the best is still ahead.
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Mary Jane & Black Cat has followed a familiar heist mode that writer Jed MacKay has employed many times before, but the formula remains successful because of how the Black Cat miniseries and one-shots consistently build upon familiar Marvel Comics lore to develop characters and deliver twists; this comic is no exception.
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Elements of time travel, interstellar intelligences, and genetic manipulation are all at play in "Sins of Sinister"'s alternate timeline, and they promise readers that this era of expansion and ambition is far from over. However, they fail to deliver a satisfying ending for the event itself.
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The finale is framed for The Dead Boy Detectives this month and, while not every element of this mystery is connected, readers are able to see all of the strings woven together into a quickly constricting knot.
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It's a blunt approach to an ending that doesn't lose the charm of Wasp, but makes for the least impressive installment of the miniseries.
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Readers already aware of Spidey's current status quo will see how each new appearance fits into the inevitable outcome, whether it's Norman Osborne and Ms. Marvel in New Jersey or the Fantastic Four in New York. As a result the story flies by and builds to Peter's risky rescue mission wonderfully depicted by Romita Jr. who twists forms and plays with depth to provide readers a sense of the stakes behind all of this pseudo-science.
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Black Adam #10 is another fine installment in a story that promises at least two more great issues, but clearly has more road to travel beyond just that.
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Hallows' Eve continues to make a strong case for not abandoning Janine Godbe to the pile of Spider-Man-villain also-rans as she continues to explore her monstrous powers and find far worse evils in modern New York City.
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Punisher #11 frames the climax for one of the oddest Punisher series ever delivered and it tees up something shocking, ugly and darkly funny as Frank does battle with an idiosyncratic collection of Avengers.
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Writer Rainbow Rowell and a team of talented artists have made She-Hulk one of the most rewarding, relaxing reads at Marvel Comics today and mastered a pace that supports romantic, professional, and villainous vibes alike. I, for one, am very excited for the series' second year.
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With issue #60 right around the corner, Sonic the Hedgehog #59 is focused entirely on escalating the action and does a dextrous job of balancing so many heroes battling Eggman's hordes.
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This first issue never gets so far as to establish what the series sub-title refers to, but it does promise fans that this continuation appreciates its source material and will provide a sequel with enough recognizable elements to satisfy past audiences.
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X-Statix is a series remembered best for its readiness to defy expectations with dark humor and plenty of style, which is why The X-Cellent #2 provides a somewhat underwhelming read despite still possessing plenty of dark humor and style.
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There are few, if any surprises to be found in very busy pages stuffed with monsters, but the monsters appear just neat enough to satisfy any Marvel horror fan with a hankering for more of their favorite sub-genre.
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In the wake of Beast's expulsion and Logan's exit, X-Force feels like a team book largely lacking its team, but X-Force #39 delivers a rebuilding phase in a single issue that manages to take stock of what came before and deliver a new status quo and mission.
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The violence in All Against All #5 is painful to witness and that speaks to the power of this stunning sci-fi series questioning the nature of humanity and our relationship with the natural world.
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Even for a series that has already featured multiple child murders, Danger Street continues to find new depths to its darkness as entropy intrudes on many plot threads and parallels to modern American politics are evoked.
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Fantastic Four #6 provides a conflict that is absolutely fascinating on paper with microbacteria from a mirror universe threatening to end all life on Earth in a scientifically possible, yet minute scenario. It's the sort of strange sci-fi scenario the team has excelled in presenting at their best and the concept here is very well considered, but Fantastic Four fails to present it with any sense of tension, drama, or excitement.
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While the absence of X-Men Red has been noted, Storm & The Brotherhood of Mutants has provided a satisfying spinoff and the best standalone miniseries in "Sins of Sinister."
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It's still intriguing and well drawn, but readers will likely find themselves underwhelmed with a journey that offers little insight to new elements while providing so many flashbacks to the events of Superman: Lost #1.
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This introduction to the mystery is an absolute delight and the set up of solving the murder(s?) in a single episode ensures the series won't out stay its welcome.
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The Sandman Universe: Nightmare Country The Glass House #1 provides a welcome return to all of the elements that made its predecessor a horror highlight in 2022 while promising even grander nightmares ahead.
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There's simply too little to the individual issues of Adventures of Superman: Jon Kent so far to make them read like a substantial development in a serialized narrative, which makes the connection to a story composed of brief, digital installments make more sense.
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Almighty #3 is an improvement overall, but not much of one.
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Just as each issue of this long-awaited story has altered its form, The Amazing Spider-Man #23 promises a new spin on this strange saga as it nears its climax.
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There's the promise of answers looming on the horizon and discovering just how this increasingly chaotic situation will play out is central to the fun of I Hate This Place.
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With Joan and the reader questioning the series premise together and a new potential outcome revealed, Love Everlasting #6 promises readers that there's more worth uncovering in this genre-bending mystery.
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Although the novelty here is limited, it will likely land for those really craving more Spider-Gwen.
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While there are still plenty of questions to be answered and seemingly even more story to be told, this pause before the possibilities of a new beginning is still quite potent.
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For as much as this last installment slows down and moves to check boxes, it ensures readers receive a memorable final panel that's bound to lure uninitiated readers to seek more and Witcher fans to eagerly anticipate future miniseries at Dark Horse.
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It's a stumble forward as the series prepares for its finale by quickly dispatching an abundance of unnecessary elements.
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Clobberin' Time promises readers one thing: Steve Skroce drawing The Thing fight all sorts of strange stuff; Clobberin' Time #1 delivers upon that promise and exceeds it with a style that from the page layouts to the dialogue could only belong to Skroce.
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A shift in artistic direction does the issue no favors either as Manuel Garcia's thicker lines fail to carry the momentum and finesse that have made much of this volume soar, although Matthew Wilson's colors may not provide the best fit. That's not to say Daredevil #9 is poor work; it's a fine continuation of the story that offers several thrilling moments. Yet contrasted with the rest of the series, the rushed pacing and less notable artistic achievements must certainly provide a minor disappointment.
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Gotham City: Year One concludes as one of the darkest tales ever told about Gotham City with nary a mask in sight and offers readers a potent spin on the familiar.
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For those seeking the lighter side of Marvel Comics, It's Jeff! is a can't-miss collection filled with laughs and love for animals.
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The showdown between two adolescents and a cult of death-worshiping preppers provides a surprisingly comedic affair. Events in the contest Maceo is thrown into are both ludicrous in nature and ultimately insignificant as they clear space before an inevitable violent conflict.
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Readers of The Good Asian will not be surprised to see how writer Pornsak Pichetshote transforms a single installment of an ongoing investigation into a contemplation of identity and rich character study, but that still doesn't make it any less impressive.
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X-Men: Unforgiven #1 notably improves upon its predecessor featuring Spider-Man as it both reveals the conspiracy behind Redblood's attack while introducing a much more compelling secondary horror antagonist from deep within the bowels of X-Men lore.
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Wherever this conspiracy is set to lead, Waller vs. Wildstorm #1 makes it clear that DC characters will provide a potent cast and that the series itself is well prepared to address the complexities of American geopolitical interventions and the often monstrous individuals who carry them out.
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As Marvel Comics' teases the big reveal of what really happened to Mary Jane and Peter Parker, the story itself continues to defy expectations at the very least.
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Penciler Ivan Reis, inker Danny Miki, and colorist Brad Anderson light this spectacle of ecoterrorists battling against caped vigilantes for the planet's future in a familiar style appropriate for a grand event in the DC Comics tradition.
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Each new strand enhances the collective narrative of Black Adam as they reinforce themes of oppression, power, and perspective. Priest's answer to the origin of Black Adam's name reads in an entirely natural manner that provides it with a great sense of tragedy.
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The entire affair reads like a too-detailed, illustrated Wikipedia summary that provides plenty of information about the Muppet Babies of Dune, but no characters or story to invest in.
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Punisher #10 is, for the most part, a whole lot of splatter-filled fun.
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There's a looseness to Genolet's line that captures the power of the figures displayed and leaves room for more precisely defined emotional responses; they make an excellent fit for the series focus in one of the series best installment and one that promises more of the same ahead.
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With four intervening issues with different titles in this story, it's impressive to watch as Storm & The Brotherhood of Mutants #2 serves as both a continuation of the story begun in issue #1 and the penultimate framing for the final act of "Sins of Sinister" set 900 years in the future.
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Wasp has been another wonderful anniversary celebration from writer Al Ewing for the tiniest Avengers, and artist Kasia Nie alongside colorist KJ Diaz have made it every bit as visually remarkable.
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All Against All has provided readers a fascinating riff on apocalyptic sci-fi with a setting and species that reflect humanity with strange clarity, and it appears well staged to stick the landing in its finale.
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The greatest triumph in Avengers Forever #15 is the promise that it will all end with the next installment.
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The splash pages still impress, especially one of Wren's Behemoth looming over her, but it's unclear why readers should be concerned about the fate of Wren, Grey, or their world beyond being told that they simply ought to.
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There's abundant incident with shocking new deaths and encounters, but these moments lack weight as the dead characters are more archetypes than people and the encounters primarily threaten to reveal what this story is really about.
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Perhaps the best thing that can be said of it is: No harm, no foul.
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If nothing else, there's finally fun to be found in Justice Society of America's tour through DC Comics' history, and that's certainly an improvement.
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Wherever Kaya is heading, it's clear that both the current action and events of the past are constructing an impressive comics epic.
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While the first issue is oriented toward laying out the premise, characters, and various sub-plots, it clearly invokes the rich thematic work that made Deathstroke a stand out series for years.
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Readers were left with plenty of loose ends previously in The X-Cellent #5, and the new #1 does an excellent job reminding them where the story left off while heading directly into new misadventures and twists that range from the idiosyncratic to outright disgusting.
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A.R.C. provides readers a one-shot tale focused on the action and efforts of anti-poaching organizations on the continent of Africa, albeit with the pacing, plotting, and approach of a spy thriller.
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Adventures of Superman: Jon Kent #1 is a comic that does not require reading. Fans concerned about events in the Superman family of books can be sure they know all they need from the solicit, while the story inside this issue remains cold, uninflected, and generally uninteresting.
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After two complete issues it's difficult to answer what Almighty is about, much less where it might be going or if it's worth following that journey; probably best to just leave it.
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The most engaging elements of this story are Romita Jr.'s always energetic action sequences featuring a particularly creepy new(ish) antagonist and asterisks calling back more than a decade of Spider-Man history. These ties and an excellently depicted splash cliffhanger promise that the current storyline will have been worth the wait, but for now The Amazing Spider-Man #21 feels like a little bit more waiting.
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For a comic so overstuffed with content, the cardinal sin is to be dull and that's exactly what The Avengers #66 is.
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The scale of Fantastic Four #5 meets the stature of its villains providing a lackluster installment.
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The inevitable confrontation between Mary Jane and Black Cat finally arrives in Mary Jane & Black Cat #4 and resolves exactly in the fashion that most well-attuned readers might expect, but the issue succeeds in how it meets reader expectations, not in defying them.
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There's a lot of promise to be found in Godbe's story, just as there was for Ben Reilly decades ago, and Hallows' Eve appears well staged to seize upon that potential.
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The return of I Hate This Place somehow summons monsters even more fearsome and revolting than the many creatures populating the series' first arc.
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Every issue of Koshchei in Hell has delivered a large leap forward and the final darkening panels in issue #3 promises that will not change as Koshchei the Deathless arrives at his end.
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Murderworld: Game Over fails to meet the expectations its title sets, which poses a problem for a series built primarily on the shocks associated with a Squid Game homage.
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While it's apparent that Sonic is building toward something big, issue #58 feels more like construction than fun at times.
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Even without much in the way of answers, The Dead Boy Detectives #3 reminds readers why they should care about this mystery as the characters and topics it addresses form a rich tapestry worth pursuing to its end.
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Venom #17 neatly integrates the changes of a crossover into the ongoing saga of its time-traveling protagonist and has fun while doing it a neat transition, by any measure.
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If there's more to be found within the pages of Where Monsters Lie, it will be in the mysteries behind this bizarre community of killers.
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The action itself is adequate with mutated monsters attacking the team, but there's little invention in the violence and the monster's designs never get past the stitched-together sort of affair on the cover, less much of the useful detail.
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20th Century Men is a brand new vision that draws readers to interrogate the globe and their own soul through a mastery of the form. A masterpiece.
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It's another classically styled issue of Amazing Spider-Man that manages to bring readers something fresh but recognizable.
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Batman: One Bad Day Clayface is a testament to the power found even in the second tier of Batman's rogues, and calls for greater consideration of this daunting villain.
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There's also an astounding action sequence that reads like something out of Superman in all but how Black Adam handles it. The power in those action-oriented pages is stunning, but it's the history filling most of the issue that will keep readers engaged (hopefully for years to come).
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It's not that Canary is dullPanosian's designs for the characters and ability to deliver familiar heroic and horrific beats in a splash makes the familiar sort of story funbut Canary is playing to type and doesn't succeed in offering the novelty that made early issues such fun to explore. There's still one issue left and plenty of potential secrets still buried in the earth, however.
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There are titillating and terrifying ideas embedded in Dead Mall, but they would perhaps be better served in the form of a haunted house attraction this fall.
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There is always plenty to be savored in Ice Cream Man, but issue #34 provides readers with something that will linger even longer in their minds.
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This story of fascists and liberals meeting across the apocalypse perpetuates the same flaws that lead to the monstrous vision of our future where everything exists as a cartoon until it's time to wink at readers with an ill-considered trope.
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She-Hulk #10 creates a complex new challenge for the character, one that's not typical for the genre, and shows this series possesses the creative capacities to address that challenge well.
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Superman: Space Age always possessed great ambitions featuring three eighty-page issues written by beloved modern satirist Mark Russell and drawn with the inimitable charm and style of Mike Allred so it's really something to see Space Age #3 stick the landing.
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There's a tremendous amount to like about this dark fantasy tale, whether or not readers have any familiarity with The Witcher it's simply well-told comics.
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While the emotional beats don't land and there's no substance to speak of, there remains a visceral degree of fun in seeing the toy chest dumped across the living room floor before it's swept away in a few months.
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Artist Jorge Forns depictions of The Fourth World in this installment are nothing short of stunning capturing both iconic Kirby designs and embracing the wild settings and powerful imagery that made those stories so memorable.
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After much prologue it feels like the Fantastic Four have finally returned in fine fighting form and the future of this new volume holds tremendous promise.
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Fear of a Red Planet set itself a large challenge in staging and exploring an entire murder mystery in such a short span, but it has performed admirably and given readers plenty of reasons to stick around for whatever form its upcoming parlor scene takes. It's also built a strong foundation to continue exploring this vision of the red planet's future.
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Kaya has quickly established itself as a must-read fantasy series and one of Image Comics' best new concepts in years.
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Mary Jane & Black Cat #3 continues to strike notes that made the miniseries' first two issues so charming, but it adds few new ingredients in a continuation that ultimately asks, "Why wasn't this a 4-issue miniseries?"
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While the first half of the issue re-situates the story as the remaining quartet begin to collaborate against Arcade, the titular "hero" Moon Knight arrives in the second half in the series' most effective guest appearance thus far.
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One element of Resident Alien I've come to appreciate is the series' willingness to avoid the most extreme outcomes in favor of one's that feel more lifelike in their approach leaving Harry's presence as an extraterrestrial to remain like something in the tradition of magical realism.
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It's a rushed affair that does succeed in delivering the beats of its story, but can't help but read as a first draft in need of revision.
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The mystery deepens in Wasp #2 as connections are made to various enemies across both Wasps' histories in a web that manages to deliver its exposition in tightly crafted montages, allowing the focus to remain on Jan and Nadia's relationship.
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This issue doesn't lack for action either and delivers a devilishly clever premise that lands exactly where any reader might expect after its introduction, and promises another great issue next month.
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Regardless of how events unfold in the pages of Daredevil #8, this issue is an absolute triumph showcasing The Fist's first battle against The Hand as they face down The Punisher riding a dragon to save a father and his son.
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The penultimate chapter of Dead Mall does not hold back as the remaining teenagers find themselves run through a buzzsaw sometimes in near literal fashion. Issue #3 paces itself well, never hesitating to rush into the next phase as each new terror is bound to dramatically change them.
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The premise is shaky, but the renderings are solid with action sequences that offer clear cause-and-effect even when it's unclear what's real or in Norman's head.
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Much of the issue is given to montage-style flashbacks, cast mostly in black and white, with narrative captions taking readers through the unseen events beyond Slam's scope. It relies almost entirely on how effectively constructed the mystery and this is a story developed by creators who clearly love their noir inspirations. Each new detail fits neatly into place without reducing the sprawling mess into a single, neat twist.
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Even when watching Sonic and the Diamond Cutters engage in some typical Badnik smashing, there's plenty of tension bubbling beneath the surface and that makes this a propulsive comic book read.
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There are enough ideas, action, and humor surrounding his path to keep it engaging, but it's unclear how long this premise can persist without much more than its central gag.
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This is, in fact, the second chapter of a miniseries in much the same way that Powers of X #1 was the second chapter of its own. Once readers understand that positioning, this is an easy issue to enjoy as it frames a very promising saga ahead.
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In an era filled with similar stories, there's nothing to be found in Almighty #1 that makes it stand out.
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It will never cease to be a delight to watch Javier Garrn depict Celestials and grand scales of the Marvel mythos, but the framing in The Avengers #65 robs it of any significance while offering more narrative forgotten in the build to this climax.
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Batman: Legends of Gotham #1 offers nothing new and is ultimately best skipped by all but the most dedicated of completionists.
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Given the promise, fun, and scale on display throughout much of "Dark Web" that can't help but feel a little disappointing.
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The greatest flaw of Lazarus Planet: Legends Reborn is ultimately the concept, however, as even the best ideas are throttled with no space to present the characters the issue claims to rebirth.
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There's a lot to like in a culminating issue that still reads as being incomplete the double-edged sword of serialized superhero comics surrounded by events.
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Where Monsters Lie #1 lays the groundwork for a siege on a monstrous compound filled with familiar concepts in an arrangement capable of commenting on and finding humor in a typically far-from-fearsome setting. As it plays to both Starks and Kowalski's strengths, it also draws out new aspects in both of their work, leaving horror fans plenty to be excited for as the series continues.
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The greatest strengths of this installment all lie in finding momentum once again after the series' many retreats from addressing its central conflicts.
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Beyond some excellent quipping and a final reveal that plays on Captain America's natural earnestness and directness, it's clear that All-Out Avengers was a vehicle for an artist incapable of supporting the action it provided.
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Perhaps the single most impressive feat in this issue is how seamlessly it weaves the tones of over-the-top comedy and continuity-laden pathos into a single narrative that lands both its laughs and sighs.
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Behold, Behemoth remains a tremendous comic in its aesthetics and composition, and it seems that the narrative may finally find stable grounding after taking three months to lay out a story that's far greater than a typical monthly comic book package can contain.
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When readers arrive at the one-shots end, it's unclear what purpose this story served or why any one, Green Hornet fan or otherwise, ought to consider spending more than a few minutes flipping through it.
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While there's plenty to pick at in Justice Society of America #2, the series appears to have found its footing and with some additional space may even find a substantial story hook.
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There are certainly still kinks to be worked out in Last Line, but as the series picks up speed it appears to be finding its track.
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Murderworld emphasizes style over substance, but it provides enough of a rooting interest to keep readers hooked through the overly familiar approach of Arcade.
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Each page turn in Once Upon a Time at the End of the World #3 improves upon what preceded it, especially after an opening splash that narrates many interesting visuals while barely providing a single one.
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The addition of many formless horrors encroaching on what would already be a tense drama singles out Dead Boy Detectives as something genuinely unique within comics for horror aficionados and young adult readers alike.
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Despite the total absence of any monster-hunting action, issue #2 proves to be every bit as engrossing with so many antagonists to be considered.
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As a whole, "Avengers Assemble" hardly hangs together, but the highlights found in Avengers Forever #13 deliver some great panels and laughs along the way.
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Black Adam remains a highlight of DC Comics' ongoing superhero series.
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If asked why this adaptation is beneficial, the only answer seems to be that there was a quick buck to be grabbed.
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This is a series from two rising stars that future readers are bound to discover as their reputations grow; I'm glad to have discovered it so early.
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Ryan Ottley takes over writing duties on Hulk #11 and, while the issue still suffers from a sudden shift in the series' course, he delivers a fun array of sequences that essentially play out as superpowered sketch comedy from one of the most expressive cartoonists in the business.
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Aaron, Saiz, and Azaceta may not have made a better mousetrap, but they've definitely delivered the most engaging and enjoyable Punisher in many, many years.
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It's always a pleasure to watch this cast go about their daily lives and that's no exception in The Book of Love #3, but it sets much higher expectations for the final chapter next month.
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Sonic the Hedgehog: Scrapnik Island lands on a wonderful final sequence that establishes this new setting as a potential hotspot for Sonic the Hedgehog in the future, and may even elicit a tear or two from readers young and old, alike.
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Wasp #1 does a wonderful job of considering everything its title contains. It simultaneously looks back to Wasp's origin printed 60 years ago and ahead to a sprawling new status quo complete with an inheritor of the Wasp legacy.
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Parker, Jameson, and Robertson are trapped in an absurd simulacrum of New York City deep within the bowels of Limbo, and it makes for a simultaneously hilarious and unsettling issue of Amazing Spider-Man.
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Perhaps the single most impressive element in Danger Street remains how dexterously it balances a set of 13 protagonists, with each character or small ensemble playing into the second issue in a manner that continues their own plots while weaving them more clearly into others. It's a striking feat of scripting.
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Daredevil delivers a riveting morality play of modern social movements set against an epic fantasy backdrop with some of Marvel Comics' greatest characters; it's a truly astounding superhero comic.
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This miniseries reminds readers of the ongoing potential of Ms. Marvel as a leading heroine, but fails to make the concept sing as it so often has.
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Legion of X #9 builds to a frightening crescendo in an issue that promises a potent year of X-Men comics ahead for 2023.
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Between the splashy setting and wide array of conflicts (i.e. secrets between friends and who will rule hell), Mary Jane & Black Cat is a bona fide highlight of "Dark Web."
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There's familiarity dripping from every line spoken at the end, but it's difficult to not want more of what you just saw so I suppose I'll be back for Predator #1 in a few months.
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The absurdity of Kindt's concepts have always been part of their appeal and there's plenty to appreciate in Spy Superb #1, but it seems the best tricks likely wait ahead now that the concept has been refined into an actual story.
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No matter how impressive it may appear, readers will most likely be left desiring more.
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The Dead Lucky #5 ultimately reads like a first draft, with any number of minor flaws to be found in its paneling, transitions, and clunky plotting elements.
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If nothing else, The Avengers #64 previews what appears to be the saga's endgame as the Multiversal Masters of Evil are challenged on an ancient Earth; the final page suggests a conclusion is in sight. Beyond that sense of inevitability, there's little else in the issue to discern itself from the chaotic climax crossing over with Avengers Forever.
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Callbacks to the depths of Fantastic Four continuity provide another reminder that this series is set to provide a robust and encompassing saga for its titular heroes as soon as they all appear.
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Gold Goblin remains a clunky read, but with the demands of "Dark Web" out of the way, it may still find its destination.
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When the final page of issue #4 arrives, it's abundantly clear this ought to be a series everyone is talking about before it ends.
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After the stunning battle that took place in Kaya #3, issue #4 is left to pick up the pieces and showcase Wes Craig's dextrous storytelling talents as the narrative shifts gears with seemingly every sequence.
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Sonic the Hedgehog #56 is one of the best issues produced by the already-impressive IDW relaunch as it affirms Surge and Kit's roles as engrossing new anti-heroes in one of the most dramatic issues yet.
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In preparing for the climax, Stillwater #17 builds an impressive degree of momentum bound to keep readers considering both this series' story and its ideas until the last chapter arrives, especially given its genuinely stunning final page.
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Watters and his collaborators have performed impressive work in Sword of Azrael and related stories to differentiate and clarify Jean-Paul's story from the Batman story he's best known for; they make a stirring case for exploring this unexpectedly splendid blend of Catholicism, New Gods, and Batman lore.
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While readers may find the immediate aftermath of X-Force #36, which ended with Beast in shackles and a genuinely horrifying black site prison exposed, to be anti-climactic, that disappointment won't last through the end of an impressive issue that shifts X-Force into a very promising gear.
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X-Men: Red #10 lands a series of stunning climaxes as Storm faces off against Vulcan while Abigail Brand's conspiracy culminates, colliding with one perhaps even more potent along the way.
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Like every issue before it, 20th Century Men #5 will leave readers anxious to discover what comes next, but they will have plenty to contemplate in the interim given both the hope and despair evoked in this excellent issue
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Land's lifeless and sexually-frustrated work ensures that the best issue of All-Out Avengers to date remains difficult to recommend.
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The Amazing Spider-Man #16 continues the Spidey event of the season with plenty of style and fun, as it builds upon decades of Marvel's best (and sometimes worst) stories to concoct something novel.
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Manifest Destiny finds a pitch-perfect landing point for its portrayal of the United States' genocidal expansion and what it may teach us about ourselves in 2022 and beyond.
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It's a notable improvement with an anti-heroine guiding readers down this dark rabbit hole, while several threads of Marvel Comics continuity ground the story in the lives of more familiar heroes. It's the Spider-Man part of the title that doesn't get much play as this installment is so busy laying the groundwork for what's to come there's hardly any attention paid to the murderous Spider-people lowering the number of contestants.
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While this issue also begins to lay the groundwork for future battles, there's plenty to appreciate in the present of Once Upon a Time at the End of the World #2.
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What's most impressive about Sacrament at its end is how the comic cherishes a small spark of light in such a dark expanse as space.
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While She-Hulk #9 doesn't reinvent the wheel, it reminds readers that this She-Hulk series is very aware of what came before and why these storytelling structures can become frustrating over time. It will be fascinating to see how it addresses that particular conflict as it moves ahead.
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Readers seeking reminders of what Stan Lee contributed to comics or an enjoyable superhero anthology will be best served looking elsewhere.
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The Nice House on the Lake functions as a pause point, much as issue #6 did before revealing new information and pushing the vast architecture of this apocalyptic sci-fi tale forward, an impossible invitation to resist. Yet its greatest promise remains in what still lies ahead.
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It's difficult to predict where such an eventful and inventive issue may lead next, but Dead Boy Detectives #1 makes it clear that this series has serious lasting power ahead of it.
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We Only Find Them When They're Dead seems to achieve many of its ambitions in arriving at its finale, and it seems a series well served by rereading and collective consideration; I look forward to doing so in 2023.
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As a fan of Kuder's pencils, it's hard to look away, but there's simply too little to Avengers Forever to even make this issue or miniseries memorable.
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Dark Web: Ms. Marvel delivers readers a typical tie-in bound to please long-time readers of Ms. Marvel and fans of Marvel's current event "Dark Web" without leaving much of an impression otherwise.
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The finale of All-Out War sets the stage for the upcoming conclusion of DC Vs. Vampires, while quickly concluding its own collection of remaining threads.
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Gold Goblin #2 marks a substantial improvement upon the series' debut as the focus shifts to Norman's perspective and motives without simply stating them repeatedly for readers.
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Mary Jane & Black Cat #1 delivers readers a story that functions well on three distinct levels: a short standalone adventure, a thrilling tie-in to "Dark Web," and, most significantly, the continuation of Felicia Hardy's rising star at Marvel Comics.
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Scrapnik Island is bound to have adult readers wondering whether their children are old enough to watch Aliens with them next time.
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This is a perfect introduction to a miniseries that already feels like an emblematic Witcher story.
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The action possesses abundant energy as it pulls readers eyes across the page, and Venom is particularly fun to witness as the character thrills back to its mindless early days. The Amazing Spider-Man #15 promises a lot of fun ahead in the series' tie-ins and "Dark Web" as a complete event.
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Whatever comes next, Danger Street is bound to be one of 2023's most memorable comics.
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So the focus of the story is upon what sorts of stories we choose to tell and what drives us to tell them. In this way the reflections reveal a false question and encourage readers to consider why they seek out stories like this. It's a deftly executed maneuver in an another ambitious issue, and one capable of delivering something far more interesting than the stereotypically bland competition between hope and despair, as life lies somewhere in between.
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A sweeping metaphor for defending one's world against monsters can be read in many ways, but the profound truth made clear in the final few pages of Jonna and the Unpossible Monsters is universal in nature and reminds us all why having someone to fight for is more important than the fight itself.
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The use of warm and witty banter and some emotional catharsis ensures that Legion of X never loses its footing as it finds its way to future highlights.
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With more questions stacked onto a formula that only varies itself slightly between issues, it's difficult to know whether this series is going anywhere at all.
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While it's unclear how the many threads described at the start of the miniseries will intersect, the potential for drama is abundantly clear. With such a well-defined couple at the center of it all, the stakes for any disruption to this romance are heightened because it seems so real. The strength of this story about an extraterrestrial visitor remains its investment in the humanity of small town Washington.
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The composition of the titular antagonist in both symbols and a physical manifestation is dread-inducing and makes the rabbit hole still seem enticing, even as the characters surrounding it lie flat on the page.
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At the end of the road, there's simply not much substance or interest to be found in The Avengers.
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Behold, Behemoth remains an astonishing comic to witness; the introductory sequence of issue #2 is filled with sprawling landscapes, clear emotions, and a gripping, tragic sequence bound to make some readers wince.
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Even if the forms of this plot are apparent, it's a great deal of fun to watch how events escalate in Canary especially when they're set against Dan Panosian's sweeping views of the American west and the nightmares he summons from deep within its soil.
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Second-tier villains are confronted with therapy and care, yet their experiences expose the bars that still remain. It's an impressive series of sequences that challenge how hard any genuine reconstruction of the justice system will be given abundant time and resources, and the former is not forthcoming.
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With years of thrilling character work climaxing in a hellish vision of Christmas on Manhattan and many of the best creators at Marvel Comics involved in what's still to come, Dark Web #1 promises readers the gift of another spectacular crossover this holiday season.
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This issue provides another solid, but unspectacular entry in a relaunch still waiting to be launched.
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All of this investment in the setting and Slam's journey below its surface allows the final few pages to land with desperate intensity that's bound to leave readers shaken. It also makes clear that the myth of Gotham City having once been a grand place for all of its citizens was always just that, and that's where Gotham City: Year One promises to grow far more interesting in its second half.
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If Kaya continues to deliver this pacing and promise with each issue, it will quickly rise to the top of many readers' must-read list.
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As a set up for the finale, it gets the job done and plants seeds for future Predator comics, but on its own this installment is simply laying the groundwork for a final battle every reader was anticipating since issue #1.
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Punisher #8 is simply a great deal of twisted fun, utilizing both of its distinctive art styles to great effect.
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When the cliffhanger arrives and every figure racing about the setting is drawn together readers are left with sky high expectations raised throughout the issue. 2023 promises to be a great year for Sonic the Hedgehog.
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Wherever Sword of Azrael ends, it's clear that it's (anti-)hero still has plenty of story left to tell.
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Undiscovered Country #22 unleashes some genuinely nasty surprises that are sure to leave readers twisting in their seat.
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X-Force #35 frames the conflict between the team and Beast in the open for the first time and promises a fascinating and ugly conflict ahead.
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This quick turn to chaos pays off in a terrifically entertaining issue that promises only bigger things ahead.
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20th Century Men is quickly becoming one of the 21st century's very best comic book series.
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The most cliche of superhero tropes weighs upon Avengers Assemble Alpha like gravity as two teams with excellent knowledge of the multiversal, Earth-killing threat that they face still fall into combat with one another over petty grievances and minor misunderstandings.
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There's simply too little life to a script that simply describes itself before revealing this uninspiring affair was merely prologue for a grander tale without a single good reason given to follow it. Justice Society of America #1 suggests this is a legacy best left alone.
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There's something deeply pathetic about what is contained in Lovesick #2 and perhaps that's some metatextual commentary on the men inside, but it's frankly not worth parsing.
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While Stillwater #16 provides readers with an aside to the series' climactic arc, it also frames that story and the series as a whole splendidly. Two issues remain and they arrive with more promise than before in the wake of these revelations.
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The Dead Lucky #4 is the series' most confident issue to date and with its purpose clearly defined suggests that the best is yet to come.
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It's a tedious battle that provokes little interest as neither the story at hand nor the story promised provide readers a cause to continue beyond seeing more of this and that reads like a threat.
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The Dodson's evoke a real sense of tragedy in "Fall" and Ryan Stegman makes clear that hell is coming for both Spider-Man and X-Men comics in "Winter."
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Wherever the series is building, Daredevil #5 makes clear just how sweeping and compelling its ambitions are.
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Given the many Deathstroke comics and origins already in existence, it's a valid question why another "Year One"-style story was needed and Deathstroke Inc. #15 has no reply.
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The introductory issue clearly lays out the core conflicts and essential figures for readers to know in an economically drafted script. However, loose linework often makes identifying those figures difficult.
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Read charitably, it's a fairytale imagining how children might survive an ever-worsening series of crises, but the lack of grounding or characterization in that fairy tale renders it a momentary diversion.
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However this story of sci-fi exorcism ends, Sacrament #4 has prepares readers for a terrifying trial before the final page.
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X-Force emphasizes the power behind the team in one of the series' best issues to date.
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The finale of Above Snakes meets the immense promise of each step that led to it in Hayden and Sherman's immensely strange Western. Above Snakes #4 delivered on the copious bloodshed promised by a man riding against an entire gang of bastards for revenge and cleared the stage to focus on only a few characters: Dirt, Speck, and Tombs.
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Black Adam #6 delivers the tantalizing showdown between Black Adam and Batman promised last month, and anticipated by readers ever since Teth-Adam joined the Justice League. It's an event of appropriate scale consuming the entirety of this issue in a series that typically leaps between a half-dozen plots.
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Blade: Vampire Nation #1 is bound to appeal to any fan of its titular character or Marvel vampires as it fleshes out the concept of Vampyrsk to hopefully become a new Marvel mainstay.
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Even in the midst of an event I have little taste for, there are undeniable bright spots and Dark Crisis: Worlds Without a Justice League Batman is one of the brightest.
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Casting key turning points in flashback and immediately reversing new twists all make for a generally unsatisfying issue outside of Mary's two key interactions.
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Golden Goblin #1 takes the feat of Norman's redemption cycle in The Amazing Spider-Man and reduces it to all of the dullest, broadest cliches readers might have imagined, and they'll be well served in ignoring this spin-off series.
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Resident Alien's mellow pace remains essential to its charm, and that's especially true when watching a handful of dates play out as word spreads through Patience
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She-Hulk #8 paints a compelling portrait of mad scientists with sympathy to spare.
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Ten Thousand Black Feathers #3 focuses on the circumstances surrounding Jackie's disappearance, which are portrayed with unsettling familiar tropes. It's a sad situation filled with roles and plots typical to true crime, but lacking much connection to the genre-elements this story is predicated on or even the protagonist, herself.
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If there's more action like this coming, readers should be thrilled even if their favorite webslinger will be anything but.
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While it's interesting at points to consider the ethics involved in saving individuals facets of a massive multiverse, there exact nature of the science (and the character at its center) lacks sufficient detail and depth to make this denouement seem significant.
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The most promising element found in the issue is that it promises some sort of ending is finally in sight for a narrative grown far too large with too little purpose.
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When read without any expectations, Fantastic Four #1 is an outstandingly sweet superhero story filled with warmth, creativity, and cleverness. However, the newest issue #1 of Stan and Jack's foundational series is the last debut to appear without expectations. That's bound to leave readers, myself included, torn between the quality of comics displayed and the entirely unfulfilled promise of this title and cover.
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Craig's depiction of the wilderness and monstrous creatures within is instantly striking and leaves readers wanting to see what more there is to be discovered behind each tree in the forest. There's an exhilarating sense of exploration that comes with each step forward, even as politics and prophecy are discussed. Kaya remains an engaging and propulsive new series that's bound to excite readers of all ages.
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Legion of X is a colorful adventure in which anything is possible and every character matters; it's the best series the X-line has to offer in 2022.
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Without Charretier's distinctive depictions of such rich emotions and specific settings, there wouldn't be much to follow in these pages.
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It's a familiar series of role-reversals that Sonic readers are bound to feel familiar with at this point, although the nature of the island itself suggests some upcoming changes for the broader story. The highlight of this issue is it's opening, though, a silent sequence focused on the existence of Badnik's before Sonic's arrival.
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This is the sort of issue that leads readers to review an entire series as it pulls on threads introduced more than a year ago to present its climax. It is an approach that's bound to read splendidly in a collected format, but the ambition of this story told in tight, serialized editions strains readers memories as they consider what's happening and the importance of seemingly every sequence on the page.
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Wherever Behold, Behemoth is leading readers, the first issue makes a compelling case for unpacking the many mysteries introduced here.
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Gotham City: Year One #2 is another excellent installment in a noir detective caper perfectly suited to its setting.
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The action throughout this issue is rock solid and the plotting at least provides a clear enough course to link those various sequences together.
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There remains an abundance of goofy retcons and barely existent themes regarding violence and war, but the character at the center of this story is clearly realized for the first time and accompanied by some excellent Azaceta sequences.
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She-Hulk hits a trifecta of the series' key elements: utterly adorable rom-com exchanges, goofy but compelling superhero court cases, and eccentric action-oriented antics.
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Emphasizing the Order of St. Dumas and including elements of Fourth World mythology all serve to make Sword of Azrael a unique element in DC Comics, and it's working.
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Whether readers are heavily invested in X-Men comics or the many space-tied characters across Marvel, X-Men Red has never appeared more critical to the future of so many stories than it does in the way of Judgment Day.
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It's an impressively ambitious affair, especially when one considers that it's using superheroes to contemplate the problem of evil and man's value in an era of decline.
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The Amazing Spider-Man #12 develops the newest Hobgoblin mystery in a deeply satisfying fashion that suggests Hobby may be prepared to re-enter Marvel's A-list in the not too distant future one can hope.
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It's the sort of final page that makes you instantly pull up a calendar to see when Canary #4 will be released because the turn in issue #3 is all readers need to know their anticipation was well earned.
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You'll have better luck finding fun Deathstroke stories in quarter bins; happy hunting.
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Anyone looking at this comic with an ounce of adult perspective will quickly find its shallowness unworthy of engagement at any level.
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Moon Knight Annual uncovers new material and explores it with a fun tone and the potential for future stories being established; it's a great addition to an already great ongoing series.
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As the heroes escape from Eggman continues, Sonic the Hedgehog displays it has ambition for years of stories yet to come.
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This may always have been a series better served in a collected format, but the penultimate chapter is too grand of a spectacle to be denied, regardless of format.
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Above Snakes has been such a delightthe apex of Sherman and Lewis' impressive collaborations thus farthat its penultimate chapter sneaks up on you; it's difficult to see this comic prepare to say goodbye.
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This comic asks readers not to think for a moment while reading it and it's likely most will continue not thinking about The Avengers after the final page is turned.
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Black Adam continues to build and it's forming quite the monument to this Arabic anti-hero.
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All-Out War has become a cause for cleverness in combining vampire lore with DC superheroes and, in this regard, it largely succeeds.
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Predator remains a thrilling comics update to a familiar franchise.
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The subtle critique of capitalism in the comics industry is far more effective than hyperbolic invective, and it suggests that the best pages of Public Domain still lie ahead.
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While the hand of exposition is clumsy at times, what's framed for the final issues of Sacrament here is very promising, as a result.
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The story plays directly into familiar horror movie tropes with Sonic awakening alone and hobbled to explore his new surroundings, while the Scrapniks make for appropriately spooky antagonists in poor lighting. Yet the highlight of this particular story comes in reversing expectations as adults familiar with the current Sonic line will undoubtedly anticipate.
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While it's useful to invest in characterization early and that work is done so well in these pages, it's enhanced with the clean and divergent styles that made the debut a thrill to read.
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Even as the larger narrative comes into focus, it's the impact of each individual issue that still resonates most clearly in The Silver Coin and this story of the evil that men do promises readers there's far more terror to come whenever the series returns.
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It's disappointing and strange as it neither manages to entertain with violence and humor nor does it push any elements of X-Force forward as the series spirals like a one-footed duckling.
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There's never a moment of doubt and the odyssey further down this divine rabbithole remains thrilling; A.X.E.: Eternals is another excellent offering from Marvel's best event in years.
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The entire affair is a bore one made interminable by Greg Land's rigid figures and mid-coitus-rigor-mortis faces inducing cringes from the page. Leave it.
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It's another home run from the creative team of The Amazing Spider-Man.
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Daredevil #4 is a splendidly constructed issue that will leave readers wanting a lot more of Daredevil-does-epic-fantasy.
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The Jurassic League remains true to its spirit and delivers a joyful finale with splendid artwork from Juan Gedeon and colorist Mike Spicer; if they wanted to explore this era again, it would be difficult to deny them.
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It's a moving tribute both to Legion's immense growth across more than a decade of recent comics and Magneto's own across many decades; Legion of X delivers another stirring tribute to sincere notions of heroism.
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Love Everlasting may not possess an unlimited runway, but the continuing investigation and rearrangement of its pieces is bound to keep readers on the hook for now.
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And while the action sequences and one (again, excessive) splash portray the grisly action in fine detail, X-Force #32 is too busy forcing a contrived scenario in the final page to invest in its own narrative.
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A.X.E.: Starfox is a thesis statement for an apparently underrated Avenger that's bound to change a lot of minds and turn some heads.
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Ant-Man proved to be a colorful celebration of one of Marvel's underrated protagonists and a wonderful showcase of two top talents capable of constructing a miniseries unlike anything in comics today.
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This is a story searching for its justification to exist, one that it never discovered.
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Doctor Fate's story in the first 30 pages of the issue is a banal showdown between a sorcerer and demon using only cliched imagery and conflicts, which provide readers no cause to care for the heroes or root against the villains.
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Even three of the most skillful and creative writers working at DC Comics today prove incapable of infusing some interest into Dark Crisis with fan-favorite characters like Swamp Thing, John Constantine, and Jon Kent (a.k.a. Superman).
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Readers will quickly know whether this tale fits their taste, but those who appreciate noir tales in comic books are bound to return for issue #2.
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Kaya is set to be one of the most exciting new series from Image Comics this year.
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Bootleg is a reminder of just how potent Mind MGMT always was, and what other artists are capable of achieving in collaboration with Kindt. We can always hope there's more to be revealed, even if Bootleg would still be enough.
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The introduction of a new villain develops tension and releases it with an excellent, albeit brief, combat sequence by the end. Wherever the battle is going, it alone is cause enough to return to Sword of Azrael next month.
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There remains a concept of interest within this comic, but the best thing being served up in The Dead Lucky remains the outstanding recipes in the back matter.
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Undiscovered Country continues to unpack many of the series' core secrets in an issue primarily composed of connecting tissue that nonetheless makes for a propulsive read.
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The ways in which that reshuffling of the Great Ring unfold are every bit as inventive and surprising as Ewing has made past conflicts. Individual powers and logic problems are addressed with cleverness that can't help but draw attention to itself.
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The Amazing Spider-Man continues its streak of excellence; don't miss this essential tie-in.
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It's a heart-warming tale and one that sets this increasingly ambitious series up for a truly grand finale.
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Deathstroke Inc. #13 is a comic that reads like the coffee it describes in dialogue bitter, lacking in substance, and reheated beyond any pleasurable purpose.
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The first story arc of I Hate This Place wraps up in brutal fashion simultaneously providing a grace note for Gabby and Trudy's initial outing and framing the future for this spectacularly scary farmstead.
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Much like its start nearly a year ago, Godlewski's depictions of the DC Comics pantheon on splashes and spreads offers the necessary color and energy to derive some joy from this superhero spectacle, but it's hardly enough when saddled with a story that was hardly told.
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Watching how threads written across more than a decade of comics weave together in this spectacular series of reversals and revelations plays off the serialized story's potential, and promises a final act still worth waiting for.
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Both characters, as potential heroes or villains, have bolstered the series in notable fashion and even watching the next chapter in their shared story be set up in issue #53 sets expectations high for whatever comes next
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All of which is to say, wherever Stillwater is moving for its final arc, the saga remains every bit as engrossing as it was in the beginning.
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Superman: Space Age is still contemplating what is best in people, even as it moves through the slow shifts of its second act and prepares for the inevitable apocalypse promised at the start.
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Readers will doubtlessly be left craving more at the end of this month's issue, which shows just how effective its structure is.
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It's a proper spectacle as rendered by Valerio Schiti and Marte Gracia who fill splashes with a resplendent array of costumes and ensure that even burning skylines possess a strange beauty.
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The Avengers drops its ongoing plot to check in on Hawkeye during the events of Judgment Day as the team's greatest marksman is judged by a Celestial. The initial set-up framed by guest creators on the series is fun as Hawkeye stumbles through a conversation with a god making small talk and chowing down on cheeseburgers.
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With Fernandez and Bellaire delivering dark notes in perfect style, this is one issue no fan of Two-Face or Gotham villainy should consider missing.
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Even in exploring the interstitial elements of this narrative, Black Adam never misses a beat and delivers one of the most engaging new takes on an old character at DC Comics in years.
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DC vs. Vampires: All-Out War require readers to squint at the loose lines and lack of definition robbing the quick thrills of their essential speed. The issue still possesses some flair and attempts to rush from this encounter onto the next, but frivolous humor and middling depictions of action make it difficult to appreciate what might work best.
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In acknowledging the often painful experience of treating addiction, it creates a space for understanding amongst so many terrors and discovers a glimmer that might be hope the most incredible twist ending imaginable in Ice Cream Man.
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Legion of X has proven itself to be the idiosyncratic, imaginative, and idealistic culmination of the Krakoa era of X-Men comics; let's hope there's lots more to come.
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The penultimate issue of Manifest Destiny does not disappoint as it lays out the final steps towards an apocalyptic battle for the soul of a continent.
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There's a great deal of novelistic narrative being carried in these pages and it's well served by Zdarsky's character's clear expressions and posture that informs them every bit as much as their words, even if it's typically set against drab backgrounds in this setting.
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While every issue of Usagi Yojimbo seems like a gift, "The Secret of the Green Dragon" has proven to be a comics highlight in 2022.
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You won't find a better event than Judgment Day in 2022.
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Above Snakes continues to deliver single issue reads that are quite satisfying in their own right, providing brief arcs, but issue #3 is an excellent reminder as to how those smaller pieces are adding up and building towards something even more compelling.
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Ultimately, the issue reads like a holding pattern for a crossover that would have made more sense in July and already ready for Romita to return.
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Daredevil #3 lays out a lot of exposition, but it also plays like a mission statement and what it has to say about the story to come is enough to hook any fan of Daredevil.
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The plot may be familiar and worn, but the new paint job is outstanding.
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Even if the hows and whys of it all remain absent, an abundance of style is sufficient to keep one interested for now.
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It's a fine connecting installment, but anyone familiar with the formula knows this is all set up for a punchline in Predator #3 next month.
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With the stage set for an exorcism here, Sacrament promises the best (or worst, if you're Vass) is still ahead.
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Ten Thousand Black Feathers #1 serves up a terribly enticing mystery just in time for the Halloween season.
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Writer Pornsak Pichetshote joins Michael Walsh for The Silver Coin #14, perhaps the best installment in a horror anthology that has already exceeded all reasonable expectations.
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Arrako's fight back against Uranos' monstrous weapons is much more compelling than the planet's initial fall was.
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Without the necessary style or skill to make the artwork its own draw, there's simply not enough here to guarantee any reader is compelled to wait for All-Out Avengers #2.
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There are a handful of elements that transcend this base banalitya confrontation with predators in the jungle, specificallybut it's never enough to justify the time spent reading this issue.
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Atom Smasher provides the most promising installment of Black Adam: The Justice Society Files thus far in a straightforward adventure with competent craftsmanship presented throughout.
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Dark Knights of Steel has already lit up the imaginations of DC fans with a medieval take on characters that's proven to be irresistibly charming and brimming with intrigue. Tales from the Three Kingdoms offers three stories in the same vein, and each provides more of what readers are seeking.
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The concept feels like something straight from Doctor Who and, in familiar fashion, it quickly compiles a collection of individuals who never anticipated interacting with aliens to explore the mystery. There's not much to the story beyond the mystery, however, as each character is barely describable beyond a few key notes, like young and conspiratorial.
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The penultimate chapter of Mind MGMT: Bootleg sets the stage for the climax exceedingly well, while delivering another artistic showcase this time from David Rubn.
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While Punisher still struggles to define its protagonistprojecting him as some sort of remorseful psychopath, like Patrick Bateman gifted with a motivethe images developed out of his twisted mash-up with the Hand in issue #6 make for a delightfully disturbing read.
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She-Hulk may read like a slice of life comic at times, but when it connects those everyday moments to clear stakes and evolving drama, it delivers a gratifying read.
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Sword of Azrael approaches its plot with a relentless pace and minimal mercy.
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There are potentially engaging ideas throughout The Dead Lucky, but that potential is not active in the telling.
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I've long been fond of the least-famed Ant-Man, Eric O'Grady, and his (ironically) short run of titles beginning with The Irredeemable Ant-Man. Ant-Man #2 captures the magic of that series brilliantly and in such a fashion that it continues the meta-narrative begun last month in deft fashion.
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Like every anthology, DC Saved By The Belle Reve is a mixed-bag, but the average skews towards the disappointing.
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Knights of X concludes and mercifully so.
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Altogether, Moon Knight: Black, White & Blood concludes the miniseries in great fashion showcasing some of the best creators rising up the ranks at Marvel Comics.
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We Only Find Them When They're Dead #13 essentially boils down to a single, very taut interrogation sequence, with only the briefest of time jumps to frame it. However, that one long conversation manages to neatly connect the dots of this sprawling space saga between issue #12's cliffhanger and where it is heading for its conclusion even if an issue like this suggests readers may never anticipate when and where exactly issue #14 might pick up.
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It's Robert Gill's artwork that elicits the biggest laughs of the issue with an appropriately gnarly style capable of playing up all of the horrors facing and within the team.
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Judgment Day is quickly evolving into a very special event that delivers on the blockbuster promises of crossovers without forgetting to root its story in universal questions and character; A.X.E. is beginning to look like a best case scenario for superhero events.
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The Amazing Spider-Man #8 reflects perhaps the most essential quality for any creators tackling the title in 2022: making the familiar feel fresh once again.
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Panosian and Snyder are both clearly in their element when depicting a haunted Western; even as Canary is bound for a clear destination, it's difficult not to desire more campfire stories like this from a creative that clearly grasps both genres at play.
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While the design still possesses a "cool factor," it's something readers have already seen plenty of in this single story with nothing novel added to the formula. Throughout all of this the question remains, "Why did we need another Deathstroke origin story?" There are no answers in Deathstroke Inc. #12.
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Ultimately, Fantastic Four #46 arrives as a welcome farewell with the toy chest neatly packed away for whoever arrives next.
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There's catharsis and tragedy aplenty to be found in Farmhand #20, and an earnest expression of how faith can carry us through hard times. I can't wait to see how it all ends.
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I Hate This Place possessed an abundance of ambition from the start, but what's most impressive about this irresistible horror story is the confidence with which it drives readers through such a sprawling house (or farmland) of horrors.
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There's a near total absence of cause and effect within the story; instead, things simply happen and readers are left to presume that somehow the many disparate elements and talking heads might connect.
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It's an impressive maneuver and should leave readers eager to see where things go in Public Domain #4.
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Wherever Damain, Connor, and Flatline go next, Robin #17 promises their journeys will be worth following.
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Sonic the Hedgehog #52 is another excellent installment as the action rises and a showdown with Eggman looms.
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Spider-Gwen swinging away from this multiverse of her own selves is the best move she's made in 2022.
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It's difficult to imagine The Swamp Thing ending 6 issues soonerthe original plangiven how elegantly issue #16 draws the series' many threads together to deliver a superb conclusion.
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For those seeking more from a very specific era of Wolverine comics this will suffice, but those interested would be better off seeking the original material from which it's derived.
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Above Snakes takes a second run at the formula introduced in its debut and proves that it possesses some real mileage.
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It's a potent comic book that continues to engage Batman readers after nearly thirty-five years, and a fine point of inspiration for that exact reason. Yet the first installment of One Bad Day is so devoted to crafting an homage to The Killing Joke that it never bothers to define the most significant portion of its title: The Riddler.
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As their relationship deepens and the mystery surrounding Adam's death grows, Black Adam proves to be an irresistible serialized read.
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Even if it seems that Daredevil #2 is stalling its story, there's a lot of value to be found in the anniversary issue of Daredevil #650.
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There's nothing new or notable added to that formula, however, and All-Out War reads like a comic playing every choice safe even as it showcases Wonder Woman murdering beloved DC icons.
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The penultimate issue of Jonna and the Unpossible Monsters reveals the origins of both subjects in its title along with the entire catastrophe that has rocked Rainbow's world.
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This Annual is sure to please fans of the ongoing series and will likely even elicit chuckles for those just seeking a quick hit of nostalgia.
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The Silver Coin #13 is the sort of horror comic that demands both a big forewarning and even bigger recommendation.
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Their flight delivers some of the best action sequences in this volume of Usagi thus far, specifically a spectacle-filled showdown in its final pages."The Secret of the Green Dragon" follows confidently in the footsteps of many great ninja-filled Usagi Yojimbo tales that preceded it.
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Without a sense of humor or any clear thesis, X-Force appears to be twiddling its thumbs and reaching for C-list villains until its most interesting characters return. That's unfortunate because there's plenty of unmined and undefined value to be found in these pages.
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All of the tie-ins for Judgment Day have related to a very specific event in the first issue and the reason for this slow acceleration becomes abundantly clear this week when the real stakes of the event are revealed. The final few pages alone reignite any diminished interest caused by the first issue's familiar stakes; what happens here will leave readers with plenty to consider and opens the door for an event far different than what many of us have grown cynical over.
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It's another killer issue in what's gearing up to be a genuinely iconic run for the amazing Spider-Man.
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Archer & Armstrong Forever reaches the climax of its first arc and it is a splendid mess showcasing why this duo remains a potent force at Valiant and for more issues to come.
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It's a thrill to chase the story and its cataclysmic implications, especially as new twists build upon old turns to create a much more complex narrative.
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I'm a sucker for Westerns, but the slapdash pastiche-work being applied to Avengers of all eras in the current scattershot arc of stories does the genre no justice here.
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The Jurassic League #4 reasserts the series' stylistic excellence and promises readers a climax that should not be missed.
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Love Everlasting #1 introduces the series' premise and showcases an excellent array of artwork, but has little to offer beyond a stylish hook here.
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Kindt's original issues were spectacular but returning to those ideas with diverse and complementary collaborators provides readers new and old with a visual odyssey to cherish.
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Predator #1 is a comic with one job: Showcase the cool looking aliens who murder human beings for sport. It succeeds in this regard and does so with some stylistic flair at points.
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It's a genuinely strange take on the character and one that continues to fumble even its most intriguing elements and all the artistic merit presenting the story.
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Reading Adapt or Die is a genuinely draining experience lacking any of the charms of the source material and bringing nothing original to the miniseries.
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It's another competent issue that seems entirely unnecessary to watch Dwayne Johnson team up with the JSA this fall.
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Legion of X remains one of the most significant series to arrive in the modern era of X-Men, and it shows no signs of slowing down.
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Wherever this investigation of the human soul in a hellish future leads, it offers a promising hook here.
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With villains well established and their plan successfully underway, Stillwater #14 has established the stakes for its final arc well, which makes it all the more pleasing when a monkey wrench is thrown into Galen's invasion.
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While many takes on the character feature the same familiar elements, few have found much success in exploring them, which is what makes Sword of Azrael #1 such a thrill to read.
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It's possible that The Dead Lucky will better integrate the many pieces introduced in this first issue, but here they are scattered and often read as being unconsidered. It will take more effort to make the concepts that work cohere with those taken for granted.
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Ewing displays his expected degree of creativity in imagining how these powerful veterans of the cosmos would fall while fighting well. That style and creativity doesn't combat this issue being a slog of unending death falling upon a planet and culture readers were just drawn to appreciate and expect more from.
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All in all, The Amazing Spider-Man #6 (or #900) provides readers with a story that reminds readers why Spider-Man is such an iconic character, even as it celebrates their history, and should leave new and long-time fans alike anticipating the road to issue #1000.
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Together these creators are crafting a new Ant-Man tale that not only reflects the character's long history, but the history of Marvel Comics in a story already bound to astonish readers new and old.
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That an entire issue dedicated to a single mission performed so effectively ends with only the first notable obstacle being revealed makes it read as being scraped a bit thin, though. Here's hoping to see much more in the third chapter.
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Considering the investigation has only begun, I Hate This Place has plenty of scares and revelations left to keep drawing readers in.
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That slower pace combined with a lack of visual presence doesn't diminish the thematic and character work present in Public Domain, but it doesn't make for a terribly inspiring single issue either.
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There's a good sense of humor throughout this adventureincluding a wonderfully campy portrayal of Lord Death Manas the two legacy heroes fall into a natural rhythm of their own. Watching them operate through a variety of traps and encounters together makes an issue without much action still seem plenty exciting.
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The plot is a straightforward getaway and the enjoyment comes from seeing how well the artistic team executes both on Sonic's distraction and various endeavors surrounding that action.
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Superman: Space Age offers a reflection on the nature of hope, humanity, and history with abundant wisdom and style to carry readers through even the most bitter truths of that journey.
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With only one chapter remaining and expectations high, The Swamp Thing has already earned a place in the canon of this beloved character.
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It's a dull ending for a miniseries that possessed some potential.
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The introduction of a new character, the roguish Dane Kahoe, provides the series with significant storytelling opportunities as it prepares for its climax.
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The underlying craft and storytelling are solid, but there's no clear call to readers about why they should stick around besides seeing more of Wolverine, which will certainly be enough for some.
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Schiti and Gracia's artwork, all thirty glorious pages of it, are a testament as to why I'm disinclined to assume too much about the overall project of A.X.E.: Judgment Day based upon an uninspiring first chapter; it is an event shaped by some of the insightful and deft creators plying their trade at Marvel Comics.
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The alien itself never provides any sense of horror, only confusion, in appearances with strange perspectives and a lack of consistency. Simply viewing the text makes Alien Annual #1 an unbearable chore.
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The result is a series in a holding pattern where the best ideas in these roughly self-contained issues are buried beneath continuity maintenance.
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Wherever Black Adam is heading, it's clear this story respects its' readers' intelligence and is well positioned to keep them thinking.
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Canary #1 is a story about perceiving the possibilities of the future by understanding the past, and it promises no easy bromides or cheap forms of hope. As familiar as this approach and the characters involved may be to devoted Snyder readers, his approach and focus proves very well suited to a dark Western tale considering its fascination with the nature of the United States.
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It's paced quickly enough that there's little tedium, but there's also little to invest in characters written as archetypes. There is simply more of the same, albeit with a bit less color, here.
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Farmhand #19 presents one of the most action-packed issues of the series and serves to frame the penultimate story arc along with its quickly-rising stakes with clarity.
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Whether or not it qualifies as a poem, Ice Cream Man #31 is certainly an impactful comic book possessing its own sense of poetry.
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The Jurassic League is a miniseries that seeks to deliver on style and the pivot away from Gedeon's work in this issue, regardless of the reason, seriously diminishes the series' most effective elements.
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Seeing so many eras and characters of the DC universe provides plenty of spectacle to distract from a story that's barely unfolding and Godlewski does excellent work in quickly defining each element in establishing panels. However, it's hard not to imagine a much more engaging version of this story being packed into two issues like Millennium at the start of Bendis' Legion run.
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Black, White & Blood #3 delivers the weakest collection of Moon Knight short stories in the series thus far, which isn't to say it's a weak inclusion overall.
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Focusing almost entirely on an unmotivated brawl that reveals little about the characters involved is too much of an ask for a month of attention and the price tag on the cover, even if the last page leaves me interested in exploring more, once again.
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The Silver Coin #12 makes the series' versatility clear in a tale bound up by very real horrors and delivers one of its' most impressive outings to date.
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Whether it's read as the first act or prologue for wherever this saga leads, Usagi Yojimbo #29 promises readers plenty of political intrigue and swordplay in the pages of "The Secret of the Green Dragon."
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It provides both a great starting point and satisfies the yearning readers must feel to see more of this very inventive group as their actions encompass much of Marvel Comics.
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The entire issue delivers a brief and thrilling read that invites readers to return for more of the same as this cross between magical realism and Westerns trods down an increasingly bloody road to revenge.
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It's a middle-chapter with lots to showcase, but the best promises it makes are for what is coming next month.
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Barbaric appears ready to continue for many miniseries and one-shots to come, and that's something to be excited about.
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Wherever this new #1 is preparing to lead readers, it's bound to be a story unlike anything seen in the title before and that alone is plenty promising.
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It reads as sophistry and dresses up hollow pretensions of violence in a cloak of grand possibility that has already warped far too many young men killing for the sake of killing.
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The first arc of Wells and Romita Jr.'s Amazing Spider-Man wraps just in time for issue #900 to drop, and it feels like there's never been a better time to be a reader.
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There's still plenty to explore in this story, but striking a balance that allows readers to appreciate the high concept and its grounding in Douglas' life is proving troublesome.
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The plot is certainly functional and beyond mediocre pacing and design work, there's nothing offensive about The Justice Society Files, but it ultimately reads like a comic that should be given away with a children's meal before the movie.
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It's an impressive feat that makes the anticipation for answers and understanding well worth the wait.
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Readers could rarely predict where Mind MGMT was going next and that remains true for its sequel, Bootleg, as it reintroduces audiences to the bizarre affectations of the original story and some key points of its history through the eyes of artist Farel Dalrymple.
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It's clear that Sabretooth was just the beginning of a much larger chapter in Krakoa's history and the entire X-line is bound to be made better for it.
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Saga possesses enough self-awareness to know that readers will be on pins and needles walking into the final issue of any arc and respond to that dreadful anticipation.
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Spawn #331 provides readers with a complete recap of Cagliostro's life and multiple attempts to ascend (or descend?) to the throne of Hell. It is provided in uninterrupted narration from his own perspective covering his Biblical origins as Cain, moving through his first failed revolution in Hell, and connecting it to recent events, including Spawn Universe #1. While this knowledge may be useful in comprehending the plot of Spawn, it doesn't provide readers with much to sink their teeth into.
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Each installment of Suicide Squad: Blaze has raised expectations considerably and it's difficult to imagine how the final issue might one-up killing the entire Justice League, but it does.
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While there's a hiatus before The X-Cellent returns, the introduction of Toodle Pipa ludicrous name with an unbelievably bleak backstoryprovides plenty of diversions for this "finale" and a character who will likely be a lot of fun if they manage to stick around.
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The Avengers #57 is a waystation on the path to something that may or may not earn this long-sustained build.
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By the final page when it's made clear this retelling will continue with issue #11, the only question that remains is what exactly is the purpose of this flashback?
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Ghost Cage is a fantasy, but a welcome one ready to inspire some hope in the face of a terrifying future. That's something to be grateful for.
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This is a familiar history to anyone who knows the history of Jack Kirby, Steve Ditko, Bill Finger, or dozens of others, and it would be easy to utilize nearly a century of mistreatment and unethical dealings to romanticize or rage. However, in staging this story, creator Chip Zdarsky opts to focus on the whys and wherefores, avoiding easy answers on what promises to be a much more engaging consideration of culture and commerce.
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The real purpose of Robin #15 is to set the stage for the series' future, which refocuses itself on Damian's independent journey and the colorful allies and setting he's accumulated beyond his father's cowl. It's that promise of what's to come that provides real fuel for an issue primarily focused on post-event bookkeeping.
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It's remarkable how quickly Sabretooth has moved from its eponymous protagonist constructing his own Hell to the development of strange alliances and revolutionary sentiments on Krakoa. Each issue has cut to the quick of the issues at hand and shifted the story in numerous fascinating ways; Sabretooth #4 is no exception to that excellence.
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The continued search for what happened to Jack of Heart's leads to some insightful dialogue; it's only the underwhelming cliffhanger that gives one the sense that this dialogue might be better suited for prose after 11 pages.
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Issue #50 manages to provide a satisfying outcome for each of these long-anticipated showdowns, but still sets up even bigger events for issue #51 as the trio of heroes fall from the proverbial frying pan and into the fire. Wherever the battle goes from here, readers can expect more classic Sonic-style storytelling each month for a long time to come.
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The Swamp Thing #14 confronts some of the darkest dialogues confronting mankind today as the very nature of human life on Earth is contemplated.
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There's nothing special about the spycraft and machinations leading to this particular cluster to make it attractive as there's no trope that hasn't been well used in plenty of Wolverine comics, whether it's an empowered child or brutal government regimes Wolverine: Patch isn't badly constructed, but it certainly reads like something reheated.
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The X-Cellent #4 continues to deliver a delightfully demented take on 21st century media, especially as it ratchets up the strange.
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The narrative repeats how bad things will become if Cerebrax incorporates specific mutants only for that to occur and the X-Force brawl to continue; it grew stale and the quickly defined solutions to the problem here don't seem spectacularly climactic in spite of months of build.
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Together they construct an issue that's worth returning as X-Men Red quickly proves itself to be the smartest series at Marvel Comics today.
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The Amazing Spider-Man is delivering a version of Peter Parker that reads as essential while elevating his supporting cast and some of the most clearly underrated villains in a large roster Spidey comics don't get much better than this.
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Black Adam #1 sets the stage to challenge readers' existing notions of the character and global and never fail to simultaneously entertain.
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As Deadly Class continues to close out in a bleak future filled with un-romantic outcomes, the series doesn't hesitate to twist the knife yet again.
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The final issue of Home Sick Pilots plays like an epilogue after the climactic events of Home Sick Pilots #14. That isn't to suggest it lacks action or notable developments in character or plot, but these elements are compressed in a fashion that makes it clear the story is wrapping up quickly.
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I Hate This Place #2 continues to impress with a number of genuine shocks and scares that will leave readers buzzing.
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There are a few fun elements added, including the return of some familiar faces and a potential key to unlock the mystery of what happened in this world. However, the focus of Jonna and the Unpossible Monsters #10 is squarely upon the monsters and the "unpossibility" they embody it's a delightful race ahead in preparation for whatever the final act of this tale might be.
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Wherever Newburn goes next, issue #8 promises it's bound to deliver more gripping mysteries and an anti-heroic character study that could rival the very best of them.
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Any reader who loved the pages of Superman's Pal Jimmy Olsen or appreciates Superman's inspirational charms is bound to adore this lovingly crafted anthology focused on Metropolis's greatest newspaperman.
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After glancing at the cover, there's little doubt about where the curse is heading in The Silver Coin #11; it needs to feed after all. Yet the way in which it arrives at such a gruesome ending for one small town American diner is the real thrill of this (and most) issue(s) in the series quickly introducing characters and a situation that quickly spins beyond anyone's control and the bounds of sanity.
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There's no promise for easy answers or simple resolutions; something evident from the series' first two arcs. However, it does seem that revelation is possible and that's exactly what this issue promises.
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It's clear there are some ideas of interest embedded in Alien, but it remains uncertain whether they'll be worth following in a series that regularly relies on well-worn tropes and mediocre representations of forms that should be frightening.
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Astronaut Down is a delightful genre riff that knows how to blend elements of sci-fi and horror while delivering plenty of original twists and nasty surprises. It proves to be an addictive read, perhaps especially when it's being heavy-handed.
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There's certainly potential to be found in this prologue for a rebooted Batman Inc., but it's unclear whether there's depth to be explored beneath the plot-reliant twists of this annual.
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It's difficult to define who exactly might appreciate this total misfire of a comic book that can only be labeled as capable of moving the story forward.
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Darth Vader offers fans of the character plenty to savor in otherwise standard Star Wars fare.
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The opening sequences in The Nice House On the Lake have always been unsettling with their blood-red color schemes and apocalyptic aesthetics, but the opening pages of issue #9 which center, perhaps, the most gentle member of the cast in a charnel house somehow heightens expectations for the series' endgame even more.
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Competence is the sole redeeming trait of a tribute that reminds readers why they would be far better served digging up some old Image Comics #1s from back-issue bins at their local comic book store.
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The Rush remains a thrilling horror comic as the curse haunting its setting unfurls the full extent of its terror revealed in monstrous creatures and terrible violence. Yet what distinguishes The Rush #6 is the elegiac beauty it possesses.
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No matter how engaging and fun these settings remain, readers have already seen the Dodsons deliver these buoyant concepts repeatedly and, at this point, some novelty is needed.
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It's another great step in the most promising new era for the series in many years.
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While it's a perfectly fine one-shot, what's added to the series makes this singular installment seem largely trivial, especially given the scope and definition previously provided to this specific character.
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"Shadow War" certainly hasn't done any favors for a series that was already leaning far too heavily on stylistic embellishments.
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Ice Cream Man #30 is still a step above much contemporary comics horror fare, but it's far from the cutting edge of satire that the series has shown itself capable of delivering.
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This return exceeds the already high expectations garnered from Way of X and promises readers a new vision of what life can be in such a wonderful world.
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What's best to behold here is how well the foundations for this pivot have been laid not only the explicit plot elements from issue #6, but how the characters and mysteries have established the nature of this world. Whatever comes next is bound to be a gut-wrenching thrill.
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Perhaps there are other plans to subvert these early issues in the future, but given everything available to readers in the moment Punisher #3 is an ill-considered and repugnant comic without redeeming values.
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There's plenty of implied chaos, but the battle set up in Deathstroke Inc. #9 is largely maintained as background static so this issue can establish what is necessary for Shadow War: Omega next, but it's hard to imagine that issue seeming necessary to any but the most dedicated of DC Comics readers.
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Step By Bloody Step refuses to serve up cliched pablum or comforting answers, but instead chooses to confront its essential question directly with eyes wide open. How do we persist in this world? Words cannot suffice, but our actions might.
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Stillwater enters its endgame as one minor miracle unleashes a terrible new force on the town and its surrounding communities.
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Levi Kamel's exploration of manifesting ideas across the globe continues in The Swamp Thing #13 as he battles the gears of industry in Detroit and far stranger threats emerge from the desert and space. The portrayal of these concepts is fascinating and provides far greater depth than readers would anticipate in the span of a single issue.
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The craft on display in delivering such a complete first chapter is cause enough for any comic book fan to check out I Hate This Place #1.
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Compared to past issues, #4 finds a strong balance with digestible banter and revolting imagery.
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Usagi Yojimbo #28 provides another exceedingly well told tale from the road in the pages of a single issue.
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While this is far from a must-read Wolverine story, it's also bound to scratch a nostalgic itch much better than the character's many other current comics.
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Combine this astute social commentary with more outrageous character designs and slapstick renditions of terrible violence, and you're in for another great installment of the X-Statix saga with all of its hallmarks on stylish display.
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It's the introductory and final sequences that carry most of the power and ensure invested readers will be strung along, but a consideration of the entire issue raises the question about how much longer can X-Force stretch out its many potent, but unrealized concepts.
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As the foundations for Arakko's future (and that of X-Men Red) continue to be laid, it's still apparent that this is the can't-miss new title in the "Destiny of X" era.
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There's a sense that all things must fall apart and as Monica Thorne's masterplan is slowly revealed, Farmhand quickly focuses on what matters most when the world is descending into madness. It's an appropriate perspective and one readers must be glad to have back after its extended hiatus.
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Whether it is guiding readers on a careful chase or slowly unraveling cues and signals carefully hidden throughout the story so far, Friday is delivering on the promise of its ever-growing conspiracy and I cannot wait to see what comes next.
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What if the Justice League were composed of dinosaurs? It's a ludicrous premise one that tests even the already patently silly boundaries of the superhero genre. That's exactly why exploring it in the pages of The Jurassic League #1 is such a delight.
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Toward the end of this issue Ultra Boy comments that he struggles to keep track of all the members of his team; that's also true of the cast and plot lines found in Justice League vs. The Legion of Super-Heroes for readers.
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Moon Knight: Black, White & Blood #1 highlights two astounding artists in Chris Bachalo and Jorge Forns with some excellent pages and panels from each in the first and final entries, respectively. However, there is no entry in this issue that demands to be read.
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There is still an abundance of charm to be found and this antagonistic partnership brings some real warmth and excitement to bear when the duo face off against Metal Sonic (an action sequence with much greater clarity and flow than the sometimes-confusing opening pages). Yet the last third of the issue plays out like a guide for readers to prepare for a series of greater import and fails to serve two intriguing new characters who showed they had what it took to tell their own story.
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Many readers will have forgotten about Suicide Squad: Get Joker! in the 8-month delay since issue #2 and that may be for the best.
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Readers unfamiliar with Archer and Armstrongthe exquisitely-trained, recently-unbrainwashed young hero and his seemingly-immortal, perpetually-partying mentorwill find an excellent introduction in these pages.
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While this issue serves to remind readers of why Thunderbird's return is notable, it's their upcoming appearances in X-Men Red that stoke the most excitement for realizing that potential.
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Manifest Destiny #46 is quick and brutal in delivering this destiny with each member of the party playing their own part; there's no room for romance amongst these moments.
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One-Star Squadron ends in a better place and offers more satisfaction than much of its journey, which provides an appropriate parallel for its own narrative and themes.
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The second part of "Defunded" and conclusion for this volume of Suicide Squad doesn't have much to offer.
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The final few pages are certainly the best of this issue as they provide a moment that was inevitable in this specific story, but still bears the emotional heft as readers consider what sort of future they might offer their own children on Earth.
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Poorly rendered photographic forms and inconsistent geography continue to plague an Alien story that otherwise might be fun, if not memorable.
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Zeb Wells, John Romita Jr., and the rest of the creative team have made Marvel Comics' flagship title an exemplar of excellent superhero comics once again.
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Characters posturing in outfits that make them appear to be overdosing on steroids and quick flurries of action that often lose track of key individuals leave this issue seeming like it's pulled from a past decade. It's the small moments that matter most in Deathstroke Inc. #8, while events proceed in the background.
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Ghost Cage is a visceral and sudden story enjoyed with each page turn until the final one encourages you to start flipping from the start again.
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Imagined as a back-up feature, there's a lot of value to be found in small elements, but read as a complete narrative this Grand Design falls into the same pitfalls as its predecessors and raises the question whether there's much value to be mined from this approach to Marvel Comics' history.
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Newburn doesn't even appear in an issue that focuses on the life of his recently acquired assistant and proves that this series' protagonists are equally compelling characters.
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If any piece of intellectual property were attached to this, it would already be ignored, but we'll continue to pay attention instead because this character is labeled "Frank Castle."
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Robin #13 is essentially one long rooftop conversation. It starts and ends with a bit of action and includes some punches in the middle, but those brief bursts of violence serve primarily to mix up the proceedings as there's never really any question about risk or stakes in this dialogue.
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Sabretooth #3 is another impressive bit of commentary on the horrors of America's carceral state and a key flaw in Krakoa's fictional foundations.
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While Sonic and Tails' roles are familiar, they serve as excellent support in a story that really belongs to Belle who takes to her heroic role with the same gusto and ease that her iconic partners know.
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Step By Bloody Step #3 is a masterful work of comics art.
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The Swamp Thing maintains a long tradition of thoughtful, empathetic comics that transcend the character's genre roots.
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On its own The Avengers #55 simply keeps the train moving forward, but ought to offer plenty of elements of interest for those who have skipped the current volume altogether.
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Even with the pace moving notably faster than the build through this final arc, everything that rush to the finale delivers is so impactful that it's never an issue. With one issue left to go, Home Sick Pilots is prepared for an impressive climax.
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Ice Cream Man #29 leaves a lot to the reader's interpretation as it walks through an amusement park of a dead man's life.
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Given the weighty revelations and impending conclusion denoted by #9 (of 12), it's possible to feel impatient as it still feels like this wondrous story has miles and miles to go.
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It's a reminder that even when the series is engaged in table setting, The Nice House on the Lake builds tension and intrigue masterfully with each page turn in one of the most exciting comics mysteries of 2022.
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It's a romp and doesn't aim to make an argument that most sensible voters have already heard and embraced, although it does provide some useful sources at the end. Regardless of your habits, there's fun to be found in this issue and the rating below will likely seem too low if you're reading it while celebrating the holiday this Wednesday.
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While this issue emphasizes the foundations for whatever climax is building, there's plenty of revelations to itself including a cliffhanger that will be sure to hook readers, both new and old.
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Suicide Squad: Blaze #2 goes to show the magic made on John Constantine, Hellblazer was no fluke because the team behind these books are showing just how much brilliance can still be mined from DC Comics' many characters.
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Even when the monsters are hidden, each page remains a taut thriller that exposes its characters' complexities and darkness with a keen eye for society's most frightening elements.
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The Sword of Hyperborea develops a similar approach to the continuously fascinating The Silver Coin as both series track a singular magical artifact through various shades of the horror genre producing two excellent anthologies for fans of the genre and excellent, moody comic book art, as well.
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This seems to be exactly what the series has been building towards from its start, which makes me wonder why it feels so purposeless here.
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There's an intriguing mystery at play, a delightful supporting cast, and plenty of humor present in the wonderfully drawn package of She-Hulk, but the series is still struggling to balance those strengths and deliver a complete issue that rises above being slight.
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The ambition of packing this much story into 22 pages may be admirable, but the results are pure folly.
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World of Krypton rushes towards its inevitable end. After the falling out between the Els and Zods, events are taking a familiar shape and issue #5 doesn't bother to draw out the question and opts instead to review what the final months of Krypton's existence resembled.
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X-Force #27 is one of the few series to continue in its same form in the Destiny of X-era, but reading the first new entry it raises the question whether it, too, might have benefited from a fresh start.
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X-Men: Red #1 strikes me as the most ambitious X-Men debut since House of X and Powers of X revitalized the entire line.
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Cliched writing, anti-dramatic sequences, and the omission of any interesting aspects leaves Almost American dead on arrival.
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While The Amazing Spider-Man #93 isn't a highlight, it provides a fitting capstone for a consistently entertaining and interesting era of Spider-Man comics.
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When disassembled for sharing on social media, Dark Ages #6 is bound to provoke some reactions, but when reading the entire issue it simply seems shoddy.
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Hulk: Grand Design lacks a guiding thesis to connect the always-interesting designs, styles, and compositions on the page.
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It's a prison story and quickly settles into its new setting by focusing on Newburn's survival behind bars. The fish-out-of-water element makes for an intriguing change of pace as Newburn finds himself without allies for the first time in their series.
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The journey of a girl and her giant continues in Step by Bloody Step #2 in an issue every bit as striking and enthralling as the series' debut.
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I anticipate seeing where the story goes from here.
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X-Cellent #2 maintains a longstanding X-Statix tradition in zigging exactly where readers expect the story to zag.
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Deathstroke Inc. #7 provides prologues and epilogues for various other series, all of which are now intersecting with Deathstroke Inc., but it barely addresses its own narrative or the significant status quo shift that occurred in recent issues.
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Ghost Cage #1 is an astonishing introduction to Nick Dragotta and Caleb Goellner's vision of the future.
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Upon reflection it seems clear that Joy Operations #5 is where this story began. The action sequences developed by Stephen Byrne that unfold with multiple moments displayed across the same space are always impressive and naturally followed.
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Robin #12 provides an excellent epilogue to the Lazarus Island story, including small capstones for allies like Connor Hawke and Flatline.
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It's bound to be more effective for readers who fondly remember Wolverine issues centered on this era as there's not much to be appreciated beyond the callbacks and competent presentation.
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"The Death Hunters" comes to a close with an issue that's primarily prologue.
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Ultimately, it's a lot of chilling fun to watch this chapter unfold, even as ghostly kaiju battle to the death on a beach elsewhere.
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It's a chilling and oddly hopeful conclusion which never forgets that nothing ever really ends.
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This issue of Rick and Morty Presents reads like a brainstorm idea tossed into a writer's room and quickly rejected, but transformed into a spin-off comic rather than being relegated to the trash bin.
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Stillwater: The Escape, an anthology collecting three tales from Stillwater lore, serves to balance the scales. It features a handful of recognizable characters telling stories of past town members who supposedly escaped around a uniquely haunting fire. Each tale features a different creative team, but they all fit perfectly into the sensibilities and setting Zdarsky and Perez have developed.
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Ultimately, The Silver Coin #10 functions as both a summer slasher and an origin story, offering readers visceral thrills and something to ponder before the series begins its third arc. There's plenty to anticipate as this story only grows more ambitious with each new round of terrifying tales.
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The Sword of Hyperborea is an outstanding addition to an already rich supernatural epic.
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Usagi Yojimbo #27 is a masterful single issue reminding readers of Sakai's deft craftsmanship and ability to tell seemingly any story within the bounds of this single title.
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While much of the issue is spent moving the story forward with the finale just weeks away, the chase to get there is plenty enjoyable, especially given how those battles and reunions are portrayed.
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Apache Delivery Service #3 is the most thrilling and frightening issue yet, while promising far more (or far worse) for the final chapter which can't come soon enough.
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Failing to find the emotional gravitas of Superior Spider-Man or the slick, noir aesthetic of Devil's Reign, Superior Four simply shows readers reimagined iterations of Doctor Octopus that would have been better suited to a sketchbook and background panels elsewhere.
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Some humor and new encounters combined with additional outstanding design work by Scott Godlewski offer enough to keep treading water, but there's very little in the way of new information or points of interest to be found here. That's far too little after a two-month wait.
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Punisher #1 is a joyless slog that only serves to encourage readers to seek out Saiz and Azaceta's work elsewhere.
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The violence and madness provide a sheen of fun, but once that fades there's still plenty to contemplate as Sabretooth battles one of the greatest horrors found in modern America.
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Imposter Syndrome #3 makes this mini matter for Sonic the Hedgehog as it moves forward and clarifies that this story might matter a great deal for the entire franchise's future.
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The plot was never the point of Superman vs. Lobo"it seems to have been mostly humor and aesthetics, never rising to the standards of satire"but one would hope it could at least string together a finale issue.
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While Adventureman debuted nearly 2 years ago, it seems to be finding a rhythm just now with a comfortable mix of characters and context that allow for the many soap opera-esque plots to play out across many issues. It's simply fun to watch it evolve here, even if the cliffhanger lands with a thud.
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Alien #10 is the best issue of the series"and therefore the franchise's run at Marvel Comics"to date purely for the novelty it introduces.
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This is the exact sort of action and intrigue many readers read Amazing Spider-Man for and it's proving an excellent end for a memorable era.
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Newburn mastered the telling of a one-and-done mystery in issue #1, but here it introduces enough complexity to its original premise and toys with the underlying themes in a way that suggests there's still much more to be mined in this series as Newburn #4 is easily the best issue yet.
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If it weren't for a handful of big laughs, specifically one about "corporate art," One-Star Squadron would simply land with a thud. Instead, it functions as a curiosity worth discussing as much for what is absent as what is present.
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She-Hulk has certainly hit its stride here.
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Suicide Squad #13 has the chaos of an invasion or war story with most of its protagonists concocting underdog schemes when they're not aiming simply to survive. There's a thrill to those proceedings, but it's also clear these events are driven by factor far beyond those characters and that the best they will do on the page is respond to an increasingly absurd plot.
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The Nice House On the Lake returns this week and it's a very welcome second act given the massive twists delivered by the end of issue #6.
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There's a central irony to this story in that whatever decisions are made must ultimately be the wrong ones; Krypton dies and only a handful of its inhabitants survive. That makes much of World of Krypton #4 read with a clear sense of what's to come because whoever succeeds in guiding the planet is wrong.
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The Goblin Queen may not be a villain built to last, but her unique Goblin gaze summarizes a lot of strife into a brief, but powerful sequence. It's a useful mechanic before Peter and Ben eventually face this saga's real villain: Maxine Danger. If this issue is any indicator, it'll be a killer showdown.
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There's simply too much clutter to appreciate the sense of style presenting this messy miniseries, though.
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Individual elements of the series work; Taylor has an excellent grasp on Deadpool's sense of humor and knows how to hit familiar high notes within the Marvel canon. Yet the juxtaposition of these dire stories against splashes with children leaping ahead (into battle) and jokes played out against supposedly terrifying threats undermine the entire ordeal
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The lack of limits is still enjoyable, but the execution doesn't quite meet the promise in DC vs. Vampires #5.
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Overall, Deathstroke Inc. #6 offers readers plenty of reasons to stick around just as it was seeming the tank might have run dry for this series.
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Orphan and the Five Beasts has been a delight from the start and whenever Orphan Mo returns it's bound to be an exciting day.
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Robin #11 functions as a capstone for the story so far with each notable named character receiving an appropriate denouement before the story arrives at one last loose end that sets up big future events for Robin #12.
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This issue delivers a fun and moody mystery that places a well deserved spotlight on the Chaotix " a top-notch issue of Sonic without Sonic.
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Step By Bloody Step #1 is, simply put, a masterclass in visual storytelling.
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By the end of The Rush #4 plenty of questions remain but the answers are so close that it's impossible to resist continuing, for readers and Nettie alike.
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It's a big issue that promises only bigger things ahead; Spider-Man is quickly returning to his role as the leading man of Amazing Spider-Man in spectacular fashion.
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There's too much happening of too little consequence in Devil's Reign: Superior Foes to pay much attention past the confusion found here.
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It's all a lot of fun and I'm looking forward to wherever these new questions may lead in issue #13.
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Primordial is a triumph of comics and the animal spirit.
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There's absolutely nothing romantic in this depiction of a murderous narcissist who spouts bullcrap at a pace fast enough to keep up with Twitter. It's a purposeful and effective choice, one that highlights the differences between CIA spooks and human beings with their feet still on the ground.
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Horror with a dash of social commentary remains a potent recipe, especially in the hands of comics creators like those on The Silver Coin.
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It's an exciting second installment that promises wherever this sword may be found, there will be an adventure worth reading.
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While Usagi Yojimbo #26 primarily plays as prologue"presaging the return of Usagi's most lethal foe"it delivers an impressive mix of scenes both bombastic and subtle in a short tale bound to have ramifications for years to come.
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It's a tremendous sequence of exploration and survival that culminates in a suspenseful cliffhanger, even if Sobrat's first words only seek to oversell expectations for whatever may come next.
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Even as a fan of both franchises, it's difficult to find any joy in this, although it's depicted competently enough and that might be worth something " just not much.
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As a start, Suicide Squad: Blaze packs all the promise Squad readers could want, whether they're being diverted from HBO Max or longtime fans of the original series.
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With less-than-terrifying Xenomorphs rampaging through a story that's been told many times before, it's difficult to find a reason this hiatus shouldn't have been made permanent.
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It's the final few pages that will leave fans talking for the next two weeks, though, and the build to them in this issue and across the story so far have been masterful.
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There's no way to effectively address global cataclysm within this genre's bounds and so Life Story simply does not. What it accomplishes far more effectively is a consideration of the flawed and often unheroic characters first introduced in Fantastic Four #1. That was the gift Marvel's first family brought to readers " imperfect heroes. And here in Life Story #6, those imperfect heroes are allowed to find one conclusion.
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Newburn delivers another satisfying mystery in the span of fewer than two dozen pages; it's an impressive feat in any comic, but especially one that can pull the trick off on a monthly basis.
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There's too little depth to these characters and too much familiarity to the mockery.
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While some of the other metaphors in Victor's mental prison may get mixed, Sabretooth #1 delivers a devilishly intriguing debut with loads of potential wherever The Pit may lead it.
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There's not even a laugh to be found in Boschi's flat renderings of these familiar faces plastered broadly across an era that clearly holds no interest for anyone involved in this comic's creation.
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It doesn't manage to deliver the same highs as earlier issues, but the elevation of Jor-El and a cliffhanger suggest there's still gas in the tank as World of Krypton continues.
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There are new targets and topics at play, but the core formula for this series' success hasn't varied much in the past few decades. That includes the appearances of some long-gone faces and one of the first and most familiar storytelling tropes that will keep fans on their toes as this new spin on the team proceeds.
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With a big change on the horizon, Amazing Spider-Man still knows how to showcase this status quo while building lots of anticipation for whatever comes next.
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After months spent searching for a redeeming quality in this series it's apparent that Army of Darkness 1979 has finally reached its appropriate destination " unsold copies forgotten altogether in back issue bins.
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This non-stop approach to pacing and the seriousness of the reversals make this issue a thrill ride that only increases momentum. If it can maintain it, then Deathstroke Inc. just became must-read material.
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It's engaging to see this series apply its tropes and tone to a less-familiar storytelling mode, and it pays dividends in an outing that is entirely satisfying on its own while casting a shadow towards the series' long-game and possible conclusion.
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The betrayal of this action sequence and conspiracy that made it necessary remain so ill-defined that it's impossible to vest any interest in the sides of the conflict. Instead, there is an assumption that all of this is inherently interesting, but it's largely confusing when it isn't simply dull.
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The result is an impressive one-shot that applies elements of horror and action to create one of the most twisted reintroductions of a DC Comics character in many years and, despite the terror and ugliness on the page, it's hard to resist wanting more Peacemaker for the first time in the character's comics history.
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Robin #10 is primarily focused on establishing the series' next conflict following its tournament of fighters, and it offers a great hook at the end of this extended retcon recap.
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Superman '78 understands why its source material is beloved, but it succeeds because it presents those ideas well in comics and readers never have to imagine seeing this story in a different medium because it's already an exceptional and inspiring Superman comic book.
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Only the last page promises anything close to the excitement and intrigue Almost American promised readers and the tag of "To Be Concluded" suggests this twist, too, will be anti-climactic.
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Ben Reilly and the Beyond Corporation finally arrive at their breaking point and while the inevitable conflict was anticipated, its direction and consequences in The Amazing Spider-Man #86 will keep readers on the edge of their seats.
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This entire crossover reads and appears overwrought, never quite managing to evoke the fun or seriousness from its sources that made it appealing as a concept.
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Defenders has reassembled one of Marvel Comics' oddest teams for a story that builds upon their strangeness with wonderful results and delivers one of the vividly imagined and well-told Defenders tales ever put to paper.
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Events are increasingly frantic, but Home Sick Pilots never loses track of its core characters or the scale of its story. It's an impressive return and one that promises even bigger things to come.
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Even if the final page overreaches into the realm of melodrama, the overall effect is too great to fret over that.
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As the stakes grow larger and their position more precarious, the series' early investment in learning who these four are is paying dividends; where they go next is bound to be a thrillride.
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Despite starting with a poorly paced issue relying far too much on a single, inconsequential sequence, it still provides much to enjoy in its sense of style. There's plenty of potential to be found in this debut, let's just hope that it focuses on a story worth following before the end of She-Hulk #2.
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The Rush #3 provides readers plenty to consider and proves itself one of Vault's best.
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The Silver Coin #8 may be set in the 1960s, but its focus on unrepentant greed and grisly horror tropes are bound to have readers thinking about the 80s.
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"Crossroads" is already prepared to deliver a critical Usagi story based on its thrilling prologue here.
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The end of Book Two in We Only Find Them When They're Dead provides some definitive conclusions and opens yet another thread in its larger narrative.
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It's a great deal of fun to read the trials and tribulations of The Amazing Spider-Man reimagined with an original spin.
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The rhythms of the story are bound to be familiar, but it's the setting and designs that make touring alternate-superhero-Earths fun, until you can sense the bumpers of the ride.
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It's unclear exactly what the stakes or consequences of this adventure are, or even Otto's goals. That results in a debut detached from Devil's Reign and uncertain of its own focus.
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The set up for Justice League vs. The Legion of Super-Heroes is one of the most promising debuts Bendis has made at DC Comics, not least because he circumvents the mandatory superhero teams fight before allying trope. It's a presentation to two of the publisher's most impressive pantheons assembled side-by-side in a fashion that evokes their immense potential.
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The humor and heart evidenced before and after the battle is enough to ensure Imposter Syndrome remains enjoyable, but it struggles to meet the storytelling standards established in Sonic the Hedgehog.
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Watching how things fall apart here isn't simply exciting, it's also a character study that clarifies why Daniel is this story's protagonist " for as long as he survives.
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It's big and immersive and wild, and even though it's unclear where this story's sword may lead next, discovering the answer seems irresistible.
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If asked what happens in these pages, it's difficult to say more than, "Doc Ock returns." That may be enough to provide some style points, but it doesn't make a $3.99 comic seem any more satisfying upon reflection.
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Existing fans of Kindt and Jenkins are bound to stick around, already knowing how these two tend to deliver on every big idea they imagine, but it's more likely that new readers will opt for the collection if they stick around.
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The Darkhold: Omega wraps up this string of connected one-shots by bringing all of the corrupted heroes back together for a final showdown with Chthon. This works well as a plot device in theory, but stumbles in execution.
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A good bit can support a one-shot, but One-Star Squadron is in need of something more to support its humor and visual charm.
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Reflecting on the entirety of Warhammer 40,000: Sisters of Battle, the first adjective that comes to mind is "unnecessary."
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World of Krypton fulfills the promise of its debut in presenting a comprehensive reimagining of Superman's earliest origins that does not rely on nostalgia.
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It makes for a moving narrative about the struggles encountered in the wake of an injury and even though fans are already counting down Peter's return, it's clear that he's expected to earn it just like his Uncle taught him.
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So whether Deathstroke and Canary are on the same or at one another's throats, Deathstroke Inc. continues to deliver outstanding action in a very stylish vision of DC's greatest villains.
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While not exact in its approach, the overall effect of witnessing middle-class American life as a bizarre, unnatural trap is every bit as appealing as it is revealing and makes for an amusing tryst with literary homage.
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Often beautiful to witness and terrible to contemplate, Manifest Destiny promises a potent finale whenever it might arrive.
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There's still fun to be had as various rivals change their attitudes to survive and the cliffhanger at the end is a welcome invitation, but Robin #9 still falls far short in its climax of the mighty expectations this series has earned.
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Even when presenting a familiar segment of the "script," Superman '78 #5 captures the magic of the movies it emulates.
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It's an astonishingly brazen cash grab as the corpse of Old Man Logan continues to take a beating.
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It's an outstanding example of what a single issue of Amazing Spider-Man can deliver and an excellent showcase of an artistic star worth following wherever their name appears.
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In the space of a single issue, it's possible to imagine these ideas landing, but stretched across four months (and more) the concept is so thin that it's difficult to keep crawling through.
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The further this story goes, the fewer redeeming elements there are to be found and it's difficult to not think this is a concept that would have been better left for fans of both franchises to simply imagine.
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Many installments of The Darkhold have struggled to find the best synopsis and structure for these "what if" type of tales, but The Darkhold: Spider-Man presents its concepts perfectly with a strong emphasis on one hero's decline into darkness.
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A spread in issue #2 showcases his ability to guide the eye and craft engaging action, but this again is one moment dug from an issue with very few moments of comparable quality.
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A one-shot would have served this Wikipedia-with-illustrations approach far better.
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As both an example and source of information, Sonic the Hedgehog #47 helps young readers to better understand their world and appreciate their power in impacting it.
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Adventureman remains an impressive aesthetic feat, but the slow crawl of its story is starting to remove the luster from its appearance.
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It's stalling for time and while parts of this week's issue are stylish and fun, when I closed the cover I simply wondered why this was a necessary issue.
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While simultaneously continuing its superhero and crafting an exceedingly clever examination of that genre, Defenders #4 also provides one of the best looking comics Marvel has published in 2021 " a triumph.
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As a proposal for a next phase, Excalibur #26 is as promising as anything the current volume has produced and even if that volume has missed as much as it's hit, it'll still be hard to miss Knights of X.
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Newburn #2 makes it clear that its debut was no fluke. Everything excellent about that first issue is redoubled in its sophomore outing: cleanly defined capers, hard nosed characters and aesthetics, and simmering mysteries steeped in lore.
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Whatever comes next, it's clear readers have not yet seen the limits of this creative team's ambitions in Primordial.
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While the aesthetics surrounding the series (including some outstanding maps) highlight it as a thriller, it functions as a character study in both plot and presentation with each of these individuals so carefully observed.
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It makes for an entertaining, if quite unbalanced affair.
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Both quiet moments and more explosive elements are well portrayed, and offer readers a fitting climax. It will be interesting to see how this miniseries' unique mix of narratives might conclude after such a large diversion.
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Hellions, the best series from "Reign of X," concludes on a note that is true to itself and makes Hellions one of Marvel's best modern series. Bravo.
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That's what two of the most critically-acclaimed humorists in the medium, artist Steve Lieber and writer Mark Russell, aim to address in One-Star Squadron #1, and the debut suggests they'll succeed in delivering equal amounts of laughter and desperation in this black comedy.
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Everything from cannibals to bloodthirsty demagogues are provided with violent moments that promise a better tomorrow alongside levels of gore that will please any fan of R-rated comic books; it's a treat to read.
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The axiom that "it is easier to imagine an end to the world than an end to capitalism" has been attributed to many speakers, but regardless of where its roots lie, that idea continues to be explored in a variety of media, but few of them with the beauty of The Swamp Thing.
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The Death of Doctor Strange: Blade #1 makes a strong case for these creators continuing their story, but even if they don't this one-shot is a surprisingly satisfying treat.
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Dream sequences and mundane violence are portrayed every bit as well and make The Rush #2 a feverish nightmare experience bound to thrill readers.
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It's a big improvement upon where Scumbag was lingering throughout its sophomore arc and a welcome change of pace.
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What's most intriguing in The Silver Coin #7 is the nature of this hotel and how it ties into writer Ram V's ongoing examination of colonialism via the horror genre. Modern monuments and ancient cultures are set side-by-side in a setting that Walsh casts as both bright and sinister, using shadows to great effect from start to finish.
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Even as the politicking and intrigue heat up by the issue's end, it remains a wonder to behold Oeming's Krypton as it establishes a story any sci-fi reader might appreciate, even those who prefer capeless comics.
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Beyond and simmering subplots, all of which bring Bronze Age charm with them, but this issue sells itself on a creative reconstruction of the classic Spider-Man vs. Kraven the Hunter mechanics with abundant flair.
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At its end Batman: The Detective threatens to interrogate some of the troubling premises beneath Batman's law-and-order modus operandi; it never quite goes there but gets close enough to give readers something to chew on.
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The climax of Zdarsky's Daredevil sets the stage for the upcoming event series Devil's Reign, but that doesn't rob the issue of its individual poignancy acting as a capstone for a memorable collection of character arcs.
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The Darkhold: Black Bolt emphasizes its own tale of horror and executes on its premise quite well, regardless of how this may factor into the larger event design.
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Beyond the visual appeal, there's very little to be said about King of Spies and that seems to be a key selling point of the Millarworld brand now.
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Robin 2021 Annual primarily serves to be intriguing as it provides readers with details that couldn't quite make the cut in Robin's limited page count.
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For all of its flaws, it's difficult not to appreciate The Death of Doctor Strange: White Fox #1 even more for its merits as it carves a space for these barely known new heroes.
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With only one issue remaining, Sisters of Battle finally possesses some momentum and may yet deliver an entertaining overall story.
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Writer Cody Ziglar and artist Michael Dowling make an impressive debut on The Amazing Spider-Man as tension builds between Ben Reilly and his Beyond Corporation sponsors before Kraven the Hunter arrives on the scene.
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There's a lot of potential here and a bit of patience or refinement in the scripts would go a long way in presenting that potential.
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Whether readers are seeking epic sci-fi, roguish adventures, or some of the most innovative shifts in style among American comics today, Decorum delivers in this climax that already has me anticipating re-reading this entire saga in hardcover.
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Joy Operations #1 is a lackluster debut. Although it presents an appealing surface to its technology-infused future, there's little depth to be found beneath that surface. Relying on obvious villains and unable to clearly communicate a core narrative premise, the issue falls far short of expectations, except for in fast-paced action sequences.
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Moonshine has always been a good looking comic, but that's not enough to make this finale recommendable except in excerpt.
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Robin #8 presents the knock down, drag out final brawl between Damian and Hawke, and it's everything readers have anticipated.
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Just as the action and plot are heating up, it's apparent this is still a story driven by its bright, brilliant characters who come across clearly in every panel.
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Even when Usagi Yojimbo is focused on telling pure genre fare, it excels at delivering thrilling stories in impeccable style.
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Vinyl is a comic that confuses genre aesthetics with substance and paints over it all with a broad brush of MCU-level humor and superficial quirks " a tedious and shallow affair from start to finish.
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The tonal whiplash present in Army of Darkness 1979 #3 is so severe as to leave your neck sore after reading it.
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The only saving grace of this issue are Level's layouts which pay homage to Fables and are often as inventive and well executed as the work that made Buckingham so widely respected.
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Dark Ages seems to be designed like a dopamine-delivery system, capable of offering brief boosts for familiar Marvel fans before being forgotten altogether, although Coello does deliver some nice design work in Dark Ages #3.
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If there was an issue #2 coming, this would be a potent set-up, but it falls short of satisfying as a one-shot.
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Repeat readings of both the issue and series so far will reward readers as the visual cues and callbacks embedded in the final few pages layer meaning into a cliffhanger that will leave readers ready for more. That's true seemingly every month when it comes to discovering more of Jonna and the Unpossible Monsters, though.
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While it's possible to imagine a tragedy or character study built atop these bones, the context of a story well told and worth investing in is work left to the reader.
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Yet what is most impressive about Primordial is that the human characters are, at most, peers to the animals in space. And the way these animals deliver their story, one driven by both history and science-fiction, is nothing short of astonishing.
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Imposter Syndrome is well situated to add some memorable characters to the Sonic canon and tell a new version of a familiar tale.
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The Nice House On the Lake will be sorely missed for its upcoming 5-month hiatus, but when Bueno and Tynion return together they can anticipate readers awaiting them with bated breath.
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X-Force #25 delivers exactly what its cover promises: Wolverine goes surfing on Krakoa. That is absolutely a selling point for this title; it expands upon life in this new status quo and offers moments of introspection for a pair of its leads.
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The solution to this series' core mystery arrives with a thud.
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It's competently told, but if all we ought to seek from Alien is what we've seen before then there are far better comics to consider. This is simply more and that's deeply disappointing.
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And so by the final page in which the thrilling news of another to Portland is announced, readers are left to wonder why they would want to continue reading this very realistic portrayal of surprisingly uncompelling international espionage.
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Sara Pichelli's depiction of Morbius may be unmatched as she makes this awkward B-lister look lithe, powerful and often terrifying, even (or especially) as he's been mutilated in combat.
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There are notable shifts in the power dynamics and a thrilling story is laid out ahead, but here it's a matter of arranging the pieces of that story as performed by magic, both literal and metaphorical, which isn't nearly as exciting.
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It's a wonderful, terrible climax for Hellions - exactly the sort of capstone this excellent series merited.
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It's wholesome and nice enough, but if you've already read this story there's no need to read it again.
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The conspiracy ahead remains hidden both from readers and the key actors of this miniseries, but it's set up in Regarding the Matter of Oswald's Body #1 is a fascinating affair.
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Stillwater remains a taut thriller and where it goes next under its current leadership offers a thrilling proposition.
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Readers attracted to Andolfo's excellent work would be better served following her publications at Image Comics and avoiding this nigh-unreadable comic book.
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The cops versus gangsters narrative at the center of Telepaths #3 would have been cliched on a network television show decades ago, but feels especially ill-considered in 2021.
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Friday #4 undertakes the difficult task of contemplating death at far too young an age amidst a taut supernatural mystery and delivers something both stirring and suspenseful - an impressive feat.
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Frontiersman possesses the confidence and character of a series as old as its own protagonist and presents itself as one of the most engaging new capes comics on shelves in years where even a standard installment like this is bound to entertain and intrigue.
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There are a handful of spotlights here, panels that resonate with real charm, but the fundamentals of storytelling are too often absent to make the issue itself very enjoyable.
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Newburn #1 delivers a complete mystery with satisfying levels of complexity (and foundations for future tensions) and a compelling, if familiar leading man.
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Stokoe's inversion on a predictable revelation is the most impressive element in issue #3 as a spread near the issue's end offers a jaw-dropping bit of body horror that will leave readers eagerly awaiting whatever comes next" whenever it arrives.
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Sorrentino and Lemire use the visual language introduced in Primordial #1 to twist space-time and shift perspectives so that few words are required to explore the dog's journey. Even as they provide the animals with some recognizable language, the majority of communication is visual with precisely selected panels and clear expressions across multiple styles.
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The early installments of Superman '78 read like something that could have been plotted for another entry in Donner's own series, but issue #3 blows up the "budget" to 21st century levels and that choice pays dividends.
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As a single chapter, this reads like the demands of the superhero genre override all of the potent ideas and atmospheric artwork within. Hopefully that's something addressed next month, but here it only leaves an aftertaste of disappointment.
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The focus rests on Iron Man, Strange's scientific counterpoint on the team, and places him in a position to be heroic via understanding rather than repulsor blasting. Yet his snippet of growth in these pages still only serves to redirect readers toward the event series and leaves questions about what purpose this tie-in served exactly.
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The Silver Coin returns with a very familiar mode of horror story. From the first page it's clear where this one is heading and it does not disappoint when things get bloody.
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In Adventureman #6, the focus rests on the different sorts of classic, pulp tales that may lie ahead and it's apparent those will pay dividends with the series' style.
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The Amazing Spider-Man may not feature behind the mask, but it has recaptured the magic that made this series a stalwart companion for superhero readers of all stripes.
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Daredevil #35 sets expectations high while delivering a well-constructed, but ultimately safe installment.
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There's not much new to be discovered in the sophomore outing, however, as Hank Henshaw and The Weird's designs lack updates or new contributions to the conspiracy behind this oddball trio. It's still an intriguing arrangement, but also one that requires more than a new villain and placement to maintain momentum month after month.
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The final page is simultaneously overwhelming and uplifting - it speaks to the human spirit in times of catastrophe and understands that words cannot provide justice to this concept. Yet the images here capture it just fine.
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The revelations found in this issue read primarily as preamble with no genuine shocks provided; Robin #8 is set to be quite a stunner now that all of the groundwork is finally laid.
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I never expected to be so invested in the fate of a single Badnik, but this Sonic the Hedgehog story has quickly super-charged the stakes with a cast of characters far from those at the heart of the video game franchise.
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The Rush #1 delivers both in a prologue that ought to tempt any comics readers possessing a taste for terror.
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"Ransom" is shaping up to be one of the most exciting new Usagi stories in some time and a perfect introduction for new readers to this iconic tale of grand ideals and the complex characters who strive for or fail to achieve them.
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If I were invested in the individual characters of We Only Find Them When They're Dead, this issue would be an absolute stunner considering the betrayals and revelations contained within. However, this is a series that rarely emphasizes its characters as they act, first and foremost, as avatars for allegory.
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With the Batman side of things looking no better than "War Games" and Fables failing to recapture its charm, it appears this miniseries missed its mark by many years.
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It's a neat bit and perfectly executed here; many pages include split features that would allow a reader to match them neatly together like a puzzle. Whether it creates the intended effect of dropping is questionable as the many Ice Cream Man motifs that appear provide dreamlike distractions, but it does build neatly to a slight twist on the overall concept.
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Vinyl #5 repeats the same flaws evidenced in earlier issues: conflating mental illness with superhero motifs, treating its own premise as being the height of cleverness, presenting familiar scenes without much ingenuity.
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It's played with the same excellent action panels and sense of humor that has been present throughout The Six Sidekicks of Trigger Keaton, and it ensures the issue is still a joy to read even as it hesitates to find its conclusion.
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This sophomore outing maintains all of last week's strengths with clear character work and outstanding artistic contributions, but it also fails to provide a clear hook or provide more than half-steps forward for either of its leading heroes.
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The self-aware tone puts nearly all of these elements beyond effect as it's unclear who this joke is being played upon, perhaps the reader.
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Compass' use of historical verisimilitude never strove for realism, but offered a rich and descriptive setting for this delightful adventure. A potential continuation suggested by the final page would be very welcome.
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Even as Home Sick Pilots #10 denies readers the conflict they've been seeking for months, it does so with sufficient elegance to also remind us that the wait will likely be worth it.
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Beyond some minor quibbles at the end, The Immortal Hulk #50 stands as a colossal climax for one of the most critically and commercially successful superhero series of the past decade.
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Like the third layer of a carbon copy from the start of the New 52's Justice League, Last Ride delivers exactly what it promises but nothing more. It's difficult to be excited for that when this is a confrontation waged so many times already.
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In Kang the Conqueror, as a possible necessity of weaving so many timelines and stories together, the logic of time travel is hand-wavey and refuses to acknowledge any clear rules. As a result the ironic twists that arrive in Kang the Conqueror only read as a further step in a preordained path rather than anything consequential based on this young Kang's choices thus far.
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Ninjak has established itself as the Valiant series to read and, given the cliffhanger in Ninjak #4, that's unlikely to change when artist Mike Norton joins in issue #5.
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There's a constant blend of pathos and humor as struggles are shared between friends on an adventure filled with a number of jokes experienced campers may appreciate.
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There are no clear answers to these sweeping themes, but this gorgeous text does not contribute to the conversation. The vibe of people trying better and choosing new heroes without ever interrogating ideology allows for endless projection, for readers to suggest whichever outcomes might most appeal to them. So it's appropriate that Strange Adventures ends on Shaner's soft, rounded, and reductive style.
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Superman and The Authority was an enjoyable ride with excellent character designs, engaging superhero scenarios, and plenty of social and literary awareness embedded in the writing. It's also a miniseries without much of a conclusion.
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In any case, what's here is delivered well and presents a tantalizing big idea, even if the presentation isn't necessarily thrilling.
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Unattached to any stakes invested in character or even this fictional world's history, it's the same set of actions repeating themselves.
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X-Force #24 brings the big spy comics energy as a cautionary tale of paranoia unbound is paired with a long-seeded revelation that demands nobody be trusted.
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Almost American delivers a dramatic improvement in its second issue by establishing a clear foundation for the story ahead.
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The debut delivers a comfortable tone for fans of comics and movies alike while introducing a new wrinkle to Peter Parker's already complicated life in one of the best looking Spidey magazines published this year.
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Wherever it goes from here is bound to hurt, but it will be impossible to quit reading at this point.
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Dark Ages is rushing past the most interesting ideas on the page to deliver something we have all read before and that is a dreadfully dull decision.
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Each page of Defenders #3 delivers a dynamic odyssey that pulls from Marvel Comics' potent lore and, with each team member revealing themselves in the midst of such action, this series establishes itself as a worthy addition to the Defenders canon.
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After months of fence-sitting on this series, I cannot wait to see what Excalbiur #25 brings as the stakes have never been higher and Excalibur has never been better.
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Hellions, you truly were the best of the "Reign of X." While the series will be missed, I simply cannot wait to see how it all ends.
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The Swamp Thing is building to its climax and I already have an appetite for more.
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Whatever comes next, The Nice House On The Lake continues to increase the stakes and never disappoints with its mini-mysteries, it seems assured that future discoveries will be worth every moment of anticipation.
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The series is as gorgeous as ever with both pulp-infused heroes and villains reminding readers of how much charm is built into the very bones of this story.
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Perhaps there's opportunity in the various, forthcoming one-shots to play upon this potent premise, but The Darkhold: Alpha is simply another example of something we've all read before.
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The result is a violent ride filled with gonzo energy and absurd encounters that delivers on all of Deathstroke's "cool factor," while still suggesting some layers of death beneath the many colorful explosions.
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If you still find yourself considering "Extreme Carnage," please know that beyond an encyclopedic knowledge of Marvel's many mediocre symbiotes, there is nothing of value to be found here.
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There may still be some tricks hidden within this story, but it will require quite a few of them to make this narrative lock into the grander Fourth World Saga and any greater meaning.
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Both action and intrigue are on full display here, providing readers little room to breathe until they are ready to watch what will unfold next" only to realize that it will be a long wait for next month's issue.
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Fans will recognize the rhythms of Donner's films and the seemingly unlimited potential of whatever is set to come next.
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The finale of "Revelations" confirms this 3-part story was primarily filling time. It continues to explore Thor's own anxieties about being king and the many strained relationships in his life, but all of this is expressed in lingering, vague strings of dialogue attached to thematically insignificant action sequences.
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Where the first arc of Alien sought to remix familiar elements from the franchise, "Revival" introduces a variety of new concepts to the series and offers a promising reset after that disappointing introduction.
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Everything comes together in Batman: The Detective #5 in a thrilling fashion; just be certain not to think about the villain's motive for too long.
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Jonna and the Unpossible Monsters #6 may only trace a single segment of the story"barely addressing any character beyond Rainbow"but her journey through such an engaging setting under so much pressure is a thrill to read. Once again I cannot wait to see what the next issue may bring.
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Leandro Fernandez delivers spectacular work in detailing the forests and mountains in the northernmost reaches of the Americas. Silent panels are nothing short of stunning and already have me anticipating The Old Guards return, even if quiet moments like this will be dearly missed; I'd happily read more of these short tales whenever they might appear.
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It's unclear exactly where Stillwater is focused, but it's bound to keep readers hooked, especially after an issue like this.
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The horrible hippies strike back in Vinyl #4 and there's plenty of bloodshed for readers to enjoy.
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If The Way of X, and its final chapter The Onslaught Revelation, possess a clear flaw, it's an excess of ambition.
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Wherever Compass is leading and however events pan out between these companions, the story, setting, and genre have supported the narrative in tandem making Compass quite the discovery from Image Comics.
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The Thing receives his spotlight in the 90s and, unsurprisingly, it proves to be an incredibly charming installment in the Fantastic Four: Life Story saga.
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Fight Girls is a series that makes its perspective on gender politics quite clear; it is obviously not something to be appreciated under any circumstances.
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It's a potent installment that only establishes greater things ahead - Home Sick Pilots has hit its stride, and is moving at the same pace as its gargantuan ghosts.
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It's entertaining at the moment, but can't quite justify its existence between months with more substantial developments.
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His words speak to powerful themes and potent conflicts, but they are only realized as a pitch never in the action. As a result Kang lies limp on the page as his ambitions seek to pair him with more popular characters, but it all looks quite nice.
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As Ninjak barrels ahead against increasingly intimidating threats, it seems the series can't miss the mark in making that journey as intriguing as possible.
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In addition to an intriguing premise, Primordial #1 brings ambitious and innovative comics storytelling from artist Andrea Sorrentino and writer Jeff Lemire in a story that's as much about the present as the past in its examination of humanity's place on Earth and amongst all living things.
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Sonic the Hedgehog #44 is a pat closer on recent storylines and, while it doesn't offer much excitement unto itself, reminds fans why this no series possesses so much potential in the longview.
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All of these characters are bound to history and readers are reminded of this in references to past stories and historical incidents alike. The past is clearly never past in Superman and The Authority, which makes the present story a thrill to read.
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While readers may be intrigued by future Sarah Jewell mysteries given this one's neat arrangement, it's unlikely that The House of Lost Horizons will pull many readers back for a second glance.
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The Scumbag #10 is an intensely self-involved and selfish work displaying a lack of perspective and thought on actual crises, then dressed up in literal shit as if that would make it all funny.
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Even as the intrigue deepens and the stakes rise, it's the sense of humor that most distinguishes this issue.
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There's nothing obviously offensive to be found here, but there are also few reasons to stick around for issue #3.
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The Six Sidekicks of Trigger Keaton would be a must-read for its comedic merits alone, but it still insists on delivering outstanding examples of action, character work, and mystery plotting in each issue meaning even its middle chapters are a delight from start to finish - because the interview back matter in this issue is truly outstanding.
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Army of Darkness 1979 is never actively offensive, but it is certainly dull from start to finish with no redeeming qualities to be sussed out.
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Marco Perugini's artwork delivers stylish sword and gun fights - minimalist backgrounds accentuate the action with broad motion lines and clearly defined shapes. This makes the opening pages of Black Cotton #2 quite the thrill ride, but that same style when applied to numerous discussions throughout the rest of the pages leaves much to be desired.
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No matter how compelling it was to see these critical issues addressed in the pages of Daredevil at the end it seems this may be an outstanding series greatest weakness as it is ultimately unable to confront its own central conflicts in a meaningful manner.
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Defenders #2 delivers on all of the spectacle its debut promised with an assortment of wonderfully designed spreads featuring cosmic action enhanced by a panorama of powerful colors.
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What's on the page rarely lives up to its own promise, but the promise remains incredibly enticing given the sprawling stakes and rich elements of lore ranging from Arthurian tales to modern, reality-bending sci-fi tales. It's hard to look away even when much of the execution comes up short.
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Ultimately, this issue is space to pull another character into proceedings moving at a crawl, but there's character to it which makes it the best installment titled Extreme Carnage yet.
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Endings provide some clarity and the ending of Helm Greycastle has a more coherent plot in that it resolves itself in a clear position. The value of this understanding is debatable as the many revelations and events found in the climax land with a thud.
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The final few pages of Moonshine #27 are an absolute terror to read and promise a great deal of horrifically violent sequences in the series finale.
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Redshift #2 delivers on the initial promise of the title and its creators with the second half of this story's introduction - the promise of what's to come seems nearly limitless after this issue.
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There's plenty of potential in these teams and their complex configurations, but they're still missing a spark of inspiration here.
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Get Joker! is an uneven affair with a few notable highlights.
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While the final splash delivers an excellent cliffhanger, it also feels overdue after two issues of jungle encounters between these entities. However, the ideas and images are crystalline and remain a pleasure to see articulated across each page.
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It's an immersive experience in character and setting, which only deepens the draw into this dark and twisted mystery.
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There is clearly a grand design with so many key ideas still developing from the earliest issues, but small touches aren't enough to outline a vision and X-Force #23 is an issue that drifts as a solitary installment.
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Take a break from drawn out superhero sagas and remember what comics can deliver in a single package; you won't regret it.
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For all of the terror and tension these real individuals may have experienced, it simply cannot be found in the pages of Almost American #1.
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It introduces a new threat and a core cast of characters to trace this new status quo, but barely considers the question of why readers should concern themselves with all of it beyond the recognizable faces stuffed inside.
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No matter how dull the narrative may be, it still provides plenty of opportunities to showcase Momoko's artistic talents and that's enough to keep me following Demon Days long after Cursed Web.
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Hellions #15 is everything this series offers at its best with gripping, three-dimensional characters, humor and horrific violence that defy imagination, and the freedom to tell a story with no preconceived endings. The results are gripping, as always.
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It's not terrible, but falls far short of the expectations IDW has set amongst its various Sonic the Hedgehog comics.
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Even if it reads as too little, too late, this is a short story that functions on its own terms and will offer an effective denouement and grace note in collected formats.
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As engaging as it may be to consider timelines and new connections or how this story mirrors elements of storytelling-as-industry, it also seems to only invoke the intellectual and never the heart.
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Overwriting runs rampant like the first few sessions of an RPG and the impulse to explain undermines any metaphors intended to be shown. Yet when the script finally opts to simply show these characters under unimaginable pressure, a diamond of a good idea can be seen. It's enough to keep me reading because, despite how badly this franchise's core strengths are regularly mangled in endless sequels, the results are rarely dull.
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Barbaric #3 ends the new series' first arc on a high note, drawing all of its threads into a spectacularly bloody finale filled with satisfying connections"whether it's the literal meeting of Axe and enemies or a new bond between comrades.
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Even as someone who read every chapter of "Extreme Carnage" thus far, the one-shot format and its unfocused approach is making it difficult to trace this story.
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Ice Cream Man #25 reads as an example of what may happen when creators refuse to kill their darlings as each tangent runs away from the most compelling elements to be found on the page.
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The flashbacks on film found in The Source of Freedom #4 provides a far more compelling story than that which preceded them in this story and proceeds in chronology.
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Ninjak #2 exceeds expectations as it continues to dish up high-octane spy action in some of the most invigorating layouts in all of superhero comics.
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The issue opens with what is bound to be the least installment of Tales Through Time"a poorly told dirty joke that even a former Catholic school boy rolled his eyes at that wastes Rafael Albuquerque with endless drawings of nuns outside of a single searing spread. However the total misstep titled "An Old Soul," is balanced with what I feel is bound to be the best entry in this short story collection.
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Robin #5 hits you over the head with sentiment and it absolutely works.
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It's a character study that resonates almost entirely within cinder block walls and with small affected gestures and expressions as one of Marvel's most human characters also proves to be one of its most resonant.
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The results are electrifying.
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If this were another one-shot vehicle for Lobo to deliver jokes, no matter how poorly crafted, it might be more forgivable, but the words "TO BE CONTINUED" left me wishing I'd never begun reading.
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When the story enters its epilogue, it's clear that quick sentiment is preferred to anything earned and there's not even the tone of pulp to cover up shoddy scripting and serviceable pages in this installment.
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With the setting and stakes already established, Compass #3 is able to lean into the fun and fear of this exploration phase and produces a compelling mid-point as answers (and possibly more mysteries) rest on the horizon.
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Focusing on the music scene provides multiple opportunities that Home Sick Pilots #8 executes exceedingly well.
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Jonna and The Unpossible Monsters remains an exemplar of the "show, don't tell" rule of comics.
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Although the story itself reads as equal parts retrospective, summary, and character thesis, it is dramatically more entertaining than the many internet explainers appearing in the wake of Kang's live action adaptation.
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After a longer-than-typical wait Lazarus returns with a genuinely climactic affair or, at least, the start of one. Risen #6 is a study in building tension and in this regard it absolutely succeeds.
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Nocterra is tracing a number of familiar themes and motifs from Snyder's recent work, and it does so better than seemingly any series so far, only stumbling in Nocterra #6 as it prepares to drive the long haul ahead. I'm still anticipating that journey a great deal.
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Each section taken on its own merits is appealing with problems that fit their corresponding characters in revealing fashions, as well as a mix of guest artists who create a sense of distance between their different spaces. Yet each of the three encounters included here reads as being separate from any core narrative, like ideas that could not justify their own pitches distilled into a dozen page story.
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For lovers of Superman that approach is bound to work and as a longtime devotee of the character, it's clear that in its entirety Red and Blue succeeded spectacularly in delivering meditations on modern goodness from some of Western comics' greatest talents"providing hope, inspiration, and laughs in equal measure.
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No matter how neatly this tale is told, it still lacks purpose and that leaves the experience as hollow as the soldiers marching inevitably toward death on the page.
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However this tale finds resolution in X-Men: The Onslaught Revelation, it has already made a monumental contribution to the most exciting era in X-Men history since Claremont and Cockrum initiated another.
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This is an already impressive and consistently entertaining series that appears to only possess room for growth as it continues.
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The notion of five teens challenged by notions of identity and growth remains an alluring premise, especially within X-comics, but Children of the Atom failed to provide an effective focus for those characters and the finale shatters any illusion that they were much more than feel-good wish fulfillment. Alas.
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Even for an issue without more than a single glimpse of its leading man, it certainly sets expectations sky high with another intimidating final splash"one readers have every reason to believe will (once again) pay dividends in Daredevil #34.
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What is truly impressive about this debut is not the plans it lays out for itself, although those may be great indeed, but how it makes even the most mundane storytelling tasks something to ponder.
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As a reflection on both family and country, Fantastic Four: Life Story tells a tale that emphasizes heroic humanity above superpowers"it's about time.
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Mysteries continue to loom, but there's now a clear direction and plenty of context for readers to dig into. As Justice League: Last Ride ceases any hesitation, it appears the best moments of this story still lie ahead.
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If you've come this far, then I expect you're eagerly anticipating The House of Lost Horizons #4, whether or not earlier issues have met or exceeded expectations.
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It's an excellent end note for now and one that promises so much more, as the sins of the past only inspire new terrors across the centuries.
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X-Force #22 is a return to form as it delivers a compelling villainous arc in a single issue and embeds that in a story in which there are obvious bad guys, but no one looks particularly good. Who would have thought espionage and salad blended so well?
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Longtime readers of American Vampire, like myself, will not find many, if any, surprises in the series finale. That's perfectly appropriate for the final 30 pages of a story that lasted for more than 1,000, though.
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An idea with barely enough mileage to create a one-shot then stretched into a six-issue miniseries.
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The only facet of Extreme Carnage that remains interesting is the choice to drag out so many undeveloped and unwanted characters because that is truly inexplicable.
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It's immediately clear Tarn is an entity not fully understood (or feared) by Krakoa and every detail added here develops them into being a greater antagonist. His impact upon the team is immediate with mounting chaos defining most of this issue. Each new turn shifts the status quo in Hellions further as revelations and choices regularly place characters beyond a point of no return.
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Regardless of the long, two-month wait ahead and whatever awaits Hulk, Jackie, and readers on the other side, it's clear The Immortal Hulk has remained true to its purpose and is ready to deliver a hulking, horrific finale.
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In the midst of so much chaos it is difficult to detail the town's essential conflicts and power dynamics, which makes the combined introduction of the "Lost Boys village" and sprawling smalltown war a bewildering read at times.
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Here's the short of it: "It's a Brian Azzarello prison comic with Alex Maleev art that's par for the course."
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The Swamp Thing is embracing its horror roots in issue #6 and I only expect the creeping poignancy of this series to grow as Levi attempts to protect a rare thing worth saving.
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It's impressive how neatly the series has laid out its mythos without ever descending into the worst narrative tendencies in comics, instead remaining a character piece. It's for that reason I'm eager to continue exploring with this increasingly harried set of survivors.
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Barbaric #2 maintains everything excellent from its debut"the humor, the violence, the fast pacing"and builds upon that momentum.
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If there is no more to come in this story, Beta Ray Bill will remain an outstanding piece of spectacle with some of the best pages produced at Marvel Comics in 2021. However, readers will likely be left hoping Johnson plans to continue Beta Ray's story as issue #5 ends with an interlude rather than a conclusion.
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What began as the terrifying return of Daredevil's most deadly foe is quickly becoming something much more twisty and it's equal parts excitement and anxiety imagining what is coming next in Daredevil.
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Wagner is still capable of preparing the bitterest of pills in an enjoyable fashion, precisely why Grendel remains relevant.
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Four stories into this saga and it's clear that the ambitions for this minor miracle of fantasy cartooning are only growing; I cannot wait to see what comes next.
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It's a highlight from a miniseries that consistently aspires to be bog standard.
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While Tales Through Time #4 is certainly the weakest installment in this collection so far, it also shows that the floor for The Old Guard is set reasonably high.
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Crossovers with manga and double crosses on the island develop narrative intrigue in multiple senses as the tournament prepares to begin. Even a change in art as Jorge Corona takes over for issue #4 doesn't prove to be much of a distraction in a slower issue with few fights.
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So that's what Strange Adventures was building to this entire time? Seems like it probably should have been a 6-issue miniseries.
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There's not much beyond the pulp to be enjoyed here, but it's pulpy enough to attract fans who prefer something familiar.
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This story will leave readers encouraged to seek out what was summarized in these pages whether or net it exists in comics from the past or present.
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Whatever cleverness was to be found in the pages of The Scumbag early on have faded and all that's left is a stench that cannot be covered.
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The serial killers as superheroes analogs were awkward in Vinyl #1 and approach being unbearable in issue #2.
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All of the problems that were evident in Aliens #1 have not only proven to be substantial flaws, but have continued to worsen throughout this story"it's difficult to find any elements to even deem salvageable in these pages.
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Compass is a thrilling adventure and, if what follows is as good as the start, could become one of the best new Image series in 2021.
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It's an excellent second issue for new readers, but only an above adequate reset for those who made it past the first story arc.
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It's always a pleasure to check in with the folks around Emerald Hills, even when it's in a waiting game to see what awaits this idyllic setting.
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Superman and The Authority ultimately serves as abstract and introduction for the dissertation to come, and it sets expectations reasonably high.
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Looking at collections like Red and Blue, it would be enough for a single 8-page story in one issue to bring its reader to tears, so it's quite an accomplishment when an issue does so multiple times.
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Thor Annual #1 proves to be one of the better, recent Thor stories providing readers with a vibrant look at the Nine Realms and a compelling Thor epic that won't break the bank.
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I've never considered Usagi Yojimbo to be much of a hangout comic, but as the wayward rabbit wanders down the road with a new companion that's the vibe they provide; it absolutely works.
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Combine those laughs and thrills, and you have a must-read comic on your hands assuming one doesn't mind a bit of funny business.
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Despite its lack of originality, Aliens: Aftermath at least delivers a story that understands its point of origin and that alone is an improvement at Marvel Comics.
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In overstating the threat, Batman: The Detective undermines its many, many strengths.
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Excalibur #22 is a transitory chapter and, while what comes next seems ready to reinvent this series, much of what readers have to find here will be a familiar breakdown of the past while the future is still being considered.
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If following the story is the goal, then it's mission accomplished for Helm Greycastle, but caring will require a lot more knowledge about why any of this has occurred.
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No matter how enjoyable it may be to see these characters clearly conceived in roasting s'mores or delivering some straight talk, it's time for this story to add some much needed context to frame these smaller moments with consequence.
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The reading experience is effortless, even if crafting it was anything but.
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This mystery seems to be have been better crafted for the collection to follow than these serialized installments.
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The collision of humanity's very real, modern demons with its most potent imagined ones creates a compelling invitation to see what comes next, and I already know I'm ready to discover every year upon this terrifying timeline.
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Way of X continues to provide an impressive balancing act that elevates minor characters, celebrates one X-Men's greatest characters, and considers the manifold complexities of the new mutant status quo in an era where many series aim to accomplish just one of those goals well. It seems all but certain that this all too brief series will become a definitive segment in Krakoan lore.
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There are some great opportunities for writer Karla Pacheco to express humor, including some excellent dog-oriented puns, and the positioning of a reformed gym teacher shows a real knack for memorable conflicts and quick character development, but Pacheco's panache can't resolve a story that by its very nature is designed to not be resolved.
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Beasts of Burden serves as a love letter to supernatural stories, comic books, and canine companions, and it is an endearing testament to the power of all three.
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There is a compelling version of Chained to the Grave to be imagined, but it's simply not what appeared on the page.
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It's a perfectly fine step forward and one that offers some entertaining spreads and useful information, but all of that is delivered in a fashion that still leaves me to wonder why exactly I need to pick up another issue next month.
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While it's possible to pick at nearly any choice or page in Crime Syndicate #5, it's not worth the time invested because there's clearly nothing more to be asked about this misstep than: Who was this even for?
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Ultimately, a sketchbook might have been a more efficient method for delivering everything Fight Girls has to offer.
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Hellions #13 is another strong issue in the most consistently quality X-series today.
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The power in this issue is not simply found in the careful purpose placed in Al Ewing's carefully constructed dialogue; it's that Bennett's figures construct a dialogue unto themselves filled with a greater emotional resonance and then Bennett merges those faces filled with that emotion into Ewing's words.
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Steve Skroce will always deliver heavily detailed bizarre pieces of artwork and I'll never resist looking at his comics for that reason. And, to that end, Post Americana #6 provides some genuinely funny standout panels"moments that rise above the slog that is this ongoing story filled with barely sketched characters and satirical concepts that outlive their welcome within 20 pages.
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The Swamp Thing #5 provides an interlude from the series' central narrative and it's one that clarifies the concepts at the center of said narrative with an outstanding guest artist.
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The Nice House on the Lake #2 takes the promising premise introduced in #1 and clarifies just how deep this rabbit hole is designed to go; from the look of things here the series has a long road ahead of it and that's cause to celebrate.
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Even the final data page lacks the quality of verisimilitude that usually makes X-Force's pages some of the X-line's best"that sentiment can be shared about this entire issue, besides Cassara and Gill's draftsmanship.
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Thankfully, Barbaric #1, from writer Michael Moreci and artist Nathan Gooden at publisher Vault Comics, recognizes that repeating the past is a surefire recipe for mediocrity and provides the first exciting new sword & sorcery series to hit comic book stores in many years.
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Even as Johnson focuses on retelling and reworking Marvel Comics' continuity, he remains focused on the ideas, style, and story that have made Beta Ray Bill one of Marvel's best comics in years.
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While those riders may bear some clear danger based purely on the symbolism of their form and number, it's ineffectively communicated on the page.
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Daredevil #31 is incredibly competent superhero comics delivering a middle chapter with style; I won't complain about any of that, even if I won't remember many specifics (beyond Daredevil making a prison warden scream) next month.
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You can call this crossover cute or amusing, but either description wears out its welcome before the end of this single issue in an event that will only appeal to die hard and very young fans of either franchise.
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There may still be some distance to travel in defining this exploitation of space and its resources, but the shape of this metaphor is beginning to cohere around characters and a timeline that will define their relationship to humanity for better or (almost certainly) for worse.
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Life Story fails to entirely recapture the balance that made the first issue so promising, but still contains a solid appreciation of history and character that works in some regards, if not all.
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It's not hard to see the need for compression considering how much has been unveiled across 4 issues with plans for a momentous climax in #5, but it's also difficult to engage with what's best in this miniseries when it's unclear how events on the page connect to one another.
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While I struggled with the series' opening arc, Home Sick Pilots #6 does an excellent job of reintroducing its concept in a fashion that's inviting and might even make those first 5 issues more accessible.
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Jonna and the Unpossible Monsters possesses the scope of an epic"taking a small introductory point to expand upon a world filled with massive conflicts, colorful characters, and unending adventure, not unlike the earliest issues of Bone.
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Read as part of a collection this may represent the lull before the storm, but as an individual issue it only leaves me with the same interest I entered the issue with: to witness these dark deeds and their consequences. I suppose we only need to wait one more month.
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This is a disappointing follow up that suggests not much will change (or advance) before the final issue.
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Regardless of your connection to The Old Guard, Tales Through Time proves to be an unreservedly excellent anthology of top comics creators.
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The careful attention to foundations, introductions, and style across the first 3 issues of Robin make it clear this is a story with a lot of care and attention being applied, which makes the already high stakes seem all the greater.
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If you've never picked up an issue of Sonic the Hedgehog before and are curious why this series has continued to flourish across 3 decades, it would be difficult to find a better introduction than this wonderful anniversary celebration.
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The aforementioned descent still holds a lot of promise, but The Modern Frankenstein #3 takes a detour from that promise for a narrative that fails to properly invest readers in what's actually occurring.
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This is a serial killer presented as idiosyncratic anti-hero possessing seemingly superhuman abilities in a setting that exudes "strange" from every panel. We've seen this before in Nailbiter, Hack/Slash, and an entire generation of stories stewed in creative brains that encountered Natural Born Killers at a young age. And while it does everything to make itself appear unique, it's anything but original.
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Way of X is challenging and inventive and entertaining, which is an excellent trifecta for any series to achieve, especially one with this much territory to cover.
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The flaws in Aliens are as noticeable as they are because of this series' profile"this is Marvel Comics' launch of a new franchise that it will most likely possess in perpetuity within the House of Mouse. Yet every part of this debut story continues to fall flat and what might have appeared a step below mediocre as yet another Dark Horse miniseries seems utterly disastrous here.
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The novelty is the source of this story's attraction and this close to the end (and without Fishsticks) there isn't much novelty left to be wrung from the combination.
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Compass #1 provides readers with an immersive setting and propulsive start to a story unlike anything in comics today.
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Even if the Trump stand-in is a bit too on-the-nose, the uniqueness of Bojan Fel's promise and downfall are clear enough to keep readers engaged in one of the best Grendel stories ever told.
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Some parts of the story are less impactful than they might have been otherwise with lackluster redesigns for Final Flight and workmanlike action sequences; Weapon X & Final Flight remains one of the more consistently engaging quick takes in this Avengers event.
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Sonic the Hedgehog sets the gold standard for all-ages comics with a vibrant cast of characters and villains nefarious enough to always provide sufficient tension to balance all of the fun.
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After 8 issues, Stillwater is still defining itself and issue #8 reads as much like a distraction as it does a more detailed analysis as a result.
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Red and Blue continues to deliver Superman stories that emphasize what is best about the character without engaging in a maudlin or instructive tone (with the exception of the didactic "#SavedBySuperman" here).
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Readers seeking to challenge themselves in solving this story will find themselves well supported, but those seeking the high standards set by other Hellboy tie-ins may find themselves somewhat disappointed by the rather plain presentation.
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Much like the early stages of 100 Bullets, The Silver Coin comfortably suggests grander designs within a more conservative structure and both halves of that coin will keep me returning for more.
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Usagi Yojimbo #20 sets up another outstanding new story in a saga that seems to never miss a beat.
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A bizarre premise stuffed with colorful characters, gut busting humor, a deep appreciation of American pop culture, and a surprising degree of depth amidst all the tawdry details. The uninitiated can rest assured they're in for one heckuva ride here.
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American Vampire 1976 #9 sets up an epic conclusion for the last great Vertigo series ever"I'm hoping it delivers the same sense of momentum and style shown here.
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It's a fine narrative in its own right and one that leaves me wanting to see more of Ducard in future Bat-books as a "frenemy" with both a useful skill set and justifiable counterpoint to Wayne's worldview. However, that digression adds very little of the ongoing mystery or many other characters present in Batman: The Detective.
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Children of the Atom continues to improve in the one X-comic from this month that doesn't focus on the Hellfire Gala.
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Excalibur #21 is the first entry to the Hellfire Gala that feels like a misfire.
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All of which is to say, readers who appreciate good Justice League stories will almost certainly continue to enjoy Last Ride. Perhaps it's wise to just not set expectations too high, though.
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Despite some missteps in pacing and exposition, Roofstompers still serves up a terribly twisted tale worth discovering on one's own.
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Sonic the Hedgehog is a mixed bag that will, luckily, leave all of its flaws in this issue, but keep the best parts (specifically, Belle) going forward.
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Occupied Territory proves itself to be a consistently engaging new story in Beasts of Burden lore, even resting nearly 80 years before the current narrative.
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Something new happens with all of the core characters, but these events unfold in a scattershot approach; it's possible to imagine rearranging almost every sequence in this issue to little effect.
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Yet Dead Dog's Bite was something I anticipated before as it held my attention; I don't suspect I'll think of it again after this ending.
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Family Tree #12 sprints through the finish line and that intense pacing, combined with total clarity in the telling, makes for a gripping finale where the sacrifices and brief denouement feel all the more personal.
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This is the funniest issue of superhero comics I've read all year.
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It's a fun concept initially with a scavenger hunt quality applied to this retread of 70s storytelling. The premise quickly grows thin as it becomes apparent the events being retread here will have little impact beyond these pages.
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This battle against the Avengers proves to be even more vicious than their first appearance at the series' start with Hulk pulling some particularly nasty new tricks out of his sleeve. The brawl is well depicted and enjoyable for its pacing and creativity, but still reads as part of a stall extending from the past several issues.
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While the plotting here is focused on definitions and introductions, Mike Perkins depictions of The Green and this growing cast of characters elevates the comic above its slowing pace.
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My advice is simply this: Check it out.
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That attention to detail combined with all of the frivolity and character moments contained herein speaks to what makes X-Force one of the most consistently engaging X-series, as well as the astounding construction of this one month, linewide event.
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Xenomorphs are all over Alien #3 as the few survivors of a recovery team struggle to make their way deeper into an infested space station; the problem is that they appear to be a comedic element, rather than a horrifying one.
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Beta Ray Bill #3 is a definitive middle chapter and it provides a perfect proof point as to why that is not an inherently bad thing.
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The conclusion of Ta-Nehisi Coates' more than 50 issue run on Black Panther arrives this week and fans of the recent series will not be disappointed.
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Whether you're a Batman fiend or just looking to check in on the world's most recognizable detective, Detective Comics #1036 will likely scratch that itch.
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Helm Greycastle is a strange story with some occasional moments of inspiration, but primarily serving confusion and drudgery.
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Magneto & The Mutant Force #1 is an often contradictory introduction to an alternate timeline that adds nothing to what has come before and it will apparently even the minor aspirations found here will remain unfinished.
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After a 14-month hiatus, Manifest Destiny returns for its finale and the opening salvo makes it clear that this will likely be the darkest chapter in an already very dark saga.
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The Source of Freedom #1 struggles to assert its leading man and find its own calling amid the looming legacies of Mister Miracle.
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Whether readers are seeking to learn more about those undying warriors or simply seeking out some excellent comics short stories, Tales Through Time is bound to satisfy.
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Robin #2 is taking this tournament arrangement seriously and it's not difficult to imagine this story lasting for most of 2021; that doesn't sound like a bad idea after reading the first two issues of Robin, though.
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It's a poorly paced entry as it repeats a narrative already stretched thin across 9 issues and adds very little in building to the final reveal.
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I'm unsure if I'll ever return to The Modern Frankenstein, but I certainly am having some fun reading this pulpy rehash when it's in front of me.
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For the first time, The Other History of the DC Universe provides readers with a narrative that focuses on telling a single character's story without needing to staple together or redraft clumsy choices from DC continuity and, in spite of its overly verbose nature, provides a powerful reflection on one of the publisher's most complex character in Gotham City.
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Daredevil #30 is another exciting issue featuring a rewarding balance of character moments and action beats as the series continues to set a consistent standard for mainstream superhero comics.
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It's a weighty task and five more decades loom large, but Fantastic Four: Life Story #1 tells a story that inspires hope even when discovering terrible truths.
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Time of Monsters #1 is an excellent addition to the sprawling lore of The Immortal Hulk, but what elevates it above being another good Hulk story is how it condenses a complete legend into so few pages in a comic book bound to impress any who pick it up.
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Jonna and the Unpossible Monsters remains a delightful discovery in current comics as it prepares for the long journey ahead.
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There are a lot of good ideas on the page, but they struggle to cohere.
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For readers who claim to have never "got" Superman, this collection may prove the perfect moment of realization.
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There are some good looking pages contained in The Scumbag #8; they don't have a story or sense of humor to support what style exists on the page, though.
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The Way of X #2 raises the stakes and endeavors to reach the lofty questions that the series' debut posed; it's succeeding so far.
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If you were astonished at the timeline and scale presented in the first chapter of We Only Find Them When They're Dead, then you will be blown away by how the second chapter opens.
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Now that everyone is in place, let's hope that longtime readers of American Vampire can discover a more satisfactory conclusion in the two issues remaining.
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In an issue filled with interesting locales and travel companions, The Detective #2 promises readers that there is plenty to be discovered in this thrilling new conspiracy caper.
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Many of the issues that affected this series' launch persist, but Children of the Atom #3 is a dramatic improvement and one that signals hope for wherever this odd addition to "Reign of X" is heading.
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Wherever the finale of Devil's Odyssey is heading, the series now finds itself on familiar thematic ground well worth exploring for at least two issues, if not longer...
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Ice Cream Man #24 delivers one of the series' most confident and sincerely creepy installments to date.
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The gold standard for modern, non-continuity takes on the Justice League must be Injustice, but the first issue of Last Ride takes aim at the king and this series doesn't appear ready to miss.
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This is the satisfying sort of conclusion that reflects the series honest perspective on life, a story that never really ends.
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As the two teams on each sides of Eggman's devilish portals converge, Sonic the Hedgehog #39 promises a thrilling conclusion to this very peculiar set of obstacles.
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It is a locked room mystery populated by a collection of easily identifiable suspects with red herrings and supernatural affectations to spare. However, even with that potent set up the debut may not maintain the attention of newcomers.
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On its own The Silver Coin #2 delivers a tale sure to satisfy horror fans, but as a second issue it promises that this anthology will not disappoint or repeat itself as new writers join the effort. Whoever drafts the next story, it seems all but guaranteed that Walsh will deliver new nightmares not to be missed.
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Occupied Territory #2 makes it clear that there's plenty more to be discovered in this fictional world as two wayward canines open the door to wise dogs in both of Earth's semispheres. In character work, imagination, and presentation, there are few comics as rewarding to readers today as Beasts of Burden.
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There's a lack of polish that doesn't serve this fast-paced and consistently strange story, but there's sufficient creativity on display in the turn of each page to keep me intrigued.
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This miniseries started out being dull and then doubled down on that approach for two additional issues. The only question I have left regarding Crime Syndicate is: If it were cancelled tomorrow, would anyone notice or care?
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The story is competently told and features just enough creative flair to be forgotten; this is a version of Ted Sallis and Man-Thing with a lot of potential beyond oddly-assembled events.
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Idiosyncrasies dominate Dead Dog's Bite #3. This isn't an inherently bad thing, however, as the idiosyncratic natures of this series' setting, mysteries, and characters serve a purpose beyond being simply strange.
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In two issues, Hellions has developed more mystery, advanced more characters, and delivered more violence and humor than most series can accomplish across six issues made for a paperback; it's an outstanding example of storytelling in the superhero genre, a bar to which almost all other series ought to aim.
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We may be able to anticipate where it's going and all of the skill placed in moving there, but this issue simply doesn't pack the same punch that this series has promised since day one.
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The Swamp Thing #3 is a fount of potential and with the stage fully prepared, the thought of what comes next is simply thrilling.
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The Union ends in a much stronger place than it began, but the denouements in this issue don't land with much strength as they lack a foundation.
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There's not a single page of this comic that is above note and so all I have left to say is: Do not sleep on Beta Ray Bill. Fun, furious, and fraught in equal measures, this comic book packs the power of Stormbreaker in every page; it simply cannot be missed.
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Even as a lifelong reader of Dune, this series feels like death by proper nouns.
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Explaining what is happening in spacebound ambushes and battles from the bridge of a ship isn't quite as exciting as showing those affairs in space, but it doesn't appear that Firefly #28 is interested in being interesting based on its own merits.
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You may not stay for the comic, but it's certainly worth coming for the D&D adventure notes in Helm Greycastle.
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New Mutants reads in a fractured fashion; issue #17 focuses on a journey to Otherworld, but diverts its attention to multiple detours with each lasting only 2 to 3 pages. These detours have only the faintest connections within the issue, which often makes them read like check-ins on the level of plot.
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Robin #1 is a simply outstanding debut featuring two DC creators at the top of their collective game.
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Sea of Sorrows was more neatly told than Road of Bones and did more to define its antagonists; the result is an enjoyable horror comic, if not a scary one.
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It's far too early to say if The Modern Frankenstein will distinguish itself, but the first issue shows real promise and that alone is enough to be exciting.
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This addition to the lore of X-Factor doesn't appear to serve a clear purpose, even for readers familiar with this era.
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The result is a comic that is dull every moment spent away from devoted action and suspense sequences and those are further undermined by the final few pages in which Larroca's forms appear to be traced atop one another with no clear physicality or contact.
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If there's more like this to come, then Tales Through Time is bound to satisfy fans of The Old Guard, no matter how they came across these stories to start.
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If the remaining battles pack punches like this, then Orphan and the Five Beasts is well on its way to becoming an evergreen action comic.
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The idea of Steve Skroce designing a Disney satire packed with (likely homicidal) robotic character homages sounds excellent. However, fit into the midst of Post Americana the violence and excess have lost their charm and there's nothing beneath that superficial description of who is introduced in this issue.
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Superman: Red and Blue #2 is what I hope to see from a Superman anthology series and I'm glad it didn't wait too long to arrive.
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Whatever brings you to the comic book store, you can't go wrong picking up Usagi Yojimbo #19.
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It's abundantly clear by the final page that wherever this exploration of mutant faith and community goes next, the story is perfectly centered on Nightcrawler in the most ambitious launch of the Krakoa era so far. This series is one to watch for its creators, characters, and concepts.
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Brown has been a strong fit for this series featuring artwork with rough edges to match the characters and tone of the story, but here character's faces and forms are often misshapen and excessive cross hatching makes a number of expressions unreadable. It's the excess of traits that were easily ignored before that creates a number of genuinely distracting panels throughout an otherwise fine installment of X-Force that make this good Quentin Quire story read as something of a misfire.
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There's little substance to be found here, only reminders of who these characters were briefly before this final confrontation with the beast buried in American soil. While issue #7 does collect some excellent pages, it ultimately reads like it's stalling for time.
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The creative talent assembled to tell this superhero-mystery is top-notch, but the underlying conspiracy may prevent them from elevating this story above the tawdry and familiar.
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Children of the Atom #2 ends exactly where Children of the Atom #1 did with more pages added, but no progress made.
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Daredevil #29 is a brilliantly structured comic stringing key decisions and revelations for its entire cast across a brutal prison fight picking up directly where Daredevil #28 left off.
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This is a comic to watch, one filled with seemingly limitless potential and a team of creators all delivering their best in a story unlike any they've touched before.
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This comic is every bit as sharp, violent, and compellingly told as when it left the stands in 2020; I'm just glad to see it return.
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My primary concern with Home Sick Pilots #1 was that it failed to provide readers a clear premise in its first issue, then it refined its ideas in combination with impactful artwork and slick colors across 5 issues only to find itself facing the same problem once again.
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King in Black: Namor is hopefully not the last we will see of this story or from these creators as they have brought Namor's story to comics in unparalleled fashion here.
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I've consistently enjoyed the humanistic indie vibes of Resident Alien since discovering the comic and this issue exudes exactly that tone and approach; it's going to be hard to say goodbye.
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The Scumbag was substantially more enjoyable when it embraced being the dumb comic book on the shelves.
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Occupied Territory appears to be another outstanding entry from one of the best creator-owned franchises in comics today.
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Chained to the Grave is one of the most inventive new series on shelves in 2021; every few pages adds something new to this sprawling horror saga from the Old West.
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There's nothing of substance or interest to be found in these pages as readers are left to ask, once again, "Why does this comic exist?"
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Dead Dog's Bite #2 proves that the idiosyncratic debut was no fluke.
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There's plenty of good to be pulled from this new arrangement, much like the reset between Kwannon and Betsy, but the execution here pushes that opportunity into the future rather than seizing it.
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Issue #45 is the definition of an interstitial chapter"preparing things for what comes next as some characters are reintroduced, some new changes are clarified, and yet another gloriously tantalizing cliffhanger appears.
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Even as it sets a course for the series ahead, it already seems apparent that Jonna and the Unpossible Monsters is one of the most accomplished examples of comics storytelling in 2021; I simply cannot wait to see what it does next.
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Both stories read like teasers, the sort of fare Marvel squeezes together into a $4.99 extravaganza advertising new series. They aren't fulfilling reads, but they might provide a hook to read another #1 issue. Unfortunately, there's no clear follow on from the pair of stories presented here and they both read like advertisements.
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While the core conceits of The Swamp Thing are still developing, it's already apparent that this series possesses ambition not seen with the character for nearly 30 years.
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Walsh's deft telling of Zdarsky's tight narrative makes for a thrilling episode that requires no investment from readers beyond what they hold in their hands. As a result it becomes an engrossing tale unto itself and one easily recommended to fellow readers of comics and fans of horror.
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From the beautifully drawn battles to the personal moments of reflection, Usagi Yojimbo #18 provides readers with another tale that already seems sure to stand the test of time.
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Beta Ray Bill #1 makes a clear statement that almost 40 years after the characters debut in The Mighty Thor #337, there are still many incredible tales left to tell.
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Decorum has defined its endgame and that portion of this series appears ready to exceed the already excellent groundwork established across six issues. Bring it on.
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Each installment has carefully built upon the last by transforming exposition into key character elements or useful asides"after only 3 issues the world of Giga feels immersive.
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Strange Adventures #9 is a revolting and misguided defense of disgusting acts lacking all of the nuance required to grapple with the worst aspects of war.
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It is clear that Katana and Asian American characters at DC Comics deserve better stories and representation than they have received, but this one issue only makes that need seem more evident in 2021.
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It's not hard to notice small good bits, but it's disappointing to realize they were never given an opportunity to excel.
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Alien #1 is a serviceable introduction to a new era of Alien comics; setting itself clearly within the timeline of the early (and most popular) films, and providing readers with a new lead character and problem to address.
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While Coates hasn't clearly threaded the needle connecting race and nationality in this coalition, it's easy enough to simply enjoy the spectacle of this battle and the incredible collection of characters on display.
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The definition of magic and purpose of Excalibur are still clumsily executed at times, but issue #19 emphasizes the series' core strengths found in its characters and readiness to pursue absurd ideas. When those are leading, it's easy to overlook any faults in this comic book.
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As both a concluding and introductory chapter, this single issue is an outstanding accomplishment and one that frames the most creatively accomplished era for the Guardians since they first appeared on the big screen; it seems the best is yet to come and that's quite a statement considering the past 12 issues are some of the best Guardians of the Galaxy comics ever published.
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There simply isn't enough here to justify the continuing narrative, no matter how impressively presented it may be.
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Sonic the Hedgehog #38 delivers a thrilling new issue that lays the groundwork for many exciting, new adventures to come and I, for one, cannot wait to see what comes next.
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Taken on its own Head Lopper #15 would be a thrilling adventure comic, one as well told as just about anything else published this week, but read in context the scope and ambition of this sword-swinging adventure are made all the more impressive.
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The first issue is steeped in lore explaining the history of this unique brand of martial arts and how it empowers individuals in mountainside battles between small villages and raiders. That set up is necessary, but it's the explosive action sequences and hyper-detailed designs that allow it to still sing on the page as Stokoe builds his way to the adventure at hand.
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There is at least one outstanding contribution to Superman lore in this debut and all of the tales provide varied and excellent linework from the artists involved. However, the approach to such brief tales often take shortcuts that undermine the noble intentions of these works.
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X-Force #18 is an odd installment because it only leaves readers with more reasons to be excited about the series' future, without providing a particularly engaging issue based on its own merits.
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There's no knowing where the story goes from here or who, if anyone, might make it to the end in one piece. Yet the excitement detonated in the final pages of American Vampire 1976 #6 calls back to the series' highest highs; it's time to wrap up this modern (and maybe final) Vertigo classic with a bang.
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Only at the end of the issue do readers even understand what story is being told, which raises a lot of questions, but no more compelling reasons to continue reading.
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Yet another stirring issue that embraces the superhero genre without denying the maturity of its own subjects. Well done.
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For any missteps and confusion that may be encountered, The Green Lantern was a truly epic reading experience"one filled with limitless possibilities.
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Things are quickly coming to a head as evidenced in the stunning cliffhanger for this issue, but in the meanwhile readers can witness just how ugly the bottomline is and what sorts of terror will continue to confront these heroes before they even reach the hellish bottoms of what gamma can offer.
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With only two issues left in the series, the tension of this moment is perfectly understandable and compelling in the most relatable of terms (even with potential spaceships and federal agents involved).
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It's unclear what Casual Fling expects to deliver as all it can seem to provide is disappointment.
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Competence does not cover the lack of new ideas in this issue and so there's only one question left for readers to ask themselves: What's the point of reading issue #2?
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It is unclear how the mystery or metatextual threads of this story are being woven, but Dead Dog's Bite #1 presents a very convincing case to chase this narrative wherever it may lead.
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Hellions #10 delivers the goods in a terrifying issue that will leave readers chilled until next month.
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Jonna and the Unpossible Monsters reminded me how to read comics and, perhaps more importantly, why I read comics.
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This could have been something special, but instead it chose to play things safe.
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Even with uncertainty about what The Swamp Thing is about, its first issue offers a compelling hook. I anticipate returning to this new vision for DC Comics' great environmentalist hero.
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The family at the heart of the series has been well defined throughout the series and so a climax focused on their shared existence pays enormous dividends"the sort that leaves you with tears welling in your eyes.
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The stakes continue to climb in Bad Karma and this is clearly a story with little in the way of happy endings, despite the clear love and affection that binds its core cast of characters together.
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For now readers can receive reminders as to what was happening before a long, unplanned hiatus and prepare for the finale to Coates' run.
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The entirety of Future State: Suicide Squad is quite a mess and while these two plots may be setting up something better in the future, they can't stand on their own storytelling legs.
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This bizarre, further future collection of heroes was unlike anything readers were expecting, but they still summon the same threads of hope and camaraderie that have inspired decades of past Legion fans, so all I have left to say is, "Long live the Legion!"
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As much as I relish the experimental nature of Ice Cream Man"striving for a new delivery of its bitter treats in each issue"experiments are unpredictable and issue #23 for all of its interest is largely a failure.
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As both a tie-in and Namor story, King in Black: Namor has succeeded and it appears ready to stick the landing in the forthcoming issue #5.
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It's not quite enough to recommend future issues in a story that doesn't provide any noticeable characters or original cliffhangers.
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Skulldigger + Skeleton Boy #6 will certainly upset reader expectations, but it does so in a fashion that raises the stakes and offers something much more engaging than yet another celebration of cyclical violence.
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Much of Sonic the Hedgehog #37 reads like a standard issue of Sonic, which is to say broadly pleasant with a few neat moments; the standard for this series is consistently above-average. However, the final few pages elevate the issue and create high expectations for #38.
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The hook of this series (beyond chuckling at Snakes continued existence) remains unclear, but as characters are given the space to define themselves it's clear there is a real opportunity embedded in Great Britain's newest superhero team. The only question is whether The Union can seize that opportunity after a titanic mistart.
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Even as the pieces are introduced and positioned for later chapters of "Tengu War," there's never a moment that feels wasted as exposition or staging. The adventure continues at a quick clip with an abundance of new designs and characters from Sakai.
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It is simultaneously a perfect introduction to Warhammer 40,000 and a potent tale all to itself.
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It's a regrettable distraction from an otherwise potent build to the series' upcoming climax.
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Nightwing and the Next Batman team up and bring some other friends along for the ride in a second issue that is more entertaining than its predecessor, albeit still deeply flawed.
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The end result is a story that stands on its own, but also allows readers to yearn for more as this is a version of Selina Kyle whose story could sprawl far into the future.
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With an outstanding cliffhanger and an abundance of well-acted panels, this issue manages to satisfy in the moment and leave readers eagerly ready to unfurl the events of Guardians of the Galaxy #12. Bring it.
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The Immortal Hulk: Flatline offers readers a stirring parable on seeing the value of one life, acknowledging that even seemingly simple problems can be seen from at least two sides. It takes the incredible depth found in The Immortal Hulk and focuses it for a brief and powerful tale from one of comics' most dynamic talents.
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The second installment of Planet of the Symbiotes is a notable improvement over the first with a pair of stories that may not be wholly satisfactory, but certainly offer readers some clear value.
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Stillwater #6 is another outstanding entry and one that sets the stage for far more frightening events to come.
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American Vampire is prepared for a very big climax and now it's time to see whether or not it can deliver on so much promise.
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It's hardly for mature readers because there's nothing mature in the content or conception of Casual Fling. Rather, it's half an idea produced before finding a purpose.
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Even with so much chaos and unexpected symbiote storytelling, Daredevil remains one of the most compelling character studies in comics today, superhero or otherwise.
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Excalibur #18 begins to unravel the mystery of what happened to Betsy during "X of Swords" and...well, that's about it.
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There's nothing spectacular to be found here, but it's engaging enough to warrant some consideration and that's a notable improvement on the mediocre start of Robin Eternal.
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With only one issue remaining, it seems The Green Lantern is more than ready to stick its landing.
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The first issue of King in Black: Thunderbolts was all killer and no filler, which is why the stretched sense of issue #2 makes it read like there was only about 2 issues of plot for this 3 issue miniseries.
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Low #26 is a well-crafted finale and even skeptics, like myself, may find some hope in its pages.
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X-Force #17 reads in a similar fashion to Excalibur #18 this week in that it's all about establishing a mystery that goes unsolved, but X-Force develops its mystery while carefully developing one of its central characters, which makes the issue much more satisfying on its own Quentin Quire has played the egotistical bad boy for a long time and these pages provide him with some very necessary depth.
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Chained to the Grave offers an entrancing walk away from the standards of horror and Western comics alike summoning something largely original with a lot of potential to be explored as this twisted adventure continues.
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It's simply a disappointment.
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As a longtime Hellblazer reader, I'm not used to receiving happy endings"even if they have a bittersweet quality. Yet the final installment of Hellblazer: Rise and Fall reads both like a celebration and a classic yarn following the title's best traditions.
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Hellions #9 is another impressive issue featuring one of the most idiosyncratic, darkly funny, and action-prone casts in all of superhero comics.
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The Immortal Hulk #43 makes it clear that this series still has plenty to smash before it ends. Bravo.
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The overall narrative still functions well and even Judge Dredd: False Witness finds a few fine moments, but it also never delivers anything to remember after reading and filing this issue on Wednesday.
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There's a good sense of humor and an intriguing self-effacing approach here, and it's possible that could become Marvel must-read material when allowed to be the focus of its own story.
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It's grim outlook is enough to forgive a familiar twist at the very end setting the stage for a full circle story as Marvel's first Warhammer 40,000 series prepares for a truly triumphant conclusion.
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Issue #26 is another satisfying installment, especially considering its tie-in status.
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Excalibur #17 does a remarkable job capturing the wild, reality-traversing energy found in the original series.
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Even if the overall construction of Suicide Squad feels far too full"making it difficult to imagine any of these ideas receiving a satisfying conclusion"there's still enough on the page to deliver an interesting, if not gratifying, read.
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The overall effect is a thrilling reintroduction to the Legion as they return to prominence at DC Comics and Future State: Legion of Super-Heroes #1 makes clear that there's a bright future awaiting this franchise, even in their darkest days.
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While it's not difficult to imagine this reading well in collected form as the adventure's nadir, it's hard to recommend this single issue in spite of its impressive artwork and consistent quality of writing. It's a stone cold bummer, man.
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As disgustingly satisfying as Skroce's artwork may be throughout the issue, it's not enough to justify returning a second time.
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Future issues may provide a serious reflection on what leads seemingly good men to transform themselves into monsters, but the series still isn't there yet. In the midst of these events, the continued use of grawlix are tonally inconsistent to the point of distraction, too.
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The Other History of the DC Universe remains an engaging project with a complex reimagining of comics canon and history merged together, but the style of illustrated prose is quickly becoming a burden as the concept's novelty wears off.
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The first book of We Only Find Them When They're Dead draws to a close by revealing past wrongs and establishing far greater ones in the future.
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Regardless of readers pre-existing knowledge, Catwoman #1 offers a perfect introductory point bound to thrill newcomers and die hard fans alike.
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There's a story here, but the real question is why any reader should care given that it's already halfway through with no reason to desire it to have a future.
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Wherever the Legion goes next (in "Future State" and beyond), they are building on a satisfying foundation from these 12 issues, which provide an excellent end point until the next chapter arrives.
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Stillwater has seemed to have a clear read on culture, but issue #5 makes it clear just how aware its creative team is to our moment and how well prepared they are to speak to the core challenges and fears present in 2021. I, for one, cannot wait to see what else Zdarsky and Perez have to say.
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X-Force has been a consistent source of quality and depth throughout the "Dawn of X" and makes it clear in issue #16 that this standard will only be improved during "Reign of X." It is an outstanding achievement on its own and one that enhances the entire line of comics surrounding it.
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Combine that expository dump with hamfisted explanations of the series' metaphors from Gerald Ford and it's clear that American Vampire is struggling to bring itself in for a landing on the page as well as in this particular segment of the story.
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The thrill of "Future State" has been to discover new ideas that don't rely on any canon or status quo to be presented; novelty is essential. There is nothing novel about Robin Eternal.
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Yes, this is a middle chapter strung between greater things with more hands helping to move it out the door, but The Immortal Hulk #42 still manages to deliver a story that's all killer, no filler.
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Completionists may include this issue in their "King in Black" collections, but it's the sort of publication that nobody can pretend will go remarked upon after the day it hits shelves.
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If you're a fan of Ostrander's Suicide Squad or similar set ups, then you are bound to get a kick out of this.
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My early concerns over the start of Your Ride's Here have been assuaged as issue #3 sets high expectations for the quickly arriving, but none too certain, final act.
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The result is another very messy issue that evidences moments of quality"individual jokes land and the aesthetic of Snakes remains intriguing"but it's difficult to find a clear reason to return for issue #3.
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It should be fascinating to see what sort of judgment it delivers on a species bent on their own destruction as well their planet's.
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It seems as if Guardians of the Galaxy can take do no wrong as even it's tie-ins deliver excellent, self-contained storytelling from cover to cover.
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Hellions proves that there are no small players in the X-Men and Zeb Wells and company are incapable of occupying small roles in one of the most consistently rewarding series at the start of "Reign of X."
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Both comics veterans and young readers are bound to find a great deal of value in this story filled with contrasts far beyond the controlling eye of mankind.
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While I'm unsure whether Endless Winter will be a memorable event, I know that I won't forget enjoying this read"that's a lot more than can be said of many other superhero events released in 2020.
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In spite of some underdeveloped motifs and banal plotting, Jinny Hex Special still serves up plenty of excitement and shows readers a new heroine with plenty of attitude ready to make her mark on DC Comics.
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King in Black: Iron Man/Doctor Doom aspires to the odd traditional team-up of these characters, but is burdened by far too many ideas to execute any one of them well. Leave it.
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This portion of the comic justifies the price of admission as a succinct and well-told superhero tale with storytelling and stylistic roots in the Bronze Age.
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Lost Soldiers #5 is a transportive experience and possibly even a transformative one; it opens a window allowing readers to imagine what the real cost of these terrible actions and events may be, and assures them that whether or not any of it is true, it's honest.
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Even as it prepares for future development and greater threats, this story's conclusion serves as a reminder for how much potential classic plots and all ages cartoons can have for readers of nearly any stripe.
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Sojobo-Sensei is the best new character creation from Stan Sakai in a very long time.
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Black Adam Endless Winter Special #1 is a lot of fun, providing readers both an enjoyable, mindless diversion and appropriate penultimate chapter for the more expansive story at play.
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The result is an accessible collection of characters with more than a dozen hooks to excite readers about what may come next.
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Issue #10 doesn't read much differently than early installments of The Walking Dead as wary strangers encounter one another and slowly establish trust.
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Ice Cream Man is often about a stylistic choice, but here it's about a very real one and manages to honor that choice"and all of its complexity"in a sincere fashion.
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Maestro concludes with a whiff as it repeats what happened before in more ways than one.
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Even when you're not thrilled by what's on the page, the opportunity to discover something wholly fresh after a few more creates a consistently exciting promise.
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There remains a strong premise, but with thin characterization and little else beyond the horrors hidden in the waves, the execution behind each encounter needs to be much stronger.
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It's a solid conclusion to a solid miniseries and a reminder of how much potential rests within the relaunched world of Sonic comics.
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Decorum, even in the form of space opera, remains a thrill to experience.
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Maybe it's pretentious to refer to The Green Lantern Season Two #10 as a neon-soaked sensory experience of a superhero comic, but that doesn't mean it's incorrect.
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Head Lopper #14 delivers both a classic D&D-style quest and an extension of its own, more eclectic mythology in an issue that delivers two of the series best action sequences to date; that's really saying something for anyone familiar with MacLean's work on Head Lopper, too.
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Hulk vs. Thing: It's one of the oldest and most celebrated rivalries in all of superhero comics, so it's no minor feat to provide a fresh spin on this decades old battle between giants. Yet that's exactly what The Immortal Hulk #41 does, first by delivering the classic brawl and then upending it through the careful application of empathy.
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It's far from high art, but it is a damn adsorbing read for the holiday break and I'm glad to be along for the ride.
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There is nary a human to be seen in the streets of New York City on Christmas Eve as symbiotes run wild, but Aaron Kuder and Al Ewing deliver one of the most humane superhero comics of 2020 in an issue populated by "monsters."
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Skroce channels the ultraviolent appearances and grungy future tech that made even the darkest chapters of We Stand On Guard a thrill to read and unleashes them in a torrent of nightmare sequences most effectively described as "fun."
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After coming to know the core cast of characters and immediate conflicts, Stillwater #4 reveals the hidden depths of this town and how those conflicts comment on very familiar social divides empowering this already strong premise.
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Issue #4 emphasizes visceral thrills as emotions and action drive one another toward a point of no return; it will be a tense wait to see what comes next.
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X-Force is back after a detour through "X of Swords" and it's as good as ever.
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Regular references to the past fail to charge the present moment with additional tension; it's time for this story to pick up the pace.
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Whether or not the drifter returns, Atlantis Wasn't Built for Tourists will remain a thrilling detour for comic book readers.
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As a first chapter there's no reason to stop, but with a whole month between this and Byte-Sized #2, it's questionable how many readers will think to continue the story in 2021.
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A flashback and aside to Gotham City may serve the larger event, but don't provide any notable connection to the Man of Steel's quest to care for his adopted family and world making this an inessential entry.
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With any piece of profitable superhero IP it's always a question of when they'll come back, not if, so the trick becomes making that inevitable return impactful or interesting. Guardians of the Galaxy #9 certainly accomplishes this none too easy task in an issue that sketches a new culture in the Marvel cosmos while telling a story with neat formalistic elements that make it one of the most engaging issues of this already excellent relaunch.
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Let's have more of Namor with this creative team with such strong concepts surfacing even beneath the weight of being a tie-in.
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The building tension in the issue's final sequence is very effective, especially set against a stark splash of a manor, but Your Ride's Here continues pacing itself as though nothing much has changed or will in the near future.
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It's an introduction that adeptly delivers a new character in full form and invests meaning into their mentorship. What's even more impressive is that this issue reads as pure prologue for an even more thrilling and chilling tale ahead.
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Reading Warhammer 40,000: Marneus Calgar #3 I found myself cackling when my jaw wasn't hanging in the breeze.
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It's rare to find a Marvel superhero comics that can deliver a genuine epiphany, but that's exactly what Daredevil #25 does. Bravo.
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Hellions has been a dark horse hit in the "Dawn of X" from its very start, but after Hellions #7 it appears that this series is just getting started and that indicates great things lie ahead.
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Sonic the Hedgehog brings together its' A and B-plots this issue to the detriment of the former.
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Strange Adventures continues interrogating how war and atrocity (but I repeat myself) dehumanize all involved, but its' framing of these questions reveal a lack of awareness that undermines the entire enterprise.
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It's a strange, half-conceived tale with an ending that could be tragic, but instead leaves readers to ask what the point of all this was.
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The talent is here, but it's still difficult to recommend this debut on its own merits.
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Even as Daredevil #24 moves to repeat the best beats from "The Devil, Inside and Out," it still promises to explore new territory in the same satisfying, character-driven fashion that has made every issue of Daredevil so far a must-read.
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The battle sequences are rich and fulfilling, but readers can't help but notice this issue is primarily treading water before the climax arrives.
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This treatise on guilt is bound to read well in a single collection and there was sufficient space to make this final issue hurt, even as it's apparent that it arrived long before it was planned or needed. John Constantine: Hellblazer remains the best statement on the character and themes of Hellblazer since the original series ended.
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Legion of Super-Heroes continues to tell a half-dozen stories at once and that pacing meets the needs of the series"providing at least one turning point in each plot line while providing its populous cast with plenty of spreads to shine.
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Maestro tells readers how points A and B are connected, but it fails to add any depth or pathos to the story it's supporting and that simply leaves Maestro #4 to exists as a good looking, superpowered beatdown.
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It's a thrill to read even as someone very familiar with the genre. Sonic the Hedgehog: Bad Guys may have started slow, but here it's indulging in the best sort of fun with its villainous premise.
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The final few pages are too cute by far, but it's an enjoyable ending nonetheless.
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The end result is an enjoyable read filled with engaging compositions and skillful prose, but its success in addressing racist ideas and systems embedded in DC Comics' history is less clear.
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After such an excellent journey, The Plot #7 prepares readers for a fitting conclusion next month.
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The final few pages and introduction of a new ally makes it clear that the time for explanations has ended and the payoff readers have been waiting for since this series' excellent debut is just around the corner.
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As a character study, spy drama, or absurd romp, it delivers and readers should only expect this series to continue setting a high bar amongst the "Dawn of X" line.
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Given how dreary this all sounds and that it riffs on an oppressive piece of the comics' canon, what's really stunning is that Ice Cream Man #21 is a truly fun read. It's absurd humor and ability to twist the knife with a grin remains contagious. Bring on the Christmas issue!
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In the meanwhile, it's a question of survival for the remaining personalities in Hulk's head and this issue sets them up with an impressive array of challenges, including a classic callback that makes The Immortal Hulk #41 already appear to be a must-read.
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Yet even shackled to the direct market model, Stillwater #3 still manages to provide sufficient details and one exceedingly excellent moment of violent humor in this issue to keep readers engaged on a monthly basis.
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Take away the moral atrocities on this page and you're looking at one of the most forgettable series published by DC Comics this year. Hard to believe there were 46 issues preceding this one.
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As "X of Swords" enters its penultimate week of combat, X-Force #15 provides readers the sense that the stakes still count and that moments of great consequence"ones justifying this 22-part reading frenzy"loom on the horizon.
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It's enough to keep this long-time fan of the series engaged, but doesn't provide any reassurances that this story was worth the wait.
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After more than a dozen chapters of intricate and interesting build, it's disconcerting that the high-stakes game now reads like an episode of Whose Line Is It Anyway?
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It's a pleasant read, but not a particularly memorable one.
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While issue #34 slowed things down on all fronts, it appears there's also plenty of space and ideas to speed ahead next month.
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The final few pages of Marneus Calgar #2 transform this nihilistic setting into one still worth investing in and this newly invested reader is eagerly anticipating issue #3.
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This sci-fi fantasy has embraced a big concept, but in failing to define it has left very little cause for concern as events unfold.
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It's more fun to imagine the lives of this quartet than to watch them play out and that's perfectly fine because the first four issues were outstanding.
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Friday returns to fill readers in on the foundational friendship between its titular hero and Lancelot Jones. The context enhances the first installment a great deal and offers readers plenty to consider about the current mystery, even if that mystery only returns in the final pages of this 39-page issue.
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This is a detour that looked to be a lot of fun, but by the final page readers have discovered the first issue in this Guardians of the Galaxy run that can be described as being "just fine."
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Rise and Fall was sold as a story about high society and sins in England, but all of those elements read like decoration on what's ultimately a straightforward whodunnit, albeit one featuring the devil and a few other supernatural sorts.
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Throughout it all, Heather Marie Lawrence Moore is a star. Her colors bring the worlds of modern Juarez and the Vietnam War together and define time as a flat circle describing the cycles of endless violence playing out before readers. She elevates Lost Soldiers into the realm of comics poetry, and makes issue #4 one of the most stunning reading experiences to emerge from 2020.
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This is one crime and horror series best left forgotten now that it's over.
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It's a fun enough distraction, but given that this story is already halfway through, there isn't much progress made beyond the completion of this simple side quest.
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The heart of this story is fractured and seemingly without purpose. Cops, criminals, and everyone in between move in and out of focus with their only uniting plot point being Randy's sudden and entirely predictable fall from grace.
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It's a simple conclusion, in addition to being a well-told one, making "The Return" a highlight of what was already a very satisfying relaunch for the decades-long series.
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Wicked Things arrives at a (temporary?) conclusion without any clear sense of what it's story may be.
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No matter how much effort is placed into providing an optimistic tone, especially in an excellent final spread, it's clear this is an early ending that spun its wheels without any road left to travel.
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Rather than selling readers $6 to be told that superhero comics are very important, the creative team could have made an effort to tell a story that captures all of the power, creativity, and significance they speak to in dialogue balloons. They do not even try.
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This is more than a good pitch, it's the rare idea that delivers upon the promises of grand ideas with a well told story and I, for one, am ready to read more.
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This issue is an experience, an explosion that builds upon so much carefully laid groundwork in order to present a vision of hell that really looks like hell. It's one of the best drawn comics to be released this year; you have been warned.
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Hellblazer has never hesitated to pursue darkness, but Simon Spurrier and his collaborators have gone somewhere every bit as dark as any Constantine story before. It is an honest statement and depiction; that's what makes it so horrifying.
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Risen #5 reads like a volume of European comics, providing readers with a satisfying experience and plenty of changes and revelations to consider. It may be a long wait for #6 to arrive in February, but there's plenty to appreciate in these pages until then.
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The approach of issue #10 presents a possibility for a new golden age of Legion comics"one that embraces the optimism, imagination, and wonder that defines this far future team at its best.
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Even with no guarantees that everything will turn out for the best, the fight continues and that allows Suicide Squad to make a bold statement on the nature of hope as death looms over all of those it has not come for yet.
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Daredevil #23 reveals some of the mystery and goodness wrapped up in that faith, and decides to reward it in a truly stunning sequence between two of Marvel's most recognizable characters. It makes for a divine read.
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Excalibur #13 is easily the best crossover entry to "X of Swords" thus far. It weaves together a number of notable threads from its core series and, although the story focuses entirely on the Braddock siblings, provides space to move the entire cast's story forward.
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Family Tree still evidences a cast of compelling characters and offers a sense of growth at the very end, but issue #9 is still expanding on the prior issue's cliffhanger which makes this a not-entirely-fulfilling read in single issue format.
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Guardians of the Galaxy is tackling the new galactic status quo that follows in the wake of "Empyre," and it already appears to be significantly more fun than the event itself.
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It's a standard showdown between good guys and bad guys that goes about how any reader would expect. That sketch-like plotting makes it difficult to invest in characters or plot developments, but it doesn't distract from some striking pages and panels.
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Characters serve plot to the point of losing any definition and that means Maestro is, at best, a comic to be read for a lark as it lacks anything substantial to say.
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Marvels X proves, at best, to be a less-than-satisfactory epilogue to a trilogy that was largely forgotten. So it's questionable whether this story will even be remembered in 2021.
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Shining white backgrounds, carefully mixed flashback sequences, and some stunning action spreads make issue #5 as stylish as ever, but that doesn't prevent it from reading like a pause stretched too long and unable to justify composing this many pages.
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Stillwater plays its song very well"building tension across the course of an issue and unleashing a brutally consequential cliffhanger to release it.
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The mix of banal friendship moments and poorly defined action sequences barely distract from a story that cannot even grapple with genuine horrors committed by kids with a punk attitude and flashy costumes who behave more like the Hitler Youth. It's deeply unsettling and should call into question the judgment of those involved with this series' publication.
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Now that so much exposition has been dumped, let's just hope that issue #3 picks up the pace again.
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Hellions #5 is a truly excellent introduction to two very different stories and that highwire act deserves some applause (and maybe a cape).
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Issue #37 read like a climax as the full extent of The Leader's plan was revealed, which is why the escalation found in The Immortal Hulk #38 is simply shocking.
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It's an adorable presentation of lies, thievery, and conspiracy that transforms those typically grimdark concepts into a delightful all-ages caper.
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Strange Adventures #6 reveals much of Adam Strange's war against the Pykkts, and in doing so reveals its own oddly detached perspective on war.
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Usagi Yojimbo #13 is a taut read and will leave readers anxious for #14 to arrive; I simply cannot wait.
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Whether Burrows and Gillen can craft this world into a meaningful statement remains an open question, but they successfully introduce it here and make enough sense of its unique horrors to encourage readers to continue.
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The opening sequence of Adventureman #4 is astounding. It's a thesis on power as its heroine grapples with ever growing abilities and form, and it's delivered in the familiar grammar of superhero and pulp genre tales as summoned by the Dodsons. What follows is a mixed bag of events, exposition, and threads that never quite feel like they are part of the same story.
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It's indulgent to the extreme with characters occupying the highest echelons of wealth and engaging with related vices. What might normally seem lascivious is fun when framed with curious new layouts
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American Vampire 1976 reestablishes the series and prepares for one final push, even if that effort delivers some tedium in its initial outing.
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Now that Bang! has finished with its introductions, readers can anticipate seeing just how far this modernized League of Extraordinary Gentlemen will go to celebrate and explore the films, novels, and shows that have infused it with meaning and so much fun.
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As both a continuation of Decorum and a self-contained read, issue #5 delivers an excellent afternoon read.
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Lost Soldiers #3 does not hesitate to grapple with the terrible realities and costs of violence, both its impact on the human body and the more difficult to discern impact on the soul, and in doing so delivers on all of the promise found at the story's start.
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When the action kicks off and events proceed quickly, style carries Moonshine a long way, but this issue only bothers to lift its feet in the final few pages.
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While it functions in a comfortable mode, Sonic the Hedgehog: Bad Guys would benefit from borrowing its originator's sense of import as well.
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It's an effective and exhilarating sophomore installment to one of 2020's most promising new series.
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The thrill of X-Factor #4 came in part by watching the series' writer weave the story of its ongoing series into a massive crossover event; X-Force punts in pushing the crossover's story forward, but failing to acknowledge a single reason why readers pick up this series. It's a disappointment as a fan of the core series because of that disconnect.
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It's a lot of action with very little impact, and while that can be fun to read in the moment, it is also easily forgotten.
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After five stirring issues of mounting emotions and trauma, some temporary peace is found"that will have to be enough, as it so often is in life.
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We live in a moment where hope is difficult to summon, and The Threshing Place channels feelings of rage, despair, and desperation beautifully into a final few moments that offer a genuine glimmer of hope. I'm grateful for this one-shot and the honest emotion it offers readers today.
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Readers have every reason to be excited to see how this series ends, even if it still feels too soon.
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There are many highlights to be enjoyed among these pages, but Legion of Super-Heroes is failing to make the case for its continuation.
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It's an enjoyable issue, but nothing that provides readers with an authentically gonzo reading experience. Instead, those final pages read more like one throwing up their hands and declaring enough.
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It's likely the series, like those to which it provides a prelude, will be quickly forgotten by all but a few readers.
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At this point readers are left to wonder why they should be invested in these people and their troubles, but it doesn't appear any answers are forthcoming, and there's not nearly enough new in this story to distinguish it from a seemingly endless pile of existing pulp and noir tales.
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Courtroom drama, discussion of land buys, and a visit to church are each sequences packed with drama, and that's what makes Daredevil a much more compelling superhero comic than most other series, even when nobody throws a punch.
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In the midst of this poorly paced mode of storytelling is a conversation about old flames that lacks enough personality to even land a joke. Keep it.
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The answers to those questions don't feel particularly important, but it is still a lot of fun to read Hidden Society #3 while you're looking at the pages.
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The story points to problems without providing depth or nuance"so that transformation reads more like the back cover blurb on The Bluest Eye than anything substantial.
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Maestro #2 is a marked improvement on the tonal imbalances of the series debut, even it fails to wed its obligations to the past with its current reason for existing.
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You may not be smiling at pages from Skulldigger + Skeleton Boy, but it will leave your jaw hanging.
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Sonic the Hedgehog #32 is a fun and straightforward read, the sort that gives young readers an excellent point of entry and old fans a place to seek comfort.
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Few moments in superhero comics"a genre filled with resurrections and cash grabs"earn the gravitas they project. This one does.
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Wicked Things possesses all the elements of a winning comic book, but it cannot assemble them into a gratifying experience.
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Excalibur #12 takes one of the most poorly designed and written relics from Marvel Comics in the 90s and transforms the Externals into a compelling piece of its narrative.
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If you're looking to forget the world outside your door for an hour, there's nothing better to read.
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This is a series fueled on ultraviolent action, black humor, and Coen-esque characters; it's a joy to read.
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It's one of the most thrilling single issue experiences of 2020, and it remains so on a second, third, and even fourth read. Bravo.
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Justice League #53 reads like a footnote"an afterthought featuring B-list characters and subplots for something much larger.
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It's an effective first issue and the rare single issue that functions well as a horror story entirely on its own.
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The Titans fight some small problems, then some bigger versions, while guest stars poke their heads into the issue. It's the definition of treading water, and that makes the upcoming conclusion seem like a welcome relief.
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There are some genuinely excellent panels in this comic book, but they don't offer enough to justify reading this headache.
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Quarantine Comix Special is an outstanding collection of talent and ideas, and one that also does some good with each purchase.
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It's another publication that will be quickly summarized in a few lines on a wiki before being promptly forgotten.
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Readers can hope that "X of Swords" won't undermine what works in the "Dawn of X" line, but its impact on X-Force this week is not cause for optimism.
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With each issue so far adding a fully developed protagonist in the midst of their own drama and adventures to the cast, it's hard to wait for issue #4 to arrive.
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If you didn't read Empyre #6 this week, then it's a cliffhanger that reads like a wet fart, but everything before it is still excellent, at least.
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Old fans of Hellblazer and new fans of John Constantine alike are bound to enjoy this tale of the magician's early misdeeds and modern misadventures in a London that feels every bit as dark as the world outside our windows today.
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It's a disorienting, but never confusing, read and one that embeds readers firmly in a state of mind.
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Moonshine #20 would read better if the series' characters were something more than a mix of gangster stereotypes and dialogue trying too hard to be clever.
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Read from front to back, it can be exhausting, but there are plenty of chuckles to be had for fans who want to flip through a few pages at a time. The order of reading doesn't matter much.
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Now that the heroes have had a breather, new threats are prepared and it appears that Sonic the Hedgehog #32 will return readers to the colorful, fast-paced adventures this series excels at providing.
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Strange Adventures #5 doesn't eschew politics, but steps so far away from its earlier assertion that it's possible to simply enjoy the reimagined world of this odd, B-list superhero, and briefly imagine where else this concept could have gone.
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We Only Find Them When They're Dead is one of the most ambitious debuts of 2020, and it appears that Di Meo and Ewing are ready to deliver on all of its strange promise.
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Although the end of Young Justice looms on the horizon, the series could go out on a high note if it continues to deliver succinct single issues in the mode of Young Justice #18.
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It's another excellent installment in the most riveting character portrait of Matthew Murdock since Samnee's name was on the title.
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Family Tree remains a perfectly paced adventure that can indulge its strengths without ever losing sight of the odyssey ahead"the third volume already promises to be even more thrilling than the uncanny adventure so far.
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Many of the flaws I have picked at across the previous 11 issues remain, but Ghosted in L.A. #12 is a very pleasant read and the value of that experience should not be understated.
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The story is still well told and the excitement this premise generated in its debut is still evident, but the best part of Hellions #1 was how quickly it introduced new characters, scenarios, and ideas. Hellions needs to rediscover that thrill.
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The total lack of noteworthy spectacle, character development, or consequences after years of reading makes this issue and entire run something best left unread.
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John Constantine: Hellblazer has been an absolute nightmare and issue #9 delivers an excellent thesis for the series"an assurance that even magic can't save this world.
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It's a series with the ambitions of a shonen manga shackled to a publication schedule and price point that prevent it from flourishing.
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With more Stray Bullets promised in an uncertain future, it remains true that this is a series worth waiting for.
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It's often fun and tragic in the same moment, but the latter element is creeping in more and more now that readers know the best volume of Suicide Squad to be published since the original ended in 1992 doesn't have much further to fly.
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It seems the decision to stretch the central story of That Texas Blood into an anthology approach may have left the best elements behind, at least in the initial outing of "A Brother's Conscience."
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The Plot excels at delivering a visceral ghost story perfectly suited to its medium and their continuation into the final chapters make it one of the most thrilling entries in the genre this year.
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"The Return" has created one of the most intriguing and personal adventures to imperil this rabbit ronin in many years, and the only certainty about what comes next is that it will be an absolutely thrilling comics experience.
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Wicked Things contains clever schemes, an irresistible art style, and a familiar procedural set up, but all of these elements read as being scattered on the page"briefly charming in moments, but unable to cohere into a compelling monthly read.
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This is not simply a team and series I want to keep my eye on for future developments; I'm already on board for whatever comes in issue #2 because Atlantis Wasn't Built for Tourists is a confident debut that promises only greater thrills ahead.
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For today Decorum #4 is a visual delight that suggests readers return when #5 is released because Decorum is clearly designed to be read as a whole, but readers are left with only pieces to read for now.
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There is a very low ceiling for expectations of superhero event tie-ins, and Empyre: X-Men has destroyed those low expectations like Explodey Boy sitting on an oil tanker.
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Perhaps Excalibur is finally ready to crest its storytelling hill, but readers will have to wait one more issue to find out.
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It's easy to get swept away in the affair tracing these panels so quickly that when the end arrives you can't wait to turn the next page.
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Any reader of Empyre should consider Swordsman #1 a necessary addition and those avoiding events may still find lots to appreciate about this striking one-shot.
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Something exciting and colorful with the concept of hope playing out in its narrative is made to seem tiresome and banal. Leave it.
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There's a critique of modern superhero comics (and other event-focused genre fare) embedded in Ludocrats that's worth noting. Jabs at exposition, unnecessary order, and the loss of joy make the comic read as though it's speaking directly to Dark Nights: Death Metal.
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It all reads like a script plucked from 1992 and finally drawn in 2020. Maestro is not a story that needed to be told, but it can still be enjoyed in the proper context.
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Nightwing has been on a road to nowhere ever since Dick Grayson's identity was erased, but this issue is a low point for a title that disappeared in Batman's shadow a long time ago.
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It is an interstitial issue, but one that recognizes just how charming its cast of characters can be for young audiences and delivers a robust wrap up that is bound to keep any fan hooked.
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Events occur on these pages and a story moves forward ever so slowly, but it's unlikely that any of it will be remembered beyond digital summaries on neatly organized white pages in a year.
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Thor #6 is dedicated to playing the hits and that diminishes its impact significantly.
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There's no doubt that the Dodsons' artwork provides plenty for readers to enjoy, emphasizing the blend of pulp fiction and Claire's reality with stylish flair here. However, Adventureman is struggling to maintain momentum and offer a clear conceit to readers, and that poses a serious long term problem for a serialized story like this one.
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The penultimate issue of Alienated offers abundant visual spectacle accompanied by character arcs filled with tragedy, setting the stage for a riveting finale to one of 2020's best miniseries.
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Empyre: X-Men has quickly emerged as the highlight of Marvel's summer event and delivers all of the strange joy readers of X-Men and "Empyre" comics alike could hope for in a miniseries like this.
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The Immortal Hulk has enshrined itself as one of modern comics' greatest horror series by steeping all of its most terrible moments in very real problems.
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Story and art alike exhibit a loss of definition and little reason to continue past this issue.
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Hopefully, the first big crossover of the "Dawn of X" era will not cause too many hiccups across the line, but this issue suggests otherwise.
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Dr. Strange provided a new setting and supporting cast with plenty of potential for its hero, but readers will need to await his next series before discovering whether that potential will be utilized well.
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Everything that occurs here provides some insight into the "Dawn of X" line as this tie-in continues to read more like an excellent X-title.
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Even in the midst of a caper comic with a lavish, fun-loving tone, Ewing and Cabal continue to reinvent the cosmic region of Marvel Comics at lightspeed offering the ideal blend of entertainment and ingenuity in space-based superhero comics.
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It's the reinterpretation of each illustrator's style that offers the most notable highlight, while a familiar form of madness oozes out of each page along the way for another solid, if not stellar, installment of this series.
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It's still an enjoyable 2000 A.D.-style romp, even if it trips over itself along the way.
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Protector summoned a vision of humanity that, much like Dickinson's description of hope, are capable of taking flight in spite of their fragility. The result is one of 2020's most honest comics.
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Readers will know as they prepare for this pause that whenever Simonson and his new vision of Thor returns, it will be a grand spectacle worthy of the gods it showcases.
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All of the "both sides" rhetoric and fraught considerations in the world can't cover the abundant flaws of this colonialist narrative far more devoted to an American invader than those he kills.
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This is one ride intended to be enjoyed, step by small step.
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While most of Usagi Yojimbo #11 is dedicated to the work of introduction, it also showcases Sakai's ability to modulate tone as it moves between a tense present and genuinely delightful vision of Usagi's childhood.
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There's a lot of personality and story to be mined with this cast, but Young Justice #17 simply tells readers why they should care rather than showing them a reason.
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Ghosted in L.A. delivers a climax"pulling together both the mystery of Rycroft Manor's secret basement door and Daphne's ghost-hunting roommate"that never feels quite as climactic as it should.
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It's unfortunate that an issue as well drawn as this one is set on the task of making poor ideas intelligible; it's clearly time for Iron Man to find a new, coherent direction.
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The second half of "Britannia, Rule the Waves" doesn't have many surprises to offer, but the long build to its inevitable conclusion is awash in horror so palpable that each turn of the page still aches with tension.
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If Legion of Super-Heroes wants to provide readers with intergalactic intrigue, then it has some serious deficiencies to confront before continuing.
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After an introduction filled with blood, mud, and poetic waxing on the nature of violence, Lost Soldiers focuses on developing its characters above all else. It's an approach that enhances the underlying themes and split timeline far better than most too-clever-by-half comics conceits manage in 2020, and it offers a deeply compelling story focused on images that are difficult to witness.
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Furthermore, the ways in which Deadshot's "power" is shown on the page is one of the most effective uses of a marksman in superhero comics in some time. It's a thrilling moment filled with threads of sadness and anger, all of which stem from a tragic reality that this colorful confrontation reflects.
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No matter how fun the gritty prose is and how well-realized this smalltown remains, it requires a story to make those elements worth investing in and hopefully issue #3 will finally arrive at a story only hinted at in these pages.
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An explosive climax can easily lead to a messy denouement, which makes Daredevil #21 an essential turning point for one of Marvel's most impressive series given the choices it must address.
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The "slowest" issue of Decorum so far still offers an enthralling comic book.
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While this may not be essential, it is already one of the most engaging event tie-ins to be published in living memory"and it could set a new standard if the next three issues retain the momentum and approach found here.
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All of the ingredients for an excellent run are still present after a very impressive debut in the spring, and they mark Hellions as a potential breakout series that any skeptical Marvel fan should consider adding to their roster post haste.
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It has never been more apparent that the heroic stories of Sonic are in excellent hands at IDW.
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Every issue of Usagi Yojimbo reads like a gift, which makes the truly exceptional installments"like "Mon" in Usagi Yojimbo #10"the brightest stars in the metaphorical sky of weekly comics.
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Vlad Dracul is bound to be an engaging read for anyone with an interest in the myth of Dracula or the historical framework that would inspire that character, even if the perspective and intent of the story itself remains undefined.
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Craft can only bring a story so far and if Wicked Things does not move beyond an assumption that cop-genre trappings will compel readers, then even these excellent elements will be insufficient to maintain any interest.
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While the form of the superhero team-up remains largely unchanged, this miniseries makes clear at its end that familiarity does not preclude artists from exploring fascinating topics.
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While it leaves the door open for a sequel it also makes the denouement to this particular story read in an abrupt fashion, but that's still only a minor hiccup in, perhaps, Hill House Comics' best original series so far.
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Even as Family Tree #7 begins to understand its approach in balancing each element of its own story, those elements are impactful enough that any misgivings are easily ignored. By the final page all that's left is a desire to see more of every part of this branching narrative.
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The one-shot installments of Giant-Size X-Men thus far appear to be playing the long game, laying groundwork for future revelations and Magneto #1 is no exception.
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It's a thrill to read and promises that even the connective tissue of this Guardians of the Galaxy run will read as unforgettable.
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It's apparent that there are no figures who exist for the sake of plot, and that makes it easy to lose yourself even in an issue that is primarily focused on after-action debriefings.
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The Ludocrats has settled into a familiar rhythm that may run contrary to the series' spirit, but proves plenty amusing nonetheless.
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Mileage may vary amongst readers, but there are at least a few solid thrills along the way.
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Force Multiplied balances a number of moments of convenience with some of the most awe-inspiring action sequences in the series (or recent comics) thus far.
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There's a sheen to this series that offers the appearance of seriousness and consideration, but it becomes increasingly clear with each issue that there's a lack of substance to support that style.
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There's a clear sighted sensibility to the series optimism, as it celebrates an idea of who we are that's very much worth believing in.
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There's likely a twist buried beneath all of this, but Teen Titans #43 doesn't offer readers much of a reason to stick around. Instead, it simply moves the pieces about its board in a fashion that would have been aping one of the best series of its time, if only it had appeared 40 years ago.
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Vampirella has always offered readers something of a balancing act, demanding a good deal of work to engage with its story, but here it shows how that effort may be rewarded, especially if that balance is maintained moving forward.
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The second issue begins to lay the groundwork for how pulp fiction and the comic book reality will interact, and it offers a satisfying invitation to watch these worlds merge even without a cliffhanger.
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Alienated #4 increases the stakes and demands of its story in a shocking fashion, and if it can pay off the trials of this issue, it will be one of 2020's most compelling new series.
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It's not an awful ending for Doom Patrol, but it fails to deliver on the series' original promise.
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Even if it reads like a recap playing the hits, all of those settings offer plenty of eye candy and promises an exciting showdown still ahead.
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There's certainly a compelling and relevant Lois Lane comic to be written, but this maxi-series wasn't it.
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Marvels X #4 is the flashiest issue so far, but it also loses the thread and offers readers a perfect opportunity to walk out alongside one cameo hero.
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There's an adjective that effectively describes almost every aspect of this series: Thin.
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Read in a single marathon or space out over days, this annual offers an enjoyable investment in Sonic's strange world.
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X-Force remains the essential supporting series in "The Dawn of X" with a blend of bold images, modern themes, and character-rich melodrama that has defined the best form of the X-Men for many.
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The panels of action and adventure are flashbacks coated in narrative captions as readers are simply told about anything that might offer excitement. The accounting isn't necessary either and squanders a strong group dynamic and plenty of momentum; it doesn't look like the next issue will shift its focus either.
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The appearance of a demon and resolution of the story's romance are as unearned and ill-considered as most other parts of a pitch that rarely reads like a finished product; if there was a spark of a good idea here, it was extinguished in all four issues of the telling.
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If there was an ounce of originality or charm in this issue, it might be worth considering the bizarre father-son connection applied to creators and superheroes, but like everything in Olympia it's too shallow to merit more than being forgotten.
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In spite of the gore, Protector #4 is a beautiful issue of comics and a testament to the depth of this outstanding new Image Comics series, even as it prepares to conclude.
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Dear Becky still offers the technical merits that made The Boys a hit, but fails to confirm that this epilogue is necessary. If there's a story still to be told with these characters, then it isn't apparent in these pages.
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The Plot remains one of the most intriguing and well-adorned horror comics to emerge in the past several years and this chapter of prologue sets expectations high for the coming climax.
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There's plenty of thought being put into Vampirella and the character has been reimagined with substantial depth, leaving plenty for readers to anticipate if the series is able to combine its many components into a coherent direction.
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The Immortal Hulk has often exceeded expectations, but it appears to have done the seemingly impossible here by transforming a continuity overhaul into a genuinely engaging comic book.
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If readers are expected to care about whether Iron Man is alive or dead, then the character desperately needs some more lively stories to be told.
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If this turns out to be a weak example of where the series is heading, then the bar is still very high.
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Even the refined cartooning and brisk pace here cannot overcome what reads like a very long wait for the final page and a conclusion to the Zombot saga that has taken far too long to arrive.
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It's just too bad DC Comics decided to announce exactly where this story is going in issue #9, so stay off the comics web if it hasn't already been spoiled for you.
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It's difficult to tell whether Superman's Pal Jimmy Olsen can provide a satisfying conclusion, but this issue is a reminder that the journey was pure joy.
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That Texas Blood #1 marches into the same tone, themes, and genre explored in those seminal works and comfortably begins its own tale"one whose inspirations are clear, but still builds a narrative with its own intrigue and poignancy using that familiar language. It is promising, to say the least.
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Everything on these pages is competent, but it all lacks an essential spark of life.
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There's potential present here, but it's not realized and what's left will only satisfy readers desperate to find more of Riri. They deserve better.
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Daphne Byrne #5 is bound to thrill readers who have been waiting to see how each facet of this psychological thriller would play out, while setting the stage for something truly macabre next month.
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Family Tree continues to grow, emphasizing a compelling cast of characters capable of exploring conspiracy and mythos without relying upon the mysteries to keep readers engaged. It's a rousing return and one that has me ready to read whichever angle Family Tree #7 has to offer.
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The newest volume of Spider-Gwen turned Ghost-Spider ends with a whimper.
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Moonshine has refocused its narrative on the prohibition-era gangsters who initiated the series' events with some ill-advised orders from New York City. That pivot makes this issue read like a relaunch as much as a subsequent chapter"offering a new setting and style with some familiar characters"and it's not the first time this has occurred.
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It's unreliable narrative is far more intriguing, but spread out across an issue with so little to offer becomes a forgettable afterthought as Strange Adventures already struggles to justify the "12-issue maxi-series" label touted on its cover.
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Conner's affirmation and the final farewell are as dull as all of the pages around them, making this a comic that's best read without any of the word balloons.
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It's easy to imagine Adventureman becoming a hit when collected, but as a single issue reading experience it doesn't offer much to satisfy or hook readers"providing something that feels more like a lengthy sample than a rousing first chapter.
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Daredevil is the rare superhero series capable of rising to meet a historic moment, and in doing so it might offer us a vision of genuine heroism.
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The ideas, characters, and narrative being explored is unfurling at such a slow pace that it might be best not to worry about it until a collection appears.
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Even having recently returned to collections of the original Excalibur and understanding the influences and tropes this story is building from, it's difficult to concern oneself with the events and characters on the page.
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Ice Cream Man's consistent experimentation with form is the series' greatest strength. A readiness to indulge strange ideas has produced some outstanding single issues, but it's that same level of experimentation that also results in a wide variance of quality.
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The issue is filled with small character spotlights that blend humor, action, and heart to evoke an optimistic spirit.
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This series began by proclaiming it would connect to current events and detail the heroism of journalists, but it's difficult to imagine a more self-indulgent bit of superhero fantasy than Lois Lane.
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When you finally enter the nightmare landscape at the center of this drama, it's a dark and terrible wonder. However, the reading experience leading to that final sequence is a slog.
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I am excited at the idea of a comic from talented and popular voices in the direct market discussing what America means in 2020, but so far Undiscovered Country has hesitated to make its own voice heard.
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If it weren't for the issue's modern style, it wouldn't be difficult to think this was a relic of the 1980s pulled from a back issue bin.
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It's a disappointment, to say the very least.
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It is one of the most compelling comics I have read all year, carefully pacing the turns of pages so readers might believe they can catch a breath before coming upon another page so impactful that it alone could define an issue of another series.
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Reading the issue for the first time, I was torn between so many sentiments and reactions. The style reads like classic Hellblazer in the best way with monsters that defy visual definition, providing terrifying impressions over clean lines.
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If you hadn't already forgotten the headlines this title stirred up, then know that The Death of Nancy Drew #1 is best left forgotten.
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Walt Simonson introduces his new vision of Hel and it's everything I could have hoped for.
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It's a bizarre ending primarily delivered through expository dialogue, but there are some nice looking pages along the way.
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This issue bears some resemblance to Frankenstein's monster, piecing together a variety of narratives into a collection that doesn't resemble an original superhero comic book.
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This nuanced, well-paced exploration outpaces a clunky introduction and some familiar tropes to make the issue read as something exceptional.
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There may be a better form of this story to be told, but the story here explains most of its best elements without a moment for reflection and the result is a comic capable of luring readers in with style, but incapable of delivering much excitement.
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It's the surprising depth of this slim volume that makes it easy to recommend. Readers seeking out crime comics will certainly find plenty to love in this story's sudden violence and relatively realistic approach to terrible acts.
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Guillory balances the genuine familial emotions with comedic carnage in a fine fashion. Yet the final moments of Farmhand #15 cannot help but offer disappointment as the climax is delayed and that delay in turn isn't earned.
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Suicide Squad #5 is the most energized issue yet, and that's really saying something after such an explosive debut.
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While the subject matter remains interesting and this issue manages to wrap up the story effectively, it's too truncated a version of events to offer a truly satisfying experience.
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The Low, Low Woods #5 blends its Greek influences with a story and style that make everything seem even darker than before, and that sets up the next chapter well without needing to sacrifice anything in this one.
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Venom #1 kicked the doors off the hinges of a franchise bogged down with an abundance of easily forgotten continuity, telling a fast-paced, stylish story that delivered plenty of action each issue. So that makes me want to ask how it managed to return to the starting point it appeared to disrupt after only 24 issues.
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It's an awkwardly positioned issue with awkward delivery and, while not all of that is the fault of these creators, it all results in a read that never manages to find the gas pedal.
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Reflecting on my lukewarm response to much of Ghosted in L.A., it's now apparent that pacing was a big part of the issue. It's apparent because #10 is the first installment in quite some time that feels like it has a destination and is ready to get there.
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As characters collide and the end approaches, it's impossible to anticipate what comes next, but the final few pages of Jimmy Olsen #10 promise it will remain a laugh riot.
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Bad Karma #1 is a great read from start to finish because it's built on excellent character work.
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The problem is that this comic was published in 2020, so it lacks the nostalgic charm that comes with reading these outdated plotting methods and the artwork is entirely subordinated to pushing through far too many word balloons. It's all a bit of a drag.
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Even if there doesn't appear to be much reason to revisit this series as it nears its conclusion, individual issues like this offer plenty of entertaining distractions and ideas on their own.
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Whatever comes next, Friday delivers a near-perfect introduction and leaves us with the welcome promise that there will be another chance to enter King's Hill, and briefly escape the confines of quarantine, very soon.
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Yet the completed Goodnight Paradise resembles a first draft of this pitch, something that can capably lure readers (or producers), but doesn't offer much more than a competently crafted distraction while you turn the pages.
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I suppose Analog #10 offers a perfectly adequate definition for "fine."
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In my review of the first issue of Basketful of Heads, I compared the series charitably to an 80s slasher flick. That comparison has been borne out by subsequent issues, but in a consistently less appealing fashion.
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While Black Panther has been meandering around its point for some time now, it has refocused itself in these pages and reset expectations for a showdown between King T'Challa and Emperor N'Jadaka by clarifying what that conflict is really about.
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Unintelligible. Remove the captions and word balloons, and you're left with a comic where it's difficult to identify any characters.
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Hellions begins as inessential, but very welcome entertainment"it still has plenty of space to grow into something better, too.
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Who are these heroes? Why should we care? Only crickets respond. With all of that said, the designs for the villains and layouts are excellent, simply lacking the flavor and details that might transform an adequate story into a memorable one.
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There's a good idea embedded deep within this issue, but it's rarely realized and the end results are hardly worth parsing.
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I love reading The Immortal Hulk for how it showcases Joe Bennett's storytelling, even when he is paired with one of many talented guest artists to date.
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Matias Bergara's depiction of s**t demons and a few particularly twisted moments of violence elevate the second half of this particular story, and gives readers reason enough to stick around, even as Hellblazer struggles to avoid the obvious in favor of something interesting.
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Lazarus continues in fine form this month and its future has never seemed more exciting.
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Reconstructing such a complex and off beat team of superheroes has been no easy feat, but if this is the standard for the future of the series, then Legion of Super-Heroes just became one of DC's must-read titles.
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Connecting mercenaries with a heart of gold to morality reads as ill-considered at best, but that's an issue set for a future date. For now their story continues to thrill and delivers one of the best cliffhangers of 2020 so far, at least in comics.
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Protector is one of the great comic book discoveries of 2020"a tapestry of alien ideas and manifold stylistic touches offering up one of the most engaging and oddly human new stories of the year.
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It's difficult to imagine many artists besides Jacen Burrows executing this issue"one of the most harrowing and horror-soaked Punisher climaxes ever"as well as he does.
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Well told fare and great for a quick distraction, but you won't need to remember any of it, even to read Sonic the Hedgehog #28 next month.
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This is a story told with the confident flourishes of renowned showmen, although that's an echelon of superhero comics both Zdarsky and the Dodsons attained long ago.
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Setting aside the old man shouts at cloud style introduction of The Boys: Dear Becky #1, most of the issue represents what was best in The Boys. It's a comic book capable of delivering both hilarious ultraviolence and a sincere reflection on the cost of committing violence"a contradiction in tone and style that enhances both parts in surprising ways.
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There's still an interesting story present in these pages, but many of the best features have been dialed back to the series' detriment.
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It's a great introduction to Thomas Shaw, but still feels small as a follow up.
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There are genuinely good concepts present, but the writing or art often undermine them (and one another) on the page and only leave hope for improvement as a cause to continue reading.
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This was certainly the most exciting issue in the series to date and it promises more of that excitement in a very different form; I can't wait to see how that looks.
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Devil's Odyssey can take its time in exploring these if it continues delivering more comics like this.
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Guardians of the Galaxy tries a lot of minor experiments and they all succeed to some degree, providing plenty for fans of both capes and comics to enjoy.
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It's poor timing that this comic about a dystopian America driven to the bring by a pandemic is coming out right now. It wouldn't have read much better one year ago, but at least it wouldn't be so painfully obvious how it falls short in addressing its subject matter and themes.
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It's another wonderful installment that manages to be a cerebral delight and still offer plenty of the plain silly.
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The result is a comic lacking a clear identity and a similarly disjointed reading process where even clear sparks of creativity and consideration cannot be appreciated for very long.
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The conclusion of this story is every bit as satisfying as it's beginning, delivering another ageless bit of excellence in a canon already filled with similar examples.
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Christopher Priest plays with reader's perception of mixed timelines to great effect in the final pages of this issue.
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Wicked Things doesn't appear interested in reinventing the model of the teen detective story, but it's certainly ready to tell that familiar mode of story as well as comics can deliver it.
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Whether it's the party, the terror, or the possibility of Black Tom Cassidy becoming one of the most engaging mutants at Marvel Comics, X-Force has proven once again that is the standout series from "Dawn of X."
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This is the sort of comic that can make even the most cynical critic remember why they fell in love with the medium. I suppose the only response for that is: Thanks.
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Pacing still creeps along, but there are enough questions raised that even an underplayed cliffhanger still resonates and provides momentum for a future climax.
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This is exceptional work and a reminder that even "middle chapters" can aim to blow readers' minds.
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Manifest Destiny #42 delivers one of the best single-issue reading experiences in the series to date.
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Like I said, it's unclear if there was a specific tone that should have guided this entire issue, but instead it reads like a mad patchwork that becomes deeply troublesome considering the subject matter it struggles to address.
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Moonshine #17 wanders into a conclusion that doesn't hold much meaning for readers or the ongoing story itself.
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Nebula #2 is a fine sci-fi western, but never much more than fine.
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The penultimate issue of Punisher: Soviet plays out with explosive style and melodrama of an 80s action flick, but still manages to deliver the over-the-top brothers-in-arms sincerity that Ennis has transformed into its own sub-genre of his comics.
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It's enough to make you sad this goofy series is coming to a close.
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Young Justice #14 is a giant brawl, but it's a very well executed giant brawl and it deserves props for sticking the landing on a story that refuses to quit growing in scope and scale.
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Daphne Byrne #3 ratchets up the tension. With its characters established and the nature of its supernatural encounters better defined, things go from fearful to downright terrifying in these pages.
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Daredevil has been one of Marvel Comics' premiere series and the first half of this climax promises that there's still plenty for readers to anticipate.
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The monster designs in Dr. Strange #4 are the most exciting thing about an otherwise dull "walk and talk" approach to problem solving here.
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While this reads like stretching out a thread, the thread itself is still strong.
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Farmhand is as thrilling as ever, and still capable of offering plenty of humor and small, lifelike character work in each issue, which is why I know I'll be hooked on this series until it reaches its final climax"one that should be even more spectacular than what's in the pages of Farmhand #14 this week.
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A lack of momentum combined with a struggle to engage with deportation policies in a meaningful or substantive fashion makes Lois Lane #9 appear like filler"stretching out a shorter story to fill a 12-issue maxi-series label. Combine that with increasingly messy linework and there are plenty of reasons to give this issue a pass.
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While this issue of The Breaking of Helheim is the least action-oriented so far, it takes a deep dive into Norse mythology instead, one that's every bit as rewarding as the most explosive issues of Ragnarok to date.
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Sonic fans will be left anxiously awaiting the next issue, but they also aren't lacking for new thrills this week.
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The debut issue introduces its story with confidence and skill, but struggles to clearly address its thematic core or offer a clear perspective. Instead, it is a muddled entry point that attempts to cover up a lack of voice with excessive style.
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The overall issue serves as a reminder for how many different ways Superman's world is portrayed today and there isn't a complete miss throughout the entire collection, but enough missteps make this one one-shot with mileage that's bound to vary wildly.
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Sword Master #9 is better paced and competently plotted compared to other recent issues, but there's a hard ceiling on quality for any comic that looks like midday sketches from a high school student working through a "How to Draw Manga" guide.
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This issue reads like the middle of a middle chapter.
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The big twist of Basketful of Heads arrives in this issue and it lands with the same resounding thud as one of those heads.
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Aerial battles (and, similarly, space-bound ones) can be difficult to illustrate in comics, and that's the core issue with Black Panther #21.
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Hidden Society #1 offers excellent comics storytelling, even if it only manages to deliver an okay debut.
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There are a couple of moments that feel like an unnecessary twisting of the knife"cruelty for its own sake"in an issue that is already plenty bleak from its opening pages. However, the overall ambition and execution of presenting the horror story of a crumbling mind with the most surprising touch of hope must be applauded.
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After an initial arc that promised to return the series' titular character to his roots, this reads like a cover band that only knows a couple of hits and that makes the entire experience quite a drag.
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It's a mess of moments drawn without half of the impact of most Kirby ripoffs and very little thought put into how they connect. Keep it.
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Protector offers an immersive experience. Rather than telling readers how history has reshaped North America over so many centuries, it embeds them in the moment and that moment is deeply rewarding.
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The final few pages kick things back into high gear in one of the best helicopter-action sequences I've read in comics. It all functions to lay the ground work for the final act of this series, setting expectations high for however this unlikely American-Russian partnership may end.
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X-Force continues to set itself apart as the "Dawn of X" spinoff with the clearest premise and a rare ability to balance action and thematic interests in each issue.
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It's the sort of story that made both the X-Men and Fantastic Four into household names, and it could make this miniseries a modern Marvel masterpiece.
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The Amazing Mary Jane #5 delivers exactly the sort of ending readers would reliably have predicted at the end of #1: a supervillain smashup to save the successful endeavor of Mary Jane and her new friend Mysterio.
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It's a perfect example of how to hang a story on a conspiracy, withholding information yet still offering plenty of reasons to anxiously anticipate Bang! #2.
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It's a masterful piece of superhero comics.
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It's still an exciting showdown and one that provides a notable pivot in the story's momentum as Family Tree #5 feels as though it could go in a dozen different directions.
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Each step towards this conclusion has added nothing to the conclusion itself, just another requirement that readers drop three dollars to reach a tie-in to The Flash #750 where they can deposit even more money before the arrival of an appropriately priced Free Comic Book Day issue.
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There are some ink-drenched panels of violence that offer some impact, but without characters or a clear concept to deliver momentum there's not a strong hook to continue reading after finishing Godkillers #1.
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Every character has a clear set of motives and conflicts, and they have been introduced with a seemingly endless set of future directions available after only two issues. That's quite the accomplishment when relaunching a franchise that's been thoroughly overcooked.
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This issue balances the big and the small without ever tripping over its own ambitions, which are just beginning to feel appropriately grandiose.
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It all comes together to create a very exciting issue that primarily serves to set up some even more thrilling moments (and certainly some violence) still to come.
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Even when the series is toying with overly familiar ideas and twists from superhero comics, it's delivered in such a compelling fashion that the anticipation of #4 will be a potent force for readers young and old.
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Superman Smashes the Klan is a powerful story of hope and unity, and one that doesn't ignore the tremendous challenges facing anyone who seeks to do the right thing. Embracing that complexity is what makes this issue and mini-series one of the best Superman stories of the decade.
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Superman's Pal Jimmy Olsen #8 is packed with delightful page turns, delivering unexpected visual gags and twists that all add up to the promise that there's still a lot more hilarious goodness to come.
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With very little direction until the final few pages, this issue won't hook any readers who weren't already committed to the long haul in a story that's still busy explaining exactly what it intends itself to be.
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This is a case where the pieces are stronger than the whole.
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Wherever the mysteries of the plot and ambitions of the creators lie, Alienated #1 promises that the best is yet to come and earns more than sufficient credit to keep us reading throughout 2020.
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Beyond a few excellent panels, there may not be much special about Dr. Strange #3, but it certainly delivers a monthly dose of the Sorcerer Supreme that will satisfy most dedicated fans.
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It seems like every member of Excalibur is given at least one moment in the short span of twenty pages, and they all have something big to look forward to when the next issue arrives.
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Ghosted in L.A. is still delivering great character work, but there must be something worthy accompanying what's being said across 22 pages of comics each month.
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It's clear from the start, at least for readers with Hulk mythology, that something is off, but what makes The Immortal Hulk #31 extraordinary is how it slowly ratchets up tension across the entire issue.
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Marvels X #2 is a disappointing second that doesn't appear confident about the story it's telling, and an excellent opening splash by Well-Bee only offers it so much fuel to carry on.
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Unless you're dying for any excuse to see new art from Eduardo Risso, you'd be better served returning to past stories like 100 Bullets that bothered to maintain clear elements of character and plot on which to hang these moody settings and violent sequences.
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This comic is a tough read at times, but that's honestly the beauty of it, and why it is one of the most compelling indies on stands right now.
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Mileage will certainly vary with this assemblage of brief moments, but there's generally enough good to balance the underwhelming contributions.
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X-Force changes gears this month, transitioning from gruesome, black ops missions to a form of the spy genre more in line with James Bond.
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With the promise of a long saga ahead, COPRA #5 delivers a perfect introduction to its next big story.
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Even when Daphne Byrne fails to deliver on elements of character, the world of the story is so rich as to ensure readers will want to return for another peek next month.
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This run on Daredevil continues to enhance and interrogate its moral and systemic subjects with each new issue, and that has developed one of the best superhero comics to be found.
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Everything about Justice League #40 is delivered clearly, yet there's no reason to care about a single panel of it and that makes it perfectly fine filler.
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While not as exciting as last issue, Justice League Odyssey continues to tell a compelling superhero story unlike anything else on the stands today.
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There are strong elements in Lois Lane, but the overall series reads as a muddle and doesn't appear capable of improving upon that.
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It's a deft bit of storytelling and quite the pleasure to read.
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It's the sort of comic that could be constructively workshopped in a class, but feels insulting when readers are asked to pay $3.99 for such substandard quality.
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It's a fine issue and one that has me excited to see The Butcher of Paris #4.
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A dull story filled with inconsistencies and leaps of logic combined with the poor presentation of an engaging artist will give readers plenty to talk about, but very few good things to say.
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Usagi Yojimbo #8 features ninjas, imperial intrigue, and a sword-filled ambush, but even in the midst of so much excitement, it's a short sequence on the construction of tatami mats at the start of the issue that stands out most.
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Even though this is a story most of us have read many times before, it makes for perfect comfort reading as we make our way through a cold winter.
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Young Justice #13 is a tremendously fun comic to read, almost so much fun that you won't notice the plot barely inches forward.
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This isn't just Criminal at its best, it's the best that crime stories can offer.
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Even if the core conceit of this story still doesn't quite click, it's still an enjoyable, if basic, issue of superhero comics.
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Farmhand #13 reads with a renewed sense of confidence and promises plenty of excitement for whatever comes next.
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There's something profound to be said about this subject matter, but Ice Cream Man barely delivers a thesis before focusing on some (admittedly clever) puns.
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Come for Lovecraftian terror and stick around for the Xemnu; this is everything one could want from a monstrous Marvel comic book and more.
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It's an improvement at the very least.
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Together, the stories of Mari and First Knife define a world that blends the desperation and lost promise of Mad Max with the engrossing world of feudal Japan depicted so well in Kurosawa films.
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There's a special chemistry between these creators and characters, and it makes every one-shot one which they are featured a must-buy for fans of Marvel's magical universe.
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X-Force continues to deliver excellent action and plenty of witty barbs, but it's greatest strength is its critique of how organizations like the CIA overestimate their own abilities and doom innocents.
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It's a finale that's a lot of fun and a little poignant, far more than we could have asked for from Archie vs. Predator II.
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It's time to keep moving forward or jump ship, because no matter how good Leomacs makes this comic look, it still needs to deliver a story possessing some points of interest.
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Good ideas stretched across far too many issues and lacking a strong visual component is making it difficult to stick with this series.
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Excalibur #6 continues to emphasize character and relationships, and that continues to reveal the best this new series has to offer.
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Family Tree #3 does an excellent job of opening up its world in more ways than one and continues to do right by the promise of the series debut.
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Guardians of the Galaxy #1 delivers an excellent mission statement for the series to come and offers a standard to which other new series should aspire.
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This one is a disappointment.
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For the first time in about a decade, it feels like the tradition of Hellblazer has been resumed.
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This is an exceptional action comic, one filled with lively characters and violence that sticks"it's very nice to have it return.
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It's a slapdash final effort for this failed attempt at relevance.
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The delightful beach setting with its own abundance of eccentricities makes for an excellent centerpiece, offering ample time to develop character relationships and deliver a few excellent gags.
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Dead Eyes #4 fulfills all of the promises and ideas of its debut in what is hopefully only the first of many stories to come.
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It's a slog, the latest in a 5-issue deep trench of slogs, and that's all readers can expect from whatever finale is yet to come.
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It's an issue that relishes the mundane life of this supernatural, found family, and the strongest issue of Ghosted in L.A. so far.
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The quality of storytelling and love of folklore present in each ensures readers won't be let down by a single entry, and will likely find something they'll want to return to during future winter seasons.
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Legion of Super-Heroes remains a colorful, inviting adventure to the future of the DC universe, but with each new issue it also increasingly feels like a story built on shifting sands.
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Ultimately, Second Coming was a series with visual and comedic charms, but also one that could never live up to the ambitions of its premise or the weighty themes it addressed.
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Skulldigger + Skeleton Boy may be the best installment in Jeff Lemire's Black Hammer universe so far.
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It's a dazzling display of humor, intrigue, and an abiding love for the superhero genre, but one would expect nothing less after six stunning issues of the same. Bravo.
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Undiscovered Country remains a series stuffed with ambition, but it also clearly struggles beneath the weight of that ambition here.
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The Amazing Mary Jane is a story that makes as little sense as the one being produced in its page.
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Kelley Jones' exaggerated forms and atmospheric set pieces bring the world to life, providing a clear tone that fills the narration and dialogue with life as they exist in such a specific and clearly defined world.
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The character bits in Excalibur #5 offer a reminder as to why this series still offers plenty of promise, even after multiple false starts and an opening volley of plots that all landed with a thud.
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The Immortal Hulk #29 is an issue best appreciated in the details.
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While this debut is more easily accessed and understood than later stories in the teamline, it still doesn't quite deliver on the interesting nature of its premise.
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If you've stuck around through 14 prior issues, then you likely know exactly what Risso brings to this series and he certainly doesn't disappoint here, even if everything else does.
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Pretty Deadly remains one of the best (sometimes) monthly comics around and "The Rat" is its best installment to date.
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The Butcher of Paris #2 reads like an excerpt from a script designed as a graphic novel for the bookstore market, then chopped into issues based on how many pages Dark Horse would publish each month.
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One of the most difficult elements of any longform ghost story is the constant need to build and release tension and The Plot #4 is a masterclass in doing just that.
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Readers seeking out a sequel to Trees or some sort of conclusion will be disappointed, but "Three Fates" stands alone as its own thing and succeeds as a story of a smalltown not prepared to meet the future in the cold distance of Russia.
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X-Force #5 manages to both take violence seriously and relish the visceral thrills of a violent story"no easy feat.
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This is the sort of superhero series that's simply enjoyable to occupy and it occupies its space quite well in this issue.
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This issue sets up a lot of what is to come in COPRA, but reminds us all that the reason we're reading is for this brilliantly illustrated set of characters who are at risk when the action returns.
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The addition of Jorge Fornes on art provides a much needed punch-up of style and presentation, one that readers should hope to see continue as every issue of this series should look as excellent as this one.
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While the formula feels familiar to what occurred on Gyk, it's a formula that can be repeated without diminishing returns based upon how interesting the newly discovered planet is.
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Even when the seams of this story appear to obvious or minor flaws are unable to be ignored, the comic delivers sufficient effort on each page so as to never discourage readers. That enthusiasm alone is worth applauding.
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When the seeming non sequitur at the start of the issue is the most engaging element of the entire entry, perhaps it's time to pack things in and wrap it all up, because it's not even entirely clear what Lois Lane is about past its halfway point.
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The last two pages are excellent, but the long slog to reach them was anything but.
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Elon is a protagonist with so few memorable features that it's difficult to remember his name between pages.
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This is a horror comic and a war comic, and will leave you feeling isolated and shocked as only the best stories from either category can.
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This is the promise of the summer's dual mini-series fully realized and everything I want from X-Men comics going forward. Bravo.
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The final issue of this story will have the final say, but nothing can negate the visceral enjoyment of a well executed heist comic like this one.
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Any promise embedded in this new premise is forgotten and ignored, and it raises the question of why a relaunch was needed in the first place if this was all that could be offered in a new #1 issue.
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East of West #45 secures the series place in a pantheon of excellent original comics epics. It fulfills the promises of the very first issue, offering readers both a vision of apocalypse and unexpected rays of hope.
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This is a Free Comic Book Day giveaway with an outsized ego and should be promptly ignored before being read and, ideally, never purchased.
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Sonic the Hedgehog remains a well constructed all-ages comic, but one that struggles to make each issue count in a story that is more interested in pairing its climax with a certain number than the best possible pacing.
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Much of the comic is spent in conversation with June and her new companion. A few of the jokes land and the surreal nature of their relationship is amusing, but that initial appeal doesn't cover just how long this lasts.
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Black Panther is a competently created comic book and delivers familiar beats, but it still struggles to rise above an overwhelmingly large herd of similar material at the end of 2019.
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The two narratives slowly build together and deliver an excellent pair of fight sequences at the end. While the artwork and aesthetic may lack the clear identity of prior Daredevil runs, the ideas are as strong as they've ever been in this series' storied history.
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Excalibur #4 offers a thrilling side adventure beneath the Earth's crust, spotlighting a couple of this series' most interesting heroes, even as events surrounding England and Otherworld become a bit muddled.
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Family Tree remains a contemplative, yet undeniably thrilling, new story on the nature of family in an increasingly uncertain new century.
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It's enough to keep going as Farmhand builds to a revelation that it has spent far too much time hinting at with little reward.
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There's a joke to be made about a Flash comic lacking any momentum, but this issue doesn't merit the moment of concentration required to craft it.
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Harleen remains an engrossing entry in the Black Label line, but one that's ultimately incapable of grappling with its complex subject matter.
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What a disappointment this all was.
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Yes, the relationship between Cap and Namor feels well-considered and a single guest page by Butch Guice is smile-inducing, but these are rare exceptions in a comic that reads like the local roller coaster that only lifts about a dozen feet off the ground.
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It feels like the spirit of Hellblazer has returned for a new decade, and it's nice to have that back.
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Legion of Super-Heroes #2 is a well-presented and generally enjoyable read, but it needs to offer something to invest in because it also reads as being superfluous.
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It's a welcome return and a reminder why this issue was so hotly anticipated by an existing readership, a readership likely to be even more excited for #2.
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Like many other series to spring from the pages of Black Hammer, Skulldigger + Skeleton Boy presents a clear homage to some of the most popular characters and styles in superhero comics.
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If Superman Smashes the Klan sticks its landing in February, it could become a classic in classrooms and beyond.
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Superman's Pal Jimmy Olsen is some damn fine comic-bookery.
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Scattered throughout, Vampirella is a comic that can't quite decide what it wants to be and as a result fails to do anything well.
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This is an issue of Wonder Woman to skip, even for committed fans.
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It takes the new status quo for mutants and builds on what was a flop in #1 in order to deliver a shock so good it'll still be on your mind a few comics later.
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Even an issue that is less dull than prior installments is so poorly assembled that it's impossible to ever accept the story it presents or be entertained by various elements of artifice that desperately seek to be entertaining.
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This is The Dark Knight Returns updated for a new generation by conversion to a rollercoaster ride. It may not have much to say, but Gramp's approach ought to have you more concerned with who's getting punched and how hard.
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When the entire school is on display and events tell the story, Deadly Class can still be an engaging affair. It's just unfortunate that it has an albatross named Marcus hung about its neck.
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Weight of the Worlds divides its attention between Cliff's story and the rest of the team's adventures this week. The former plays like a highlight reel, building towards a big change with a series of well-selected moments that provide a blend of action and escalation with each new segment.
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With guest artists like these two, The Immortal Hulk remains one of the most satisfying monthly reads imaginable, taking even disruptions in schedule and transforming them into (generally) well-realized opportunities.
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They're reasons to push the plot forward and dish out some clever word play, but at least they're in service to a purpose and some sort of quality, even if it's largely aesthetic in nature.
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This descent into darkness renders the unimaginable as something mentionable, and offers a beautiful journey into darkness that is simultaneously unique to everyone who experiences it and universal.
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What's most impressive is how it centers the humanity of two men destroyed by careers of violence, then juxtaposes that to decision makers whose hands remain seemingly clean.
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This corner of the Spider-verse seems a bit smaller now, especially without any fully-considered characters to make the action matter.
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Stringing together cliches with blood and guts is one way to make a superhero, but it's not going to be one that many, if any, people enjoy.
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Even in the shadow of the gargantuan Tree, it's a comic that is primarily invested in human beings and that makes the rapid delivery of moments of loss and moments of stress much more rewarding in these pages.
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As the first arc continues to present readers with an understanding of what is happening and why, all of this may improve, but it's a significant hurdle for engaging with a narrative that still presents a plenty to fascinate us in the meanwhile.
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This is the teen superhero adventure done well and showing that this sort of story still possesses some legs.
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X-Force is thrilling, horrifying, and fascinating; one "Dawn of X" series that seems fully prepared to embrace the potential of this new era.
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Like all of the other "Year of the Villain" installments, this feels entirely unnecessary, but it is a whole lot of fun.
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It's still a plot machine that does little to distinguish itself from so many similar events across the past decade of Marvel comics, but at least it's good for a few moments of levity and doesn't overload the reader with excessive captions.
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This issue certainly connects the dots, but watching the creators draw that line doesn't leave much room for fun.
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With so many highlights, this is a comic that is pure joy to read, embracing the superficial joys of genre fare.
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This is a Batman story that recognizes why the character can go anywhere and appeal to almost anyone; it's incredibly fun and a fitting conclusion to the best Batman comic of the Rebirth era.
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Even an interstitial issue like this one can feel essential in COPRA where no page is ever without purpose.
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Daredevil #14 reminds readers why this is one of the smartest superhero series published today after a brief detour through melodrama.
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It's still a general pleasure, one packed with puns and genuinely surprising moments of action, but it's also clear that the best days for Deathstroke were already in its past. -
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Excalibur has slowly, but surely, discovered what works in its pages and finally delivered a standout issue.
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While #6 doesn't have much of a clear focus, the character work on the page provides reason enough to keep going, as it's far more engaging than any of the ghostly mysteries that are deployed primarily to fill space here.
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Lois Lane #6 is a mediocre, perfunctory funeral issue and one that has no reason to be part of the series to which it's attached.
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Rather than pushing the story forward, #39 doubles down on existing tensions with no clear destination in sight and a detour that's less than appealing. Considering the inconsistent nature of the art in this issue, it's a bad sign for the future of the series.
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The resolution is cartoonish and all the pieces are essentially reset for another story advertised in letters column. It's amazing that people are still reading these things when they can't even be bothered to play the hits.
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The scale of Simonson's Ragnarok is growing, even if much of this week's issue emphasizes personal battles between more mundane forms.
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The Butcher of Paris #1 provides the same general sheen of competence that surrounds most new, direct market series which are forgotten before their second issue arrives. However, the concept at the foundation of this particular series demands better treatment, but it doesn't look like readers can expect that in future issues of this muddled retelling.
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It's a delightful, one-and-done tale that will please new readers and veterans alike.
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Young Justice #11 is the sort of installment where you can see the work of set up and introductions being done on the page, and that's not a good thing.
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If Leomacs builds out the remaining sequences of the series as well as he does in Basketful of Heads #2, then the collected story is bound to become a fall favorite for fans of horror comics.
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The final installment of Batman: Creature of the Night completes a fine companion piece to Superman: Secret Identity, well-considered, brilliantly illustrated, and deeply humane, even if it might be wise to re-read the first three issues before returning to the finale.
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We would be much better off reading an essay covering this same material than a superhero comic that fails to excite or stimulate even once at a cover price of $3.99.
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Connecting both of the best halves of Criminal, #10 shows how the small and large moments of life are never too far apart and can build greater, and more affecting, stories together.
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The final few pages are the best in Curse Words #25 as they're the only ones that don't look much like the past year of magical battles, and they allow the series to go out on a good note, if not a high one.
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It's a stirring, exciting issue by itself, one made only more powerful by knowing that whatever comes next will be final.
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It makes for a fascinating conclusion to the story, one that's bound to make readers familiar with this chronology squint and chuckle, often at the same time.
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John Constantine: Hellblazer #1 is the closest a new series featuring the character has come to recapturing what made the original series work in quite some time.
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Lazarus rarely disappoints, and Risen #3 is no exception for the series.
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Between a lack of definition and two art styles that continue to be poorly dispatched in defining settings and tones, Second Coming still hasn't found its footing (if it ever will).
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It's clear that the Zombot plot is building towards its conclusion, but this was a much-needed detour for both the story, and series as a whole, before it arrives.
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It's a plot that forces characters into idiotic choices and unjustified opinions repeatedly in order to arrive at a series of moments that would be horrifying if there was any reason for readers to be invested in this tale. Instead, the violence is cartoonish and the end result laughable.
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After a couple of issues of stage-setting, The Plot delivers its strongest installment to date.
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It's ugly and purposefully so, delivering all sorts of spectacle along the way. It's a clearer mission and purpose for X-Force, and one that this issue does an excellent job of pitching.
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After a dismal first issue, The Amazing Mary Jane continues to walk a path towards a new genre, something that might be described as "anti-comics."
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Bloodshot #3 creates an effect similar to a traveling rollercoaster, providing a predetermined set of thrills with no encouragement to look around or remember once the ride ends.
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Excalibur is a perfectly fine X-Men comic featuring an unexpected assembly of familiar heroes and anti-heroes with an ongoing battle to justify at least one action sequence and a handful of juggled subplots in each issue so far.
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Even with Guillory's typically strong cartooning, this is a slow, transitory issue that does little with plenty of space resulting in an overall disappointment.
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This series becomes ever more baffling with each issue as it insists on repeating its worst tendencies to returns that would be diminishing if there was ever any value to be found in the first place.
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Ice Cream Man excels when its morbid gags and formalist appreciation take centerstage. So in an issue like this where a twisted family tragedy is emphasized placing more emphasis on characters, the aesthetic fails to lift up a concept that could be considered slight at best.
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Shonen and superhero fans alike are familiar with the obligatory, mid-tier fights that clog the path to an antagonist that might make readers nervous for their hero's wellbeing. Immortal Hulk #27 features just such a fight, one that nobody who has read comics for more than a month will invest much into, but it still manages to transform that fight into a thrilling adventure through a mix of formalist effects and tension-ratcheting side plots.
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Bland and banal, Olympia asks if passion is enough and the answer is plain: No.
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Superman's Pal Jimmy Olsen remains one of the best superhero comics on the stands today, especially when it indulges the absurd.
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This issue adds nothing to the general idea of superheroes-transformed-into-monsters or even the specific story of "The Infected," and results in a read that is nothing but unnecessary.
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Wherever Vampirella is heading, it would be well served by picking up the pace and not spending another issue raising some concepts without any clear purpose or intent.
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Tracy Yardley's cartooning is excellent, but it ultimately presents a fine surface to a largely hollow concept.
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There's nothing terrifying, sinister, or even entertaining about this particular collection of comics and other materials. The vast majority of this issue is dedicated to two comics that it's almost impossible to recommend.
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This story of a young girl who grew into a tree and the subsequent collapse of society features both an exciting plot and a much more intimate portrait of how scary it is to feel alone, even as we are surrounded by others.
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It might have taken some doing to get here, but this series appears to finally have all of the right pieces in place and is moving towards a bright (or dark, depending on your perspective) future.
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It's possible to imagine this project tweaked ever so slightly to be a visual tapestry of big moments and events, perhaps sorted in chronological order, but lacking narration. Unfortunately, many pages are sub-divided between unrelated events, preventing them from succeeding as anything more than a fraction of themselves, and they are all accompanied by a never ending series of "and then" statements
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The character work and flashbacks remain potent, but the present is much more messy than those regular and rewarding looks back.
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While it's possible to imagine this story growing into something far more chilling, for now it appears to be spinning its wheels and chewing on some potent southern imagery with just enough sense of direction to keep it rolling.
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This is another investigation of human darkness that is exciting without glorifying the violence committed by any one involved, and based on the last page Soviet is just getting started.
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While it might be for the best that this story seems to be reaching a conclusion of sorts, it's too bad that the journey wasn't better considered.
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Even without the looming Tree, this would be an engrossing bit of drama filled with plenty of twists to keep any reader engaged as petty cruelties and small mistakes threaten to undo an entire community and ensure readers will need to tap their toes while awaiting #4.
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Both the snow swept vistas of Japan and monster-infused action alike are wonderfully presented in a single issue that shows a masterful storyteller really can do it all in this succinct issue.
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It's another slow journey between two points that fails to build suspense or stakes"a slog towards a repeated showdown with no clear purpose.
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Even with some notable flaws, Batman: Universe delivers one of this week's best pages in a spread that details a submarine's innards and the adventure occurring within. It's the sort of storytelling that reminds you why you love superhero comics.
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Berserker Unbound #4 delivers a series of climactic moments"often delivered in attention-demanding splash panels"that are all entirely unearned by the story preceding them.
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COPRA #2 is a roundhouse kick to the ocular nerve, increasing stakes without forgetting its sense of humor (and the unadulterated joy of action comics). It doesn't get much better than this.
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The worst issue of Daredevil still packs more to critique than most comics contain for praise, but that doesn't make this misstep any less of a misstep.
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Reading one page narrated in the fashion of Marcus' journal is stupefying; several of them strung together borders upon the coma-inducing.
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It looks like Christopher Priest's redefining run with Deathstroke will end on a high note.
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It's ultimately a nice, but forgettable, installment.
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In some ways Devil's Odyssey #2 reads as an initial foray, the first adventure on a journey not unlike Ulysses' from antiquity. If the promise presented here is borne out across the remaining 6 issues, then the newest installment in the Grendel saga may become one of its best.
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Everything is bigger about The Immortal Hulk now, and it has never been better.
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In leaving the past behind, Legion of Super-Heroes finally appears ready to enter the present.
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It's a steep decline from where this series started on all fronts and something that hopefully won't be repeated in the 7 issues to come.
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It appears to be time that Manifest Destiny move towards its conclusion or risk devolving into meaningless repetition or self-parody.
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Miles Morales #12 is a bit of linkage that falls below the standards set for this series, but at least it delivers the promise of a next issue.
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Pretty Deadly: The Rat is a comic that demands your time. Rushing through this issue, or any of the series so far, seeking out word balloons and plot misses much of what makes this essential reading.
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The structure, presentation, and ideas swirling in Undiscovered Country #1 make it an exemplar of how to introduce a new idea and earn the sort of hype that has swirled about this title. If future issues fulfill the promises found here, Undiscovered Country is bound to be a hit.
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There's a lot of potential in these pages in need of a clear purpose.
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It's a good issue of Young Justice that with a few changes could have been great.
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This issue is enough for now and will deliver quite the treat to any readers who save it for Halloween night.
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With few visual hooks and little connection between the scattered moments of this issue, the only call to continue rests in the last few pages. It's likely not enough for some readers to return.
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Unbalanced, but more charming than dull, Death's Head offers a fine slice of fan service for a small, but dedicated segment of Marvel fandom.
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There's still an immense amount of potential given the characters and magical concepts in Excalibur, but #1 reads like an old band ready to play just the hits even if we've heard them all before.
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Fantastic Four: Grand Design is dense, lovingly crafted, but ultimately incapable of recreating the magic that inspired it from so many decades ago.
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Harleen is far from perfect, but the flaws are forgivable and the strengths are rare enough to deserve far more attention.
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This is exactly the sort of Hellboy story I want to read every Halloween. Bravo.
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ales from the Dark Multiverse is clearly developing new characters for a future story, but it's best to wait for that future story with origins like this.
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It's the looming shadows and twisted figures that lurk throughout the landscape that make The Plot one of the year's best new horror comics.
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There's an odd charm and warmth to this similarly violent tale that sets it apart and reminds us what makes the experimental nature of The Ride endearing even after 15 years.
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Readers might have to wait for John Constantine, Hellblazer #1 to know if the first readable Constatine comic in years has finally arrived, but this one-shot makes it seem far more likely as all of the right elements are finally back on the page.
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Its emphasis on individual failings and unwillingness to look at the systemic issues underlying obvious facsimiles makes for some tortured narration and an ultimately shallow adventure. There's still a lot to look forward to in the coming months, but the future for this particular Wonder Woman villain appears far brighter than her origin story.
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A dull premise and inability to live up to its own promises leave The Amazing Mary Jane dead on arrival.
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As far as the mainstream of comics go, this issue at least feels fresh and that counts for a lot when discussing properties that are quickly approaching their centennial anniversaries.
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With a small, but exciting story at its center, and two characters who continue to reveal their depth and complexity, Criminal #9 is bound to keep longtime readers satisfied before "Cruel Summer" pulls its many threads together next month.
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This is far from essential reading, but it won't disappoint longtime readers looking to spend time with characters whose endings have already been delivered.
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This is the terrible magic of The Immortal Hulk, providing a poignant story that touches on modern fears while constructing a terror that only the comics medium could deliver. Bravo.
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Second Coming is still struggling to clarify its own purpose, as Satan's asides still feel forced, but it has become much more confident in its approach here.
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Sonic the Hedgehog continues to successfully repackage zombie tropes into an all ages package, but this one, neat trick is starting to wear thin.
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The finale of "Loveless" reads like a mandatory connecting issue between much more significant events, poor form for a story built across so many issues and month.
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A vague sense of competence doesn't make the delivery of this purposeless story worth any readers time.
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Analog #9 may be an uneven outing, but the rush towards the finish line prevents it from ever being boring and that makes for an overall improvement in a series that never found its footing.
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It's clear that this comic is a love letter to genre, but its own rambling nature prevents it from evoking any strong reactions.
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Flash Forward is shoddily assembled, but it's greater sin is being dull.
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H.G. Wells' dated approach to plotting, in addition to the translation of prose to comics, causes problems in the second half of this adaptation. Rather than reading like coherent narrative, the issue becomes a fractured assembly of key moments.
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It is an ornate collection of events that crumbles into tedium upon examination.
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Rumble isn't a rising star, it's already one of the best collections of talent and new ideas in comics today.
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Whether readers are discovering Superman for the first time or steeped in the character's history already, Superman Smashes the Klan #1 presents a thrilling update on a classic adventure, one that seems bound to be read for years to come.
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Whether you're looking for smart or entertaining superhero comics, Superman's Pal Jimmy Olsen is the best place to start, as it never falters on either account.
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Superman: Year One #3 reads like a checklist and never offers the slightest bit of stylistic flair or originality to justify this exercise in the repetition of superhero tropes.
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With presentation that can best be described as competent, the only thing to discuss about this issue is why it exists in the first place.
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Trees: Three Fates invites contemplation, but doesn't ignore demands for entertainment. It's the sort of series that reads like it could deliver satisfying issues every month for years, but will simply have to be appreciated for the few issues there are.
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Vampirella might have begun on uneven ground, but now the many ideas of this relaunch are beginning to cohere and present a new take on an old character that's worth a monthly investment.
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Each installment of Batman: Universe continues to thrill in a variety of ways marking it as the must-read Batman comic to read 2019. There's simply nothing better out there.
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Doctor Doom #1 opts simply to be fine, perfectly okay, not too bad, even. However, it's worth remembering that the opposite of love isn't hate, it's indifference.
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Even with so much occurring, East of West #43 delivers a well-balanced introduction to the apocalypse. It appears the series is ready to end as well as it began"brilliantly.
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The final few pages of #4 intend to provide reasons to keep reading, but it doesn't appear that this series has anywhere interesting to go or a style that could make this walkabout in L.A. enjoyable.
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Ice Cream Man #15 delivers a creepy, uncomfortable tale about the fear and arrival of inherited illness. For this particular series that is inevitably linked to hallucinations, horror, and a too-friendly-for-comfort purveyor of ice cream.
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There are certainly excellent moments embedded in Invaders #10, including a Captain America line that will send chills down the spines of most fans. However, these exceptional moments emerge from a morass of plot mechanisms that serve primarily to set up the next phase of this particular story.
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Miles Morales has reached a comfortable rhythm in Spider-Man comics, heaping up problems in every aspect of its hero's life in order to make each new conflict a bit more complex and exciting.
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It is a spectacle, grandiose in presentation, format, and theme, the ending readers must have hoped for and hopefully deserve.
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Even as each page demands extended attention, momentum is building in this story towards secrets with shadows that cover everything on the page in darkness.
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This isn't a bad celebration and it's certainly a better issue of Spawn than readers have seen in quite a while.
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Thumbs might have been messy, but it ends as well as it began and that's not too bad.
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Beautifully accessible and emotionally complex, Usagi Yojimbo continues to define itself as one of comics' greatest epics.
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There's one solid twist, but it's not nearly enough to hang 20 pages on. Keep it.
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If you're looking for a good Joker story this week, you're out of luck at comic book stores and movie theaters alike.
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While the final page of this issue is an absolute showstopper, it's ultimately one big reminder of what readers have been discovering across two series in the past year, albeit a well-written one.
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It's a distracting jumble that would make it impossible to read a story with a bit of nuance, so it may be for the best that Berserker Unbound doesn't possess any.
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COPRA #1 is a masterclass in comics storytelling, a must-read issue whether it's your first or thirty second issue.
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Daredevil #12 provides a satisfying resolution to #11's cliffhanger, one with multiple phases and great moments for all characters involved.
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Deathstroke remains a uniquely challenging work in DC Comics' current lineup, but has hit a low point after years of highs. It's disappointing, even as the quality remains higher than most of its contemporaries.
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The positivity on display throughout the issue, especially in its surprise hero, also makes this a homerun"the best issue of Doom Patrol since it relaunched and that's saying something for a series where each installment flirts with perfection.
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The action early in The Green Lantern #12 is a high point followed by plenty of exposition with varying mileage, even for Morrison diehards. This is a relatively weak ending to a series that is well past its best issues.
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Matt Wagner's designs resonate with the ephemeral aura of cool as well as when they first appeared.
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The Immortal Hulk #24 packs two final pages that most series would kill to have in one year into one issue.
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Pacing is ultimately what makes the regular standards for art and packaging struggle in this miniseries that could have easily existed in only one or two chapters rather than stretching all the way to #5.
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Why Legion didn't simply return with its own #1 in November is a question with no clear answer and all of the artistic talents assembled for this aimless tour feels like some seriously squandered potential.
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This is a comic about conversations and never improves upon when those bits of dialogue are natural.
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Manifest Destiny returns in all of its bizarro glory.
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It's possible to have it both ways with a mix of sci-fi and fantasy tropes blended in a single spacefaring story; most of us have read Saga already. Sea of Stars never makes an effort to have its two very different stories feel like a coherent whole, however.
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Sonic consistently exceeds expectations by trying new things with familiar characters in a long-running format. It's clear that the jump to IDW has been for the best.
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. It's clear there are big plans for both Teen Lantern and Jinny Hex and, based on Young Justice #9, there won't be any disappointments.
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After more than a year of carefully laying groundwork, the master plan behind this current volume of Black Panther is revealing how well this epic is prepared to deliver.
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The over-sized finale of Black Science arrives far too late in the series' run to have much impact.
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Criminal #8 is one long exercise in foreshadowing and constructing tension. While each issue of the current arc has focused on an individual connected to the upcoming heist, the time spent with Jane here is as much about what is to come as what is currently occuring.
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A lack of concern for characters, an inability to clearly construct tone, and absence of something worth saying make the promise of Faithless' return in 2020 one more thing to not anticipate in comics.
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Harleen #1 presents Stjepan eji at his absolute best, constructing a sleek and sexy world that rarely falters in its storytelling, and one that strikes a far better balance between the distinct crafts of writing and art than most collaborative superhero comics.
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This issue hangs entirely on the slow build to one splash of spectacular body horror. That this standout moment is the B-plot of the issue (at best) speaks to how backwards this series' priorities have become.
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There's a lot of effort devoted to tying up loose ends with no reason to care about why they are tied up. It's unfortunate that this conclusion hangs like a stone around the neck of a much more enjoyable comic relegated to being the "backup."
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This is one team-up that's best forgotten.
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It's another excellent issue of Powers of X before its much-anticipated (red-highlighted) final issue.
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The newest issue of Ragnarok is a potent reminder of how comics can allow expository sequences to serve far greater purposes than plot alone.
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There's still far more good than bad overall and what Shazam! #7 may lack in consistency, it makes up with sincerity.
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Whether you're familiar with Albatross or wondering what this line is all about, Spookhouse Halloween Special #1 provides a look at the tone and style defining one of the best small press publishers in the direct market today.
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The White Trees uses grandeur as a vehicle to discover the humane, and in doing so delivers one of the best fantasy comics of 2019.
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The third chapter of "Loveless" provides nothing new to this story, opting instead to reiterate the same dull beats that have sent the series into narrative doldrums.
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This first issue focuses on constructing a potent foundation for those ideas to unfurl and delivers a potent mood to carry them forward. The result is an engrossing first issue"one that sets the mood for October beautifully and promises that the best is still to come.
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A lot of page space in Archie Vs. Predator II #2 is devoted to working through the concepts laid out in the prior issue, which results in a lackluster follow up.
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Death's Head #3 features several well-paced action sequences and plenty of pithy dialogue.
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While the panel-to-panel narrative is well produced, there's nothing substantial enough to catch anyone's interest for long.
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If the choice that forms this issue's cliffhanger is the heart of Saturn Returns, then Hellboy fans are in for a treat with its conclusion after this excellent issue.
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There is no clear narrative connection laid between these events and thus the final marker of "TO BE CONTINUED" on the final page can only be met with a shrug.
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This showcase is a treat for Rumble fans or any comics reader looking for thrilling, concise tales of battles long ago.
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Second Coming is capable of delivering some excellent gags, but for a series with so many big thoughts on its mind those rare moments of delight don't balance out a scattershot blurting of many ideas with no through line.
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It feels like these stories in all of their tonal complexity can only continue to soar up, up, and away.
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The newest volume of Vampirella appears to have found its footing and if this issue (and the resolution of a similarly convoluted set of narratives in Deathstroke) provide a forecast, then the series can only be expected to continue evolving for the better.
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Despite an abundance of ideas, this comic flops when forced to stand on its own two feet.
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Batman has not been this much fun to read in years, and Batman: Universe continues to be the perfect introduction to a character that is so much more than the darkness surrounding him in other modern stories.
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Many marks of quality are still there, but after so many dynamite issues one that's simply fine stands out like a lawyer wearing a devil mask.
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While multiple flaws continue to resonate throughout this installment, there's a lot left to like by the final page and encouragement to stick around, assuming you're still reading.
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While Spider-Man #10 doesn't quite justify its expanded page count or price, there's still plenty to like as there always is with this series.
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Pandemica #1 is a mess from start to finish, a comic that reads like a movie pitch any producer would be smart enough to walk away from.
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This is a quintessential middle chapter in a story that demands a lot of its readers; it keeps things moving even if the direction isn't entirely clear at the moment.
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You can almost hear someone saying, "get on with it already," but that might just be your own subconscious.
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However this series ends, it seems likely to deliver a lot of sturm und drang"thrilling individual pages"with very little worth hearing. -
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Trees: Three Fates #1, the beginning of that much-needed ending, wisely decides to forego revisiting almost any existing material and instead only retains the series' core premise in the far reaches of Eastern Russia where Klara, the region's lone cop, is tasked with solving the murder of an unknown person besides one of the "Trees." This step back in scope provides an issue that beautifully continues the core themes of Trees without imploding under the weight of the original series.
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While every individual on the page continues to bemoan their loss of love, it's not apparent in the story on the page and that leaves this story lifeless.
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The result is a fun one-shot that certainly understands its central character and problems, but one that lacks enough character on its own to make it a must read material beyond any readers already dedicated to The Riddler's career.
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This issue is a top-notch set up for what comes next both in a multiversal jaunt and for heroes prepared to establish what good and evil means their own generation.
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Considering the lack of originality found in this concept and how dedicated the series is to explaining such a simple idea, it's hard to appreciate even the bright spots in Berserker Unbound thus far.
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If these quick, ugly twists were part of a shorter, more gonzo effort, they might be easily overlooked, but Curse Words #24 does nothing to earn the years of story that led to these final moments.
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Readers who have appreciated Deathstroke from #1 are likely to recognize motifs and ideas that call to how excellent this series can be at its best; we can only hope it's on its way back to those heights.
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If every issue of Weight of the Worlds is prepared to experiment with form and style like this one, Doom Patrol will continue to provide the best, weird adventures at DC Comics.
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The Green Lantern simultaneously embraces the strangeness that a single series can indulge in, while still delivering lots of bridges to bigger ideas (in and outside of comics), functioning as something of a letter to DC Comics' true golden age in the mid to late 1980s.
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Perhaps what's most impressive in The Immortal Hulk #23 is that, despite being a seemingly perfect issue of superhero action and horror, it still promises #24 will be even more impressive. I can't wait.
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When visited as a tourist, rather than a historian, it delivers an entertaining tale with a unique form of spectacle in each era visited.
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There's still a lot else happening between these moments of marital consideration, one Question in particular, and that's what makes Lois Lane a consistent joy to read each month.
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Reading invites rereading, and The Rat is generous with ideas and style upon further review. It's a comic as complex as the form it inhabits, and that is an awe-inspiring experience.
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This isn't a quick cash grab based on a non-narrative property though, it's supposedly a premiere title with many of the most compelling Marvel characters around, so it's hard to cut such a shoddy effort much slack.
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Functioning much like a rough draft, it's not difficult to perceive both the potential and pitfalls of the concepts. However, the question remains why so many of the latter problems were not noticed and remedied before publication.
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As an old world adventure, a meditation on art, and even as a history lesson, Usagi Yojimbo #4 is yet another reminder that Sakai is a master of his form, just as Shikinu was of hers' so many years ago.
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Even with many of the beloved Superior Foes in session, this is yet another storyline in The Amazing Spider-Man that deserves a pass.
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Daniel Acua's depiction of travel through time and space is every bit as dazzling as readers would hope, though, and open doorways to a future where Wakanda's adventures span across both.
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Disappointment is largely developed by expectation, and the combination of 6 years and 41 issues makes this a notable disappointment from Image Comics.
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The Flash #77 is a drag.
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It's a reverse-Icarus tale, one where the flight of a son results in the punishment of his parents. That makes for an excellent, if broad, metaphor for the ways in which parents sacrifice to help future generations overcome oppression.
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A well constructed pair of final twists and broad strokes that allow plenty of room for projection make this one of the creepiest issues of Ice Cream Man to date, one that revels in the modern, suburban boogeymen.
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Even with so many heady considerations, Marvel Comics #1000 is a tremendously fun read"a testament to the longevity and influence of superhero comics. Excelsior!
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If any of this was intended to be exciting, or even entertaining, it fails to achieve that goal from the first to the final page.
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It makes for a delightful diversion with a slightly different perspective than normal, even if the final few pages devolve into endless dialogue.
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Like the overall story of Life Story, this issue tries to fit too much into a package that quickly discovers there's never enough time. However, there's more to be liked in these pages than not, and makes it clear that ambition is never entirely wasted.
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This issue connects dots between A and B, bridging a notable death with its unexpected consequences. Yet there is no tension or excitement to be found in watching that unfold in the fashion it does, only tedium and disappointment.
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Criminal #7 is yet another reminder that this genre-based series is not defined by its story, but by the immense imaginations and interests of two of the form's modern masters.
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As a culmination of the story so far, a meditation on failure and sacrifice, and set of tension-ratcheting compositions, Daredevil #10 thrills. It secures the series place as one of the absolute best superhero comics of 2019.
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Much of #2 reads as an extended explainer, setting up future plot elements, but never providing an entry point to enjoy the characters or their adventure. That overstuffed quality downgrades a story with many quality elements.
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There is no clear direction or purpose to what is occurring in these pages, and no evidence that this will change. Keep it.
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Ghost-Spider #1 functions as an easy introduction to the current status quo of the "Spider-Gwen" story, but moves at a glacial pace that hinders it from offering much to new readers.
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What is good is capable of being great and the rest appears ready to be drawn into that quality. That's just not the case in reading the first installment of this particular story.
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No matter how beautiful this comic might be, it remains an indecipherable mess at its core, one without a clear purpose or audience.
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While Pearl may be complete for now, it's a comic readers will likely continue to enjoy discovering for years to come.
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While the action is the most enjoyable element of Powers of X #2, there's plenty of momentum and new details added to a miniseries that continues to redefine itself almost every week.
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Without the typical narrative drive often found in superhero comics, the series becomes a study in character and style, one that does not disappoint even as it ignores the obvious next step to spend time exploring Metropolis and Jimmy's psyche.
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While Superman: Year One #2 isn't quite as disappointing as the series debut, it fails to deliver on high expectations, opting instead to muddle through a depiction of Superman that lacks charm or interest.
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The return of The Goon has delivered a potent mix of stylistic flair, characteristic action and humor, and topical moments.
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Whatever its faults may be, this Vampirella relaunch certainly provides readers plenty to chew on.
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While the overall effort may be uneven, it certainly delivers more good than bad in a one-shot brimming with evil intent.
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The spark of Superior Foes of Spider-Man is alive in Amazing #27. Not only is this incarnation of Boomerang recognizable, the non-stop banter and tonal fluctuations of his past series are on full display.
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Batman: Universe serves as a love letter to both the DC universe and Batman's ability to adapt to any genre or setting. Superhero comics are rarely any more fun than this.
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Event Leviathan #3 may not be the strongest issue so far, but it certainly gives readers a lot to consider ensuring they'll want more.
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It's a disappointing and flat second installment.
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This miniseries is already a lot of fun, and is set to deliver a lot more in its finale following a delightfully dense issue here.
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This issue may not provide the most satisfying conclusion to the mysteries and suspense introduced over the past couple of months, but it delivers an excellent story about family when read on its own merits.
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As a single issue Powers of X #2 is inviting and expansionary, but when considered as part of a much greater whole, it reads as titanic.
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Road of Bones turned a short and sweet concept appropriate for classic EC Comics into something that slowly starved across four months of unnecessary extension, bound to be forgotten as quickly as Roman's name in the minutes after completing this issue.
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Whatever comes next, this ending manages to capture the bittersweet nature of finite stories without forgetting that imagination is always unbounded.
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Beyond a few pages displaying a Heaven that is both wondrous and mundanely amusing, Second Coming remains a series that's far more interesting to dissect than read.
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The White Trees has reminded at least one reader how reading comics can feel like pure magic.
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. The finale does not disappoint and it appears that there are still many years of great Usagi Yojimbo stories to come.
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There is supposed to be excitement for whatever follows this cliffhanger, but it's hard to imagine being excited for Wonder Woman in its current state.
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Luke's journey was the standout storyline in this issue, reminding us that, at this point in his story, he is still desperate to learn as much as he can about the Force, even if it means taking advice from possible criminals.
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Daredevil #9 reads like an indie film, and that's a great thing in this instance.
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Deathstroke is weaving the genes of two parents stories together, with one proving to be far stronger than the other.
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Dick Tracy: Forever is a love letter to how characters evolve to reflect the times in which they exist, and it clarifies the potential of even an old school law enforcement agent to adapt for new challenges and ethical dilemmas. It's a symbol for how comics greatest characters can seemingly continue forever, when assisted the right, modern artistic talent.
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It's a quick status quo reset with some interesting new devices included, but no acknowledgement of the notable changes that have occurred or why they were so quickly reset like an inconvenience. In spite of that speed bump, this remains a stunning issue of Doom Patrol, one packed with a variety of styles and approaches to the page, all of which support this wonderfully eccentric story.
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This issue suggests that things may never be as they were in the Dreaming and pulls the veil back"if only slightly"on the puppetmaster causing the upheaval, drawing already engrossed readers further into the series' narrative web.
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Somehow, after more than a year of consistent excellence, Immortal Hulk continues to remind readers why it's the strongest superhero series around.
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All of it plays out like short scenes from a much-longer narrative, clips that don't quite complete a unique episode. That style of presentation works better in collection, but it leaves this one issue feeling slightly less than the sum of its parts.
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It's a slapdash rush to the big finale, one that leaves no room for excitement or anticipation.
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There is a dramatic shift in tone and style found in Sea of Stars #2, one that pines for the softer touch found in a debut that promised far better storytelling that what can be found on these pages.
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Thumbs #3 provides a lot more for readers to chew on, even in an issue that relies too heavily on splash pages and panels to speed things along.
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Measured by its own seeming goals, it is only a middling affair that offers a mixed-bag for entertainment and thought within the reading experience. In this case, being better than average can still be described in less than laudatory terms.
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While this might be worth picking up to peruse for Risso's pages, the collection rates a big "keep it."
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For those who have been with Black Panther since Coates first arrived, this is likely one of the series most rewarding issues and one that promises even more with its next installment.
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Death's Head is a series with all the right pieces (characters, talented creators, ideas) and it will improve if it can find a clear direction following this messy (re)introduction.
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If nothing else, the satirical sense of humor alone is worth the price of admission, however these moments play into the expanding new Green Lantern series.
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Reading the same comic essentially twice, and then again as you try it from start-to-finish or finish-to-start remains engaging. Given the length of this particular issue that seem almost impossible, and so Ice Cream Man #13 does the impossible in walking up to the very edge of its own formalist limitations without going over. For that alone it should be commended.
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Marvel Team-Up #4 is a better example of how to discourage new readers (of all ages) rather than invite them in. It could sorely use some of the confidence and charm on display earlier this month in Journey Into Mystery.
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Powers of X deftly expands upon the mutant mythos and addresses the nature of humanity's greatest challenges, providing a new legend and new meaning for the X-Men.
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No matter how much talk there is of gods and great magic, it cannot be filled with import in this broadly written and drawn outline of one of those stories that sounded like a good at the time.
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Building to the enormous 300th anniversary issue, Spawn #299 finally recaptures some of the series' core charms in an action-packed issue.
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Wherever Test may be heading, this is one series where many readers will want to buy the ticket, take the ride.
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It's a short story that captures the best of The Beauty and recalls a lot of energy to the core concept before the final couple of issues are released.
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The Goon #5 delivers exactly the forms of fun that first made the concept a hit, and are still plenty rewarding.
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This was a strange, largely directionless series, one that will be quickly forgotten beneath the continuing onslaught to Conan spin-offs.
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Fred Myers is the best part of the current Amazing Spider-Man run. His charm is every bit as magnetic as it was in Superior Foes of Spider-Man providing some much-needed fun for this cardboard presentation of Peter Parker.
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Archie vs. Predator II #1 delivers what might have seemed impossible, a rewarding sequel to a story that slaughtered its core cast and setting.
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This issue reads like tidying up before the big finale and fans can only hope that this overstuffed issue of narration is worth what comes next.
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Various characters float in space; individual encounters are provided too little detail or a unique enough perspective to leave much of an impression. The result is an unnecessary issue with little to offer even on style points. Pass.
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No matter how big the conspiracy behind the Jenkins Seed may be, this has always been a story about how families survive and rebuild in the wake of trauma. That is what makes this issue and the entire second arc strong as Farmhand prepares for future fireworks.
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All of "Year One" has been a slog and the final chapter serves as a summary of its substantial flaws. Keep it.
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No matter how beautiful The History of the Marvel Universe might be in its presentation, it's ultimately no better than the most tedious of college lecture halls.
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When this story hits its high notes, it's impeccable, but there are a lot of rough edges that undermine a very effective presentation.
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Lazarus remains a series well worth waiting for, especially when there is so much of value to be found in this extended format; a masterclass in modern comics storytelling.
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After five issues it's clear that Magnificent Ms. Marvel remains a flagship title and Marvel must-read.
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Rather than reducing itself to didacticism or platitudes, Ross and Busiek provide readers with the experience of the joy, hope, and sometimes fear that comes with change, ultimately encouraging superhero readers everywhere to embrace a better future, rather than wage war for the status quo. All of that accomplished in only 16 pages? That's truly marvelous.
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If every installment of Redneck reads like Redneck #22, I have been missing out on one of the best, current Image comics around.
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This is a great continuation of a consistently strong relaunch, one that shows how much Sonic holds when delivered with the right attitude.
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With only one issue left, it appears that The Wicked + The Divine will stick its landing.
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Considering its tire-spinning point in a larger story and lack of entertaining execution, this is one one-shot worth skipping.
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Wonder Woman #75 sets up a potential jumping on point for new readers, but serves primarily as a jumping off point for current ones.
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The notion of "order vs. chaos" is simplified to the stuff of metal posters here, dragging out the ending of the series just a bit longer with nothing of value to be added.
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The conclusion of this enthralling mystery does not disappoint, fulfilling every promise offered by the incredible first issue.
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This relaunch continues to interrogate all of the underlying issues that have made Daredevil a resonant character for decades, and it is only getting better.
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While Faithless may not work as anything highbrow, it does have the ability to inspire when playing for the supernatural slasher audience.
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Ghost Tree provides one of 2019's essential comics.
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Despite its presentation, there's nothing much fun or exciting about the events of this comic, just another banal presentation of a woman made ugly by her embrace of the masculine. Unfortunately, the newest creators associated with this property are ones readers should expect more from.
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It's an excellent single issue, one that perfectly encompasses why The Immortal Hulk is the strongest superhero comic there is.
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There's nothing in this issue readers haven't seen before, even in Mignola's own work, but it's all delivered very well and that's nothing to scoff at.
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Pearl has only improved across its run and this penultimate issue sets up a compelling finale by building a great deal of momentum.
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Ragnarok: The Breaking of Helheim delivers a welcome return to a tumultuous take on the myths of Asgard and one of modern comics' greatest cartoonists.
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The final few pages go so big with their implications and displays to make it clear this story is drawing to a close. That's for the best as neither these characters nor this reader want to keep traveling much further.
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With only one issue left in this story, it promises to be the crown jewel of this already dazzling collection.
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There are so many concepts struggling to function that they each stop one another from ever succeeding in this comics version of "crabs in a bucket" syndrome.
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Sakai moves into forms of humor and detection throughout the rest of Usagi Yojimbo #2, but this story falls squarely in the supernatural-suspense genre. Everything is conveyed with such confidence that even this familiar sort of story still provides plenty of chills.
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Vampirella struggles to find its footing as it attempts to offer readers an introduction to Priest's idiosyncratic approach and Vampirella, herself.
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While mileage will vary for different readers depending on their appreciation of the great artistic lineup, this issue turned what could have been a fun, minor celebration of all things Spidey into a mediocre cash grab.
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Batman Universe isn't about some grandiose philosophy or intense personal statement here"although the character's history still holds meaning"this series is about telling the best Batman story imaginable, and that's exactly what it is doing.
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It serves to place this story more firmly within the shared mythos and timeline of the series' fractured narrative, and sets up additional tension for the three central characters involved thus far. However, it lacks the drive that made Criminal #5 such a compelling hook for what is intended to be the series' longest story to date.
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This story is very familiar with all of the most common tropes in Flash comics and seems to think that repeating every single one of them is the best possible way to tell a new story.
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There's a lot of potential if the series avoids being overly cutesy and allows itself to simply be with a charming heroine in future issues.
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This would be a great standalone issue, and it's good enough to justify resurrecting the X-Statix for more issues to come.
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Whatever the new antagonist for this series might be, the series' creators are using it for maximum visual impact.
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This far into Oblivion Song (and Kirkman's career), it feels like a band that never quite got over its successful early work, which is unfortunate considering the incredible production work on display around these very familiar notes.
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Second Coming is a disappointment, a comic bound to stir up far more engaged dialogues than the one it actually presents.
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If this is the standard of quality going forward in Wonder Woman, then even fans would be well-advised to give the series a pass.
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If this is what is possible with a displaced set of DC's most charming teenage characters, then let's hope they never find their way back home.
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This is an issue whose mileage will vary wildly based upon one's nostalgia and knowledge of the past.
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Deathstroke remains one of the best series from the entire Rebirth lineup, even if it's the one most dedicated to its own continuity.
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If you've ever loved the Doom Patrol, in any of their many, many forms, then Weight of the Worlds cannot be missed.
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This already excellent series has reached a turning point, one likely to only expand upon its already notable strengths.
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The future has never looked brighter for this series, even if the light is from the glow of radiation.
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While the series may draw some well-earned and positive comparisons to Gotham Central, it's clear that Lois Lane is a series with its own unique merits, ones that make it essential reading in 2019.
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If Savage Avengers can continue to give into its impulses and ignore the serious air of gravitas that has hung on it like a widow's veil, then this could become a very fun, oddball sort of series.
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Those seeking a spacefaring adventure will no doubt be pleased by Sea of Stars #1; it's a beautiful first issue that delivers some jaw-dropping action and twists before the final page.
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If nothing else, new Millarworld comics usually have a strong conceptual hook, but Space Bandits' seems to be "what if we imitated a bunch of other popular media."
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The Walking Dead #193 wraps up the story neatly, but fails to recognize the early ambitions that made this series great.
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If Thumbs has something to say, then its a series in need of much more focus and a clearer direction in future installments.
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The success of The Wild Storm has always hinged on this being her story and she manages to take it home in spectacular fashion here. The Wild Storm sticks its landing.
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Despite its superficial appeal, Batman: Damned earns a big "keep it."
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While the overall scope of the issue is limited, each page pays dividends.
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This issue offers current and possible new readers an excellent jumping-on point with a tale that stands alone, while still building out The Books of Magic's mythology.
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A mixed-bag that rewards a quick read without too much consideration.
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With only one issue left to go, Oeming has shown Dick Tracy to be a hero suitable for every generation.
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"Year One" has emphasized Barry's relationships with two key characters, Iris West and The Turtle, yet it's clear in The Flash #73 that both of these essential individuals lack interiority or meaning outside of how they're defined in relation to Barry.
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The ghosts and guardians lurking in this comic are brilliantly designed and deliver some spooky action at the issue's end, but this book is really about the living and better for it.
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Each turn of the page in Head Lopper #12 offers new thrills and the promise that there's still more to come makes this conclusion so much sweeter.
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By the midway point the reading experience can feel like a slog, but the issue's cliffhanger at least makes it clear this won't be an issue for High Level #6.
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The newest volume of Kick-Ass is the dullest sort of violence without anything interesting to spice up its banal ugliness. Leave it.
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Fans of crime comics and oddball period pieces are bound to be attracted to Killer Groove as various down-on-their-luck individuals continue to unravel.
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This is an example of great ideas in need of additional refinement.
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This series delivers an excellent denouement for both its eponymous couple and the current state of the X-Men.
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Now that Spawn is on the precipice of #300, let's hope it focuses on its strengths and leaves these mountains of word balloons behind.
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From start to finish it's a lovely sort of laugh riot, one where there are plenty of jokes and most of them deliver a good-natured ribbing. Top that off with two of the best cartoonists imaginable for this material (Lafuente and Latour) and you've got a perfect recipe for an annual issue.
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Taken as a whole Steel Cage is a great way to discover some new ideas and creators this Wednesday, and is a concept that Ahoy might continue in the future with any luck.
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With so many characters and opportunities on the page, it would have been easy for this issue to resonate more than typically ignorable tie-ins, but that's exactly where it wound up.
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This is a perfectly self-contained issue of comics that packs in just about everything a reader could want from The Goon.
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This was once a series with charm, but it's clear in Thief of Thieves #43 that this comic book is long past its expiration date.
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Even for readers not current with Wonder Woman, this is an issue well worth taking a detour to read.
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With only one issue left to go, there are still plenty of surprises and Assassination Nation #4 provides the bounce board to set up this miniseries as one of the absolute best comics of 2019.
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With only one issue left to go, Shaw promises a satisfying conclusion, one that has he already laid out through his puzzles and careful attention to detail. If #3 meets the high bar set by this issue, then Clue: Candlestick may be the best mystery comic of 2019.
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In spite of so much happening on the page, this reads as a story that has wondered well past its period into an ellipsis.
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A Daredevil comic focused on the absence of Daredevil is turning out to be far more exciting than even skeptics might have believed.
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This issue, like much of Faithless so far, reads like a storyboard, a concept ready for some life to be poured into it.
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The penultimate chapter of Farmhand's second season is dedicated to setting up a lot of dominoes in what is looking to be an epic finale. However, the arrangement of those pieces leaves little space for the typical humor and familial sincerity that make this series a must-read.
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With a seemingly final ending provided for Hellboy, small tales like this remind us why his stories are beloved and how the same themes of self-determination and redemption remain powerful, even in a detour like this one.
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This is likely the best form of Hit-Girl and it's still an uneven affair, at best.
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It's an excellent example of how a superhero series can take a break from non-stop action in order to set up the next big cliffhanger and batlle, something the final pages of #7 do very well.
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It's another fine installment in a story that has significantly built on the strengths of its earliest issues.
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Rumble #13 is yet another stunning issue in a perfect climax to the series.
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Superman: Year One #1 is uneven and disjointed on a superficial level, and deeply troubling once one begins to examine its ideology.
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For those who are unfamiliar with Usagi Yojimbo, this presents yet another opportunity to experience one of comics' absolute best long-running sagas.
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Andre Lima Araujo provides every member of the team a stand out moment in their showdown with Ares, one that is fast and furious, yet never undercuts the fun of this story.
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This is a section of X-Men history, beautifully composed and thoughtfully assembled, but ultimately only a section from a truly epic tapestry.
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Jimmy Olsen #1 is the rare superhero comic that not only acknowledges the immense potential of its medium, but throws a lasso around its neck and leaps onto its back to see how far it can be ridden.
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While there might be an epic tragedy bound up in the threads of this mini series, it's served as a buffet, rather than a feast.
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While it might feel like a nice slap on the back for liking The Flash, it really just reads as a bore.
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Monstrosity and humanity are present throughout the cast, both those who appear terrifying and those who are all too human, and that makes the continued investigation of these questions awe-inspiring.
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Multiple timelines assist this tightrope walk as the central conflict only begins to be exposed on the last page, a chilling cliffhanger worth pursuing in the next issue of "The Conjurors."
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All the opportunities for building a new form of story are squandered in this issue of Oblivion Song.
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There are few better compliments to be paid to a comic and, if the rest of Silver Surfer: Black maintains this momentum, readies this story to join a pantheon of classic Silver Surfer tales and artists.
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Truncation doesn't serve these ideas well, and it's a good thing Mark Bagley is present to make so many ideas function in a limited page count, even if they don't function well.
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While the constant stream of dialogue leaves the issue feeling a bit overcrowded, it also makes the experience far more enjoyable than another unnecessary tie-in.
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. The result is that readers will likely be drawn out of the action as Wonder Woman makes its way somewhere that is, hopefully, much more engaging.
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While this miniseries is all set to go out with a bang, it's unfortunate how long it took in arriving at its destination with little else to add.
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There is a lot to unpack from this short story, both in how it examines relationships between human beings and their companions, as well as how it bodes for where Beasts of Burden goes next. This series has always been great, and yet it is somehow still getting better.
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Only one issue in to what is promised as the longest Criminal story yet, and "Cruel Summer" already reads as being truly special.
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Deathstroke is far from over, but this issue marks a significant transition in the series and an ending of sorts.
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The Green Lantern remains as ambitious as ever with no signs of slowing.
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It is a very different take on the character compared to Immortal Hulk, and provides an excellent romantic contrast to that series.
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With so many characters arriving from so many directions, the narrative is scattered at best and much of the actual plot is simply told to readers rather than shown. Unfortunately, that makes many of the small pieces of this issue far greater than the overall effect.
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It's an edge of your seat experience, if you've been invested in all of Stray Bullets, one that walks right up to the edge of a cliff and promises to jump next month.
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It is a story well told and an earned conclusion for the moment.
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In an era where dystopian tales are far too easy to find, Thumbs still catches the eye with ease. Character work still takes centerstage, offering a compelling story however one engages with the concepts on display.
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Tony Stark: Iron Man doesn't skip a beat when integrating itself into the "War of the Realms" event.
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While fans of the McElroys won't be surprised at their adept grasp of humorous dialogue, the penultimate issue of "Journey Into Mystery" showcases their flexibility as writers. This one has it all, including two raucous battles and a heist.
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It's the last third in which the premise of the series is finally, fully established that offers a big surprise and lots of reasons for readers to return, even if this issue disappoints some.
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This is another example from the current Black Panther run of a chapter that might function well as part of a collection, but lags as a single installment.
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This is one series that should have ended while the getting was still good, quite some time ago.
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This take on Daredevil is only getting more complex and every sign indicates that Zdarsky and co. have what it takes to construct an all-timer.
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All of the classic characters, settings, and dialogue are still present, but Oeming's brilliant sense of style makes it feel like an idea that could have been invented yesterday.
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While this may not be the best entry point to Hellboy, it's another excellent one-shot bound to make existing fans smile.
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Heroes in Crisis ends as it began, answering serious questions with cheap bromides.
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Immortal Hulk remains a steamroller of a superhero comic, and it seems that #19 will only make it all the more powerful and fear-inducing.
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When the story lingers on a one-dimensionally foulmouthed little girl, the seams start to show, but every sequence with even an ounce of action is enough to spark ample interest, wherever the script may be drifting.
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If nothing else, this is definitely what someone should expect from an issue of Spawn.
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Powell's occasional use of pencils brings the lowest lows of this issue into stark relief, drawing out the pain of a little man who will never understand why he continues to fail.
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There's still a lot to conclude heading into The Wild Storm #24 and the last few sequences slow things down considerably to reassemble the pieces, but the tension and promise of an enormous New York City showdown cannot be tempered much.
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There is so much to be unpacked in this series, and that has never been more true than in "X-Tinction" as the finale draws ever closer.
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If the rest of Clue: Candlestick is as charming and challenging as its first issue, then it might be time to reassess the original game given the quality of adaptations it has continued to inspire.
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Despite pushing the exclusivity and luxury of the fashion on display, every character appears to be dressed in the roughest of initial ideas. Most of the setting and individuals in them appear flat on the page, never providing much of an invitation for readers to be tempted either.
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Even as this ghost story grows bigger and more fantastic, the artwork infuses each moment with a remarkable sense of humanity.
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There's nothing in much of this issue that hasn't been played out with dozens of other teen superheroes in a very familiar fashion for decades. It's the last few pages that keep Miles Morales engaging.
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It's a tough trek to get through, albeit not as tough as the one these prisoners are facing.
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. If this is the bar for the current arc of Rumble, then future issues cannot come quickly enough.
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The first multi-part story of Slott's run took six issues to arrive at an ending that feels rushed and disconnected from each bit of a crowded epilogue.
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The action at the end provides a nice change of pace, but the reason to keep reading is how well the B- and C-list members on this journey into mystery are elevated by dialogue and pacing.
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Replacing some antagonists with hellish-looking characters from Norse mythology doesn't do much to improve a scenario that would have felt played out in the Baron era. Keep it.
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No matter how well depicted Diana and all of her divine colleagues might be drawn, this issue's resolution is rote at best.
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It is a well-told bit of comics, but one that does not offer many reasons to pick up Black Badge #11.
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Daredevil #5 is the rare mainstream superhero comic that forces itself outside of mainstream conversation. It refuses to play by the rules of the game, removing the gloves and pretense of boxing in order to confront the real costs of violence. The result is not pleasant, but it demands readers' attention and engagement.
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Farmhand #8 is a bridging piece that hinges on a single encounter, but it's another testament to how well conceived every element of the series is and why it stands out as a must-read in a very crowded field of new creator-owned series.
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Even as it prepares to set up much bigger conflicts, both internal and external, Immortal Hulk never provides more than a moment to gasp while reading; confirming its status as Marvel's pre-eminent horror comic.
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There are all the makings for the best Joe Golem story thus far here.
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There are lots of women in this comic book, but they are primarily an excuse for "empowering" action, including a new villain who is barely distinguishable from every antagonist that preceded her. That same action is functionally dull, doing little to impress.
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The newest issue of Oblivion Song functions as an extended call to action, moving a handful of characters into place for yet-to-be revealed twists and turns. It's a bit thin and whatever small beats are scattered among the moving pieces don't really work.
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Wherever the series goes from this turning point, it is absolutely confident in how it can balance and present so many different modes of a surprisingly fun crime story.
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Life Story does not suffer from a lack of ambition, but it does struggle to channel its massive scope and history at the midway point.
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While the concept is clear and offers plenty of potential, the execution of this issue fails to deliver.
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While the story is competently told, there's little that will stick and that makes it difficult to recommend this story, even if it lacks obvious flaws.
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Border Town continues to astonish on every page and shows no sign of stopping.
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Even in this amplified world of master thieves and ominous mobsters, there's a strong strand of truth that makes every joke and injury hit home.
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This is a series that alters very little and does so in an incredibly tone-deaf fashion.
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Farmhand remains one of the best news series of 2018 and one whose return will be eagerly awaited.
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This is a stunning issue and yet another reminder of why Immortal Hulk is the definition of a comics must-read in 2018.
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Even as it threatens to unmake most of reality, Infinity Wars never delivers a consistent purpose as it winds its way towards whatever sort of arrangement will compose its finale.
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Given more space to breathe, it's possible to see this story hitting the same highs as Justice League #11, but the pressure is too great for just one issue here.
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The series continues to disappoint as it builds upon a base of sand, one that claims big ideas, yet refuses to grapple with them.
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If the rest of Marvel Knights 20th and the new Marvel Knights series to come can maintain this momentum, then it has every bit as much potential as its inspiration.
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Much of Spawn #291 reads like an illustrated Wikipedia entry.
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Even when some events that could be characterized as action actually arrive, the explanatory dialogue maintains its onslaught and slows the pacing so much as to kill any opportunity for excitement to occur.
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In any event, The Dreaming is a case study in how to tackle big ideas without alienating readers.
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Characters are flimsy and the action is steeped in lore that has not actually been grounded in the pages of The Unexpected. There is nothing to be signified by all of this storm and fury; keep it.
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As The Wicked + The Divine approaches its final story arc this December, "The Funnies" makes for a loving farewell enriched by a deep knowledge and appreciation of its source.
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The scheme bringing the protagonists of Gotham City and Riverdale is finally unveiled and it's very bit as colorful and fun as what fans of the classic Batman '66 series might expect.
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For any readers who have been on the fence, these pages make it clear Black Panther is a comic to watch closely as it continues.
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While it's possible to see the individual elements that make this story engaging, including another impressive set of backdrops for this era, the overall construction of the story is lacking in its climax.
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This issue is the rare fifth week crossover that should simply be skipped altogether.
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There are still great ideas in this issue and series, but its an open question whether they'll ever find their way onto the page in a format worth trusting again.
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After only two issues it's clear that Heroes in Crisis suffers from many of the same problems as most superhero events, but has dressed these topics up in a serious tone that disallows even the possibility of stupid fun.
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As a single issue, Hex Wives #1 may be fairly described as middling, but as the foundation for an ongoing series it is nothing short of thrilling.
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While there are also hints of what's to come, this issue is all about how different people come to love one another, and it provides a great summary of a classic friendship.
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What this issue does have in common with prior installments is an overall sense of messiness, now with an unnecessary factor of poorly considered ethics.
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Even with the stakes so high, this series remains an absolute delight to read, capably evoking both laughter and shock from a single panel.
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After so many issues of introduction, The Wild Storm seems to have finally reached its destination. The players are named and sides are set. Even as this issue focuses on framing the tension is palpable and promises exciting things to come.
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No issue has better defined why Brian Michael Bendis is the right writer to steer the Superman line of comics than Action Comics #1004.
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This is the best issue of the new Amazing Spider-Man so far and sets up even more good things to come.
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As this showcase continues, it is only increasing its capacity for fun while Jones remains the stylistic dynamo readers have come to know across so many years of great Batman stories.
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Every page and gory detail of this series continues to stun, providing a big reason to check it out, if only the scripting would get out of the way.
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There's nothing that makes this story stand out from Dredd stories of the present or past, and any reader will quickly realize whether what comes next is something they'll enjoy.
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While Moon Knight #200 is as messy as most special issues of a long-running series, its approach to the character and story of the past few years provides lots of reasons to love it, flaws and all.
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There are some truly great action sequences, but Return of Wolverine remains something best left on the shelf, no matter how stylish some pages might be.
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Scarlet improves its pacing and style in its third issue, but still shows a lot of necessary improvements to be taken as seriously as it is offered.
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As far as superhero events go, Spider-Geddon #2 is the definition of a cash grab, taking money and providing very little in return besides disappointment.
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The result is an issue that drags on and deflates every point it is trying to make along the way.
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Throughout the decades of Usagi Yojimbo, there have been many great introductory stories, and "The Hidden" is already prepared to join their ranks as both a grand adventure and sweeping historical narrative.
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Superhero events are intended to be exciting, vivid affairs, and that is exactly what Wonder Woman #57 and the rest of this event is not.
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As an individual unit, it's not the most exciting superhero comic of the month, but what it does deliver is everything necessary to start some real fireworks with characters, concepts, and conflict all in place by the final page.
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A handful of striking visuals boost this otherwise bland experience, but a well framed silhouette isn't nearly enough to salvage this miniseries.
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There is a great deal of craft on display here, but it still feels decidedly part of the wrong format.
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As Cover shifts its focus from establishing connections to the comics industry to the work of spycraft, the premise clicks into place and every idiosyncrasy becomes much more interesting.
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There's a fascinating notebook packed with ideas on this world, but the introduction in this issue falls far short from producing any desire to pick up the second issue.
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As East of West begins to write its ending, with only seven issues remaining, it is clear that the series is as strong as it ever was.
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It's a stunning end to a stunning issue, a perfect wrap up for the first collection of one of 2018's best new series.
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The third arc of the new Hit-Girl series takes its hero to Rome, which would at least provide an interesting setting if readers could see any of it.
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It introduces the threats, twists, and stakes for what is to come within the consistent tone of Justice League, never disrupting the series rhythm for the sake of the larger picture.
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Despite all of the window dressing, this is pure anti-climax.
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Characters remain two-dimensional, with cliche tragedies and vague Yakuza allusions used in place of actual nuance. It's a disappointing disparity that pulls away from the initially immersive reading experience, and a tension that needs to be resolved quickly.
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As far as mediocre event tie-ins go, Peter Parker: The Spectacular Spider-Man #311 actually manages to be a decent one.
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After a story that managed to build both some top-notch superhero sequences and some deep emotional ties, the conclusion of this story misses in a big way.
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Giant monsters. Ancient love stories. Hydras and dogs frolicking. This is an issue that runs the gamut from hypermuscular action to ridiculous frivolity and nails every note in between.
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Wherever it goes in its quest to define a rising star, the skill and strength of this team is enough to make it worth discovering issue by issue as Shuri continues.
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The promise of Stray Bullets is that each issue delivers a unique experience. The increasingly complex plotting of "Sunshine & Roses" undermines that promise in a big way here.
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The whirlwind romance of The New World is at its absolute best here in a moment of human tenderness and understanding embedded in so much chaos.
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As strange as it may seem, this interlude has surpassed the main show in Thor.
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Gags, action, and a moment of genuine goodwill all land well and make for the first issue of this new volume to really click. If this keeps happening, then Amazing Spider-Man will be a series to watch.
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There's not much to note beyond needless sacrifice and droning conversation in an issue that serves as a perfect jumping-off point.
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As Captain America zeroes in on some very specific action, the series delivers its most limited and most exciting issue so far.
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This is a series capable of being many things at once, leaping between tones with grace and delivering a compelling, complex experience in a single issue.
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This is still a series that loves twisting the narrative and surprising readers, and it manages to do so in a very big way in its final two pages: two of the best pages in this outstanding series so far.
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This is one event that is already ready to be forgotten.
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No matter how complex the plot becomes, this is a story that appreciates the simple pleasures of a well-told detective story.
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This is simply an issue without a purpose, filler and recap building to the hook that is provided everywhere but in the actual story.
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While Kick-Ass #8 showcases some craftsmanship in storytelling, the story itself, in words and visuals, never rises above its most base and ugly observations.
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In this moment the experience remains a roller-coaster ride, and it works very well in that mode.
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While it would be very easy for the jokes and emotions of this moment to fall flat, they flourish here. That's the sort of storytelling which consistently makes this Plastic Man revival worth reading, and it stages the small and large stakes for the final issue beautifully.
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While Sleepless remains an enchanting and exciting story, this is one issue that must be experienced for the artwork alone.
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One element absent from that feature is the Inheritors, and this issue makes it clear why that is. Even when their complex history is succinctly explained, they remain visual non-entities, dragging down every colorful page they enter. What is far worse is how they replace excitement with cringes and confuse random death with stakes.
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While the larger story of the Wildstorm reboot marches on, this tangent can be ignored.
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Wonder Woman #56 is a poor representation of the entire comics medium, and is best left behind.
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Rex Luthor's gang of childish supervillains prove to be an entertaining distraction for most of an issue that runs in circles.
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From the slightest character notes to the boldest monsters, Border Town remains an absolute winner.
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. There are a million directions for this concept to go and its debut provides a very sure footing for whichever way it chooses.
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There may be a worthy discussion of what this series could have been, but with only one issue left it is clear that it will never reach any potential that might have existed.
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There is simply nothing there making a large section of this issue a waste. When it returns to the spy action it stuns, but the cost for reaching that point may simply be too high.
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The real joy comes from the careful attention to detail with small elements of Superman's office and other places revealing a well-considered appreciation for each of these heroes and what they mean.
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Despite all of its indulgences, this is a great little comic with the notable strength of restraint.
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Spawn #290 is never aware of the massive gap between intent and execution on almost every page though, and it results in a reading experience that is truly bizarre and rarely interesting.
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This issue offers another odyssey deep into the Dreaming and promises much more to come.
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For the first time in The Magic Order, much of this emphasizes dialogue above all else and exposes the hollowness of the entire series as a result.
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Like so many of the New Age of Heroes titles, The Unexpected has somehow forgot to craft a story worth telling.
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The Walking Dead is playing with fire, but each new relationship and problem that is discovered in this issue shows the value of trying new things and touching on difficult topics, no matter what comes next.
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While the finale might still be exciting, this issue simply asks the question of why anyone should care.
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The core concept is strong, but this issue simply lacks the ability to execute upon it, making it the first weak installment of Tony Stark: Iron Man so far.
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Despite having a great idea, this is a comic that never has the confidence to actually tell its own story, which means readers should give this one a big "keep it."
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The result is one of the least compelling invitations to a superhero event in more than a decade.
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Action Comics #1003 is yet another strong entry in this Superman renaissance.
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After a very disappointing opening arc, hope springs eternal as Amazing Spider-Man begins to course correct.
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There are still some fine moments, including a top-notch pairing of '66 riddles and fisticuffs, as well as some very well written jokes. Yet Archie Meets Batman '66 chooses to live and die by a style crafted over almost a century, and minor flaws in this installment add up in a big way.
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Using fear gas as the basis for a showcase of Kelley Jones' Batman artwork proves to be a great idea as the second issue of "Kings of Fear" tosses reality to the side in about half of its pages.
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This issue feels like a genuine turning point for the entire story, one that is offering ample depth for its characters and setting, all while establishing much darker twists and turns to come.
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There is plenty that occurs in Black Panther #4, including an action-packed escape sequence featuring some surprising changes to the status quo, but none of it feels like a distinct issue.
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With every issue of Edge turning out this well, the prologue may very well turn out to be the very best part of Spider-geddon.
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Heroes in Crisis is far more engaged with the idea of seriousness than any ability to seriously interpret the world, and that makes the greatest tragedy of this comic the comic itself.
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It is a mixed conclusion to this arc, one with more good than bad, but enough of the latter to miss greatness.
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When future list writers form compilations of the greatest issues of Spider-Man ever, this story will have earned a place among many other classics.
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For a series with such a potent premise, there remains very little worth discussing in Scarlet.
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It is a great send-off to this series of backups, issues that have grounded the ongoing series in history.
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An offering of action sequences, alien gaslighting, and a great splash page will give fans of these two characters something they will likely enjoy, but there's not much to lend this story depth or legs.
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Batman: Damned is not so much read as relished, enjoyed for individual elements that do not add up to a stronger whole. That level of craftsmanship affords it the label of interesting, even if it would not ordinarily be categorized as good.
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There's still potential in Black Badge, but the series doesn't move toward realizing it in its second outing.
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As a mystery there is still plenty to pick apart and enjoy, but there's little else to be savored beyond the historical presentation by this chapter.
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This Annual takes a classic superhero story and executes upon it with great purpose in a manner that makes it feel both timeless and exactly like what readers might need in 2018.
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This far into the story the spectacle of Curse Words has begun to wear off as all of its extraordinary designs have become expected and the long-term plans at its center may not be enough to maintain momentum.
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Days Of Hate is paced in a novelistic manner, one that benefits a reading of the first collection, but can make the breakdown of its second half seem questionable at times.
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We can only hope this team is given a chance to do more with Spider-Ben and Spider-Pete, as this is a tremendous issue of superhero comics that deserves a future.
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It is yet another reminder of the potent range and abilities on display in this series, and why Flavor is one of the must-read new series in 2018.
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Whatever interpretation is applied to Hit-Girl #8, it remains yet another installment in a series with a shallow premise and a schtick that has been repeated too many times to shock or surprise.
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It's another impressive issue perfectly sized for a single issue.
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Even as Immortal Hulk refocuses itself on an ongoing narrative, it still provides a couple of unique twists to each new installment.
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Justice League #8 accomplishes exactly what it needs to in binding multiple stories together and building plenty of tension for what comes next.
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The double-sized length of these digital exclusives is proving to be a very valuable feature, not a bug, as shown by this riveting middle chapter in Luke Cage's battle against Everyman.
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Across five issues, New Challengers has never found a driving purpose behind its tale, and this expository installment fails to offer any new reasons to stick around.
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Pearl is still a visually striking comic, but one that may not even be aware of where its greatest strengths actually lie.
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As both a single installment and a built to the final chapter of this story, Quantum & Woody #10 excels.
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The island discovered in Rumble #6 is already presenting great new opportunities for characters to show off new aspects of themselves, even as it builds upon the series' mythology and visual dictionary in notable ways.
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This is a well paced chapter packed with almost every character you could want in a Sonic comic, and it perfectly sets up something even bigger for #10.
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This is a perfect blend of the heavy metal style that defined the start of Jason Aaron's run and something appropriately epic as it approaches its end. Most importantly, it is a whole lot of fun to read and re-read.
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There's simply no denying Sakai's mastery of the form, and "The Hidden" seems ready to take a place amongst his greatest accomplishments on Usagi Yojimbo.
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West Coast Avengers remains one of the most entertaining new superhero team books of 2018.
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There's absolutely no doubt that the build to this showdown pays off and gives fans of Witchfinder, and Mignola-verse comics in general, a great ending to this miniseries.
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This has been a deeply disappointing relaunch and the best thing to hope for is that #6 provides an opportunity for a fresh start in the wake of a story that served as more as a jumping off than a jumping on point.
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No recent issue in the Mignola line of comics has better captured the entropy of Hell coming to Earth than this one; you have been warned.
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There is no doubt that individual elements of Cemetery Road are great; Howard produces some of the best action sequences of 2018 and Ellis' dialogue is in top form. Yet the narrative lacks clear form and there seems to be little call for reading the story in monthly installments rather than waiting for it to cohere in a more fitting form.
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Skip Exiles #8 and come back for the next actual step in their ongoing saga.
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After making small moments seem grand in #1, the series has managed to make the epic seem unfortunately dismal here.
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Farmhand continues to expand upon a world that was already plenty vibrant in its debut and give readers a bushel of reasons to tap their feet until the next issue arrives.
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This comic never features a dull page and is a valuable reminder as to why any Image Comics reader should be excited for the return of Head Lopper.
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At the midway point of this event, it's unclear what the purpose is so far or why it might be worth sticking around.
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While this version of New York City that functions more like Venice is still a truly fantastic setting, "The Drowning City" #1 fails to provide a hook beyond the quality of its visual storytelling.
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The Howling Commandos landing on a living, monstrous island is a premise rife with potential, but "Birth of Krakoa" never manages to explore any of the introducing opportunities to satisfaction.
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While the story doesn't move forward much in this specific issue it casts its gaze ahead and there's a lot of road to start running as of the final page.
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After last month's melancholic reverie, this Sandman story takes an unexpected turn that provides some big action and even more introspection into what the life and legacy of the Sandman means in Marvel Comics.
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While that doesn't necessarily bode poorly for the future, it is a bit of a letdown following the excellence instilled in #2 and #3.
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The overall effect is a welcome return with the promise of many secrets to be revealed very soon.
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Superman #3 has plenty going on and captures Superman's voice and approach perfectly as it slowly builds to something bigger.
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Even as the story is superficially changed, the actual act of reading The Beauty feels no different and that is a disappointment.
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It is not even interested in what made this story great at its debut and is designed for creators and readers primarily interested in the comic's continuation and conclusion for their own sake.
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The New World #3 features one of the most thrilling standoffs in comics in 2018. A series of horizontal panels build a perfectly tense countdown to the explosive sequence that follows complete with grenades, swords, guns, and the claws of a cat.
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Aja's choice of imagery, starting with a tortoise entangled in six pack rings, is haunting throughout and will leave The Seeds in readers minds until the next issue arrives.
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As the series prepares for its final story to begin, it's apparent that every twist and turn has been anticipated and they are deployed with incredible skill here once again. Whatever happens, fans should only increase their expectations based on this quietly stunning installment.
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While the final arc of "Michael Cray" has lagged, this penultimate chapter does a fair job of setting up the series for a substantial finale.
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Wonder Woman #54 sets very high expectations for the battle to come and lays out characters and stakes in a manner where they could tumble as quickly as a Jenga tower.
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Black Science is at its best in moments of sturm und drang and high adventure, and there's enough present here for the issue to get by. Yet so much of the page is spent in captions and monologues that stretch points with minimal depth too far.
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Border Town #1 declares itself one of the best new comics of 2018 with an entirely earned sense of bravado.
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The result is the best issue of this new volume, one that skillfully blends Coates' rhetoric with the most stirring bits of superhero and spy action so far.
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There isn't enough to Cover #1 to provide much interest in the future and if this idea is to really take off, it will need to readjust its approach quickly.
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The series is still primarily a charnel house, but it's not without its moments.
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As both a Deathstroke and Batman narrative, this story has been tremendous in how it humanizes both men without ever diminishing the genre elements that define them. A must read.
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Even as Hulk steps out of the shadows this series does not skip a beat.
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In the midst of so many heroes and villains, such an enormous scope, and an incredible array of new ideas, Justice League finds its center and brings its titanic opening story to an impressive close.
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This issue is another consistent installment that sets high expectations for the finale ahead.
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This series has done a tremendous job of humanizing him without forgiving or dismissing those elements. That makes for a very strong ending to one of the best Quicksilver stories ever.
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In a week filled with ongoing stories of superheroes, Silver Surfer Annual #1 reminds us how much can be accomplished in a single issue and how special the Surfer is within the Marvel pantheon.
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In spite of the many "twists" in this issue, the reading experience feels more like drudgery from start to finish.
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There is already a rich setting and enthralling cast of characters ready to explore new terrain, and it's exactly the sort of comic far beyond the norms of the industry that could capture the imagination and undying interest of even the most unlikely readers.
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While this isn't a must read comic, it will likely provide a very specific audience with some solid laughs and a perfectly sized dose of nostalgia for an event that is truly a mixed bag.
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Like every installment since the series' debut, this one falls far short of expectations.
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Rather than linger any longer on questions of ambiguity, The Walking Dead has embraced didacticism and is using the same approach that has worked for horror and war to something much more political. Watching it unfold is undeniably interesting at the very least.
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As narrative captions fade from panels the issue dramatically improves and promises the potential for an impressive story to follow.
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This is Russell at his absolute best, hammering on a wide range of issues through a lens that feels like it shouldn't work, but absolutely does.
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While the last few pages move too quickly towards resolution of a very tragic battle, it still makes for a stunning reintroduction of one of the best new Spider-people at Marvel Comics.
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There is a lot of promise to be found in the premise and its presentation, but this issue doesn't move in a direction of realizing it.
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Events continue to race along, but the weight of history is heavy in what continues to be one of the absolute best looking superhero comics to debut in 2018.
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It's an engrossing start for this miniseries, one that will leave horror fans unable to look away.
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It's everything someone could expect from a great Jessica Jones story from top-notch banter to a star-studded tour of Marvel characters. Jessica Jones is a blast.
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With not much in the way of enjoyable action either, this is a miss for both the writer and the character.
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It's turning out to be a very good thing that Marvel Two-In-One wasn't forced to wrap up early, as it's a top-notch story for both The Thing and Human Torch.
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There is a great comics story to be told about the historical and current divides within American society, this simply isn't it.
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The world and action are still stunning, and that's a good thing because they distract from some apparent shallowness in this continuation.
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It's unclear if this was intended as a cash grab or an important addition of context for the upcoming movie, but it clearly is a bad idea.
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The conclusion of "Second Genesis" grows this story more than any of the previous three issues and make the final installment of "X-Tinction" seem even more ambitious than even these existing issues.
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X-O Manowar delivers a great ending to this arc, one that strengthens the series that came before and the one that still lies ahead.
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While there's an obvious love for Spider-Man lore and plenty of ideas simmering in subplots, they don't have much to offer in this issue and can't provide enough hope for the future of a relaunch that has already lost most of its luster.
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Fast-paced action, iconic designs, and nightmare sequences all build into an unforgettable reading experience. This won't change how you think about Batman, but it will certainly raise your expectations for how the vigilante is depicted.
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Whether or not you've ever heard of Beasts of Burden before, this introduction offers a great starting point, one that already appears to be leading to even greater thing.
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Whether you're coming to Black Panther for a meditation of colonialism, superhero spectacle, or T'Challa at his absolute best, you're bound to be satisfied by this new installment.
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It's a disappointing second chapter, one that does little to play on its premise or move the story along.
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This issue is only for fans who are already dedicated to the series and possess a completionist mentality.
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Days of Hate settles back into its narrative much like a fresh episode of television after a break, complete with a caption denoting how much time has passed.
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The second issue of Die!Die!Die! doesn't slow down in the slightest. While the level of gore and action is no longer shocking, the method in which they are delivered and twists from within the limited cast of characters upset the stock tropes of the genre.
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In the world of action comics there are far more inventive and captivating stories and this well trod ground just doesn't deliver enough to match its cover price.
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The newest installment of Jughead: The Hunger reads like a giveaway on Free Comic Book Day. It's a summary via newscaster of everything that has occurred in the series so far with only one notable addition to the ongoing story; that seems gratuitous considering there's a recap page providing the same details before the story even begins.
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Overall, "Inferno" is exactly what readers have come to expect from this line of stories, a nice introduction for the youngest superhero fans with artwork that will likely only match the taste of those already watching its cartoon inspiration.
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The final chapter of Mother Panic provides readers with three climaxes, struggling to tie up every significant plot thread in the series and deliver a possibly permanent conclusion for the character.
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The story is there, but there's little tension to be found in its presentation. This is a disappointing follow up to a great introductory issue for the arc.
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West Coast Avengers #1 embraces the oddball and comedic status of its cast within Marvel Comics, but that doesn't stop it from providing one of the best team debuts from the publisher this year either.
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While there's certainly more potential to be mined from this story, it cannot be denied as one of the great superhero spectacles of August.
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It's the best installment in the series so far, but that's still not high praise.
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All of the right elements are still in place, but there's simply not enough of them to maintain momentum here, much less accelerate.
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As Young Animal enters the rearview mirror, Cave Carson Has An Interstellar Eye holds a proud place in its history.
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The sequel to Edge of Spider-Verse is shaping up to be just as much fun on an issue-by-issue basis as its presentation of a punk Spider-Man's world offers up plenty of new takes on characters.
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Flavor continues to be one of the most colorful, inventive, and engaging new series of 2018; a must read for any fan of Image Comics.
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This is a true treat of a comic and one that will likely leave Ice Cream Man skeptics, like myself, coming back for a second and third serving.
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The second issue of Infinity Wars is almost all filler with very little killer, which does not bode well for the next several months of the story.
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This issue is a mixed bag, but one that still makes the future look promising.
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Luke Cage delivers another strong debut for Marvel's new digital original line.
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With only two installments left, it looks like the entirety of New Challengers will earn one enormous "Keep it."
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The aesthetics of this story are the best form of what they are, and it will surely delight fans of this longtime collaborative duo who co-created Alias and introduced readers to Jessica Jones.
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This issue may be a touch overly indulgent, but it's still a fun read.
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Rumble fans rejoice; the series is back and as excellent as ever.
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There's a new character and plenty of action for Sonic fans to enjoy in this month's installment.
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Every plot point and visceral detail of The Magic Order is designed and delivered with the subtlety of a hammer.
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Gillen and McKelvie have made the act of exposition incredibly entertaining as they fill in the gaps of this story in the build to its final arc.
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It is an effective introduction to a series that is sure to feature far wilder moments ahead that doesn't let readers forget about the people waging this war in its final pages.
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This issue shows off the design of the current series at its best, building on big ideas and plots simultaneously delivering a satisfying adventure with its own conclusion.
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There's mounting action on all sides as the stakes and threats grow ever larger. Even with a general absence of action it's difficult to not allow your heart to speed up a little bit when reading this installment.
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After a slow burn "The Gates of Heaven" takes off in this issue and prepares itself for an epic finale.
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After three issues, there are fewer reasons than ever to hope this series will improve and it may soon be time for even diehard fans of the webhead to jump ship.
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This is one of the true turning points in the stories of the B.P.R.D. and it will have repercussions for years to come.
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Black Badge is an example of a comic where the elevator pitch holds more promise than the executed premise.
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This very fast-paced series slows just a little bit and the results are excellent.
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Fantastic Four is once again the world's greatest comics magazine.
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Farmhand remains an immensely enjoyable new series capable of capturing your attention in every panel for a dozen different reasons.
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It's genuinely hard to believe that even a publishing house with an ongoing relationship with Chaykin like Image Comics accepted this submission. Keep it.
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It's still a visual treat, but one that doesn't match prior issues and sputters out in finding a way to wrap up the events of the miniseries.
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There are some high stakes present, but readers are never asked to cringe, only to allow their eyes to bug out like they just got hit with an extra-sized dose of adrenaline. It's something this creative team is more than capable of delivering.
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There is a real sense of momentum to Oblivion Song again, more than enough to keep fans of the Skybound line interested beyond this first collection of issues.
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As this story continues, it only gets better, and will likely leave readers begging for an ongoing if that trend continues.
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As "No Surrender" hits its penultimate chapter it begins to stall for time.
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It is a visceral read and one that will certainly please a specific set of readers for that exact reason.
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As an individual issue, there's far too little in these pages to justify the price on the cover.
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After four issues, the one-two punch of truly despicable takes on Wonder Woman and Constantine have lost their luster.
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All of the heart present in Wonder Woman #51 is quickly forgotten for a story driven entirely by functions of plotting and continuity.
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The action sequences are simply unbeatable in comics today and Fiffe manages to reimagine at least one common trope in a manner that will leave jaws on the ground.
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It's a smart take that utilizes the history of Captain America well, carefully raising complexity and resisting any urge to deliver trite answers or resolutions.
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Whatever thrills that might have been embedded in this shoddy idea are ripped away with bizarre tonal leaps, moving from theatrical sturm und drang to a "rad" one-liner. Keep it.
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This story is all set up for a truly explosive ending next month.
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As the series makes a transition from the individual stories of the first three issues to its first big cliffhanger and a more expansive plot, it's clear that everything great about Immortal Hulk is here to stay.
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While the concept of Legion of Doom issues are solid, this installment reads entirely as filler about killers.
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There is a tension between the life on the page and the coolness of its spoken words. While that might not make it the most thrilling or entertaining comic of 2018, it does provide a story that is absolutely fascinating to pick apart and engage with as the reader becomes another voice in the conversation it is hosting.
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Spawn unleashes a lot of chaos after he returns to prison in this issue, but there's incredibly little tension to be found in the proceedings.
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The Highest House is an immersive comics experience filled with wonder and ideas that tie the personal and profound together. Let us hope there is much more to come.
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The Seeds #1 is nothing less than an exceptional comic book, the sort that reminds us what art can achieve even in its mere introduction.
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With a narrative that has lacked from the start, it is Miller's unique eye that has always been the essential attraction to this series and even that is somewhat lacking as it draws to an unimpressive close.
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It's an unfortunate sophomore installment that is boosted largely by a choice of great C-list villains and Ottley's excellent work in two action sequences featuring those choices.
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While it takes plenty of time in doing so, the newest Britannia series sets up a great mystery that will compel fans further into the series.
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The final issue of Descender doesn't pull any punches and delivers on the exact prophecies and logic it has provided foreshadowing on for the past year.
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The epilogue of this series tries its best to have that cake and eat it too, but the final page is downright groan-worthy, a terrible cap on a series no one will likely remember.
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It may just be the lack of wanton violence and gratuitous cursing, but Hit-Girl provides the slightest bit of charm when taken out of her element.
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Like so many other event primers before it, there's a real question as to why this issue needed to exist.
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There isn't much new, or worthwhile, being said here, but it's still a solid tale that captures the politics and attitude of a good Judge Dredd read.
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The heart of the story is still evident, but it's buried beneath too much muddy and repetitive storytelling in this issue to make the effort of caring worthwhile.
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One last design on the final page is a great reveal and could lead to a more satisfying finale, but this penultimate chapter is prepared to end the series on more of a whimper than a bang.
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This first issue makes it seem like there isn't much more to The Long Con than the elevator pitch, which is a genuine disappointment.
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The New World #1 is a much needed reminder that joy and struggle occur simultaneously.
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This prequel story continues to drone on like its titular hero's namesake.
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In just one issue Wonder Woman already feels dramatically improved.
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There is not much to this issue besides the asides, but those asides are likely to evoke both widened eyes and some laughter, making it worth a look.
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This issue fails to be either a great single story or intriguing part of the ongoing narrative. Instead, it's just a reminder that there is potential within these pages, but also that it's bound to be wasted.
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This is a real treat of a first issue, one that encourages readers to just enjoy themselves for as long as it lasts.
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As the end approaches, the big picture keeps getting bigger for this series.
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This comic is a bludgeon, but never in the way it seems to think of itself.
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It's not a perfect first issue, but it certainly offers plenty of hooks to keep you going.
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Delight, drama, tension, and mystery are all evoked with seeming ease throughout this thrill of an issue, a third installment that again declares Flavor to be one of the best new series of 2018.
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This is an achievement of editing, plotting, and style, one that shows just how much gamma radiation is left to be wrung from this decades old monster. Keep it coming.
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There's a perfect combination of humor and action, as the story continues to center around the Guardians of the Galaxy with just enough additional pages to move other characters into place.
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There is simply a lot to like about this comic that serves as both an introduction and continuation of one of Marvel's best. What a pleasant surprise.
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This issue will get you from point A to point B, but also leave you asking what the point of it all was.
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There is a careful balancing act occurring within these pages as the pure amount of story pushes the staples out of the issue, but it will be an impressive display if it all coheres by the final page.
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This comic is hateful, cruel, and irredeemable. Keep it.
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At this point it is valid to ask why is this story being told and who is it for, because the answers are entirely unclear.
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It's clear that it's meant to make way for the new Amazing Spider-Man status quo, but it also undermines some of the most meaningful elements of a truly great Spidey story.
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Much of what occurs is reminder and set up, but that doesn't make it any less enjoyable at the start of what looks to be another amusing adventure.
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The Magic Order opens with one of the most bizarre sequences written by Millar in years before continuing to confuse crudity with maturity.
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There is a careful balance being struck between heavy metal fun and the terrible onslaught to come, but it's a tightrope that both Aaron and Del Mundo walk exceedingly well.
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Just like its titular character the series has a lot of great ideas to work with and some notable vices; it's still unclear which half of that equation will win out as it continues.
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While the series might be a mixed bag, it is just good enough to not be dismissed at the end.
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Much of this new miniseries is focused on referencing the lore of prior Hellboy stories, albeit ones that technically occur in the future. While it may be a delight for fans to see Panya or visions of an apocalypse already come to pass, it leaves the mystery of "The Gates of Heaven" feeling like only half of the whole comic.
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It's in the last moments of the issue that promises are made about the relationships, villains, and themes that will populate what is still to come. There's no reason to believe that Amazing Spider-Man won't achieve them all given some time.
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While even greater things await on the horizon, but for now this issue provides a much needed breather.
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It will be interesting to see how this story is finally resolved, but that doesn't make the beginning of the end any more satisfactory.
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If you like violent comic books, then you will likely enjoy this one. There's a story about conspiracies and secret agents, but it all functions as window dressing for the series to reach its title.
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There is so much potential in Exiles, but it continues to stop itself from achieving greatness.
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There is a whole lot to like about Farmhand #1, and it's apparent the series is just getting started.
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Big moments fall flat in an issue that ought to change everything, but feels as though it is simply moving forward.
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It's classic superhero storytelling, but with vibrant, splashy configurations and jokes to spare, it all really works in this issue.
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Considering what is being done in such a limited setting, this story is quickly making the case for an ongoing series.
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This was a worthwhile trip for Harry and readers alike, one that makes the coming conclusion of Resident Alien bittersweet.
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Wherever the series goes, the very last story in League of Extraordinary Gentlemen is bound to be memorable.
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Thank all of the gods involved that this story is finally over.
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It tactfully addresses the greatest anxieties of the United States today and blends them into the zeitgeist of Marvel Comics.
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Some Marvel fans are likely to be saddened by the choices made, but that's not the result of "shocking" choices, nor this hollow vehicle of a story.
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When things are moving, Death or Glory is a great comic to look at, but there's not much there when any level of scrutiny is provided.
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With a twist straight out of the best EC horror comics and some incredible framing by Bennett, it will leave readers on the edge of their seats with eyes half outside of their skulls. Those final few pages are well worth the wait.
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There's plenty of potential, but it's impossible to know whether any of it will be exercised based on what has occurred thus far.
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This iteration of Justice League is going big with every issue, and it is making an impact.
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Lowlifes reads as a deeply immature imitation of early Quentin Tarantino films.
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There has been a lot of talk about metal in American comics recently, but no new series has captured the feel and fun of the music quite as well as New Lieutenants of Metal.
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Momentum is building once again and Paper Girls feels like a cresting roller coaster in the final pages of this issue.
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For all of its philosophical waxings on how we shape our own decisions and how our environment shape us, the comic still kicks a lot of butt.
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There are some big things on the horizon for this series finale, but it's the emotional core of the story that has the most impact.
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There's a lot of violence and terror to this issue of Spawn, but it relies on the same tricks that the series almost always has.
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While this issue is one of the most claustrophobic in the series so far, what occurs within the halls of Highest House still makes for very exciting fare.
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It's the sort of installment that reads more breezily in a collection, but at least there is some solid, zombie-killing action at the end for us monthly readers.
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However the movie turns out, this comic won't get anyone excited for it.
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There is a constant push-pull between the banal and the stirring, one that can only be forgotten about in a handful of pages, but boy are they an incredible handful.
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Astro City #52 is a tremendous conclusion both to Michael Tenicek's story and this volume of the series. It reminds us that superhero comics are not fantasy but a representation of the greatness that lies within us.
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Black Cloud has certainly been an interesting series and one that will likely be worth revisiting, for readers and creators alike.
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Each element of this series is building a new monument and legacy to an already celebrated character, and it's clear this new series is something special.
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This brief run on Bloodstrike is unlike anything in comics, and we're lucky to have this retroactive history.
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No matter what happens, this has set up an interesting finale for next month.
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The Jazz Pandas arrive at the end of their season and manage to find happy, if not highly dramatic, resolutions to their personal conflicts
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This chapter of "The Good Old Days" features a lot of characters, but very few who have any impact on the events of the issue.
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Kill Or Be Killed #20 is something less than the story and ideas that built to it.
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It is bittersweet to realize that Two-In-One may be approaching a conclusion, but all indications are that it will be one strong conclusion.
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There may not be much behind it, but the extended action sequence does serve up some chilling moments and a few cringe worthy ones as well. It is certainly a more exciting version of the series than what has been delivered thus far.
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Motherlands sticks the landing. It's vicious, mean, wonderfully designed, and oddly heartfelt.
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Yet the overall product doesn't provide as much room for invention as readers may hope and is ultimately aimed at pleasing an existing fanbase.
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It's unclear what will happen next, but the stakes have never been higher and Outcast has more than earned a hiatus with this issue.
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There are still some fun moments of action and a set up for a big showdown, but this chapter of the story primarily serves as connective tissue between what has come before and what comes next.
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There's a refreshing simplicity to the new Sonic series. Even as it plays with superhero tropes, including rehashing history in the midst of a fight, the action maintains momentum and never loses track of the moment.
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This is an excellent example of why Stray Bullets is always worth the wait, even if the outcomes hurt.
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This is a comic that must be experienced to be understood.
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This mashup of metal affectations and world-shaking storytelling is already shaping up to be something very special.
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If there's anything to pray for it's that Wonder Woman #50 really is the end.
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There is a great deal of potential in this story and it appears that every member of the creative team is prepared to explore it.
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Every page is in service to a concept of humanity's basic ability for good, one that it captures in a truly amazing fashion.
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Cave Carson Has An Interstellar Eye is one far out comic that never loses touch with reality.
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This arc's conclusion is a powerful reminder as to why fans first fell in love with this messy series.
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Flavor is one of the most imaginative and enthralling new Image comics in years, one that seems capable of delivering a great dish with every issue.
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Whether or not you're familiar with The Herculoids, this comic is bound to read as a very odd experience. It simultaneously attempts to embrace the nostalgic fun of childhood adventure cartoons and a very dark story filled with death and petulant gods.
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There is so much to this issue, but at the end so very little to say. Perhaps the most that can be said is that it tells its story clearly, for better or worse.
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Jeff Lemire isn't able to bring any notable twists to the core premise, even if he does dial back on the racist and joyfully cruel elements of Millar's writing.
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While the shift from Cheung to Jiminez may be jarring in a collection, it's difficult to notice here given the density of story and each new page. Justice League continues to be a delight.
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It doesn't appear that this miniseries will find any form of footing based on its first two issues.
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Slapstick balances the heartfelt moments for an undeniably great Spider-Man experience: one that highlights the enduring value of JJJ in comics.
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This debut may feel like a kick to the face for anyone too adjusted to trends of decompression, but a refreshing kick to the face if there ever was one.
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There is a lot of potential in Tony Stark: Iron Man #1. Schiti is an undeniably great pick for the first issue, executing new concepts like a nesting doll arrangement of armors wonderfully. Slott is charming in the exact ways that fans have come to expect. His story aims big, taps into the history of Marvel, and offers plenty of jokes. The direction is unclear though, and it's difficult to understand how this presentation of Tony Stark aligns with concerns of ethics in technology, mass corporate control, and egoism.
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Sakai emphasizes small decisions that reveal a man wise beyond his century. It transforms "The Hidden" into a character study as much as a conspiracy thriller, and lays the groundwork for whatever revelations are still to come on either front.
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It will certainly read better in a collection, but as a unique installment it feels a bit too much like work.
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Following the massive revelation of #6, this issue does a good job or reestablishing a status quo. Every moment reminds readers who the protagonists are and what roles they play.
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The ideas and artwork are great, but suffer from unfortunately excessive writing.
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If being boring wasn't enough, the issue also reminds us that the new series central antagonist is a man named Hoops whose sole character attribute is liking basketball; that's insulting.
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This single issue encapsulates the essential tragedy of Doctor Doom, linking it from the very origins of his rivalry to the fallout of Secret Wars. It is a tragedy so well framed that longtime fans of the FF should leave the issue nearby to return to it often in the months to come.
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This version of the Justice League has provided readers with a great series and the ending is about as good as anyone could hope for. It will be a pity if there are no future miniseries or other comics to follow up on this new frontier at DC Comics.
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With so much development and momentum, it's difficult to know what to expect next and that's what makes Oblivion Song one of the most enjoyable new Image Comics series of 2018.
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While the best moments of this story arc came early, it still manages to end on a high note.
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He is a character packed with possibilities, which is what makes this mundane and familiar first issue far more disappointing than it would be otherwise.
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This miniseries traps readers with a single narrator exploring a world in which he is the only moving object. What sounds like it ought to be a nightmare after longer than one issue has found a unique charm in its mystery plotting.
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It's a small issue, but one that reads as personal and moving in the best sort of way.
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This comic confuses maturity with the items that require a mature readers label.
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There are plenty of reasons to read about an anti-hero, but The Weatherman #1 cannot find a single one.
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While this newest iteration of Thor offers a wonderful introduction, it also provides one that honors its history. It feels both a part of the whole and a great new beginning to build upon. This is how legends are made.
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After months of hype, Wonder Woman reveals the Dark Gods, and they are a disappointment.
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As an introduction to who these characters are, the issue is serviceable, but it provides nothing beyond that.
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With the end for Black Science in sight, the series still has plenty of tricks up its sleeve, even in a quiet issue like this one.
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The second issue of Death or Glory loses a lot of speed from its debut.
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There was a spark of a great idea here, but it was never expanded or shortened to a story that could accomplish its goals.
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Wordplay remains a highlight of the series along with a few visual gags, but there's not as much beneath the surface as the narrative suggests. The result is an enjoyable enough comic with an original premise, simply one not worth lingering on.
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Immortal Hulk is a Marvel horror comic. There are two important elements in that description, Marvel and horror, as one does not function without the other in this issue.
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Whichever you direction you look, this miniseries continues to deliver every sort of fun one could hope for from a superhero event with laughs and shouts aplenty.
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This is not a greatest hits collection like so many recent Justice League narratives. Justice League #1 is a comic that evangelizes about the greatness of the superhero genre and has faith in its own images and words. That's what makes this a thrilling debut, one defined by imagination and confidence. It very well could be the start of a new era for the Justice League and DC Comics.
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While this issue doesn't hit the highs of previous installments, it's still a fine addition and one that will leave you hoping to see Koshchei (and his goat) at least one more time down the road for a proper resolution.
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Beyond a few well-crafted sequences of action, there's little of value here that couldn't be found on a Wikipedia entry for free.
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The issue reads as the opposite of filler, but the effect is similar as almost every moment is focused on what comes next instead of the significance of the present.
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Beyond particularly well-crafted spread where Spawn unleashes his inner demon, it's easy to pass on everything about this issue.
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It's a gratuitous chapter in a story already bogged down by bad ideas. Leave it.
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0COMMENTSThere's no doubt that the spreads populating Xerxes are some of Frank Miller's best work in the past decade. They reveal someone who can regularly illustrate the essence of a moment, imbuing it with historical significance and narrative power.
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The final moments of this miniseries exude anti-climax. All of the hallmarks of a big moment are there, but what actually occurs on the page has little to do with the events that came before.
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There is so much to unpack throughout the 80 pages of Amazing Spider-Man #800. Guest stars, tragic twists, epic battles, and a greatest hits collection of artists fill these pages.
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If you can only read one of these Hanna-Barbera comics, make it this one.
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Even as this issue pushes the plot forward, it never loses track of the many ways its character are alone even as they're surrounded by one another.
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As a start this issue blurs the line between familiarity and rehash, leaving readers to hope that it has more to say as the story continues.
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"No Justice" will go down as one of the best events of the Rebirth era, but the final issue is the weakest installment of the series.
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This is one issue that has to be read to be appreciated and fans of the series certainly won't be disappointed by how it plays out.
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It's a painful, but worthwhile issue.
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While it's not quite over, this series has delivered a truly excellent prelude to the return of the Fantastic Four, capturing the magic of Marvel's first superhero series with only half of the team intact.
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This comic is designed solely for fans of Valiant Entertainment. The characters and plot are the most clich versions of a high school drama one could imagine, even going so far as to reference She's All That in the dialogue.
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It is a fascinating and satisfying conclusion to one of Marvel Comics' most ambitious series in recent memory"something not to be missed.
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Mysteries and minor dramas among the primary cast continue to captivate, but take up too little of this issue for it not to feel distracted and wandering in its approach to the narrative.
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Even larger thematic issues loom. Coates and Acua are addressing slavery, a slavery perpetrated by T'Challa's own people, that will require a deft touch and raise far more difficult questions than those in the plot itself.
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Wes Craig seems to possess an infinite number of ideas on how to depict violence in comics. Each new issues surprises ,and #34 does so in multiple ways.
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The considerably reduced scope of this farewell issue gives the central characters from the past year a much needed chance to breathe.
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Everything about this issue of Hellblazer is as inauthentically British as possible.
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There's no emotion or humanity in any of these characters and the maudlin moments just expose this bizarre cartoon for what it is.
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While Amadeus' demands as the Hulk might seem extravagant, the scope and outcome of his meltdown read like an excuse to reassemble the status quo for a new series.
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All of the pieces are in place by the end of this issue, and offer hope that Darkhawk will finally discover a foothold in the Marvel universe in the story to come.
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Bendis' plotting has legacy in mind. Every big twist and reveal can be linked to work he has touched across his tenure. While most of it is focused on recent storylines, specifically those with Doctor Doom and Riri Williams, there are plenty of touches addressing events and miniseries throughout his tenure.
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This miniseries is shaping up to be one of the best DC Comics events in many years.
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The end of this series is a baffling affair. It stakes the rising action and sense of horror on a singularly potent image that is never as effective in execution as concept due to consistently flat line work.
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None of the dialogue sings, but the action in this issue, specifically one showdown sings. It's an improvement and the pages look as great as ever.
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It's clear that restraint in prior issues has purposefully built to this one, and it pays off very well.
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This is far from Edward Grey's first outing in the world before Hellboy, but it is already shaping up to be his most unique.
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A cruel twist of fate is revealed with almost no tension or true ramifications; it is simply information spoken among characters with little emotion or purpose.
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For anyone who is fascinated by Deadpool or the history of Marvel Comics, this series is becoming a must read beyond the trappings of its own, very well executed, schtick.
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Whatever nuance this narrative lacks, it makes up with skillful horror storytelling.
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With only a few issues left, Cave Carson is still promising great things ahead.
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Characters insist on explaining exactly what they are experiencing and why it matters, as if the pages are not doing that same work and then some. It's a downer set beside some of Rossmo's most enthralling layouts and designs to date.
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Flavor #1 is everything that a first issue ought to be. It does not simply offer readers a thesis statement and sense of story to come. It delivers its style, setting, and characters intact from the very beginning.
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There's not a lot there beyond the non-stop chase of the story, but that might just be enough.
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This issue does an outstanding job of connecting character to every element of the story making the work of the issue much more compelling.
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Even for readers engaged with all of "Infinity Countdown", it's difficult to find a reason for reading this one-shot.
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The second installment of this miniseries lives up to the promise of its setup.
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Romita Jr. delivers a solid car chase, but that's a difficult compliment to offer given the sadistic and purposeless bent of the rest of this issue.
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It is a new comic in need of a cause to be read.
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0COMMENTSThe first half of #36 is an experiment in formalism that is worth reading multiple times. Every panel presents a new setting and set of outfits, all carefully detailed in a manner that few artists outside of McKelvie could make function for so many pages.
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Character reactions and movements are well constructed, letting on more than what is said, but after the thrilling chases and battles of #1 (and most of Usagi Yojimbo), this mystery seems to be sprawling.
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Each new issue in this miniseries pushes itself in new directions, never allowing itself to rest on already impressive laurels.
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After two issues there's even less in this new series to be intrigued by than it seemed at first glance. It may be time to let this idea fade away instead of making copies.
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It's worth reading as saying anything more would be to spoil the experience and this issue is an experience, even as it attempts to return to normal.
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The addition of several canine companions and their own absurd rules makes this a perfectly tolerable licensed comic book.
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Characters themselves, along with color work, continue to light up these pages and make each step forward worthwhile, especially as the series prepares itself for a leap.
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Despicable Deadpool #300 offers a poignant, bittersweet conclusion, one that captures the tone of this run perfectly.
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Many of the best moments in Exiles #3 come in quick, quiet panel gags occurring within a fraction of a page. These moments are a welcome reprieve from the larger narrative.
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It's a tedious reading experience that relates the information of the story, but little else.
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Like much of the series, it reads like an afterthought with more potential than can be found in the final production.
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This is a meat and potatoes Hulk comic. Some big punches are thrown and the power scale is increased, while the real struggle is wrought in a big metaphor for internal battles.
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It all works together about as well as anyone could expect, and the individual pieces promise an even greater story now that the place setting has been accomplished. It's a good reason to start here, and a better reason to see what happens next week.
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While Maestros #6 is best experienced as a surprise, it shouldn't shock anyone to learn that it's utterly vicious and an absolute delight to behold.
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Despite the dryly delivered backstory, this certainly feels like the best form of Spawn to be found on shelves today.
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This series really embraces the addition to its name in a climactic showdown that feels a part of classic Justice League narratives.
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There's still a lot to like, but the human beings in #3 possess about as much individuality as the monsters.
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This series remains the best Spidey comic on the stands today.
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The never-ending swirl of ideas without a story is perfectly encapsulated in snippets from holy scrolls paired with short scenes.
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There's very little new to be found in this comic, which makes its rebellious attitude feel even more like an act.
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Wherever this is leading, it has made the journey worth following.
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It's probably for the best that this is the likely end of the Rough Riders.
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There are big moments in this issue, but they are only as big as the characters and careful worldbuilding until this moment allow them to be. It's a testament to the success and staying power of Sleepless as one of the best new series from Image Comics.
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There is much more story to come, but it suddenly feels like a much safer story and that has never been what attracted readers to Southern Bastards.
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This comic's greatest sin isn't being offensive or poorly illustrated, although it is; the real issue with Supermansion #2 is that it doesn't even bother to show up.
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It's still a beautiful world to behold, as chilly as it may be.
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Looking at the final page it's easy to forget everything that preceded it because there is so little of substance to be found.
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The second issue in this experiment establishes some ongoing rules, including the placement of mini-games and extravagance of early endings. However, what it really accomplishes is revealing this story to not be a one-trick pony.
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Issues of health insurance and freelancing feel separate from everything else in the story, tacked on to remind readers that reality isn't great either, as if that was a truly necessary reminder.
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Matias Bergara brings it all together with a perfect balance of the fantastical and ugly, a sensibility revealed in a cursing, fighting Pentacorn that will likely have readers begging for more.
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This is a comic that yearns to be political, but possesses no clear comprehension of what its politics might be. The best reason to keep following her story is that it is simply fun to watch.
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Unlike The Flintstones, this series seems to be running out of ideas and momentum well before it is complete. It's probably for the best that it will only be six issues.
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This is a comic that has yet to encounter a military cliche it doesn't like.
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With such relentless pacing and a clear eye for comedy and action alike, this is delivering everything fans might want from an event title.
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Several sequences in this issue are reminiscent in design and minimalism to Mignola's work on Hellboy, evoking the very best this comic has to offer.
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After enough pages it seems as though this is building to a moment of significance, and in retrospect it truly reads as filler.
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If this crossover must exist, then it could certainly find far worse forms to take.
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The penultimate issue in this mini-series is ostensibly about family, but it only says this. The actual bonds, betrayals, and relationships are all manufactured through the telling.
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This is a trip to take for its own sake.
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It's an unfortunate way to spend your time reading comics.
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If only for last third of this issue, this installment reminds us Stray Bullets never skips a beat and can still stun after all these years.
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Miller is as much a master as ever and both single images and sequences pop with every turn of the page. His use of silhouette and flat blacks deserve particular attention.
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While not a perfect comic, its first issue executes perfectly on its core story device and make this a comic worth examining.
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It's a whole lot of filler for a good bit of killer at the end.
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There's no real tension or drama to a story that insists on explaining itself, and that's what leaves this entire arc best left forgotten.
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As quiet and unhurried as this section of story is, it's simply astounding how it raises the stakes and builds tension for what comes next.
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This is Deadpool in its absolute best form, offering a story worth remembering in addition to some very exciting panels.
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Readers are forcefully told to go out and read other comics while attempting to enjoy what is in front of them, and diminishes every positive quality about this one issue as a result.
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There are so many great ideas spinning that it hits a level similar to Morrison's classic run. However, the ending sputters in a truly dissatisfying way as it attempts to simultaneously end and deliver a to be continued for an event that already occurred.
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There's still far more to love than dislike in this issue, but if the pace doesn't increase soon then minor flaws may grow to be major ones.
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It's a fine return, if not a thrilling one.
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This issue gets the job done and has notable moments, but too much space is consumed by the work of plot for it to reach the bar set by prior issues in the series.
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What started as a joyful embrace of violence against Latin America has not moved beyond that obsession at all, only found new elements to make it appear even more ugly.
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It's clear that this series has bigger ideas, but on the level of an individual issue that present a story that work in neither the micro nor the macro, which is particularly disappointing in this installment.
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There's a lot left for the final issue, but everything is in place for a grand finale.
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As a standalone issue, this is one of the series best to date.
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It appears that this installment, and the rest of the series, are left to be a question of what might have been.
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The second issue is a notable improvement on the first and there's room for further growth from here.
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There's a lot of great scenery and interesting designs to take in, but the ride itself is lackluster so far.
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Each issue continues to be carefully lavished with some outstanding new element that ought to make readers pause. The narrative itself is less compelling though.
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Even if things seem to work out a bit too neatly, there's too much to love in this issue to let that overcome its many charming qualities.
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Walking away from this oversized issue the comic believes something significant has occurred, but the only response to be mustered is a shrug.
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Etrigan fans may enjoy having an extra dose of this rarely seen anti-hero, but overall this is solidly in the middle of the pack for quality in superhero comics.
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This is a comic driven almost entirely by plot moving from item to item in order to reach its cliffhanger and upcoming conclusion. It is serviceable, but not much more.
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This issue qualifies as an ending and it alters the status quo, but it never offers a single reason for readers to care about any of it.
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This is how you craft a penultimate issue.
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All of the essential elements of a superhero comic are in place and executed well enough, but this has proven to be a superhero comic capable of far more than monthly updates.
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It's difficult to know where it's going or whether there's a pay off, but the ride is worth taking for its own pleasures.
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Body horror runs rampant and a general lack of caring about even the most horrific circumstances provides the entire affair with some great (but not good) laughs.
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There is an incredible sense of momentum surrounding this series, and Descender #29 manages to carry that between all of its many divided plots and characters.
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What purpose does this comic serve? Even if that question is answered in #5, it's probably not worth finding out.
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There is charm to this series, but it's often left muddled upon the page.
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It's comfortable and fun for the right crowd, but doesn't have much more to offer than the reignition of very specific memories.
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Whether it's a small moment or the biggest explosions caused by spaceships (or driveable Galactus vehicles), this miniseries is delivering on all fronts.
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There's no real tension in the battle as the stakes or flow of combat are never entirely clear. Sacrifices don't mean much from people already living in hell. To top it all off, this is a martial arts comic in which the action is hardly coherent outside of captions naming specific moves. It's a bad look.
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It's not clear who this comic is for, but the only thing there is to root for by the final page is an end to it all.
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No matter how clean or brutal the linework may be, it's actively servicing something degrading and not worthy of attention. Keep it.
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This is an issue worth experiencing with as little foreknowledge as possible and a surprisingly good point to learn what the hype for this series is all about.
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In spite of the ogres and various other mythical villains, this issue remains laser-focused on the family dynamics that have driven the series.
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While they make for fun collectibles, the oversized heads look absurd on the page and undermine a generally good introduction point for young fans.
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Moonshine seems only a shadow of a story, crafted by the slightest glimmer of moonlight at this point, and even Risso's best work can't make up for what's lacking in story.
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A few splash pages of the superstars in this line help make the finale a bit bigger, but there's nothing that make it a must read.
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Rumble is nothing short of remarkable.
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This story accomplished its goal of resurrecting the Black Widow, but at what cost? It certainly wasn't worth the cover price.
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. This issue is a mess from start to finish. Keep it.
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As an individual installment it lays necessary groundwork with excellent cartooning, which might leave some wanting more, but it's still superior to most of what can be found on a monthly basis.
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The end result is an issue that is competent, but doesn't feature a plot well suited to the medium it's working in though.
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In the chaotic, character-filled battles of Deadly Class, each new issue has a consistent method of offering just enough to keep readers going.
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It delivers on all fronts, while still building momentum for what comes next. Based on the final page, things will only get crazier from here on out.
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This is how you introduce a new superhero team; long live the Exiles.
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This is a solid new installment in a consistently above average series that provides only average execution.
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This is obviously a big story, and it's only going to get bigger as it continues.
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There is plenty of skill on any given page, but the whole is far weaker than its parts and incoherent to any reader who is not a fan of the Planet of the Apes franchise.
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It's a fun new installment and doesn't need to be much more than that.
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. The fifth issue of Sleepless is every bit as exciting as the first, and continues to build on its characters and setting alike without ever slowing down.
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Just like in Beauty #20 there's a final twist, but it falls flat after an issue without much else to offer.
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For every nugget of an idea worth exploring, there's a repeated image that suggests this series doesn't have the legs to last or live up to its own title.
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This issue simply should not be so tedious, yet it probably works best as a sleep aid.
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It functions as both a response to expectations for a Spider-Man comic and a reminder of why so many readers love this franchise in the first place. There's a promise at its core too: Dan Slott will go down as one of the greats.
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No matter what you come looking for in Analog, there's guaranteed to be a better option somewhere else on the comics store shelves.
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This is difficult material from start to finish, and the entire creative team handles it admirably.
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It's the sort of offering you might imagine giving to someone for a free first comic if they had never read a superhero story before.
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This is some of the best, wild and weird storytelling you'll find at Image Comics right now.
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This is a textbook example of how not to tell a superhero story at almost any level. When you throw hamfisted social commentary on top, it becomes an undeniable disaster. Keep it.
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Everything about this issue is sad, but that's not a theme or idea, just this series' state of being.
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Discussion of game theory and how that paradigm shifts alters individual world views is fascinating and a worthwhile reminder of what this series is capable of. Yet the interest in drawing parallels between bunkers, bombs, and homophobia ultimately loses out to hate speech and tired tropes.
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It's unclear who this comic is for as it lacks the artistic power of the original and undermines any nostalgic fondness that might still exist.
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It's a comic about disconnect between mankind and machine that winds up being every bit as cold as the latter.
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There's nothing about this issue to be admired; it couldn't even be bothered to put all of its words in the right order.
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The final scene of the issue is horror comics at its best, frightening because of a much greater fear than the monsters that populate this world.
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Building to the titanic confrontation coming next issue, there could be no better setup for hope in the face of annihilation.
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The focus of each new issue in this series has taken on the feeling of a cover band playing the greatest hits.
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This is Shade, The Changing Woman being its best self.
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This is a comic that's all talk with a concept that has very little to say, making for mediocre delivery on both fronts.
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There are a lot of moving pieces in The Wicked + The Divine as it approaches its climax, which makes even the less thrilling issues impressive.
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Alex Sinclair's color in this debut also offer some of the best to complement Miller's work in recent years, although that is a low bar. This is the reason to pick up Xerxes, an appreciation for design and a handful of storytelling elements. The story itself is even less coherent than the original though.
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It's a promising climax that pushes this miniseries forward into its final couple of issues (and hopefully an ongoing series).
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It's a great climax before the final issue of this arc.
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Following the fireworks of the first issue, Days of Hate has gone further and further down its philosophical rabbit hole. This is a good thing for the series though as it shines in dialogue.
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This is the best possible version of a Deadpool comic.
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It's a disappointing installment in a line capable of much better.
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Hit-Girl #2 is cruel, hateful, and completely irredeemable.
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It's a great single issue and everything readers could hope for from Bendis' departure.
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At the midway point of the mini-series, it appears that fans of Legion are better off sticking to the television series in 2018.
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The world building and depictions of Violet Paige take a first issue that serves neither new nor existing readers, and make it far more visually compelling than the narrative supports.
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This is a story that clearly hasn't shown all of its cards, but grasps the multifaceted greatness of Spider-Man. It could be a modern classic for the character.
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This is one reprint collection that may surprise and delight readers who were likely born long after their initial publication.
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Each issue of the current Wonder Woman run manages to accomplish very little in the least interesting manner possible.
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This comic is not strange for the sake of being strange, it provides a world that could only be imagined in comics and readers should be prepared for quite the trip.
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Descender completes its origin story this month in a tale that provides plenty of answers, but not much else.
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The Incredible Hulk has reestablished its footing and is prepared to do some real damage. Wherever "World War Hulk II" goes, it looks to be one wild ride.
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It's destructive streak through impoverished America continues, using black bodies and real problems for easy thrills and entertainment.
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Lucy Dreaming could find its footing and become a sleeper hit or fail to rise to the challenge, only time will tell.
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It's another reminder that Rumble is one of the absolute best series being published today.
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The issue is a mixed bag overall, but it delivers for those looking for a thrill.
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Superhero comics can be a lot of things to a lot of people, but this is simply checking boxes to have an Avenger back in time for the next film. We can only be thankful there's just one issue left to go.
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It is an issue that perfectly captures what makes this series click and offers an excellent starting point for readers intimidated by the series' long history.
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Action Comics #999 is an excellent end point as the torch is passed to a new team next month.
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The new chapter of American Gods remains a solid adaptation, but never transcends its roots when transferred into its new medium.
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As almost every major character in the series so far meets, plans shatter and copious quantities of blood spill. It's a crackling start to what's bound to be another status quo-shattering story for Deadly Class.
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It's standard action, give or take a comedic impalement.
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At the start of its second arc, nothing in Falcon improves, and what little charm there was is lost to some exceedingly disappointing decisions.
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In one panel, Dib announces, "This just keeps getting dumber." He got that much right.
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Zdarsky was initially seen as a humorous creator, but it's clear now that he can deliver everything that makes superhero comics appealing as he writes half of the world's greatest comic magazine.
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New Super-Man is firing on all engines and capturing everything readers might want from a young adult title on scales big and small. -
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This run on Spider-Man seems to only improve with each new issue and the addition of Quinones on art makes this the best installment so far.
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Perhaps this will read better in a collection, but it flops as an individual issue.
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This is a perfectly readable issue of Wonder Woman, and that may be its only saving grace, because it's unclear why anyone would keep reading after its over.
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Amazing Spider-Man #797 is a thrilling first chapter that sets the stage for Slott's big finale wonderfully.
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There's still plenty of wit and charm to be found, but this issue feels like a misstep.
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This is more prologue or advertisement than exciting, superhero storytelling, and it's a disappointing start to a series capable of accomplishing much more.
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Infinity Countdown #1 is not a revelation, except that it reminds us as readers how enjoyable these sorts of series can be when well told. Creators and readers alike ought to look at it as a standard and not an exception for the future.
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Yet what really sets Koshchei the Deathless apart is the positioning of Hellboy as reader, groaning and kidding on behalf of the audience. Somehow the horror is made a bit more palatable through his eyes and the story all the more enjoyable for it.
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Oblivion Song #1 is likely to exceed the expectations of readers across the board. It reveals De Felici as an artist well worth watching as he crafts setting and characters in equally fascinating degrees. It also pushes Kirkman beyond his comfort zone.
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The final issue of Rasputin: Voice of the Dragon falls prey to a common trap of prequels as it tells a story that is only validated by knowledge of what comes next.
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As a source for other tales, this mini-series offers some useful components, but it is not an entertaining read on its own.
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Shade, The Changing Woman #1 takes all of the lessons from its predecessor and reveals a confident new start that's better than ever.
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Ballad of Sang #1 may be a mixed bag, but it's filled with more good than bad.
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It's a story that has become as complex and laden with conspiracy as almost anything in mainstream comics and this issue is a testament to how well prepared Gillen and McKelvie are in handling this plot.
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It's another disappointing chapter before the big shake up.
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Black Panther stays on top as one of Marvel's best series, delivering plenty of action and suspense in an issue worth reading twice.
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This one hurts, and it shows how far Deadpool has come as a character in the past few years.
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Bendis continues to wrap up his Marvel series on high notes.
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After a promising start, Legion has begun to spin its wheels, providing plenty of ideas in captions, but failing to play them out on the page.
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"Milk Wars" is a flawed crossover, but there's still more to love than dislike about these characters and their absurd adventure.
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Even as the line faces a shakeup, it's obvious that Spider-Man is still in very good hands.
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There are no uniquely dramatic moments, but there is a consistent sharpness to the entire story that makes for a dramatic re-introduction.
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Gwenpool #25 is delightful purely on its own terms, remaining the fun-loving series that embraced the zaniest corners of Marvel every chance it had.
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The new issue of Wonder Woman features four big battles, but not a single moment of excitement.
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Slott and his collaborators have done a lot with this supporting cast over the years, and Amazing Spider-Man #796 reminds us that it has been for the best.
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It is a story told, but not told well.
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There's real heart to Thomas as a character, but this mini-series provides no room for readers to find it, which is a real shame.
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This Black Panther Annual collects three stories from three of the most significant writers to ever address the character, and each reads perfectly as being a piece of their substantial runs.
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The final issue of this mini-series reads more like epilogue than finale. It wraps up the story (to some degree), but fails to deliver anything close to catharsis or impact.
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The Defenders #10 is ultimately more a survey than a narrative, but these broad strokes offer a great retrospective on a Marvel writer who will be missed.
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Descender #27 more than rises to the occasion of establishing the facts needed to understand whatever awaits Tim-21 and his companions next.
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What places this one-shot over the top though is its choice to provide no easy answers, embodying an ongoing battle from which the B.P.R.D. cannot save us.
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It is absurd, grindhouse violence and embraces that status. Just be aware that it has nothing more to offer.
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Incredible Hulk #713 is a very deflating conclusion that doesn't stand up against the original story it commemorates.
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When it's over, Infinity Countdown Prime feels more like homework than entertainment, and that's never a good thing, especially for a superhero comic.
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It is certainly one of the best single issues of 2018 thus far.
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The story struggles to find its own answers to these questions, but it grapples with them in a meaningful manner. That alone makes it a big improvement on the first half of this tale.
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The old couple dynamic of Clint and Bucky makes Tales of Suspense stand out from similar concepts.
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Character inconsistencies (Skeets doing the exact opposite of what he just advised between pages) and ample clichs (a villain explaining their plan in excruciating detail) make for a tedious issue of filler that leaves us looking for to Action Comics #1000 as a light at the end of this tunnel.
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While this showdown helps to clarify what has made Duggan's long run with Deadpool transformative, it's ultimately stalling for time between more substantial issues.
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Falcon #5 stumbles across the finish line as a disappointment that doesn't provide many reasons to keep reading.
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Invincible #144 is far from flawless, just as Invincible was. Narration drags at times and there is stilted dialogue. It speaks to the strength of the series' art and the emotional bonds of its characters that even when these are acutely noticeable, they're easily ignored. Like many favorite superhero comics, it's strength lies in its resiliency and boldness, forming an imperfect metaphor between Invincible and its protagonist.
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As a vehicle for mayhem, Kick-Ass #1 is more than capable of delivering. That is not how this series is presented, however, and there's a distinct lack of self-awareness regarding its love for carnage.
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Chip Zdarsky is revealing himself to be a savant at juggling plots in the classic Marvel style of superhero comics.
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While there's nothing earth-shaking in this story, it makes for a pleasant and smart diversion using the strengths of both its lead heroines.
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It's pleasant to watch the team interact and fight a villain who is perfectly fit for no more than one issue. Nothing in the small interactions or big fight of the issue will offer awe, but they're all adequately told.
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Amazing Spider-Man #795 is a fine, but totally forgettable issue that doesn't build much anticipation for what comes next.
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This gore-filled descent into the catacombs packs every visually compelling element into an absolute roller coaster of an issue.
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There's plenty to be learned in this issue for readers unfamiliar with Wakanda, but very little to be enjoyed.
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As Action Comics and Superman move ever closer to a titanic landmark issue and big change in creative lineups, it's hard to not read Superman #40 as filler.
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1923 is a reminder of why The Wicked & The Divine speaks to so many readers, and just how much it has to say.
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"Milk Wars" showcases a unique and strange form of bravery, and makes superhero comics feel important again.
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As a concept, Hungry Ghosts retains power, some of which may be fulfilled in future, less crowded installments. Yet as an individual issue of a comic, it is difficult to recommend. Ponticelli and Del Rey are faultless, but the stories they are telling lack life. There's very little frightening about these ghost stories beyond a few horrifying images. These are the sorts of tales you quickly skip past at summer camp, primarily because the storyteller doesn't know how to shape them. There's plenty of talent within these pages, but very little of it is being displayed well.
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Legion #1 isn't just a good comic for X-fans or newcomers who enjoy the FX adaptation, it's a genuinely great starting point. If you know what mutants are and who Professor X is, then you know as much as you need to rifle through these pages. The setup of the story is solid with plenty of directions to travel and a threat that is as unpredictable as the narrator is unreliable. If the rest of the Legion mini-series lives up to the promise of #1, then there's cause to call for an ongoing. It's a fine start to a very strange sort of story.
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Southern Bastards has truly returned home this week, for better and worse.
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The result is a comic that contains familiar elements, but offers an entirely fresh take on it all. In the midst of battle this bloody future becomes something irresistible.
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Damage #1 is a damn cool comic. It's the kind of book you want to cut out pages from and post to your door in middle school. That's not a slight either. This slam-bang beat-'em-up formula is played to perfection and is everything Metal advertised itself to be. It's all about wild-looking characters tearing about cities and foes. That concept works in these pages because it has artists capable of pulling it off. Damage is all about impact and it plants its big moments like a punch. It's a reminder of how this sort of comic is supposed to be done.
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Just like a bad episode of The Twilight Zone though, there remains the promise that next week there will be new oddities and shocks, perhaps even ones that will haunt you for more than a few minutes.
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A first issue must establish a story, but Old Man Hawkeye #1 only provides a character and world. Perhaps this mistake will be rectified in #2, but that will only matter if reader's remain interested without this key ingredient.
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Exit Stage Left feels essential at this moment. It is a story nominally about the past, but truly about the present -- the best sort of historical narrative. Russell is pushing himself in a new direction, leaving playfulness behind for a more rigorous narrative, and he is perfectly matched with Feehan and Morales. Wherever this series leads cannot be good, but the comic itself seems bound for greatness. Prepare to laugh even while you know tears can't be far behind.
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As a one-shot history of Wakanda, this comic would be functional. As the setup for an actual story, it provides cautious optimism. Narcisse's grasp of the key themes and elements of this saga are clear, but he has yet to start a real story. Renaud offers us glimpses of what makes this land and its monarchy so enthralling, but the characters themselves have yet to enthrall. It is good prologue, but the real challenge lies in the issues to follow. For now we have an excellent starting point for anyone preparing to read the comics or watch the film, and that's not a bad thing.
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As a return to DC Comics, Hawkman Found shows what Lemire brings to the table and why fans ought to be excited. He understands superheroes and works well even within the constraints of an odd event comic like this one. Above all of that his collaboration with Hitch and Nowlan reveals a writer who provides the best possible script for his artist so that they can make it soar. With any luck, some or all of these creators may finally be the ones to solve a problem like Hawkman.
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Whether a given reader enjoys all or none of these installments is beside the point. Twisted Romance is presenting some of the most interesting and talented creators working within comics today, and what they provide to this collection is representative of just why that is. It is not simply a matter of liking these pieces, it's that they are all worth discussing and re-reading. It's a stellar first issue of an anthology which clearly understands the purpose of this format.
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Deadly Class #28 is an example of how a creative team can keep a dozen plates spinning. Some will slow and begun to wobble, but others will whirl at such a thrilling speed as to distract readers. There is no consistent theme or purpose to this issue as a single piece, but as one chapter it includes enough good to outweigh the bad. Craig's layouts and Jordan Boyd's colors on the beach are enough to justify the price of entry. What comes next as these plates begin to collide will be far more interesting, but for now it is beautiful enough to know the story has led us to a brief respite with characters we care about this much.
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In this way Araujo and his collaborators make The Wicked + The Divine 455 A.D. an engrossing experience for any reader with at least a passing curiosity. It establishes previously unknown stakes for a larger story, but works as an excellent focus on tone on its own. In Wilson's colors there is a constant setting of the sun, whether it's found literally or in the flames of Rome. Those orange hues cast a shade that makes this issue cohesive in spite of the massive mythology on which it rests. That is a job well done.
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Stokoe is a cartoonist who both adores genre and studies his craft. This is what makes him the perfect artist to tackle an adaptation like Aliens: Dead Orbit. The chills and style of films are captured through Stokoe's own eyes. The gap between the thing and the thing itself is closed because Aliens: Dead Orbit #1 is not an imitation, it is its own work of art " and a thrilling piece of comics storytelling.
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This is a comic that addresses the ghosts of our lives in a somewhat literal fashion. The various appearances of one character establish what is happening to readers before the final page states the obvious, and this is to increase the effect of realization. Whether it as metaphor or literal haunting, the presentation of one family member is incredibly effective. It is the exploration of this idea, just established as a visual concept here, that will raise Royal City or fail it by not fulfilling its promise. In either case, Lemire is engaged with the work at hand and is trying to rediscover the spirit of previous work like Essex County. Royal City #1 is a mixed bag of elements that land or fail to, but it has potential to rise above the latter.
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The Wildstorm #1 is packed with ideas and they are exceptionally pursued. Like with any first issue it’s difficult to discern whether the promise will pay off, but the promise is there. While it has roots in the superhero genre, this is a story focused on the rapid progress of technology and the obfuscation of systems within society. It’s a comic that wants to be smart and does more than enough here to convince you it is. Rather than being overwhelmed by its own ambition, The Wildstorm appears to be spring boarding off of it into the atmosphere. Only time will tell just how high it may soar.
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While the pacing and design of Saga #37 may be familiar (bordering upon formulaic), its focus is fresh. This particular arc has already received a title, a rarity for this series, "The War for Phang". The reason why is immediately clear. While previous stories focused on the movements of this series' expansive cast, in this issue they are introducing themselves to a larger, ongoing story.
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Somehow Extraordinary X-Men #13 has transformed the story of a superpowered, adoptive family hopping across dimensions and fighting apocalyptic futures into something entirely stale. There's not a new idea or fresh visual to be found in these pages. While some moments are well-rendered, it's a lacquer that cannot cover the rotted interior for more than a moment. While this issue may be technically well assembled, it is a hollow rendering of something comics readers enjoyed decades ago.
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The Unbeatable Squirrel Girl #11 is a surprising one-shot. It's the rare instance in which a comic includes a lesson plan in its DNA and succeeds. That and the inclusion of a guest artists could have made this issue an exception to the rest of the series, but instead it's another excellent issue. You could take The Unbeatable Squirrel Girl #11 and place it in anyone's hands, confident that it shows the best of what this series has to offer. And this is a series that has a lot to offer.
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There is nothing being done in Detective Comics that has not been done before or better, but it is delivering an entertaining combination of elements. The mix of characters, regular delivery of exciting moments, and inclusion of sympathetic villains provides plenty to chew on. This isn't a comic that soars, but it does fulfill its promise as a Batman-team-up comic.
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The one moment where Superwoman #1 really soars comes in a heroic teamup to rescue a ship. Rather than homaging Superman, it discovers a moment that feels unique and makes the heroes of the comic soar. But it is an exception to a field of mediocrity. While dialogue, layouts, and plotting may all be deemed proficient, that may be a worse curse than inadequacy. As it stands Superwoman #1 is just another superhero comic in a field filled with more interesting work that is only memorable so long as it is directly in front of you.
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Plenty can be said about the thematic hooks and character pieces set up in All-Star Batman #1, but it is a comic that is at its best and most interested in its genre. Even the exploration of secret histories, redemption, and mentoring all are core themes to the genre itself. This is a comic filled with great costumes, thunderous fights and chases, and plenty of bigger-than-life concepts. It is a comic that even at its darkest revelation is still fun (at least in the lead story). It is a comic that looks every bit as cool as you want a Batman book to look. In that regard, it has the potential to be the best Batman comic any of these creators have ever worked on as it possesses a clear understanding of both the character and the world he operates in. It is far too early to make that sort of declaration, but it is exactly the right time to check out All-Star Batman.
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And so Doctor Strange #10 is an effective entertainment. The monsters are scary and the action is enjoyable enough. It lacks in impact in spite of the many consequences explained at its conclusion. Everything is terrible, but it rests on the foundation of a story that never gives you very many reasons to care. Reading this comic might be a fine way to spend a little time, but it will flicker out of your skull as quickly as it entered.
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Lake of Fire #1 is the best debut issue to be published by Image Comics in 2016. It establishes its characters, world, and, most importantly, themes in a clear manner. Fairbairn and Smith are sure of what they want to say and make it clear in this introduction. There is a long road ahead for the crusaders of this comic and their allies. The questions asked here will not be answered for some time, much less the question of who will remain and what will be left of them. One thing is for certain: Lake of Fire is a devotion to the conflict between ideals and reality distilled in artwork that will chill you to the bone.
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I want Batgirl to be great. I want this series to continue being a "go to" recommendation for superhero comics. All of the wanting in the world doesn't stop Batgirl #1 from being what it is though, and what it is is an uninspired and dull superhero comic that fails to recognize the most interesting elements of its own existence.
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The issue is at its absolute best though when things become truly trippy. Stretching forms, non sequitur sequencing and settings, and symbol-laden panels are what will make you think about this comic long after you've set it down. These images capture the look and feel of a werewolf story beautifully, and need no explanation; they are a primal thing. It's simply too bad that there's so much focus on connecting the dots when She-Wolf is at its best drifting through the stars.
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Betty and Veronica #1 is a comic about young women that has absolutely no idea how they act, speak, think, or look. The titular characters are idealized versions of a girl next door bombshell designed for older men. They are defined by the gaze and ideas of someone outside of their world, and who appears to have no interest in understanding their experiences. At best it is a terrible misunderstanding of the subject matter. At worst it is an insult to anyone who might have found a rare form of kinship in a comic supposedly about young women.
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Civil War II #3 puts 5 pages of story in a 24 page comic, which leaves this "turning point" feeling just as weightless and inconsequential as you might expect. It's fine to look at, presenting the standard "superhero style" of the day with plenty of character dramatically posing. However, start to ponder on what you're actually looking at and you'll find it's a lot of refined filler covering a singular plot point. Try not to think about how much it cost after that realization.
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Considering this is Kocher's first work at Marvel and Walsh's involvement, it's fair to expect this series to only improve from this point. It is not off to a bad start though. Rocket Raccoon & Groot #7 is a merry jaunt with plenty of visual delights and funny moments, even if it rests on a premise that gets old before the comic is half over. It's good fun and delivered well.
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If there is a lesson to be found in Web Warriors #8, it is this: There is such a thing as enough Spider-Man. With 8 total ongoing series at Marvel Comics, the majority pass the bar of tolerability (excluding this and Spider-Man 2099), while some surpass it in surprising and delightful ways (Spider-Woman). At a certain point the fuel runs out though, and this particular series is running on fumes. While the designs of so many characters may look intriguing, there are no ideas or artistry left to make it worthwhile. It's best to leave Web Warriors on the shelf and search for a solo Spider-person whose adventures actually contain some thought.
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Fred and Wilma both may be very handsome, but their being nice to look at does not equate to a nice comic. Readers may be shocked at just how mean-spirited The Flintstones #1 is. The only vaguely likable characters in the issue are the lead couple. Everyone expresses some form of social disorder, Barney appears racist, Betty is self-obsessed, and Mr. Slate is a monster. It is a cruel funhouse mirror held up to the American people that expresses nothing but distaste, albeit often in a hilarious fashion.
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Spider-Gwen #9 is a stunning superhero comic to look at. It is confident in its approach and execution, showing off a world where you can believe in web-slinging spider-women kicking ass. That's the sort of superhero comic I want to read, but the style and genre do not excuse a lack of substance. A hero being drug through existence for 20 pages can only look so good before it fails to entertain. Spider-Gwen #9 has found a limit it must overcome or crumble beneath.
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Silk #9 does not open well, but it finds a way to make the reading experience worthwhile to readers who take the time to read it all. The series continuing examination of trauma and recovery is dealt with very well in both its visuals and dialogue, and it does not miss a chance for an excellent cliffhanger. It's not hard to see how the modern exploits of Silk could surpass those of her predecessor Spider-Man. If only the editorial team could be bothered to design a decent recap page.
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The final page turn of Spider-Woman #8 summarizes this issue beautifully. It is the reward and thematic heart of the series beautifully drawn and succinctly summarized. In Spider-Woman's own words from the third panel: "Easy never felt like this." That sentiment not only captures the unique rewards of motherhood, but of the creation of Spider-Woman itself. It's clear how much hard work and sweat is being put into every page of the series, but easy never felt like this.
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Spider-Man #5 is a perfectly ordinary issue of the series and of Bendis' oeuvre. It will seem familiar to those who are familiar with the writer. Pichelli's artwork and a few good gags give it a boost, but the former does not find opportunity to stretch her skills and the latter do not make up for very real narrative failings. It is exactly what one would expect based on its cover and credits, a normalized level of enjoyment from consistent storytelling in this medium and genre. No less and certainly no more.
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Amazing Spider-Man #14 is a comic that fits well within the parameters and expectations of its storytelling influences. It reads much like an issue of Amazing Spider-Man from decades ago with an excellent grasp on tone and pacing. However, it is dated in some regards and lacks the panache of many artists who told those stories. Those aspects prevent the best elements of this issue from setting a standard for serialized, corporate superhero comics.
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Overall, Hillbilly #1 marks a continuing evolution of a talented cartoonist. Changes to style and media present an intriguing read, but one that is shackled to a story and themes that have grown stale.
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If there's one bit of hope to be found in Captain America: Steve Rogers #1, it's this: Even though the last page has set so many people at one another's throats, the comic should also stand a chance of bringing them together. This comic presents a reading experience so lacking in any notable form of quality that anyone who bothers to pick it up ought to be able to put it down and say "That was fucking garbage." Whatever your specific reason for stating it, it's a clear conclusion. There's no need to fight about why this comic is garbage when we can all just acknowledge this tire fire together and move on.
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Calling DC Rebirth a superhero story is dismissive of superhero stories, and that's a category with a very low bar for entry. It's an advertisement that you're supposed to buy for $2.99 so you can get excited for a lot of other comics that will also cost $2.99.
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With the notable exception of Rocket Raccoon and Groot #4, these series appear to be functioning in the same way coma patients function. They are technically alive and certainly have a body full of operating organs, but why would you want to spend any time with them? Marvel might be making money on these, but they probably aren't earning any new fans. It's a sad lot that suggest maybe the only thing they should have double downed on from the cinematic success were the non-humanoid members of the team.
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Drax #6 is a comic that does a lot of work to bury its strengths. The pencil work of Hepburn and Hanna, reminiscent of James Harren's fast and mean qualities, is something to value. Yet every chase and action beat is buried in text and designs feel either rushed or are focused on characters that do not appeal to their style. There's some enjoyable violence to be found in Drax, but the series will make you dig for it.
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Star-Lord #6 is the ultimate creation in manufactured superhero comics. It exists not for a reason, but because it is expected to sell. Like the kiddie meal of a fast food restaurant, it is not meant to enrich or nourish, but to fill a little hole long enough for the illusion of satisfaction to occur. There's nothing here that hasn't been seen too many times before, nothing that isn't made to simply mimic something in the most obvious way possible. If you can drop $4 on Star-Lord #6 and forget that it comes from a place less caring than the cold, dark void its protagonist occupies, then great. That doesn't make it less true.
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There are more than enough superhero comics that take themselves far too seriously, but Rocket Raccoon and Groot #4 go the opposite direction and takes itself with no seriousness at all. Conley, Beaulieu, and Young are a team that want to go big and go big they do. It's broad strokes that aim to ram every joke directly down your throat. Even if a few may cause coughing fits on the way down, most will dissipate like cotton candy leaving the desired sugary residue one would expect from a comic about a wisecracking rodent and sentient piece of flora.
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Whether or not this is your first exposure to superhero comics, it's one that cannot be recommended. People who loved the Guardians of the Galaxy movie won't find any of the quick wit, fast action, or oddities they may have loved about the movie here. People who love comics won't find anything they haven't seen hundreds of times before. The only thing Guardians of the Galaxy #7 might be useful for is as a case study for the concept of "corporate superhero comics". It's a thing produced because it must be produced, meeting a set of standards and expectations not concerned with anything close to art or storytelling. It is digestible, but that also means it belongs in your bowels.
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From the basic idea to the crisp visual notes, whatever you imagine based on that cover is bound to be better than what is inside. Boss is a real talent with great promise, one to be watched as he refines some of the skills and influences on display here. Yet the script squanders what he and the other visual collaborators bring to the table. There is no pushing back against the rigid grids and dense dialogue of the comic as it continues, and it collapses under its own weight. No matter how good 4 Kids Walk Into A Bank may sound, it's better to wait for the next thing.
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The unfinished feel to some of the script and artwork doesn't detract from the consistent feel of fun though. Seeing a young woman confidently aid in a dinosaur's escape is an idea too much fun to resist and this creative team isn't throwing up any barriers. Devil Dinosaur and Moon Girl are bright characters charging through pages to an uncertain future. It's an adventure that any young person would be happy to engage with while imagining a dinosaur pal of their own.
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It's no surprise that Ms. Marvel #5 is great; it's no surprise that Ms. Marvel #5 is this great. This is a comic that utilizes its medium and genre well in order to tell a story that feels personal and meaningful in an entertaining fashion. That's more than you can typically expect from superhero comics, but it is delivered in almost every installment of this series. Someone cared about every aspect of this book from its core to the most minute details (again excluding proofreading) and it shows in a tremendous reading experience.
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Whether that is enough is difficult to say. This is a debut issue with charm and style, but it also falters in its telling. Stelfreeze's envisionment of the world of Wakanda is captivating, while what is happening within the country's borders often leaves much to be desired. The stories of the Dora Milaje provide interest, while Black Panther's narrative and self border upon being tedious. The elements of a powerful story are present, yet the Silver Age influence without top-notch Silver Age style may put those elements to waste.
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Even with the break in art at its end, Karnak #2 is a strong showing. The hyper-violence on display is stunning in its execution and presented in the most favorable conditions possible. As Ellis and his collaborators question the purpose and intention of violent methods, allowing those methods to be shown without the modification of words or a sense of humor makes them land. Karnak #2 is a comic book that lives and dies by the strengths of its visual storytelling and style, and here it hits home.
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The course of All-New Inhumans #5 isn't to provide so much of value that missteps like these contorted faces can be easily overlooked, but that they call into question why to read the comic in the first place. The appearance of Spider-Man and plot points on weaponization provide footholds to an ongoing plot with some merit and visual charm, but none of it distinguishes All-New Inhumans in any marked way. The most interesting concept in the entire comic, the Skyspears, is a lesser version of something currently being published at Image Comics. If there is really a call for Inhumans stories, then fans could expect worse than this, but that's assuming there was ever a call to begin with.
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This might just be a matter of luck with the two best Avengers books both being written by Al Ewing. Excluding Avengers Standoff #1 though, the entire set hits a much more consistent set of highs. Even with the generally lackluster and safe comic All-New, All-Different Avengers, there's something to be said for reliable entertainment. There appears to be greater attention and effort being paid to the Avengers right now. Well, it's that or Ewing just makes this group look good.
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The Ultimates has been one of the best books from the All-New, All-Different Marvel relaunch and The Ultimates #4 is no exception. It's a comic that functions both as an individual issue, making a character study spread across five decades, and as part of an ongoing plot, pushing the limits of weird science in superhero comics. It shows there's no need to choose amongst plot or character or stlye or action, combining all of these elements into one very enjoyable comic book. There's a lot happening in these pages, but that only makes the manner in which The Ultimates #4 delivers all the more impressive.
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That level of delivery is actually Uncanny Avengers #6 at its best. When it manages to feel like a perfectly standard superhero team comic, it doesn't feel like an advertisement for Inhumans comics that Marvel should stop trying to make happen or a minor adventure that hardly entertains and barely ties into the series ongoing narrative. If you're dying to fill time, then this will do the trick, but that's about the only objective it is likely to satisfy.
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t's unlikely that someone looking for depth and advancement of character will walk away from New Avengers #6 pleased, but that's hardly the focus of what is a small, character-focused issue only on its surface. Instead this installment continues to rely heavily on high-concept, high-exposition plotting something that Ewing excels at in the Marvel Universe and that his collaborators display in an exciting manner here. As a superhero book focused on intriguing superpowers and weird science, New Avengers #6 provides a fine distraction and services the ongoing narrative of this odd group of masked heroes.
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Excluding the potent combination of favorite characters, All-New, All-Different Avengers is a superhero comic that looks and tastes like the paste you were told not to eat in preschool. Consuming it won't hurt you, but it certainly isn't going to do you any good either.
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This is a comic that is at war with itself. The premise of the comic is as ugly and gritty as it gets, but it is plotted as a Marvel team up feature with all of your favorite superpowered pals. There's no awareness of this dichotomy though. It's every bit as bizarre as it sounds and the friction between the two concepts results in a comic that doesn't know what it wants to be, besides an excuse to show off Sorrentino's excellent action sequences.
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The greatest sin of Uncanny X-Men #3 is not the changing level of attention to artwork, but that it provides an untenable level of sameness. Characters and individual scenes reflect one another and what has already been established. There is no sense of forward momentum or call to continue reading for fear that this track will continue to skip on the record player. It's possible the song will move forward, but even if it does that doesn't make it likely to change its all too familiar tune.
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All-New X-Men is a hastily assembled comic book on every level. Characters are sketches of teenagers and a single issue only manages to focus on a single, shrug worthy conflict between two of its characters, while the rest are banished to the background in one note appearances (e.g. Bobby is gay! Hank is smart!). The artwork passes the test of sufficiency, but provides no literal or metaphorical depth for readers to invest themselves in. It's certainly a comic, but there's not much more worth saying than that.
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Looking beyond the final scene of Extraordinary X-Men #7 when considering quality is fruitless though because that scene distills everything you need to know. It's a slapdash construction of something that ought to be dramatic, but is actually baffling. Not only does it rely on reader's already having formed a connection to the material, but that these same readers be okay not knowing what came before or concern with its quality. This is a comic built with no ability to evoke a reaction beyond the jaw dropping display of its own blunt manipulations.
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If you're looking for catharsis or clear answers, The Fade Out #12 is going to leave you still looking. That sense of disappointment is exactly why it's great though.
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If there was ever any intention to comment on the brutality of the Old Testament, the nature of religion, or any concept more specific than "man, this is some pretty rough stuff, huh", it's not apparent in The Goddamned #1. The description provided in solicits is about as deep as the 32 page comic itself. There's nothing to be found within the characters, concepts, or violence that cannot be easily found elsewhere with more reasons to recall it. For as heavy as The Goddamned feels, it is it noir fluff at its heart.
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Robin War #1 is a comic with no idea what it wants to be about. It is not about the identity or significance of Robin. It is not about urban vigilantism. It is not about real world issues. It isn't even about a battle between some of DC Comics' most beloved characters. Everything about this start feels forced from the premise to the execution. There is real talent attached to this comic, but the scattered characters and premises at play are unable to be put back together by King or any of his collaborators.
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The jokes and quick set up of a very large cast and lots of potential plotlines all work as well as they do largely because of Williams and Wilson's presentation. They make the crayon-colored business presentation pop and the humorously foreboding callbacks to Walker's teenage friends seem actually mysterious. Their delivery of each line and concept is so engaging that it's easy to re-read Patsy Walker A.K.A. Hellcat #1, and wait for #2 to bring the same style and laughter, and the follow through on the premises established here.
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Unfortunately, both characters and big action set pieces fail to live up to any potential found within the script. Leonard Kirk's pencils appear inconsistent with Paul Neary providing varying levels of detail and refinement between individual scenes and pages. Much of the enormous battle falls flat, as neither the movement nor scale of what is occurring is realized. Even the composition of a few key moments fails to land with a big (previously spoiled) death rolling across the finish line, rather than racing. It's a disappointing display of a comic that has, if nothing else, potential.
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At least in Avengers both Starbrand and Night Mask had engaging costume designs, but here they are reduced to the simplest versions of technicolor displays. That simplification applies to body type and facial expressions as well. Rather than emphasizing a cartoonists' economy of line, Domo Stanton's work is merely reductive. It results in both action and drama that reads as being entirely unengaging as figures stand and pose instead of moving. Everything about Starbrand and Night Mask #1 feels like the simplification of something better, from costumes to characters to concepts, it's all a lesser version. While the plot and art may function, it does so in such a way that it is difficult to recall just how it worked even a few minutes after reading.
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Weirdworld #1 would likely have been a rousing success no matter what thanks to Del Mundo's efforts, but Sam Humphries grasps what makes this concept and artist jive, then plays to those strengths. He crafts characters and drama in broad strokes. Every named entity on Weirdworld feels bigger-than-life, including a truly ridiculous barbarian and a version of Morgan Le Fay that feels as seductive and dangerous as any to come before. Even though the dramatic key to Becca lands like a sledgehammer, it fits into the tone of Weirdworld #1 perfectly. If you're looking for grand adventure and beautiful madness, then look no further; this is the comic for you.
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That's the ultimate goal for Gwenpool Special #1, a comic with a cash grab in its title: to be perfectly fine. It succeeds at that. The Hawkeye story did plenty for me as a fan of Duggan's mini-series, while the Ms. Marvel story is wince-inducing, but overall it averages out to complete fine-ness. This is a comic worth flipping through for Marvel fans, but it won't leave any sort of impression after one or two glasses of eggnog.
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Scarlet Witch #1 is a comic with a lot of promise. It's premise and creative team deliver a solid first issue, albeit one that could have used a more challenging editorial hand. Wanda Maximoff's voice has never been stronger though, and as long as the depiction of her adventures remains this compelling, it will be worthwhile seeing where she goes next.
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All-New Inhumans #1 is visually engaging in most panels though and finally gives readers a reason to care about this new team hitting the scene at Marvel Comics.
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The best part of All-New X-Men #1 is the solicit, once you open the comic itself the promise is quickly unraveled to leave only disappointment.
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If it can find a sense of direction, then Spidey may become a highly recommended retelling of these classic origins and an excellent showcase for Bradshaw's artwork.
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Maybe there will be something more enjoyable to be discovered in the second issue, but based on this debut it's probably more difficult to justify spending more money to find out.
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Daredevil #1 is a great start to a new series, and would have been even better if all of the story had been included.
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Cho and Pak are clearly well-suited to one another and the story they aim to tell here. It's a rollicking good time that doesn't take itself too seriously, and manages to deliver both big fun and bigger laughs as a result while laying down some potential drama for later.
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Even with some missed opportunities, Moon Girl and Devil Dinosaur #1 is a sweet first issue that may have readers falling in love with the titular duo before they even get to know one another.
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Silk #1 will be a welcome return to fans of the first series, even if it is a weak issue of the ongoing narrative that will leave newcomers underwhelmed.
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At some point in its development Venom: Space Knight must have seemed like a very good idea, but whatever was being imagined at that moment is nowhere to be found in this first issue. Somehow this comic has transformed a superpowered adventure in space into a tedious affair.
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The singular flaw underlying almost every other flaw in The Dark Knight III #1 is that it is dishonest. The Dark Knight III #1 is a comic constructed to safely imitate greater works. It bears the names of Andy Kubert and Brian Azzarello, but never takes advantage of their substantial strengths, trying to twist them to be something they are not. The result is perhaps the most negligible comic featuring Frank Miller's name to date.
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Much like Pizarri and Tieri, readers who decided to pick up this issue will be inclined to get through it quickly. There are no rewards to be found here and the more quickly it is set aside, the better.
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That smoothness is featured in the comic itself, as the final third transitions to Alphona's pencils in a flashback sequence. This story focuses primarily on Bruno and reveals just how lovingly crafted Kamala Khan's supporting cast has been characterized. A Bruno story is every bit as endearing and enjoyable as a Kamala one. The introduction of Mike shows that this cast will only continue to grow, and Wilson avoids innumerable troublesome tropes in order to deliver a fully formed human being in only ten pages. It's a clear sign that Ms. Marvel hasn't only returned at full strength, but that this series is going to be even better than ever.
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The presentation of Vader Down #1 is unfortunate because it undermines a concept and plot packed with potential. As the start of a larger crossover, this issue shows how much fun can be had in the Star Wars universe between films. The drama and, more importantly, action are all there. Hopefully, future issues will better depict the promise of this premise.
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The story itself is comfortable with the clichs in plays. Quill's orphaned origin comes complete with a harried caretaker who can't give the young man anymore chances. A scene in which Quill proves himself to be the smartest guy in the room from the position of a janitor reads like a poor man's Good Will Hunting. Humphries is telling this story in broad strokes that may not drive fans of the character away, but certainly won't earn him any new ones either. Where Star-Lord goes next will be the most interesting part of the series. The first issue is buried in an origin that, while nicely simplified is also rote, but what happens in space after this may give it the speed it needs to really take off.
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Whether Wrath of the Eternal Warrior represents a return to battle or a denouement for one of Valiant's favorite heroes, it's a series (like so many others from the publisher) that promises to be unlike anything else on comics stands. Venditti, Allen, and Martin are crafting a hallucinatory experience that invites readers to experience each level of this legendary protectors life. Even if the direction is unclear, the journey is promising and it's advisable to stick close to Gilad as he walks beyond the veil of life.
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Huck is centered on a very charming, potentially powerful idea. It's an idea that surfaces in Albuquerque's designs and storytelling, showing flashes of what could have been. Ultimately though, Millar's script isn't capable of bringing the ideas he has into a coherent story that will inspire or awe. Huck #1 is the sort of comic that may give you cause to think, but your thoughts will linger on how much better it should have been.
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Spider-Woman #1 is one of the absolute best debuts of the All-New, All-Different Marvel line. It is an example of what a team of excellent creators can do when collaborating on a story and craft they clearly care about. The pregnancy storyline is handled very well here, but it speaks volumes about the quality of this comic that it is far from the only thing with discussing. There's a lot of great things happening in Spider-Woman, and it would be a shame for superhero fans to miss out on any of them.
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The Mighty Thor #1 is no more or less mighty than Thor. It remains a beautiful superhero comic that actually manages to earn the adjective of epic. While the protagonist remains a loosely written outline, her time spent as the God of Thunder reveals promise that the series will hopefully grow into. Whether or not that occurs, The Mighty Thor will undoubtedly remain a truly fantastic presentation of nine realms.
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All-New, All-Different Avengers is anything but what the title describes. It's bland, unimaginative, and poorly assembled. The best thing to be said about it is that it is a perfectly readable Avengers comics, but we already have five decades worth of those.
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Despite some flaws in the art, All-New Wolverine #1 is a good start that delivers a clear direction for the character and shows just how much can be done with her in only a couple dozen pages. Whatever comes next should be a very fun adventure.
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Batman #46 is a middle chapter, which is something many superhero comics struggle with. The task of moving 3-4 plots along, setting up future revelations and events, and continue to build tension and action is difficult to manage in a single comic that should be fun to read on its own as well. Yet Capullo and Snyder pull it off with aplomb. They understand how their story ought to function, which allows them to focus on the individual strengths of each scene. Action and romance alike are beautifully presented here, making the wait between each issue absolutely worth it.
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Ramos and inker Victor Olazaba add some much needed energy to the issue. Ramos' designs and style lend themselves naturally to this team of varied body shapes and costumes. Each member stands out with a unique silhouette. Action sequences speed across the page with bodies that truly feel as though they are in motion. Exaggeration almost gets the better of Ramos, but is reined in by Olazaba's smooth inks. As a result Extraordinary X-Men is a comic with plenty of style attempting to cover a disappointing lack of substance.
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Dan Abnett's script also reflects work with fine elements, but speed bumps that could and should have been smoothed over given more time. There are a number of jerking transitions between scenes, with a failure to effectively introduce two named characters and notable setting. Dialogue often hops between topics, hitting the required points but not cohering to anything resembling the rhythm of conversation or banter. Abnett does land some excellent puns and very charming lines though. Hercules' respect and forthrightness with two young men is particularly excellent. Moments like this reveal the promise of Hercules as a series, one that would be quite stirring if only its creators could more consistently reach it.
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These three creators together are crafting a comic that will stick with you, surprising you with depth and thought that may strike very close to your deepest held fears.
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Hellboy and the B.P.R.D. 1953 is a perfect comic to pick up as part of Halloweek, whether you're a longtime fan of Hellboy or just looking for an introduction. Not only is it accessible, but it manages to deliver three succinct tales in very little space. It reveals the breadth of Mignola, Stenbeck, and Stewart's talent as storytellers and flexibility within the realm of horror. Whether you're looking for monstrous action, existential dread, or just an old fashioned campfire tale, this issue delivers on all fronts.
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The present as presented by Kim Jacinto and Israel Silva is something mediocre though. Jacinto applies a heavily detailed linework inspired by artists of the 90s in order to create something that feels far less realistic than what she is aspiring towards. There's nothing confusing about the action or drama shown in the present, but it alludes any sense of the organic or natural. If it were not for Hans' work in this issue, it could be tossed away. Yet the rich colors and beautiful love story shown in the past makes the present feel like a narrative worth paying attention to.
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Buried in all of this is the ingot of a good idea. Much of the script reads like grindhouse cinema, spitting on subtlety and happily accepting the obvious explosion or laugh. Frank J. Barbiere is a writer capable of understanding the appeal of that concept, standing up a massive cast of monsters for big action and tongue-in-cheek melodramatics. There are at least two moments here that are capable of evoking an emotional reaction, the sort where you grin with the comic rather than glaring at it. Barbiere's script doesn't contain enough laughs or craziness to make Schoonover's art endurable, much less entertaining though. It's a tough read where the glimmers of interest and potential only make the final result all the more disappointing.
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Even in the scenes when Henderson is given space, like a certain food court, the puns take the lead and the setting is relatively generic, given the scenarios presented. Rico Renzi's color paint with pastels to make everything colorful, but what should be active scenarios are only made active by blues, greens, and yellows. Henderson's action is limited to the most obvious of artifices and rely on North's very active script to evoke laughter. The characters, interactions, and silliness are enjoyable as ever, but this relaunch of Squirrel Girl (in the same year it launched) is a standard issue of what has proven to be a very strong concept.
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Black Magick #1 is a top-notch debut from Image, the most inventive publisher in comics today. It delivers on character, premise, artwork, and ideas, a comic that can satisfy any reader looking for a great crime or horror story. Wherever the mysteries of this debut lead Detective Rowan Black, it's bound to be a satisfying read.
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Karnak #1 is instantly engaging and reads briskly before reaching an ending that is neither cliffhanger nor stopping point. It's a jerking halt to the issue that reveals Karnak to be a story that is designed without issue breaks in mind, much like Ellis' other ongoing work on Trees and Injection. There is more than enough good to be found in this first installment though, that it's easy to forgive Karnak #1 for failing to cohere as an issue. Ellis and Zaffino deliver an interesting hook for this reinvention, one that is equal parts character study and brutal action comic with plenty of style throughout.
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The end result isn't a comic that is offensive or completely without merit. It simply lacks the ability to earnestly recommend itself as something worth continuing. While it's entirely possible that any of its elements, from characters to setting, will be refined as the series continues, there's nothing here to make us believe that will happen. The Shield #1 is a lackluster outing that is best left on the shelf.
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Chewbacca #1 is a delightful read, one that doesn't lose its luster upon a second or third go. There's elegance to its simplicity. Nothing here will change how you look at comics or the main character, but it's hard to imagine a more enjoyable adventure to lie back with. Noto is masterfully telling a fantastic adventure set in a galaxy far, far away, one that will leave you wanting to follow Chewie wherever he goes next, even if you can't understand a single thing he's saying.
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The finished product does not communicate any of that potential though. Batman & Robin Eternal #1 is a finely tuned piece of marketing. There is at least one respectable name (i.e. Scott Snyder) attached under the title of "plotter", one fan favorite character returning, some art that makes for a fine advertisement (but fails to work sequentially), and loads of hype that sound fantastic on paper. This has all of the elements needed for DC Comics to sell it, but none of what is required to actually function as an enjoyable or even readable comic. The approach to a weekly comic here is comparable to that of factory farming, the gross production of a McRib. Get the meat from bone to table as quickly and cheaply as possible, and spend money to make it look good on the menu.
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For fans of the show looking for a place to jump on and longtime readers of the series, The Walking Dead #147 is an issue that is probably best read as part of a broader collection. It moves characters and plot points in potentially interesting directions, but makes for a dull read on its own. Kirkman's strengths do not lie in dialogue and Adlard can only do so much with almost twenty pages of the stuff. It is an issue that rests between better things, which might to make its notable weaknesses a little easier to forget.
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Jughead #1 isn't just another great Archie book; it's a great humor comic with no additional modifiers needed. Zdarsky and Henderson understand what makes this character function as the star of a series. Jughead isn't just another part of the Riverdale gang, he's larger than life launching into high school like Dangerfield busting into Bushwood Country Club. His exploits and daydreams alike feel like the stuff of legend, even if they're really just one helluva gas.
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This intense level of attention, from the script to Chiang's pencils to the cool colors that envelop this night time adventure, is what ensures Paper Girls #1 is a personal experience. No matter how big the concept behind this series may be, it is always and on every level the story of four young women. They are heart that pumps life into the humor, mystery, and strangeness of this issue. Even when the final page comes, and Vaughan once again proves his skill at cliff hangers, they are the reason you will return. And based on Paper Girls #1, many of us will be returning to this comic for years and years and years.
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I Hate Fairyland #1 doesn't always crank its volume to 11, but when it does, it is a laugh riot. For all of the promise held in this simple premise, it's only through Skottie Young's brain that it truly comes to life. His imagination, attention to detail, and refined ear for crude humor combine to make something a humor comic that's still funny even upon a third and fourth reading. Watching childhood dreams brutally slaughtered has never been more enjoyable.
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Waid, Samnee, Wilson, and all of their other collaborators have created a truly legendary version of Daredevil, and Daredevil #18 is an excellent capstone to their accomplishment. It manages to walk the fine line between spectacle and catharsis, providing a fine ending to this last adventure and, more importantly, addressing the thematic core of the series. In these final pages, Daredevil lands exactly on the point of why it has mattered so much for so many comic readers, and why it's likely to continue doing so for a long time.
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E is for Extinction is not just one of best Battleworld miniseries so far, but one of the best X-Men comics published in years. Morrison may be the source for many of these ideas, but Burnham, Culver, and Villalobos are demonstrating a true mastery of the material. If we're lucky, this won't be the last time we see them all playing with the oddest superheroes in Marvel's stable.
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Gotham By Midnight #8 is clearly executed and easy to understand, but never manages to engage. From its broadest ideas to its most specific details, the issue rarely passes the bar of being passable. It is a quick horror story, with only a single stand out moment, that will be forgotten in less time than it takes to read.
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It is always a joy to see a new art from Mignola, and Hellboy in Hell #7 proves that rule once again. From the evocative, soft dreams at the start of this issue to the big battle at the end, every page of this issue is a treat. Hellboy's development as a character is mirrored by Mignola and Stewart's as artists, all of them showing their souls here.
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Archie #2 continues to deliver on all of the best elements of the first issue. It's accessible, fun, and an absolute visual delight. While the series is not delivering anything new, that's never its intent. It plays it safe and executes each page of high school tomfoolery and melodrama with grace, producing a comic that is enjoyable for all ages.
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Giant Days #6 is an incredible amount of fun. It is a joy to tag along with these characters on their misadventures. And despite the generally low stakes, the issue never feels slight. Instead, it captures the whimsy and aimless propulsion of college-life, making you want to run ahead even if it's unclear why. There are good friends and good times to be had, and that's more than enough.
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Kanan, The Last Padawan is perfectly standard franchise comics. It hits a lot of familiar territory and story beats without ever adding a new spin. It's a story that has been done many times before both in and outside of the Star Wars universe. While not terribly executed, it hardly provides a reason for its own existence. Kanan may entertain younger fans of Rebels, but it's unlikely to strike a spark with anyone who has read more than a few Star Wars stories.
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Plutona is a comic about childhood. The inclusion of superheroes feels like garnishment in the first issue, saved for a page of prologue and final reveal. The heart of this one issue is the five children at its core. Lenox and Lemire put all of their efforts into bringing them to life on the page, and the results speak for themselves. In these five children, both of the world and in many way innocent of it, it is possible to see reflections of the people we once were and wished to be. They all live on the crucial moment before adolescence when every choice could mean the world and the world could mean anything. The stakes of Plutona are high, not just because they reflect the perspective of children, but because the potential found within each of them feels truly limitless, if only for this one moment.
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While Batman #43 is still laying down tracks for the rising action bound to follow, the promises made between and during the exposition are incredibly exciting. Mr. Bloom's reveal is the clear, standout moment of the issue, but there is a lot to love here. Capullo and Plascencia are still effortlessly delivering each action and emotion-oriented beat. Snyder continues to bring Batman to wilder places with enough death traps and introspection to satisfy all sorts of fans. It's the promise offered by both the talent of this team and the best moments of this issue, that ensures Batman's place as one of the best superhero comics coming out today.
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There may be some that find enough value in Ward's presentation to stick with ODY-C. It's somewhat painful seeing his skills strapped to this ship sinking under the weight of its own pretenses though. Beautiful woodwork and sails are not what is required to cross an ocean, and even the most astonishing artwork can't cover the flaws of ODY-C.
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Rebels #5 works exceedingly well as both a visually compelling comics narrative and a fascinating piece of historical fiction. Wood, Mutti, and their collaborators have tapped into some of the core elements that make this period in American history mesmerizing on a personal level. The inclusion of famous battles and figures function as garnishment to the story of Seth Abbott, a story well worth reading.
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Secret Wars #5 may lose some of the series' momentum, but the stakes and setting have never been more exciting. After years of planning and exposition, Hickman and Ribic possess a chessboard staged for an epic endgame. The final few pages of this issue will leave a pit in your stomach, and that anticipation reveals just how much potential there is still to be found in Secret Wars.
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Batman Beyond #3 is functional. It delivers plot and action so for a basic understanding, but it never really matters. Rather than a tale written in the present about the future, it reads like a relic of the past. Overscripted and serviceably presented, Batman Beyond is part of a workmanlike tradition in comics that has no place in the future.
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Deadly Class continues to be one of the best comics hitting store shelves month-after-month. Remender and Craig are delivering a world populated with fully realized characters commenting on social troubles through incredibly exciting sequences filled with action, drugs, and mayhem. No series is better at combining the ludicrous with the deeply human than Deadly Class.
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Giant Size Little Marvel AvX #3 is exactly what it needs to be, a whole lot of fun. Not all of the gags land, but there are enough of them that the issue can rack up consistent chuckles and smiles. Its lighthearted nature is just the sort of palette cleanser superhero fans need against all of the Strum und Drang of events.
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Despite the unnecessary fan service towards Luke Skywalker, Star Wars #7 is still a strong entry in the series. Bianchi's art turns the into a unique comics experience, rather than a recreation of a trip to the movies. He evokes a strong, isolating mood that pairs beautifully with the most significant elements of Aaron's story for what will hopefully be only the first of many chapters in Obi-Wan Kenobi's journal.
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The Manhattan Projects: The Sun Beyond the Stars #2 shows that this is a book worth waiting for. From the broad strokes of an intergalactic heist down to the smallest details in Pitarra's backgrounds, this issue is a delight to read and re-read. Moving beyond the Cold War setting has allowed it to embrace the most bizarre elements of the series. The result is something that feels both fresh and familiar, but always like damn good comics.
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Matheson's story is still a classic piece of horror prose, but Adams and Torres' adaptation fails to make a case for its own existence. The advantages of the comics form, to show off scale and play with visual metaphors, are barely utilized. Instead The Shrinking Man does its best to translate prose into comics as plainly as possible. While this may make it more accessible to younger readers, it hardly makes for great comics.
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"Farewell" stands as a testament to the mighty legacy of Fables. It is every bit as large as the series that preceded it, and packs all of the feeling and skill that led Fables to so much success. It is not always a perfect goodbye, but such a thing may not even be possible for so great an undertaking. "Farewell" is perfect where it counts though. The final battle, the final panel, and the final line are all exactly what is needed. They are reminders of why Fables is so beloved, and are bound to linger fondly on the minds of its readers. In its final moments, Fables #150 summons the ethos of "Happily Ever After" as well as all of the fairy tales that inspired its creation.
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Fall of Bloodshot #1 is a bold pitch for future Bloodshot series, but it's something that should have only been shown to Valiant editors. A great deal of effort is put into thinking of interesting new spins on the assassin, but there's not nearly enough space to show any of them. This is a well drawn bird's eye view of a potentially great comics.
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Frankenstein Underground, unsurprisingly, is another fine addition to the Mignola-verse. It walks the seemingly impossible line between character-focused introspection and bombastic monster fights that all of these series do so well. It's visual storytelling and imagination are unlimited. Frankenstein holds a special place at Dark Horse comics and, while Frankenstein Underground gives him a proper conclusion, we can all still hope to see more someday.
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Marvel Zombies isn't a series that I expect to inspire inordinate amounts of enthusiasm or distinct memories. It's a mini-series that grasps what it is, and plays to those strengths portraying a weird, funny romp in an increasingly absurd premise. There's a lot of silliness to be found in Spurrier and Walker's conception, and that is the absolute best thing they can do here.
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Godzilla in Hell #1 delivers on exactly what is promised in the title. It's big, dynamic, violent, and oddly soulful. Stokoe is a consummate cartoonist of spectacle, paying exacting attention to every panel and consistently delivering big moments. This comic is a delight to read and read again.
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Kaijumax #4 veers between the sublime and troublesome, but it spends much more time with the former. In spite of the themes being explored, Cannon capably delivers laughs along with insight without ever cheapening characters or their experiences. It's a truly odd fusion, but one that's well suited to the imagination on display here. Kaijumax is one of the most interesting premises being explored today, and the execution of its style, themes, and tone is fascinating.
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Trees #11 is possibly the single weakest installment of the series thus far. It plods forward like the sheep grazing in Orkney, unconcerned with the complete lack of tension or drama in this pair of vignettes. While these scenes may read better when collected alongside much important context in the future, here they are presented alone and only Howard's art can keep them standing.
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Descender #5 is a beautiful comic, that's art makes the pain of the story seem all the more potent. While Lemire struggles some in creating a compelling political system, the core story of the series is compelling as ever. The characters are well-realized, and their pain is easily shared with the reader, for better or worse.
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Injection is one of the most beautiful comics being published by Image today. The story is impeccably told, which makes its obfuscation of character and plot easier to accept on a month-by-month basis. It's still unclear where this is heading or if it will reward reader's patience, but watching the journey unfold is its own prize for now.
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Starve may not have received the most attention at the previous Image Expo in January, but after two issues it seems that it should have. Each installment so far has provided a complete narrative arc with all of Wood's typical flair for character and politics. Furthermore, it is some of both Zezelj and Stewart's best work to date, moody and dynamic. Starve #2 is a truly outstanding comic book.
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On its own Strange Fruit #1 isnt offensive. Its boring, bland, and entirely unnecessary, but it isnt filled with hate. However, it highlights a broader problem, one that is truly offensive. If this mediocre effort is embraced as challenging, then what hope do comics that actually reflect black history or experiences have? Strange Fruit isnt a comic to be praised; its an embarrassment.
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Baltimore: Cult of the Red King #3 shows just how far the series has come in five years, and will leave readers stunned with its final sequence. The stakes are higher than ever, and Mignola and Golden have not lost track of the thematic core of the story. It is a comic about reflections and dualities: humanity and inhumanity, life and death, heat and cold. Even without this enormous cliffhanger, the issue gives readers every reason they might need to return for more.
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Chew #50 is a lot of things. It's funny, action-packed, surprising, and a joy to read. But above all else, it's just really bad ass.
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There is a lot to like about The Spire #1. The detail-rich artwork, slick action sequences, and captivating setting provide readers with a world they can lose themselves within. The introduction of so much in such a small amount of space is cluttered at times, but cannot remove the wonders that inhabit this strange, desert tower.
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Daredevil continues to surprise and astound with each issue. All of the madness introduced in #16 would overwhelm lesser talents, but Samnee and Waid juggle these plots almost with ease. Each significant moment lands, and the impact of some are enough to take your breath away. This is the setup for what looks to be a finale every bit as good as the series preceding it.
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Ninjak #4 jumps away from a heart-stopping cliffhanger, but still manages to make this break feel both important and worthwhile. Rather than distracting from what is happening, it make the present story all the more significant. It's the sort of unique, one off, scripting at which Kindt excels, and the artistic team makes the issue feel even more special. The result is another great issue of Ninjak, fusing its own importance into a much larger narrative.
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Superman #41 reads like a test drive. Yang, Romita, and the rest of the team are breaking in their new approach to the character. While there are some issues within the art and the plotting is solid at best, nothing is broken. In fact, the entire creative team seems to have a solid grasp of what they do well and how they would like to apply those talents to Superman. It's an encouraging start for what could be the best take on this series since its relaunch.
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Black Canary #1 is a jumble of elements that fail to make a significant impression based on the story, but it moves so fast and looks so good that the failings in the script can easily be overlooked. None of the flaws present are fundamental to what comes next. Given some revision and a bit more thought, it's a series that could easily match the gorgeous layouts, artwork, and colors on display with a streamlined story of equal merit. As Black Canary continues, it could afford to take some advice from one of the greatest performers to ever hit the stage: "A little less conversation, a little more action, please."
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The excitement and ferocity evoked in this battle, which includes only one recognizable character (who is not even recognizable until later), reveals Lazarus' true depth. Forever may rest at the center of this story, but the world Rucka and Lark have constructed is complex and open for a great deal of exploration. Lazarus #17 is another taut chapter, delivering political and visceral thrills in an increasingly immersive series.
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It's the potent combination of fierce ideas and rich, enjoyable art that really makes Prez work. Never vitriolic nor too silly, it walks the same razor's edge that any good satire must, cutting its audience without them even noticing. For an issue that works only to establish tone and setting, Prez is surprisingly effective. If the titular character has as much life to her as this world, then this series ought to be a real delight.
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Runaways is quickly shaping-up as the Secret Wars tie-in with the most potential. Stevenson and Greene are clearly engaged with the story they're telling, and it's difficult to resist smiling and laughing along with them. This comics all about silly, over-dramatic, high school antics, and it's just the sort of friendliness that clicks with youthful heroes.
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Author Chase Magnett @ComicBookdotcom
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Birthright #8 may read like a middle chapter, but it still has plenty to offer. In its combination of five distinct plotlines, there are both excellent visual and character-based elements. The final page also lands on another thrilling cliffhanger. It's a fun twist on fantasy that continues to provide plenty of content in every 20 page package.
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John Constantine is back and in good form. Doyle, Tynion, and Rossmo capture the essence of Alan Moore's creation and spin him into a perfectly suitable corner of the DC Universe. Constantine: The Hellblazer is mean, funny, and beautiful to behold. It's just too bad that so much of the story is over-told when it is already being shown so well.
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Ghost Racers #1 is another fun spin-off from Secret Wars, providing a unique genre and style amidst the very diverse collection of Battleworld comics. Gedeon is a great fit for the fast-paced action inherent to these characters, and Smith continues to make Reyes a sympathetic, relatable character. The first issue is flawed, but that doesn't stop it from being an entertaining introduction.
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Renew Your Vows #1 is an uneven issue from all creators involved. Slott capably embraces the fun and strangeness of this period in Marvel Comics history, but his pacing leaves something to be desired. Kubert and Dell, on the other hand, are at the top of their game as long as they are portraying characters in masks. The story's arrangement as a prologue leaves a lot of interesting ideas to be explored and time to iron out the flaws. It's an issue filled with potential, but it's fulfillment is far from certain.
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Remender has never let his characters off easily and he isn't interested in happy endings. What he, Craig, and Loughridge are interested in in Deadly Class is something less cathartic, but more significant. It's a tale that no matter how big and crazy it gets is always grounded by humanity. That's why Deadly Class #13 hurts so good.
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Even both Stewart's contributions are occasionally buried under the inclusion of pills and flower petals that cover the page. It's a "cute" idea that adds nothing of value to the pages nor any depth to the story in this first issue. That lack of value is endemic of Fight Club 2's entire debut. It is a work without substance or meaning, beautifully realized before being quickly and mercifully forgotten.
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The action sequences have a madcap sensibility to them as well, where M.O.D.O.K.is effective, but never cool. A spread at the beginning of the comic captures the weirdness Yost seems to be aiming for at its best. M.O.D.O.K.'s stilted internal monologue and juvenile sense of humor (think a sixth grader on Reddit) still drag the joy of rockets and mental blasts down. He's at his best when he simply shuts up and gets the job done. There's the seed of a fun idea here, but M.O.D.O.K. himself seems determined to kill it.
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For readers excited about Secret Wars and the epic superhero tales promised, A-Force #1 is a mixed bag. The tone and story are consistent with big crossovers, but share some of their failings as well. Consistent presentation of those ideas is where the issue really has troubles though. If Molina and Cheung's work improves, then A-Force may be one of the most fondly remembered series of this entire event.
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Lumberjanes #14 reads in a familiar fashion, very much the series readers fell in love with just over a year ago. It incorporates recognizable structure, characters, and tropes, while providing new mysteries. The result is something that reads like the series' debut with no need for exposition, much like the second or third novel in a series of novels for young adults. Lumberjanes #14 knows itself and its audience, creating a comfort zone in which it can continue to thrive.
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As it nears the end, The Kitchen continually gains momentum, helping to focus its ideas and art into the best issue of the series yet. It is both a rapid-fire crime drama and a powerful statement about how a patriarchal society can force women into violent roles. The nail biting cliffhanger lies on the tension set between that and the nurturing aspects of motherhood. It is an excellent build towards an unguessable climax, making The Kitchen one of the best new series from Vertigo Comics this year.
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The most disappointing element of C.O.W.L. #10 comes in the letters column, with the announcement that the series will not continue past #11. Yet this issue feels like the set up to a proper conclusion. It arranges all of its characters into significant positions, and then leaves them teetering on a precipice, ready to define themselves and readers' perceptions of this comic.
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These detractions are hardly enough to ruin Harrow County#1. It is a very promising introduction, and something that reads differently from all of Dark Horse's other excellent horror offerings. Crook and Bunn are sowing seeds for a very dark tale, one that will easily be enjoyed on a cold October night after it's completed.
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Darth Vader #5 still seems to snap into place towards its end, making a compelling argument to continue reading. So much of the series has relied on style and wit so far, but Gillen may have found a new idea worth mining for an extremely long time. It's an exciting final few pages filled with invention and excitement, and it's the best moment in all of Darth Vader so far.
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Despite that imbalance, the promise withinthe final few pages combined with Dauterman and Wilsons superb work makes Thor #8 an enjoyable issue. When it lands its hammer blows, they really land. IfAaron integrate the ideas introduced at the issue's end, whatever follows this epilogue should feel properly epic.
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Issue one ends abruptly, almost as if it were cut off mid-sentence. The story appears to be written as a whole that was only broken into installments after being completed. However, this first chapter provides plenty to invest readers and drive the narrative forward. Baltimore: Cult of the Red King #1 doesn't rush to the action, but takes time to carefully describe its cast, as well as their world and mission. It is a tonal overture that promises a horrifying story to come.
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Ultimately, Rucka and Hamner deliver one of Convergence's best stories, focusing on character over spectacle.Rucka restates his affection for both characters and allows them neat, peaceful, resolutions. The conclusion feels true to both characters, while also reflecting a nostalgic urge to provide a happy ending.
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Injection #1 is a bizarre first issue with lots of plots points and exposition, but very little understanding. The story itself is not a mystery, but the manner the creators tell it in is mysterious. That experience could be off putting, but at least Ellis appears to be writing with the strengths of his collaborators in mind. Shalvey and Bellaire are more than capable of carrying these mysteries and introverted characters. Together, they elevate the script and transform what easily could have been an odd debut into something puzzling, but pleasing. Add in the beautiful draftsmanship and coloring, andInjection #1evolves from an intellectual puzzler into must-read comics.
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Odd choices like this make No Mercy #2 a discordant reading experience. Some sections soar while others drag, but they never cohere until the issues conclusion. De Campi and McNeil are managing a lot of moving pieces, but that's not an excuse for a narrative that takes place in a 100 foot radius to feel so fractured. It is only when a shared threat appears at the end that all of these different elements begin to feel like they are sharing the same setting and story.
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Like the opening to chapter to many other Marvel events, Secret Wars #1 is off to a promising start. But, this latest epic genuinely feels like it may succeed in fulfilling a promise where so many others have failed. Hickman's plot has three years of dedicated planning to support itself, and Ribic and Svorcina are without peers when it comes to designing larger-than-life stories. If Secret Wars #1 is a fair indication, then Secret Wars will be the first great superhero event in a very long time.
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This is by no means a bad comic. It's bound to appeal to fans of Conan, Red Sonja, and the genre which they're most comfortable in. It's written and drawn with admiration for the concepts, but fails to deliver anything beyond that admiration. The result is an entertaining diversion, but nothing memorable.
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Pisces #1 is riddled with problems that range from the skeleton of its storytelling to the manner of its execution. Readers looking for an excuse to not pick up a new series will have no trouble finding one here. The comic's greatest flaw, however, does not lie in its character work or compositions. The biggest problem here is that in 24 pages, there isn't a single reason to want to read whatever may come next.
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But they still have more stories to tell. In that regard, Batman #40 serves as both a conclusion and a launching point for a brand new tale. Whatever comes next, theres every reason in the world to be excited.
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Curb Stomp #3 is a penultimate issue that leaves no doubt that this series is ending. It lands angry, hard, and fast. Ferrier and Neogi aren't interested in providing relief or escape. They're sprinting to the finish line, and when this comic ends, there is no doubt that it will end. The violence and unrefined nerve of the series may not appeal to anyone, but it's pure in a way that most comics will never be.
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Ultimately, Inhumans Special #1 achieves exactly what it sets out to do: Give a chance to let new creators prove their salt with Marvel's biggest franchises. Beyond a stellar understanding of Spider-Man, Loveness proves that he can juggle multiple threads and voices without losing the reader. Lee, meanwhile, poises himself for inclusion in discussions that may include names like Frank Quitely, Chris Burnham, and Ramon Villalobos. It's a shame that Lee can't join Loveness for the story's final act in All-New Captain America Special #1, but at least the two could make this chapter anything but an Inhuman Error.
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Lazarus #16 is another top-notch installment from one of the best series being published by Image Comics today. It combines both the intensely personal experience of Sister Bernard with the political exploration that defines Lazarus. Morality and ethics are being constantly questioned, but nothing about this issue feels like a lecture. Instead, this single-issue story is capable of challenging readers just as it thrills them.
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Kaptara #1 is an inconsistent beginning, one plagued by an uncompelling protagonist, but still filled with promise. If Zdarskys script in this debut proves to be 90% setup for the future, then theres a lot of hope to held out for Kaptara. Keith, in his best moments, could still become the centerpiece of a fascinating story. More impressive still is McLeods contribution. Both the imagination and subtlety expressed throughout the issue are the most engaging reason to return. Kaptaras debut is a mixed lot, and its difficult to tell whether it will be worth sticking around until Zdarsky and McLeod return.
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Bloodshot Reborn #1 isn't a typical spin-off series. It's a story that thoughtfully follows up on what has come before. Lemire and Suayan are clearly invested in this story, addressing trauma and responsibility in a meaningful way. It's the perfect combination of compelling and challenging for a fresh take on this bloody character.
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Some pleasant surprises have emerged from "Convergence" in its first two weeks, but this is not one of them. The elevator pitch behind this story is a slam dunk that's rendered completely inert by excessive exposition and uneven art. It's readable, but not much more.
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Albuquerque focuses his work primarily on the foreground, resulting in a dreamlike atmosphere. It's purposeful and works well with the ever shifting landscape of the comic. The colors swirl loosely around the panels, opening events up instead of confining them. Ei8ht presents a world in which change and discovery are the only constants, and it's the presentation of that world in which the series is at its best.
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If you're still wondering whether the editors at Dark Horse and Archie Comics lost their minds teaming up for this series, stop. This is an idea that only seems crazy until you read the results. Archie Versus Predator #1 is a comic that only captures what makes these franchises great, b
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Southern Bastards is the best the comics medium has to offer. Though entertaining and exquisitely crafted, its sum total is greater than either significant parts. Aaron and Latour have a lot on their minds, and those ideas have simmered since Southern Bastards #1.
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There are elements of Southern Cross #1 that didn't strike me so positively. The plot of the first issue is so eerily similar to that of Roche Limit as to feel redundant and Belanger's splash panels never seem to fulfill their promise, but those flaws cannot detract from the debut's greatest strength. Southern Cross #1 composes the mood and experience of isolation through narration, composition, and colors. It summons an experience with which I am deeply familiar with an honesty that I find to be stunning. Somehow, Cloonan, Belanger, and Loughridge have brought that experience to life on the comics page, and for that they should be applauded.
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Big moments are both the greatest element of Rat Queens #9 and its downfall. There are laugh out loud panels, and exciting action sequences. However, they all work in a vacuum and fail to function together or to build toward something larger. Rat Queens is entertaining, but it reads as calorie-less, hollow entertainment that can be consumed and quickly forgotten. There's nothing inherently wrong with that, but it's not worth applauding either.
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That connection is an uncomfortable one, and it's intended to be. Brubaker and Phillips have never pulled any punches in Criminal. Their heroic figures are always destined for a tragic end, and the ugliest characters they present tend to enjoy success. The irony and cruelty contained in Criminal isn't just a play at classic EC crime comics though, it's a funhouse mirror reflection of humanity. Criminal Special Edition isn't a story that we are supposed to be able to view as pure fiction; that's Zangarr's tale. The world of Teeg Lawless is the same one we're trapped in, one filled with criminals and comics fans just like us.
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The flaws in Silk #1 are minor though and never dominate the reading experience. They are background noise getting filtered through the energy and momentum created by Thompson and Lee. The care and love they put into Silk #1 along with everyone else on the creative team creates a comic that is propulsive, fun, and really damn good looking. Silk is a fresh, invigorating take on the Spider-Man mythos and I cannot wait to see where she goes next.
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Edge of Spider-Verse #2 revealed an exciting new vision, and Spider-Gwen #1 is all the reassurance anyone should need that it was not a one-time fluke. Spider-Gwen is a fresh take on classic ideas, featuring some of the best art and writing in superhero comics today. I've said it before and I'll say it again: Face it Marvel, you hit the jackpot.
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Frankenstein Underground #1 has introduced another element to Mignola's every expanding pantheon of horror and adventure comics. It fits in perfectly alongside the likes of Hellboy, B.P.R.D., Baltimore, Sledgehammer '44, and all of the others, but never feels like an unnecessary mirror to any of its sister titles. Instead, Frankenstein Underground plays on similar concepts and themes, but sets itself up to explore them in a manner that feels entirely new. Mignola and Stenbeck are prepared to delve into the existential quandaries of existence and the horrors of a universe that is so massive as to dwarf even Frankenstein's enormous form. Frankenstein Underground is a series worth looking out for in 2015.
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Shutter #9 is many things. Its a rich fantasy world populated with fascinating characters and a layered history. Its a fast-paced drama with plenty of twists and turns. Its a brave moral statement about the cost and cause of violence. But before all of that, it is a story about people. Kate and Chris are two individuals who have changed dramatically in less than ten issues. Every decision they make further alters who they are and drives their stories. No matter how crazy Shutter may appear, its heart is human.
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Divinity #1 pushes the scope of Valiant ever further, striking into the territory of surrealistic science fiction. It is a beautifully designed introduction and one that plays to all of Kindts strengths as a writer. While it may be unclear where Abram Adams journey may lead, it is certain that it will be an experience worth reading.
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Mind MGMT #30 breaks from the ongoing narrative of the series in order to take one final look back at one of its most confounding and complex characters. Kindt's continuing experiments within the comics form create another tremendous success. His visual metaphor for the process of memory and the narratives we construct in order to survive not only imparts meaning on the series past, but creates a bold stage for the final six issues to arrive.
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Neverboy #1 does not lack for potential. It alludes to The Odyssey, flirts with psychedelia, and packs plenty of pathos. However, none of that promise is ever realized. Instead, the story is told in a the most direct manner possible, failing to challenge or inspire either its creators or readership.
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Darth Vader #1 is at its best when focused on its villainous protagonist. Gillen and Larroca have an excellent grasp of the characters' gravitas and appeal. They manage to make him an understandable individual without undermining the terror associated with his presence. Vader is a frightening presence on these pages. Hopefully, he will have an opportunity to explore more of the galaxy as the series continues.
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My emotional response to Hawkeye #21 was intense. From the anxiety at the start to the excitement of the battle and finally the dread and pain of the end" It all feels real, and that's because it is. Aja, Fraction, and Hollingsworth are all musicians. They are making perfect use of the comics form to create emotion. No matter how loose or organic the experience may be, their choices are exacting and precise. They are masters of their art and the result is enthralling, pulling you in and refusing to let go until the final page is turned.
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There is a lot to love in Saga #25 beyond these initial pages. Its frightening and funny, endearing and engrossing, clever and colorful. Its everything weve come to expect from Saga. Yet these first five pages serve as an important reminder that this is not only a wild space epic, but a story about all of us and the world we live in. Saga does not exist in a vacuum. In its characters and history we see our own. It is not only a beautifully told tale, but one that helps us to understand our history and ourselves.
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Descender #1 is a stunning debut. Lemire and Nguyen are holding up a mirror to post-9/11 politics and encouraging us to consider our world not only through the lens of science fiction, but through the eyes of a child. It is a beautiful introduction that promises a thoughtful exploration of how we respond to tragedy and adversity without ever losing sight of the hope and wonder of existence.
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Batman/Superman #18 is an imperfect continuation upon an interesting concept. Pak is placing both of his leading characters under tremendous pressure, and detailing their emotional responses excellently. Lazy plotting and characterization like Batman's in this issue detract from the impact of that situation. Syaf's artwork tells the story well, but has begun to appear rushed under a monthly schedule with several inkers. This is an issue that would have been well served by one or two more weeks to iron out the wrinkles.
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When you combine the talents of Morrison, Burnham, and Fairbairn, what you are left with is magic. Its primal and raw, certainly not pretty, but undeniably powerful. They have stuffed the pages of Nameless with ideas and meaning, building a story that is constructed like clockwork, but still breathes and moves like a living thing. It is instinctive and intellectual, merging feeling and meaning into a story that challenges your mind while thrilling your senses.
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Casanova is back and its so damn good.
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Ivar, Timewalker #1 is another very enjoyable debut from Valiant Entertainment. Van Lente and Henrys first series for the publisher, Archer & Armstrong, continues to be one of the funniest and most endearing there. Ivar, Timewalker contains the same blend of charm and wit that could easily launch it to similar heights.
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For those invested in Hickmans Avengers epic, this will be a significant issue bound to shock and awe readers as much as the heroes witnessing these events. Despite some flaws on the periphery, Avengers #40 is the story of two characters and the conclusion of that story is executed perfectly. It is tragic and raw and signals the beginning of the end for Earths Mightiest Heroes.
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Grayson #6 is another excellent installment in a series that continues to exceed expectations. Seeley, King, Janin, and Cox place no limitations upon themselves, and have discovered a wide swath of stories worth telling as a result. Its impossible to know where Dick Grayson is going next or what the experience may be like, but its bound to be good comics.
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Millar compared Jupiters Legacy to Watchmen when it was first released, and even then it was a plainly silly line of hype. Jupiters Legacy is nothing like Watchmen, and thats a good thing. Rather than trying to be something its not, Jupiters Legacy embraces what it is. It is a big love letter to the superhero genre, one that sincerely loves the big battles, clear distinctions, and grand statements of men and women in tights. This is the kind of story that Millar and Quitely are both perfectly suited to tell. Now that they are embracing the central premise of their story in the form of a young boy with an incredible streak of altruism, they are able to deliver a truly incredible comic, one that is hard not to love.
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Rat Queens has been a breakout success at Image Comics and for good reason. It incorporates humor, action, and diverse, fully realized characters into a beautiful looking romp of a comic book. None of those elements are present in Braga #1 though. Both Wiebe and Fowler's contributions to the one-shot read as if they are unfinished turning what might have been an interesting look at a lesser known character into something unnecessary and unsatisfying.
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Star Wars #1 is the perfect Star Wars comic. It captures the tone and feel of the films, while beginning a story that fits seamlessly into the beloved universe. If there were any doubts regarding Marvel's stewardship of the Star Wars comics brand, this one issue ought to instantly remove them. Every page of Star Wars #1 is a delight to read. Aaron, Cassaday, and Martin have flawlessly transferred the classic film to the comics medium, and with it the tremendous delight of experiencing Star Wars for the very first time.
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The pacing of Operation S.I.N. #1 drags a little bit with a great deal of introductions and exposition pushing the first real conflict of the issue to the very last page. However, that is easily forgivable given Ellis' well researched work and Immonen's refined character moments. Together they make it clear that this is a story they are invested in telling and one we should be interested in reading.
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North, Henderson, and Renzis work all combines to create one of the most fun debuts published by Marvel Comics in a very long time. If youre looking for a comic that you can share with anyone or that will cheer you up after a major bummer of a day, this is it. At the end of The Unbeatable Squirrel Girl #1 there is only one question worth asking: When does #2 come out?
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Ant-Man #1 is that perfect debut that manages to both introduce the character to unfamiliar readers and tell a compelling story in the course of a single issue. It is a caper that transforms a comedy into an emotionally invested drama and a seemingly straightforward superhero story in New York City into something much more exciting and original. It starts by giving readers what they want, and then delivers something far better. Spencer and Rosanas have created a great start here made all the more exciting by how much the series has yet to grow.
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Unlike the awful climax that occurs in the comic store, its unnecessary and unfair to delve into the final pages of the second half of Deadly Class #10. Remender and Craig have been building to this confrontation since the first issue of the series and leave a perfect cliffhanger for readers. Deadly Class #10 is the mounting storm, tearing into both the daylight and darkness of Marcus life, building to this climax. Whatever comes next, only two things are certain: it will be messy and it will be must-read comics.
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Even in those quiet moments at the end of East of West #16, it is clear the story has changed. Year One was an introduction to a wide, new world. It carefully constructed history, politics, and religion into a cathedral-like structure. Year Two has set that structure on fire. War has arrived. The action, the impact, and the drama of East of West have all been elevated as the world approaches its end. Hickman and Dragotta have revitalized the series in this introduction to Year Two. They are starting to blow this world up and it appears that as things get worse, East of West will only get better.
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Its important to remember that The Fade Out is not Brubaker and Phillips work alone. It is the work of Breitweiser as colorist, Lopez as flatter, David Brothers as editor, and many others who helped bring it to publication. When admiring The Fade Out #4, its worth lingering a little while longer on each panel and examining how colors bring this story to life. The Fade Out is one of the best looking comics being published today and thats an accomplishment shared by everyone involved.
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The notion that we or the world we live upon will be given a second chance through supernatural forces is a fantasy. We do possess the same thing the crew members of The Massive do though. We possess a future. Its up to us what we will do with it.
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Memetic promised a shocking apocalyptic horror story and it delivered in a big way. It is a fast paced blend of action, terror, and psychological thrills that never slows down, unleashing new chills even in the final panel. Tynion and Donovan have provided an excellent, fast paced ride of a mini-series from start to finish. Memetic may not have gotten the hype it deserved, but that doesnt mean its too late to check it out.
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As much as the first eleven issues of the series were praised, Manifest Destiny #12 sets even higher expectations for the future. Dingess is subtly building tension and a wide variety of conflicts to drive the drama and is accompanied by Roberts accomplished designs and frightening sequences. Together they are only just beginning to delve into the potential of this intriguing horror-influenced examination of American history.
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Wayward #5 is the most significant issue to date, but it lacks the excellent execution of earlier installments. So much is happening that individual moments are not given necessary space to breath and many changes are taken for granted. Its still an exciting thrill ride that increases the scope and drama of Wayward, but it stumbles in doing so.
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The ongoing nature of this second arc in Moon Knight suggests that perhaps this confusion is part of a larger moral bluff, something that will pay off in the long term. Read as an individual issue though, it is perplexing. That does not detract from the beautiful presentation of the story, the excellent action (both psychological and physical), and twist on the Moon Knight persona, but it does prevent Moon Knight #10 from becoming something truly special.
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That's what I mean when I say that teenagers are kind of amazing. It's not that they have solutions to all of the world's problems, but they have the energy and vitality to confront those problems and do so with an unassailable spirit of hope. Watching Kamala Khan stand up to the Inventor and for her entire generation in Ms. Marvel #10, it's impossible to not feel optimistic about what the future holds.
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The truth is I have no idea what to expect next in Rumble. Theres no clear way forward for this story because it has the ability to go almost anywhere. Every character introduced in Rumble #1 could be killed in Rumble #2 and the series would be able to move forward with ease. It is a landscape made for exploring where each aspect of can be relished in its depiction. This is a comic that loves being a comic. Arcudi, Harren, and Stewart arent trying to create a storyboard to be picked up for television or movies; theyre just making the best damn comic book that they can. They are invested in making the most of their chosen medium in order to create something unique. Rumble is kinetic, visceral and impactful, a pure comics experience.
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You want to read Theyre Not Like Us #1 for that precise look and feel as much as anything else. The ideas and design of this series are all locked in place and ready for presentation. It is cold in places, but that becomes a forgivable necessity. Theyre Not Like Us #1 is a beautifully constructed introduction to a complex examination of youth in revolt.
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Spider-Man and the X-Men #1 is a busy first issue, but never succumbs to the weight of its many characters and heaps of action. Instead, it maintains a quick pace and sense of fun that makes it a very enjoyable read. Despite some bumps, Kalan and Failla are proving themselves to both be competent creators with a clear understanding of the medium and genre they are working in. These are two names to watch out for at Marvel Comics.
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Its clear that Bitch Planet seeks to invert the exploitation genre in order to tell a story steeped in feminist ideals, but it falters in its first issue. Although its clear that women are being exploited by a patriarchal society, the women in this issue are never given an opportunity to define themselves outside of their victimhood. Furthermore, issues of race and body image have to be carefully considered as well. Intentional or not, this issue perpetuates stereotypes of race and weight through its imagery of the prison population. There is promise to be found in this premise, but the execution is lacking here. Bitch Planet #1 doesnt achieve its goal of being something fresh and bold, but only serves to reinforce the problems currently facing women in comics and society as a whole.
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Occasion of Revenge ends on a mic drop. Powell is aware of what has been done and recognizes there will be no catharsis or relief. He has created a shift in the story so damaging that no words can express what has just been shown. There is no "The End" or "To Be Continued"; there is no need. This is the cut to black at the end of The Sopranos, leaving the audience to sit uncomfortably with what they have just experienced. The Goon will return in 2015, but the series and its characters will never be the same. Like Powell, they are evolving, changing, moving forward into whatever terrible darkness is yet to come.
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The issue's conclusion sews the issue together nicely, returning to the story's opening and connecting it to the characters and events throughout the issue. It completes this chapter, allowing for a complete experience while only introducing the elements of a much broader epic. It is clear as the issue ends that Kindt, Lemire, and Rivera have an excellent grasp over the story they are telling and how they desire to tell it. The Valiant #1 is a striking introduction filled with action, humor, and some of the best storytelling in superhero comics. If you're not reading Valiant comics, this is the place to start.
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Secret Six #1 is a tremendous disappointment. All of the goodwill and high expectation built from Simone's excellent work on the previous incarnation of Secret Six are dashed in these twenty pages. This issue attempts to do something different by offering an intriguing, if unoriginal, premise. It fails not in its concept, but the execution. Neither the characters nor the art provide any reason to care. It is a comic without humanity or soul or a reason to exist.
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Thanos vs Hulk #1 is still a great looking addition to Starlins collection of Thanos comics, but it doesnt reflect Starlin at his best. He focuses so much on setting up future installments of the story that he never provides himself with opportunities to explore the world or ideas he is creating. The issues is still bound to please fans of Starlins work (like myself), but it is not his finest moment.
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Despite that misstep, Chew #45 is another great installment in the series. It provides all of the twists and heartbreak of a great tragedy, without losing the wacky, comedic tone that defines the series. Layman and Guillory walk a tightrope to craft what is the best written funny book currently on the stands.
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Axis #6 isnt disappointing because it is such a singular disaster; there are plenty of other great comics to read. It isnt disappointing because it represents the death of superhero or event comics; that kind of fatalistic assertion is ridiculous. Its disappointing simply because even given the incredible talent and resources at Marvel Comics, no one even bothered to try. Comics deserve more than this mediocre effort.
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That doesn't make Gotham by Midnight a bad comic. It's well written and well drawn, a fine addition to DC Comics publishing line. There's nothing truly exciting about this debut though. Both Templesmith and Fawkes have done far more interesting work before; this is not representative of them pushing themselves to achieve anything beyond a decent comic book. Gotham by Midnight is an exciting, moody read by two great creators and there's nothing wrong with that.
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Superman #36 is a Superman story that follows the basic model and shape of most other Superman stories spread over six or more issues. There's a bad guy threatening Earth who Superman will need to punch very hard to stop. The script and visuals both pretend to have depth and majesty that simply is not there. It's an unremarkable superhero story that becomes a victim of its own ego and hype.
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The Superior Foes of Spider-Man ends here. It was a comic filled with attitude, gags, and heists all told with inimitable style, and now it's gone for good. That finality serves as a fine conclusion to the series though. This was never a comic about winning. It was a comic about losing and being too stupid or too romantic or too strong willed to accept that. Spencer and Lieber created fifteen of the best issues published by Marvel in years because they recognized it's better to be a loser who tried than a winner who played it safe.
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Ody-C #1 is a visually stunning and exciting adaptation of one of the oldest classics in Western canon. It seeks to reinterpret the source material not just through changes in place and character, but by focusing on the comics medium.
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Justice League #36 isnt a return to form for the series, its the creation of a much better format. Its a story that embraces the genre to which it belongs and discovers a natural sense of pacing with that change. Even though its told with an aesthetic that I generally find displeasing, it is difficult to fault Fabok. He composes the action and figures very well in order to tell a fun superhero story. This is exactly what most people would expect from a comic about the Justice League and proves to be surprisingly refreshing.
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There is clearly a lot of story left to tell though and Van Lente has time to flesh out a full world with women who are not props. Rosenzweig and Dinisio are proving themselves to be an art team worth watching, one that creates a better product through their collaboration. Resurrectionist #1 is a tightly scripted and kinetic debut, one well worth considering.
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Spider-Woman #1 is an issue that starts with its hands tied behind its back. It never has an opportunity to introduce its characters or premise because it's too busy attempting to catch up with an event. However, Hopeless does an admirable job of providing a reason to care about these characters. Land's negligible contribution doesn't actively harm the story, but fails to take advantage of the ample opportunities here. Spider-Woman holds potential, but has a lot of hurdles to overcome in order to develop its own personality and appearance.
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The most important thing to consider when reading Pax Americana #1 is that nothing is accidental. Every line of dialogue, every panel, and every image serves a distinct purpose. It is a love letter to formalism in comics, taking advantage of each element on the page in order to construct order and meaning. The reading experience will challenge readers, but in that challenge lies immense rewards. The individual components of composition, color, art, and text alone are remarkable, but when combined they create a comic that is truly transcendent. As a single issue, a complete experience, these elements become a comic capable of forming emotions and ideas in its readers. Pax Americana does what The Multiversity has claimed comics are capable of: affecting reality and creating something real.
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What gives Prez so much to play with on a small scale though is Lemire's script. He is exploring the consequences of surrendering three gifted, but traumatized children away. Lemire separates the story in two parts, showing what led to a split in the present and what brings the two heroes back together after 20 years. The result is something that reads like a breakup story, even if the romantic element was never there. Clint and Kate's codependence and partnership dissolves in a shockingly human manner that may strike close to home for some. As a result All-New Hawkeye is a comic that, much like its predecessors, sophisticatedly presents the problems we go home to after the day job is over (even if that day job is being a superhero).
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Batgirl #36 reveals a learning curve, one that shows the promise of this title and creative team. The incredible strength of Stewarts layouts, Tarrs art, and Wicks colors are consistent and make for one of the most visually engaging comics released this month. Although there are still issues with the plotting and scripting of the series, they see marked improvements in this issue. Theres a lot of potential to be found in this series and evidence that is being more fully realized as it continues.
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Theres plenty of potential for future yarns in this team-up title, but the initial pair of stories fall flat. Rather than using the carte blanche provided by a nearly limitless cast of Spider-Men, both tales play it safe and make use of obvious endings in order to wrap things up. These are two of the least interesting takes to be found in the big collection of Spider-Verse stories thus far, although there is still some fun to be had.
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Like the Superior series that preceded it, Superior Iron Man features a hero that is truly the series greatest antagonist as it begins. It lacks someone to root for, but provides an opportunity for Taylor and Cinar to explore interesting new ideas with an old character. Whether they will be able to live up to the potential of this first issue remains to be seen, but they are certainly off to a great start.
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As a new reader of the Martian Chronicles, I was impressed by this debuts ability to both integrate me into the world Burroughs created and begin a new story. Its a refreshing change of pace, a long running adventure story that still manages to be inviting. Marz and Malsuni are clearly having fun telling new tales set upon Mars and its easy to join in the action with them.
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Amazing Spider-Man #9 is a slow start to a still promising event. Slott has shown before that he has a great grasp of how to make overstuffed superhero stories function, and Coipel and Camuncoli are more than ready to put their best work on display. Assuming the series only gains momentum from here, there is a lot to look forward to in Spider-Verse.
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That's not to say Superman Unchained is without merit. Lee and Nguyen's work here is outstanding. That message is being borne out by other critics though and is self-evident given the body of these artist's work. The problems found within the story of Superman Unchained is too obvious and too troublesome to not be drug out and examined though. If this were a simple action romp, perhaps it would be easy to ignore, but that's not the case. It has been presented as an "important" Superman work from significant creators. It's a comic that treats itself as being significant. Given any sort of serious examination, Superman Unchained #9 quickly falls apart. It is revealed to be a calorie-free romp that hides very ugly moral positions beneath magnificent artwork.
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Nailbiter #7 isnt disappointing because of serious failures on Williamson or Hendersons behalf, but because it fails to live up to the potential of what they have created. At its best this series can be something uniquely strange, combining disparate elements to form something compelling and new. The concept of transforming a comics creator into a cast member falls in line with that promise, but it falters in the execution.
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The final page of Ghost Fleet #1 is all promise. It promises that the action and horror present in this issue will only increase as the series continues. The premise and character work may not become any more complex, but theres nothing wrong with that. Ghost Fleet is a comic that understands what it does well and is leaning into that strength. The more shootouts and car chases there are in the future of this series, the better it will be.
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Tooth and Claw is another incredible debut from Image Comics, a series that promises the world and then delivers. It is the first chapter of another saga filled with potential from a creative team that has proven they can deliver on high concepts and drama both. Theres a lot to love in this issue and its only the beginning.
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The Humans #1 is an impressive debut. It asserts Neelys position as a talented cartoonist, one who is capable of seamlessly blending tones to great effect. This comic provides an intriguing introduction, one that lays a foundation upon which Keeler and Neely could construct one of the most interesting comics on shelves today.
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Theres a long history of anniversary issues in the world of superhero comics. Archer and Armstrong #25 shows the full potential in creators celebrating the series that fans love to read every month.
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Deathlok #1 is a generally competent comic book. Edmondson includes a lot of information in a twenty-page script and it all combines into a tight plot. Perkins action is often exciting. Theres not a hook to any of these characters yet and the sequences sometimes fail to relate important information. The result is a mixed bag, one that could develop into a great series, but is hard to recommend based on this issue alone.
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Hellboy and the BPRD #1 is the first act of an excellent horror film. It establishes its characters and conflicts without relying on cheap tricks. Instead the actions in this comic are allowed to breathe and the characters are provided with depth and weight. There is tension within Maleev and Stewart's artwork, but it is subtle and bides its time waiting to build as the story advances. It should be expected that a team like Mignola, Arcudi, Maleev, and Stewart would create an excellent comic and that is just what they do.
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I can think of no better foundation for this character to grow upon in the 21st Century.
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Saga #24 changes the rhythm of the series and alters the landscape of the story, all while providing the same incredible standard of storytelling fans have come to expect. It's a reminder as to why this series is so well loved just in time for its next hiatus. The wait will be long, but Staples and Vaughan have proven time and again that the new issues are worth the long months away. It's a perfect time to enjoy the newest issue, and then start again from the beginning.
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In Southern Bastards #5 and the society it reflects, blood isnt just on the field.
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I've avoided discussing this issue in too much detail not to avoid spoilers, but to encourage you (yes, you) to go read it. Stray Bullets is simply too well crafted and too important to be ignored.
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Although the overarching story that connects all of these #1 issues is intriguing, it is not nearly as exciting as the concepts within each issue. The Just #1 recreates the old intellectual property at DC Comics with an amusing new conceit. There are only 40 pages to be found here, but it has left me wanting more. If this trend continues, Morrison and his collaborators will not have created one of the most exciting new ideas at DC in the past decades, but seven of them.
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Arkham Manor #1 is an exciting start to a series that is packed with potential. Duggan and Crystal have created a scenario that gets at the very heart of this 75 year old character, touching upon ideas that are rarely recognized in Batman comics. Just as important, here they show the skills to tell that story in a way that is visually striking and always engaging. This could be the beginning of a beautiful series.
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Rasputin #1 is a very well told single issue. It presents a short and (not so) sweet story about the tragedy and irony of life. Grecian and Rossmo use one of history's most interesting characters to craft a tale that fits perfectly into the Halloween season as well. Whether they can build this story into something larger has yet to be seen.
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Predator: Fire and Stone is a fine first issue. It accomplishes plenty, but doesnt leave much of a reason to return besides its overall effect on the Fire and Stone collection. Mooneyhams art helps to make up for what the characters may lack, creating tension and scares for men who may not deserve much attention. Its a mixed effort, but one that may be worth paying attention to for Mooneyhams blend of science fiction and horror tropes.
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Despite all of the cynicism and skepticism from readers about events, "The Red Supremacy" was not destined to be a bad comic. The fault for that lies with the storytelling.
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Come back on Friday for Starlight: Resilience, Hope, and Optimism a deeper look at Starlight and its place in the Millarworld line of comics.
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However, this issue carries the multiple problems of its predecessor and, refusing to alter its course, reads like a continuation of an already unimpressive comic. Change may never be permanent in superhero comics, but that doesnt mean it cannot occur within individual stories. Change is the lifeblood of drama and the quicker Axis focuses on altering the status quo, no matter how temporary it may be, the better the series will be.
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Its easy to be cynical about superhero comics, and that cynicism is often not wrongly felt. Yet in the case of Waid and Samnees Daredevil, nothing could be further from the truth. In every page and story beat, it is clear that this comic is being written with a completely genuine interest in the characters and the ideas they express. This is a story about dealing with pain and building a better future, and it is told with complete honesty. Its a big, bold metaphor for something many of us can relate to on a deeply personal level. Although its fun, its also incredibly human. Waid, Samnee, and Wilson are giving their all to this story and Daredevil #9 is an example of superhero comics at their absolute best.
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The Death of Wolverine is one of the better event series to be released in the past few years. It may not succeed in its intended purpose, but it is enjoyable and (relatively) succinct. Its a cut above most event series, managing to be entertaining without ever becoming aggravating.
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Despite its lack of a traditional plot, Edge of Spider-Verse #5 succeeds. It leans on its ideas and their visual presentation, giving readers images that they can chew on. For readers and critics preoccupied with story, this may be disconcerting, but I found it to be an appealing stretch of a mainstream superhero comic. There are a lot of appealing factors within a comic besides plot.
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The stakes of the story are still high, but it needs to retain what little momentum it has left and build from that in order to keep this story interesting. There are still five issues left in Fables and no reason to wait until issue 150 to move the story forward.
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Deadly Class #8 is a tour de force, a terribly beautiful meditation upon pain and depression. Through this outlandish narrative, Remender, Craig, and Loughridge have constructed a story that is emotionally true. It acknowledges what it means to be in pain, what it is like to hide its origins, and the difficulty of seeking and obtaining help. It is does not aim to provide easy answers or solace, but it is a true story. It is authentic in the way that matters most, in reflecting what it is like to be human. In telling that truth, it provides some small opportunity for relief and understanding by showing its scars.
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Sleepy Hollow #1 is off to a rough start, but it shows promise. The concept can function within a comic. It contains likable characters, easy opportunities for humor, and loads of creepy potential. If Bennett and Coelho refine their work, then this series could be a lot of fun.
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Trees continues to provide some excellent commentary on modern political and economic situations within the guise of a high concept science fiction tale. The fractious nature of the story and its monthly schedule make for a troublesome presentation at times though. Ellis and Howard have a lot of valuable things to say in this comic, but will have to continue to refine the shape of the book in order to best present their ideas.
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There are plans to continue Veil in future series and that's a good thing. Although this story has found a natural conclusion, Rucka and Fejzula still have a great deal of fertile thematic and dramatic material to explore. Veil is a damning commentary on gender and the treatment of women, and a necessary one at this moment in pop culture. It uses horror to explore our basest impulses and offer some small flicker of hope. At the end of this issue, Dante reveals that doing the right thing is every bit as simple and straightforward as it ought to be. That conclusion makes for a powerful statement by Rucka and Fejzula.
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The haunted mood of Sabrina #1 creates a promise for much more to come. This issue reincarnates a children's tale as a horrific new version of itself, one that is capable of scaring readers, new and old alike. With Hack's art and colors guiding Sabrina ever closer to the darkness of her origins, there are bound to be a lot more thrills and chills to come.
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Axis #1 is nothing special. It is not offensive, but also lacks any notable features. Kubert's art still provides plenty of spectacle for readers to enjoy with lots of characters engaged in a broad battle. The drama that is supposed to be in those panels is non-existent though. The Marvel universe may be briefly changed by some fallout of this issue, but Remender and Kubert never craft a reason for readers to invest in or care about this story. It reads like another event comic that does nothing to distinguish itself from all of those that have come before.
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Batgirl #35 illustrates that comics function as a collaborative medium and have to be judged as such. Tarr and Wicks provide outstanding work, but the flaws in the script still ruin the experience. It's impossible to recommend this issue on the strength of the art alone when the dialogue, gender presentation, and plotting are this troubled. It's an unfortunate disappointment, but one that needs to be acknowledged. As much as I wanted to see this concept succeed, I cannot honestly say that it does. The problems inBatgirl #35 are too big to not discuss.
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*This grade is based on the quality of craftsmanship in this issue. I would not recommend it to anyone who has not read Prometheus: Fire and Stone, but do not want to judge the creators for what was most likely outside of their control.
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Amazing Spider-Man #7 is a fun double feature. Both the A and the B-story should delight plenty of fans (although the B-story may horrify even more). This is a Spider-Man story at its least serious in direct juxtaposition to what seems to be the very dark tone of Spider-Verse. For now theres plenty of space for quips, smackdowns, and team ups though and Gage knows how to write a fun-loving webslinger with the best of them.
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Batman #35 is a great package. From the first page of the feature to the last page of the backup it manages to be consistently engaging and is always well told. Theres no doubt that Batman would sell well no matter what creative talent was attached, but Im skeptical that it would garner this high of sales and this much acclaim without creators like Capullo, Snyder, Miki, Plascencia, Tynion, and Jones. Month after month, they bring their absolute best to these pages, making Batman one of the best superhero comics on the stands.
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Although Black Science #9 is a somewhat uneven issue that jumps between a variety of threads working to move each forward just a little, it still manages to be an exciting new chapter in the series. Remender and Scalera continue to bring their best work to each page of this comic, providing a deeply human cast of characters set in a thrilling adventure. Taken individually, each segment of this issue can be read as a showcase for what makes Black Science a great comic.
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Although Black Science #9 is a somewhat uneven issue that jumps between a variety of threads working to move each forward just a little, it still manages to be an exciting new chapter in the series. Remender and Scalera continue to bring their best work to each page of this comic, providing a deeply human cast of characters set in a thrilling adventure. Taken individually, each segment of this issue can be read as a showcase for what makes Black Science a great comic.
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Punks: The Comic relentlessly mocks itself and everything around it. It's nihilistic, but in a way that bears more resemblance to the punks in The Big Lebowski than A Clockwork Orange. It puts on a face of apathy in order to mask the desires and concerns of its creators. Fialkov and Chamberlain have created a comic that doesn't seem care, even when it has something worthwhile to impart.
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For those of you unfamiliar with The Private Eye, you have my envy. Not only do you get to discover this series for whatever price you choose, but you still have time to sit back and await that surge of excitement when an e-mail or tweet or facebook post announces the arrival of a new issue.
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Captain America #25 is very similar to last weeks Thor: God of Thunder #25 in that it works so hard to set up the next big thing that it fails to be its own thing. Remender is so interested in pitching All-New Captain America #1 that he fails to effectively conclude the story hes written so far. Both of these issues mark the end of highly successful and much lauded runs, but fail to live up to the standards they established for themselves.
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There is something really, truly, genuinely exciting about Gotham Academy and I cannot wait to read more.
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The flaws of Guardians 3000 #1 are not integral to Abnett and Sandovals story. They are fixable issues that cover up the fast-paced, superhero romp they are trying to tell. That story holds a lot of promise and is one I look forward to reading.
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In changing the nature of Lobo, this comic could have become many things. It has instead become an ouroboros. Lobo was once a parody of mainstream comics trends. He is now emblematic of similar trends in modern comics that are in deep need of just such a parody.
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Although it is a well told story, it is one I have no interest in reading.
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Theres a lot to like in the debut of Bucky Barnes: The Winter Soldier. Every collaborator involved is bringing their best work to the comic and it shows. Together, they are telling a story that is unlike anything else on the stands.
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Nailbiter #6 shows that there are a lot of interesting stories to be told in Buckaroo beyond the central mystery of why so many serial killers come from this one place. Williamson and Henderson have a clear grasp of what makes their premise interesting and have left themselves room to explore it. This issue and future character-focused one shots of Nailbiter will make for a welcome sigh of relief.
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Together, Dauterman, Wilson, and Aaron have crafted a first issue that ought to compel fans of Thor: God of Thunder to stick around and encourage others to try the new series. Thor #1 is a beautiful debut that contains all of the thunder and power of Marvels mightiest hero.
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This tie-in still doesnt manage to feel particularly important or necessary. Theres no real emotion behind these pages, but they are fun to read. Guardians of the Galaxy #19 is entertaining and thats a step up. It is not a story that will stick with you or that you will be inclined to return to, but it may make you stop to appreciate a few pages and put a smile on your face. Thats not bad.
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The final panel makes for an almost perfect ending to this issue. Reynolds uses a silhouette to once again display the terrifying xenomorph anatomy, but to also emphasize the sharp terrain surrounding it. Broken rocks lie across the earth like broken glass jutting upwards. Everything about the panel indicates a sense of imminent danger and the colors of a setting sun reveal that the story will only grow darker. This issue serves only as an introduction to the story that Roberson and Reynolds are interested in telling. Yet it presents the imagery and ideas of that story in a manner that has left me entirely convinced I want more. There's no doubt in mind that this comic exists for a good reason.
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Theres no compelling story for this Spider-Mech to be involved in though. An overabundance of exposition, a lack of clear setting, and various extraneous elements all worked to push me between bewilderment and weariness. There are things to like in Edge of Spider-Verse #3, but theyre lost in the confusion of this comic.
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Loki: Agent of Asgard #6 has a slow start, but the loads of exposition feel worthwhile when Ewing and Coelho reach the story they want to tell. Its an interesting commentary on two of the most fascinating and long-lasting villains in comics. Like Kieron Gillens Journey Into Mystery, it manages to take multiple crossovers and tie-ins, and weave them into a narrative that is compelling all on its own.
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With Reis excellent eye for juxtaposition capably framing the characters and ideas behind C.O.W.L., there's a lot to be excited about moving forward. Although it may still lack some of the depth and realism of The Wire, it is beginning to capably address the same complex themes as that episodic masterpiece. It will certainly not be an easy task, but Higgins, Siegel, and Reis seem up to it.
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Roche Limit #1 is off to an exciting start. It blends the potential of science fiction and noir into a narrative that is capable of taking advantage of both. There is still a lot of ground to cover, but Moreci and Malhotra seem to have a clear grasp of their world and are prepared to explore both its inner workings and what they imply about humanity. Although the story introduces a place that reflects the worst in humanity, there are sparks of hope and determination. Whether this will amount to a more optimistic philosophy in the end is something I am keen to discover.
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The truth is that I'm afraid about whatever comes next in Fables. The series has always held consequences for its characters, but only now does it feel as it Willingham and Buckingham are actively punishing them. Fables #144 doesn't read like a modern fable, it reads like a horror story.
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The characterization of these young heroes is excellent still and it's enjoyable to watch them interact under Bendis' words and Asrar's images. However, the clunky introduction of a new character and fractured stories detract from that experience. All-New X-Men #32 is an uneven collection of beginnings ranging from the exciting to the confusing.
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SOS #1 is a lot of fun. It packs some great character designs, action, and plenty of references for superhero fans all into a comic that reads well on its own. Theres nothing particularly innovative or transgressive about this comic though. Expectations of a superhero comic that would transform the medium or alter perceptions have been set too high. Morrison and Sprouse tell a fun story and thats enough, even if its not what many readers may be expecting.
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There's only so much space for fun given the start of this issue though. The actions of the Purple Man loom over every panel like Stilt-Man's shadow. When the story comes full circle, Waid and Samnee do not back away from the tone struck in the opening of the issue. Instead, they use the same tools that serve the first five pages so well in order to craft a second sequence that is every bit as chilling. Whatever comes next, it ought to fill readers with equal levels of excitement and apprehension. If there's a lesson to be found in Daredevil #8, it's that any villain can be very bad (in a good way) given the right circumstances.
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I'm excited to see Image publishing more comics targeted at a young adult demographic. It's a woefully underserved area within mainstream comics and one that can be appreciated by "full-sized" adults as well. Oddly Normal isn't the most engaging debut issue, but it is well told and holds lots of promise. There's a possibility that with time it could grow into a big hit with a demographic that mainstream comics typically ignore.
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Thor: God of Thunder #25 functions as a prologue to Thor #1 more than it does a conclusion to Thor: God of Thunder. The origins of Malekith and Laufey's return are beautifully presented by Guera and Bisley, but would fit more comfortably into an anthology than as part of a larger story. Although interesting, the framing device fails to serve a larger purpose besides setting up future plots for another series. This issue speaks to the high quality of art present throughout Thor: God of Thunder, but acts as a poor finale to the much-loved series.
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This is all indicative of why I really love Deadly Class. You can pick out a single sequence and spend an entire review digging in to how it works (or very rarely doesn't). The panel composition, Lee Loughridge's colors, draftsmanship, narration; all of it is consistently complex and effective. It's a comic book I could discuss every month and always find new things to explore. Remender and Craig have invented a story that is interesting simply by the virtue of how it is being told (although the story itself is also fascinating). It's a comic that constantly challenges and reinvents itself, an exemplar of creator-owned comics.
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I want a series featuring Gwen Stacy, The Spectacular Spider-Woman written by Jason Latour and illustrated by Robbi Rodriguez. I really, really want it. Marvel Comics has captured lightning in a bottle with this issue. It's sleek, smart, and so damn cool. I simply don't have enough superlatives for what Latour and Rodriguez have created here. So I'll leave it at this: buy Edge of Spider-Verse #2. And after you too fall in love, make sure to write in and let Marvel know that you want an ongoing Gwen Stacy, The Spectacular Spider-Woman series.
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Shutter is not returning until December. That's bad news for me, but good news for anyone who hasn't been reading this comic. It gives you plenty of time to order the first volume or track down these issues and catch up on dinosaurs, ghost ninjas, alarm cat, and all of the wonderful ideas found here. Don't wait. Shutter is that most potent comics combination of big imagination and impactful storytelling.
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Avengers Undercover and Avengers Arena have both been surprising highlights in Marvel's lineup - consistently good comics. Yet the conclusion to this story doesn't live up to what came before it. There are engaging characters and ideas present, but not enough space for most of them to do anything memorable. The series may have been forced to conclude earlier than planned, but that doesn't make this rushed finale any more satisfying.
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Ignoring detrimental ads, Magneto #9 is very well done. It is a dark, brooding story that provides proper emphasis and empathy to the weighty topic that it addresses. Bunn, Walta, and Bellaire are taking the rich history of a character like Magneto and using it to tell a new story. They are reflecting on what makes him such a potent icon and will likely leave an indelible stamp upon the Master of Magnetism before this series is over.
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Wytches is the scariest thing you will read all year. You'll want to look away, but will find it impossible. So turn the lights on, lock the doors, and don't look outside. Wytches is coming.
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The Death of Wolverine #2 maintains the strengths of the first issue, but begins to squander that momentum on tangents and cameos. It feels like the events of this issue could probably be skipped without any major effect on the overall story. However, McNivens art alone makes this issue worth picking up.
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Kate's adventures in Los Angeles have been a thrilling interlude. They've managed to both maintain the overall tone of the comic, while telling a story that is entirely its own. It gave Fraction an opportunity to explore detective noir (in addition to his work on Satellite Sam) and Wu a chance to show off her design skills. This story has been outrageously fun and surprisingly potent, but it has come to a close. Now it's time for Hawkeye to do the same.
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Copperhead #1 opens a window to a desolate planet that is rich with history and ideas. There is a lot occurring in the background and details of this comic. It's a story I only expect to grow and improve as it delves further into the world created by Faerber and Godlewski.
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God Hates Astronauts won't change how you look at comics or view the world around you. It will make you laugh though. It will make you laugh a lot. You may need a change of pants. I don't know, but it's probably a good idea to get an extra pair out before reading it just in case. Pants wetting aside, God Hates Astronauts is one of the hilarious and most fun comics on the stands. If you're just looking to have a good time, then you've found the right book.
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All that means is that Moon Knight is under new management. Wood and Smallwood are not attempting to imitate Ellis and Shalvey, and that is a good thing. They are every bit as talented as the creators that worked on the book previously. Moon Knight #7 keeps what was working and uses it to show off the creative talents of everyone now involved. Moon Knight is in excellent hands and I am on board for wherever they take the story next.
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Even with Deodato's contributions, Original Sin #8 stumbles and falls in its conclusion. The answers promised from issue one are unearned. Things happen, but they lack significance or meaning. The answers that are given are hollow. There is no emotional attachment to anything occurring in this issue. What started in Original Sin #0 as a character driven story has ended in a series of events that simply happen.
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The Superior Foes of Spider-Man may be ending forever soon, but it's still continuing to grow and improve. The amount of jokes, action, and plot all laid out in this issue alone displays the series many strengths. With only two issues left, it still manages to find new places to go and stunts to pull. It's a comic that will be good to the final page.
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The Death-Defying Doctor Mirage #1 is a well-crafted introduction that provides just enough of Shan, her world, and what is coming to make an assured promise that this story will be an interesting one. Some may think of a first issue like this, in the already crowded marketplace of superhero comics, as being risky, but Van Meter and la Torre make it work.
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After months of advertisements and promotions all screaming that Wolverine will die, I'm surprised to say this, but I'm excited to read The Death of Wolverine. Soule and McNiven share a grasp of the character and understand what it will take to make this story work on its own merits. Wolverine is going to die. We knew that already. This comic may give us a reason to care.
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Southern Bastards works exceedingly well purely on dramatic terms. It's a well-crafted story, expertly told by both Aaron and Latour. What sets this comic apart though is that even though it is fiction, it is entirely true. From the smallest details to the essence of its plot, every part of the comic functions to explore a truth about a certain sort of place and the people who occupy it. Southern Bastards transcends its medium and premise in order to seek what it means to come from a small town in America.
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Comics arent a balancing of various aspects like composition, color, story, and words; theyre a fusion of all these things. No matter how effective one aspect of a comic may be, it still must work in combination with everything else in order to construct a finished piece. The art in Guardians of the Galaxy #18 is big superhero action at its best, but the complete lack of drama and storytelling left me cold. Grade: C-
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Pop #1 is a comic that will make you think. It has a lot to say and wants to speak with a big voice. It tries to use all of the tools of the comics medium to make that voice as loud and effective as possible. Composition, color, dialogue, the creators are aware of all of these components and want to make them work in an engaging way. While they may not always succeed, the very attempt itself can be effective. Pop #1 is a lot of things. It can be blunt and self-involved, but it can also be astute and quite funny. It is always beautifully drafted and colored. The one thing it is never is boring. And thats the most important thing I can ask from a comic.
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Silver Surfer is one of the most fun comics being published right now. Its helmed by two creators with bold voices and confidence to spare. Together, theyre telling stories filled with imagination and joy. Silver Surfer #5 holds as much potential as even the best Defenders comic, filling every panel with new wonders.
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This issue contains some interesting moments, but does very little outside of the ordinary. It capably moves through plot points and positions characters, but effects little emotion or drama. The storytellers are certainly competent, but theres nothing here that sets the comic apart from any of the other ensemble superhero books being published today. Inhuman #4 wont offend any readers, but its not likely to excite many either.
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Smart comics and fun comics are not two different things.The Manhattan Projects #23is proof that they can be one and the same.
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C.O.W.L. #4 represents what this series is all about. Much of the first three issues was used to set up characters and conflicts. The drama thus far has been a slow burn, but here it begins to ignite (sometimes literally). Higgins and Reis have carefully laid the groundwork to tell a complicated and nuanced story, and reader's patience is going to be rewarded starting here. There are plenty of good superhero comics being published today, but very few great comics about the systems we create and operate within. That is what makes C.O.W.L. a unique comic and one worth reading.
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Babe doesn't want you to turn the last page. I still wish I hadn't.
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Astro City #14works because it's a story focused on its characters. Its themes concerning greed, disability, or even something as specific as the 2008 financial crisis may function, yet the comic only truly succeeds by providing readers empathy for Ellie, her friends, and even her enemies.
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Batman #34 serves as a great return to the current timeline. It not only presents a well told, self-contained story, but mayintroduce Batmanreaders to three great comics talents as well. Whenever the regular Batman team decides it is time to move on, editors would be wise to consider the fine work here when seeking a new creative team.
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In the quiet of Zero #10, there is a powerful drama occurring. The persistence of regret, the inescapable nature of memory, and the pain of isolation can all be found in these pages. Edward's personal hell built in the peaceful, scenic landscape of Iceland explores the darkness we all may one day face as we retreat from the world. There is a lot at play in this comic, but it is subtle, requiring effort from the reader to carefully parse out meaning. Both as a short and long-form construct Zero can be challenging, but that is part of what makes it one of the most rewarding comics being published today.
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With such a great range of storytelling styles, Bodies #1 is an excellent showcase for artists. Spurrier has written a comic that has very little room to set up four interesting stories. So the artists involved are tasked with carrying the story forward and hook readers on this high concept. The assembled artistic team does so admirably and no one contribution is greater than that of Lee Loughridge. He is capable of discerning the unique needs of the story and art in each plot, enhancing the work and drawing forth the most important elements. In doing this he not only proves his importance to this one endeavor, but the incredible value colorists can add to every comics page.
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Like any collection containing such a wide array of diversity in its storytelling, art, tone, etc. some of these comics are bound to fall flat for any reader. The value in Vertigo Quarterly, like any high quality anthology, does not come from having a collection of stories that will appeal to all readers. It comes from having a collection of comics that will expose readers to the diversity of the medium and, even if they are not all enjoyed, will expand the horizons of those reading them.
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The Sandman: Overture is an obvious success. It is almost unassailable as an example of comics craftsmanship. This is the result of a team of extremely talented creators working in concert to tell a story together. A comic collaboration of this caliber cannot and should not be attributed to any one talent. It is the accomplishment of a team.
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Low is a truly enthralling comic though. It captures its tone perfectly, juxtaposing light and darkness against one another in a surreal future. It is as much about the battling ideas of its characters as it is about surviving an inevitable apocalyptic scenario. Remender's world building and Tocchino's vision combine to deliver those ideas and the story in which they exist in a truly entertaining fashion. Low #1 is a beautiful, ambitious debut that sets high expectations for future installments.
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Scott Snyder, Greg Capullo, and the rest of their team have crafted a tale that not only distills what makes the character of Batman so beloved, but one that makes him feel brave and new after 75 years. Stunning.
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It is a masterclass in craftsmanship that reveals both O'Malley's personal growth and that of his collaborators. More importantly, it is a story that feels and is deeply human. It reflects upon our relationships, jobs, hobbies, and how all of these individual components of life come together to create the place we call home. It acknowledges the mistakes and frustrations that come with living and provides a parable for transcending an obsession with things that went wrong in order to put forth the wonder of the home we create in the process.
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Despite the slow pacing and enormous amount of groundwork being established, Fables #142 still manages to succeed. It takes advantage of 141 previous issues to help create tension and build its stakes. Willingham and Buckingham have always created real consequences in a medium often associated with a lack of change. In doing so, they have guaranteed that the promises of this issue, both in terms of scope and impact, will be believed by readers. There may be no resolution here, but the increasing drama still provides plenty of action.
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Music possesses a power that I cannot hope to capture with my words. You'll never hear me bother to even attempt to review a concert or album. Because when music is good in a way that I don't want to express in speech. It's the kind of good that you want to express by moving, dancing, crying out, and banging your head. Kieron Gillen and Jamie McKelvie continually capture that feeling and passion in their comics. Together they're making comics that make you want to move and shout.
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American Vampire: Second Cycle #4 is an excellent conclusion to the first story arc of the new series. It presents the best aspects of the series in its well defined characters, striking visual sense of action and horror, and grand sense of mythos. It manages to bring all of these elements together to create a climax that is a satisfying pay off to the tension and stakes built over the first few issues. Furthermore, it serves as a thesis statement for American Vampire: Second Cycle as a series – presenting what it is about and showing that the creative team is fully capable of delivering on the series' promise. American Vampire has returned and, based on this story, its second act should be even better than the first.
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East of West #13 shows off its chops as a Western in its desert chases and fight sequences. Even the more psychedelic elements read like a peyote inspired trip in the Mojave Desert. As the science of the Endless Nation emerges on the final page, the great potential of the series is brought into focus as so many genre elements are blended together to create an ominous spectacle of great potential. For whatever stakes were lacking in this issue, the war that is now beginning has been clearly grounded, setting a course for the series to pursue to even greater highs.
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Lark does an incredible job of telling the emotional journey of both characters with almost no dialogue.
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This is how you prepare a great conclusion.
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"One for the Road" makes for a very fitting title. It's a comic you read because you're already in love with the The Goon. You know what to expect from Eric Powell's absurd epic and need another shot before you return to your Goon-less life. Wrapped in a simple one-and-done story is all of the humor and craftsmanship that has come to be associated with the series. It may not be a high point for the series, but that does not mean it doesn't contain depth worth exploring beyond a single reading. It's a good comic to snag before heading home.
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Much like the television series Game of Thrones, Fables takes time to set the scene and re-establish its characters before beginning a major story. Furthermore, the creators have made this process this engaging for audiences. Not much new is revealed, but the act of becoming reacquainted with the world and characters of Fables still feels exciting. Now that "Happily Ever After", the last Fables story ever, has begun, the creative team will be challenged to increase the stakes and keep track of these many characters. Based on the excellent work done in Fables #141, there's no reason to doubt that Willingham and Buckingham are up to the challenge.
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The Wicked + The Divine #1 is the next step in a thematically connected exploration of art, music, youth, and popular culture. It shares the themes of its preceding volumes of Phonogram and Young Avengers, while crafting a new world and taking those same concepts in a different direction. It is expertly crafted both as a comic and the first chapter of a story. Gillen and McKelvie are one of (if not the) best collaborative teams working in comics today. The Wicked + The Divine #1 is a comic that takes all of their skills and work thus far and begins to build on it to explore Western culture in a new way. It is the definition of must read comics.
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Astro City #13 is an achievement to be celebrated. It not only tells a story worth reading, re-reading, and then reading once more, but it does so by taking full advantage of its chosen medium. Busiek and Anderson have always told stories about the small pleasures of life and what it means to be human, and they have told them very well. But here they take a message about the value of human relationships, not matter their form or brevity and tell it in a way that ensures readers will concentrate on that message. Art is all about relating, whether it be an emotion, an idea, or a very specific message. Astro City #13 relates an idea and uses every tool at its disposal to do so. It's a testament not only to the value of human contact, but of comics.
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Lumberjanes is a comic that makes me want to be silly and have fun. It's a comic about friendship, adventure, and finding the wonder in your world, no matter where you are. Lumberjanes #3 isn't just a great comic, it's a reason to be optimistic. I wouldn't want to ask for more.
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If Nailbiter #1 was the presentation of the series premise, then #2 is the presentation of its tone. The fusion of play and horror creates an interesting balance that Williamson and Henderson navigate well. The inherent craziness of a town filled with serial killers is obvious and played to great effect. It does not prevent the series from being enjoyable to read, though. Characters are capable of banter and jokes. Williamson is even able to poke fun at himself referencing an obvious inspiration in Hannibal Lecter. If this sort of balance is maintained, then readers will have a variety of reasons to return each month. Nailbiter is the most fun you're likely to have watching people get murdered.
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Half of The Woods #2 is a very well told story, while the other half has ample room to improve. The comic as a whole is one filled with promise. Dialynas has shown great skill in evoking mood and Tynion's characters are a diverse lot capable of playing off one another in many interesting ways. I believe it is worth sticking around to see how this team delivers on that potential.
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At its heart, Batman #31 is an adventure story. It features death traps, vicious wildlife, a power mad dictator, and feats of derring do. It is bright, fun, and absolutely thrilling. This is Batman at his absolute best.
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Trees is much like the titular creatures that occupy its cover. The visible surface is intriguing enough to deserve attention, but there is so much more occurring beneath the surface and that's where readers will find value far greater than the cover price.
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There should be no doubts amongst readers concerning Snyder and Albuquerque's ability to craft an effective horror story with a human core. If there were,Second Cycle #3should dispel them. This is a great link in a great opening story toAmerican Vampire: Second Cycle, whetting appetites and building suspense at the same time.
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Forever Evil #7is a bad comic. The visual narrative is overwrought when it isn't entirely incoherent, and the story it is attempting to tell is nonsensical at best. If this is what DC Comics is publishing to get readers excited about comics, it's no surprise that so few people read comics.
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Fables #140 features a few highlights in a generally lackluster issue. Its purpose in foreshadowing the natural conclusion of the series is well served, but the story itself does little to add to the overall richness of its fictional universe. With little characterization or stakes, this is issue is at best a necessary stepping stone to the epic conclusion which begins next month.
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If the same level of talent is involved with future issues of CMYK, then the series may be in a position to steal the Eisner from Dark Horse Presents in 2015.
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Kot, Walsh, and Wilson weren't interested in universal consequences or heroes and villains. They were interested in empathy, people, and the small changes we all undergo as we try to grow into better people (even if they come through battles with fictional realities). Secret Avengers was entertaining because of its superhero antics, but it was great because of its focus on the humanity beneath the story. This may not have been one of the best-selling series at Marvel, but it was certainly one of the best.
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Second Cycle #2is a masterclass of tension and horror. It uses each scene to make the reader feel more trepidation, until it unleashes the monster that has been hidden the entire issue, then starts the process all over again.American Vampireis typically used as an example of how the horror genre can be effectively utilized in comics. Issues like this are the reason why.
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Batman #30is not a perfect issue. The exposition and opening cipher slow the reading experience and don't work on multiple levels. But the parts of the issue that do work, work very well. From the beautiful establishing panels of Gotham to the Riddler's mad master plan to the tower-tumbling action sequence,Batman #30offers excellent moments that create clear stakes for "Savage City". Despite its unevenness, it's a great introduction to the final part of "Zero Year".
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Astro City #11 is a return to form for the series. It evokes empathy for normal people by setting them side-by-side with superheroes. When the comparison is made, it's hard to tell the difference between those with and without superpowers.
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Fables #139is a perfectly typical issue ofFables. It capably introduces new characters, blends humor and fun into most pages, and never forgets to assert dramatic stakes worthy of the reader's attention. Although this individual issue is nothing special, it is still a well crafted comic that services the opening ofFablessecond to last story arc.
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Amanda Waller #1is not an offensive comic. It will not upset readers. It won't make them feel much of anything at all. Instead, it is something entirely forgettable. If comics were created on an assembly line while being micro managed to ensure minimums of action and internal strife were met, this would be the result. It was made to hit on the most standard tropes seen throughout the most standard of superhero comics, as if its audience would be too undiscerning to care. When you think about it like that,Amanda Waller #1is actually pretty offensive.
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Sandman: Overture #2is a tremendous work of comic art. Williams perfectly complements Gaiman's story, elevating the plot into something transcendent. Readers already familiar withSandmanwill find the work transcendent, but those new to Gaiman's mythos may be perplexed by the plotting. Both groups should find the comic well worth its cover price though for Williams' art alone.
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American Vampire is back and as good as ever. Snyder and Albuquerque have a clear grasp of what worked in the original series and have continued to build on those elements. Any pacing problems are an effect of creating an introduction to a series with such a large history, which should leave the reader with nothing but a sense of optimism about where this comic is going. The characters should be a bit more pessimistic though"
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It's difficult to fault Busiek for tackling a complicated and important issue in the pages ofAstro City. He has successfully handled a wide variety of thematic material in the comic before. But his attempt to discuss feminism here falls flat, adding nothing new to the conversation. The story is meant to feel positive and it does, but resembles an "after school special" type of message. With very few compelling visuals for Anderson to sink his teeth into, this issue is remarkably ordinary.
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Batman #29is a pleasant surprise. It takes a story that has been done dozens, if not hundreds, of times before by some of the most talented creators in comic history and finds a way to make it new. Snyder and Capullo have captured a new perspective on Batman's origin by juxtaposing it with a larger disaster, and it works very well. Capullo also captures a new visual sense with the help of FCO Plascencia on colors. "Zero Year" was announced almost one year ago, and the biggest question from fans was, "do we need another Batman origin story?" After readingBatman #29the answer is, clearly, "yes."
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Forever Evil #6 is a comic that may not know what it is supposed to be. Given the context of creator interviews and marketing, it ought to be read seriously and its events should be shrouded with importance. Yet in actually reading it, an air of camp is revealed. The silliness of concepts like the Murder Machine and Johnny Quick's loss of a limb directly conflict with the dark tone of the art and story. This cognitive dissonance doesn't make for a confusing read, but an enjoyable one. If not for Finch's poor output, it might have been an accidentally good comic.
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Just like the previous issues, the finale is gorgeous. Risso's art and layouts are very engaging. The action is brutal and reflects a nihilistic outlook on the world. The brutality of man, the horror of violence, the inability to change one's own nature: these are all rich themes, worth exploring, and potentially evident inBrother Lono. Yet the story does not engage any of them on a meaningful level. And that's just too bad.
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Fables #138 reminds readers that Willingham is just as capable of crafting short 22-page comics as he is at building eight issue epics. Although continuity confuses the beginning and ending of the issue, the story at its center is wonderfully told. It infuses a classic fairytale narrative with new ideas, and then twists its resolution like a dagger. Those fourteen pages alone make this comic worth the price of admission.
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Astro City # 9 serves to continue this newest volumes first long-form arc nicely. Busiek draws out all four of the central character's conflicts setting the scene for a dramatic finale. Whether it will make a statement about the issues that continue to lie under the comic's surface is yet to be seen.
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Batman #28 is still an enjoyable issue. It features a nicely told action sequence, introduces the boisterous Bluebird, and should stoke plenty of interest in Batman Eternal. Now let's get back to "Zero Year", already.
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It's impressive that an event comic is being published on a regular schedule from the same writer-artist team. It would be even more impressive if that comic were good.
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