Jamie Lovett's Comic Reviews

Reviewer For: ComicBook.com Reviews: 1478
6.8Avg. Review Rating

Some of the story details aren't fleshed out as well as they could be, but this is a comics craft masterclass.
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Readers will have to wait until the next issue to learn whether Barnett has anything interesting to say about this era or its storytelling tics. Still, this issue in a vacuum is a delightful dose of wry nostalgia.
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The issue makes two minor missteps towards the end"an awkward inset mars a beautiful splash page, and the final tease is too vague to be tantalizing"but this issue everything Buffy fans crave.
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"Out of Time" seems like exactly the kind of story that Captain America was created to tell, and the first issue is executed flawlessly.
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Captain America #700 delivers an appropriate ending to what feels like a quintessential Captain America story.
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This is by far the most unconventional Conan story that Aaron has told and the best issue of the new series to date.
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With Garney back, Daredevil is once again a must-read Marvel title.
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Dark Spaces: Wildfire #1 is an eye-catching and evocative debut.
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It's gorgeous storytelling all around, as Snyder, Sherman, and Pattinson depict the moments of joy before everything begins to go up in flames.
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Three issues in and the structure of Dark Spaces: Wildfire, paralleling the heist to the stages of a fire, remains strong.
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This is a fantastic one-shot that everyone should read.
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The ongoing petty rivalry between Strange and Loki is enough to make this issue worth checking out, but the way Nico Henrichon depicts Las Vegas as a stygian abyss makes it a must-read comic.
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Fearless #1 is an excellent package that shows off some of Marvel's best established and up-and-coming talents. Anyone looking for the future of comics should look here.
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It's disappointing that this series was cut so short, but at least it's going out in style.
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If knights fighting wizards and goblin hordes that worship toad gods sounds like your jam, Head Lopper will not leave you disappointed.
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The era of X-Men has arrived. It's fascinating, it's well-drawn and well-colored, it has great character moments, and it has direction. But it is not the X-Men as you've ever seen them before.
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Jonathan Hickman and company continue to stun with their reinvention of the X-Men. House of X #2 hits pauses on the story of Krakoa begun in the previous issue and builds tangentially from a major moment in Powers of X #2.
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On a plot level, we're still asking the same questions we were after reading last week's issue, but this issue proves some moments are worth lingering on.
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This one is going to have people talking, and deservedly so.
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Anyone expecting Hickman to pull the rug out from under readers by the end will be disappointed (though there's still next week's Powers of X), and that makes the series as a whole that much more powerful.
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Despite the return of Thor's classic Jack Kirby-designed costume, fans of Ewing's Marvel work know better than to expect a retrograde "back to basics" approach. Instead, this opening chapter offers something more foundational, elemental, and compelling.
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No detail has gone unexamined, and it all works together beautifully.
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While it fits nicely into the overarching Immortal Thor story, Immortal Thor #3 also serves as a self-contained story done in the style of a Norse fable and it all works perfectly.
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If there's an award to be given out for the best first page of a comic book in the year 2023 then I'd like to nominate the opening splash of Immortal Thor #4.
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The Immortal Thor is now verging on becoming fully metatextual, a rumination on the compromises made to turn a god of myth into a marketable superhero and the responsibilities that such an icon has accrued since comics have gone from being the disposable entertainment of certain relatively small subcultures to a dominant global entertainment force.
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This is the first step on what feels destined to be a rewarding interstellar journey.
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Invisible Kingdom has always been a strong sci-fi offering, but it's now ascended to a new level as a beautiful, poignant saga.
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As a newbie, Kaijumax: Season Five is unlike anything else in serialized comics, a potent blend of the reality filtered through the absurd. Even five seasons in, Kaijumax reads like a giant-monster kick to the gut.
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As finely crafted a comic as is being published today.
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Zander Cannon's remains the perfect alchemy of post-modern playing with genre tropes and societal critique.
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Zander Cannon never ceases to amaze with his ability to blend the fantastic elements of kaiju with the harsh realities of prison culture and legal systems.
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There's exquisite alchemy at work in Kajiumax, and it shows no signs of wearing off.
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It's incredibly affecting, and Cannon's stellar character designs, clean linework, and vibrant colors ensure the emotional storytelling never feels maudlin or manipulative. It's another brilliant issue of a brilliant comic book.
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Zander Cannon's Kaijumax finally comes to its end with Kaijumax: Season Six #6, andlike its charactersthe issue manages to find a balance between hope and despair.
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This issue makes Hell & Gone a poignant end to the tale of Chamberlin Locke's family. It doubles as a wonderfully enjoyable addition for Sandman completists to enjoy, or a first taste of what's ahead for those Locke & Key fans discovering that universe for the first time.
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Neil Gaiman and Mark Buckingham finally continue their 30-years-delayed run on Miracleman with Miracleman: The Silver Age #3, and the decades that have passed since the previous issue have only made this deconstructionist fable more potent.
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The cracks are forming in Miracleman's utopia, tracing along the same fractures that run through the superhero genre.
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The true origin of Dickie Dauntless is revealed in Miracleman by Gaiman & Buckingham: The Silver Age #6, and it is sad and uncomfortable in a way that fits perfectly with the Miracleman tone.
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An excellent second outing for New Mutants.
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A stellar chapter in an excellent cosmic superhero tale.
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New Mutants: Dead Souls is the sleeper hit of the X-Men line.
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Bill Sienkiewicz drew this comic book. That's all you should need to know, but if you're still wondering then, yes, he still knows how to do that job better than almost anyone else who has ever tried.
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So far, this is a more worthy successor to Watchmen than anything Watchmen's publisher has attempted.
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This series is operating on such a high level, taking on ideas like how a fictional universe exerts itself over the characters that crossover into it, that's it's hard to guess where it's headed next, and that is absolutely thrilling for the reader because it has already been an incredible ride.
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Peter Cannon, Thunderbolt is a comic book reckoning that's been 30 years coming.
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Peter Cannon: Thunderbolt is a wake-up call for comics readers and creators. Stop worshipping at the altar. Get up off your knees. The future is waiting for you.
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Proxima Centauri is a masterful work of comic book craft.
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This issue is sure to restore the faith of any Rat Queens fan uncertain about the series' future.
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Rick and Morty vs. Dungeons & Dragons is a perfect synthesis of the best parts of both worlds.
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Rick and Morty vs. Dungeons and Dragons surpasses expectations, becoming not just a fun crossover but also an excellent adventure, a retrospective on D&D's history, and a treatise on why we game at all.
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Roxxon Presents: Thor #1 is a comic book artifact made real. It's the issue that the Minotaur gives Thor to read, an issue thatwith the help of Enchantress and Skurge the Executionerwill rewrite Thor's existence to better synergize with the Roxxon Corporation's corporate goals. As part of Al Ewing's ongoing Immortal Thor story, Roxxon Presents: Thor #1 is a crucial look at a core theme, what corporately-owned comics and other mass media could door is it, have doneto how we tell stories. And within these pages, Ewing makes the case for why that is a vitally important thing to consider.
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The bigger picture is that Hickman and Weaver have crafted a brilliant Marvel epic that begs to be re-read as much for its depth as to simply steal another glance at Weaver's artwork.
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Saga returns and, as usual, doesn't miss a beat.
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It's still Saga. It's still very, very good.
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Read this one and savor it. It may be the last Saga for a while, but it will likely stick with you throughout the series' entire year-long absence.
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It's wild, adventurous, unbridled, funny, touching, and beautifully crafted. It's Saga. It's back. Enjoy.
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Any fan of sci-fi storytelling and well-crafted comics owes it themself to check out this incredible tale.
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IDW has done stellar work with his Star Trek comics for years, but with Star Trek #1, it feels like they're finally reaching their full potential. It feels like the beginning of something special.
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Star Trek #18 is about as perfect a distillation of what's good about Star Trek into comic book form as I can imagine.
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The Star Trek vs. Transformers crossover hits the ground running with the gleeful energy of a child mixing two sets of action figures for the first time.
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Fans of classic Star Trek will not want to miss this.
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At two issues in, Star Trek: Year Five is an absolute must-read for Star Trek fans.
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This is a can't-miss Star Trek series.
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Another stellar issue for the must-read Star Trek series.
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Star Trek: Year Five #9 may be the most successful attempt to recreate the magic a Star Trek: The Original Series ever undertaken.
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Stellar is epic sci-fi superhero action with gorgeous artwork and haunting themes and if any small part of that peaked your interest, or even if it didn't, you should give it read.
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This is a changing of the guards for TMNT, but the series remains in good hands.
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You'll be hard-pressed to find a better-crafted comic book being published today.
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This is simply an impeccable comic book.
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We're five issues into Sophie Campbell's post-centennial run on Teenage Mutant Ninja Turtles, and thus far, every installment has been brilliant.
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Sophie Campbell's run on Teenage Mutants Ninja Turtles continues to be among the best-kept secrets in comics.
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Powerful in its simplicity, and affecting in unexpected ways, The Closet #2 is a virtually flawless comic.
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Once again, The Closet proves a masterclass of comics storytelling.
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Four issues in, The Dreaming is a worthy successor to The Sandman, and an engrossing fantasy in its own right.
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The Dreaming continues to enthrall readers with the epic and mysterious tale of realm in flux. Or, as this issue would put it, caught between an ending and a beginning.
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It's an invigorating opening to The Dreaming's next chapter.
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It's a rich and beautiful book that never disappoints.
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This is brilliant comics working well within the spirit of the original Sandman series.
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The issue is packed with ideas from the fight to retain one's identity in their twilight to the LGBTQ community's embrace of monsters as mascots.
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This issue is a feast for all senses involved and everything a fan could want out of a Sandman Universe book.
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This is another fantastic issue in a fantastic series. The Sandman could ask for no more worthy a successor.
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It's another powerful issue in what has been a gem of a series.
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Writer Si Spurrier continues to weave his threads together, nimbly reuniting Cain and Abel and giving new life to Dora under a new battle cry, "Nobody gets to make our myth but else."
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It's a thrilling issue in its own right, a rousing set up for the finale, and a satisfying set of revelations for longtime Sandman fans.
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The Dreaming turned out to be a powerful new addition to The Sandman's legacy, and a moving, enrapturing story in its own right.
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G. Willow Wilson shows her skill with dialogue in the issue, giving us the introduction of the utterly delightful sorceress Heather After. It's brilliant all the way around.
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The Last Mermaid #3 is a masterfully crafted comic.
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The Last Mermaid #5 again reads like enhanced storyboards for an animated feature without feeling like a studio pitch disguised as a comic book. That makes for another thrilling, masterly crafted installment of one of 2024's best new series.
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A brilliant start to a series worthy of your attention.
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It's intense, yet understated, and gripping. Ripe with the potential for drama, intrigue, nuance, depth, and meaning, The Power Fantasy is primed to explode superhero comics.
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The issue dances beautifully on the border between the waking world and the Dreaming, with stunningly emotive visual storytelling that resonates with haunting clarity. It's one nightmare from which you won't want to wake.
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Each issue has been a delight, but it has been a delight in almost exactly the same way each time. Which has to be among the best problem a serialized story can have.
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Time Waits #1 is a strong debut, introducing a cast of endearing characters, an intriguing mystery, and visual storytelling that is clear and easy to appreciate.
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This comic will blow you away and leave nothing but rubble and ashes in its wake.
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Rosenberg is making the X-Men feel like they matter again in a way that's bigger than the Marvel universe.
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Ice and Snow #1 keeps the high level of quality that they've come to expect from Sakai, weaving a tale of serene beauty mixed with understated horror, maintaining Usagi Yojimbo's well-earned reputation as one of comics' best series.
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Usagi Yojimbo: Ice and Snow #3 proves a tour de force for Sakai's innumerable artistic talents, once again proving why he's one of the greats.
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This is the stuff that comic book dreams are made of.
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What If? Magik packs a novel's worth of story into a single comic book.
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Storytelling with this level of quiet confidence is all too rare.
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William of Newbury #1 is a masterclass debut. It's thematically rich, gorgeous, and dripping with atmosphere and personality. It's as close to a perfect first issue as I've seen this year, and it makes me hope for many more adventures to come.
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When the level of craft is as high as it is in X of Swords: Stasis, that's every bit as rewarding as anything that comes before or after. X of Swords: Stasis is a vital, enthralling chapter in the X of Swords saga.
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This should be a breakout issue of artist Matteo Buffagni, whose creative choices help cast even moments fans have read before in entirely new emotional lights.
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X-Men #7 is a dense and rewarding issue that somehow feels both packed and like we're only touching the tip of the iceberg.
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This is a graceful and satisfying end to X-Men Blue and closing chapter to the All-New X-Men saga.
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It's a beautiful, complicated issue that's sure to bring out some complicated feelings from fans, and it's all the better for it.
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X-Men Red teases the return of a villain who is perfectly suited to the story the series is looking to tell. In their first issue, Taylor, Asrar, and company present a story that has plenty of visceral energy and that seems interested in carving a new path for these characters rather than recapturing past glory. That combination of big ideas and big action makes X-Men Red one of the boldest new X-Men comic in years.
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X-Men Red #5 continues to do what this series has done so well already, only even more-so.
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Even without all of that long-term X-Men history in your head, X-Men Red is an exciting, relevant, high-concept, and epic superhero adventure.
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This issue is lighter on the metaphor than most of the series has been, but has enough strong relationship moments and excellent characterizations that it will likely still leave X-Men fans with the urge to pump their fists in the air.
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X-Men Red #3 is an absolute top-notch superhero comic.
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Previous issues of Batman '89 were solid, but the team seems to now be firing on all cylinders.
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With the impeccable execution of two masters at the top of their game to back it up, this is easy to recommend for anyone who wants unnervingly relevant genre fiction.
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The issue begins with Dunes hanging on for dear life and ends with him willingly diving off a bridge, a poetic microcosm of Dunes' descent through the pages of this masterfully crafted slice of tech-noir storytelling.
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It's a largely conversational issue, meaning Manapul doesn't have as many opportunities to flex. However, he still delivers an exceptionally crafted issue of teeth-grinding noir accented by burnt-out colors as everything Dunes had taken for granted falls apart around him. Bring on the conclusion, and soon, please.
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Clear's dystopian future feels frighteningly familiar, making it a vital, essential work of cyberpunk neo-noir.
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Tamaki is still having fun having Crush address the reader with a vague air of disdain, and it works because we understand how much that attitude is a front to protect Crush from herself.
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Crush & Lobo continues to be the surprising delight of the year.
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Crush & Lobo takes a turn for the weird(er) in its fifth issue, somehow turning this chapter into a riff on fairy tales, Hansel & Gretel in particular. It's an odd choice, but it maintains the clever, reader-facing writing, brilliant penciling, and neon coloring that have defined the book's aesthetic from the start.
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With its first arc in the books, Immortal Thor is absolute must-read material.
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Ultimately, the issue takes a surprising turn toward the end that'll have readers guessing, but putting the issue down fulfilled.
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Most importantly, Immortal Thor #13 presents a compelling and entertaining story with strong characterizations, captivating action, and an immersive atmosphere.
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While the layouts do an admirable job of giving the story the gravity appropriate to the writing of a new mutant testament, it's a shame that the visages alternate between lifelessness and overly-exaggerated, and the colors fall somewhat flat. These shortcomings may fail to elevate the issue to greatness, but neither do they too-greatly impede an otherwise enthralling read.
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Kieron Gillen has proven time and again that he's able to find great nuance and depth in almost any character. He's put that talent on display with each issue of Immortal X-Men thus far and Immortal X-Men #4, focusing on Emma Frost, is no exception.
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Immortal X-Men #7 succinctly shows Kurt's roguishness and devoutness come from the same place, which may make this issue the definitive Nightcrawler story.
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This issue of Immortal X-Men is a bold one, tackling multiple complex ideas wrapped up in the X-Men mythology, from the flawed character of Professor X to the self-policing politics of the X-Men as a superhero team, to the limits of the mutant metaphor.
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Gillen's depiction of Storm at her righteous best and self-righteous worst is beautiful character work that, combined with Werneck's excellent artwork and wrapped in layers upon layers of intrigue, makes this one of Immortal X-Men's best issues yet.
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Gillen leverages Colossus' Russian heritage to play into parallels with Russian literary tragedies to clever effect, and the idea that fear of terrible things happening is what causes those things rings true throughout multiple subplots.
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Marvel has been teasing the "Fall of X" for a while now, playing with the idea that it may be the end of the Krakoan era or a play on words as the X-Men line heads into autumn. Kieron Gillen writes that ambiguity into Immortal X-Men #13, the final issue of the series before the 2023 Hellfire Gala special, Krakoa's leaves falling from its branches.
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Gillen and company have interpreted the Fall of X to be in the same vein as the Fall of Man, and that's a gripping direction to take the series.
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Immortal X-Men's Biblical take on the Fall of X remains a highlight of the sunsetting line of Krakoan comics.
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With Lucas Werneck moving on to other things, Marvel Comics calls on Juan Jose Ryp to draw Immortal X-Men #17 and it proves to be an issue that plays to the artist's considerable strengths.
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Inferno #1 looks to be a powerful ending to Hickman's time working on the X-Men line, bringing forth all the same attributes that set readers abuzz during his debut. It provides the sense he's leaving nothing on the table.
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Kaijumax continues to be an incredible accomplishment in consistent, quality storytelling.
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It's another dose of Kaijumax's heady blend of colorful genre tropes and understated emotion that fans gave up trying to quit long ago.
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Kroma continues to be a story that is both gorgeous and compelling, deftly balancing thoughtfulness with thrills.
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Kroma stuck the landing as a moving, evergreen fable.
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Legion of X proves an exciting and thoughtful comic book that indulges its philosophical side while still providing sharp dialog and characterizations and an almost slapstick sense of humor and action. In other words, it's the good stuff.
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That the ending seems obvious only in retrospect, with Dickie's tale remaining enthralling throughout, speaks to Gaiman and Buckingham's storytelling abilities.
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New Mutants #15 is a work of expertly crafted, subtly emotional storytelling.
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The issue has a few odd pages where the artwork and dialogue seem to disagree about what the characters are supposed to be doing, but this a beautiful and emotionally rich story that's some of the best character-centered storytelling to take place in the modern X-Men era.
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The issue ends a bit clumsily with an awkward but heartfelt, ad hoc eulogy and an abrupt cliffhanger. Still, otherwise, it's another wonderful installment of what may be the X-line's most underappreciated series.
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With Ayala adding their best Chris Claremont pastiche narration to the mix, it's a total commitment to the concept that few would dare but is pitch-perfect from this team.
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The penultimate chapter of "The Labors of Magik" is a wonderful and creative chapter ahead of the finale.
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This issue does many things, and it does all of them exceptionally well.
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Sabretooth & The Exiles #1 is a debut that holds nothing back, setting the stage for a story as fierce and compellingly complicated as its namesake protagonist.
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Mike Feehan and Manuel Bracchi acquit themselves well, with one moment in particular of Sisko awaiting Cardassian judgment bringing the weight of the moment to bear on both character and reader with appreciable scale. It's a compelling read that should delight Star Trek fans.
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It's thrilling, unexpected, and everything that Star Trek fans might hope it could be.
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Star Trek #11 is one jaw-dropping moment after another.
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The creative team behind Day of Blood has recreated that cinematic experience in these pages, creating a worthy entry into the Star Trek canon.
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Star Trek: Day of Blood #1 puts that concern to rest by punctuating the arc Sisko has been on since returning from the Celestial Temple in Star Trek #1, gradually shedding the trappings of divinity and rediscovering his humanity. Star Trek fans are in for something special.
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Star Trek: Year Five seems poised to go out with more than a bang, but an ending that'll make fans fall in love with the idea of Star Trek all over again.
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Teenage Mutant Ninja Turtles #132 is a fine example of why this series is so revered by fans.
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Teenage Mutant Ninja Turtles #2 is another fine outing for the TMNT relaunch.
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Sakai shows he's as capable of bringing out emotion from his characters as he is at choreographing their sword strikes. Teenage Mutant Ninja Turtles/Usagi Yojimbo: WhereWhen #4 may be the best issue yet of a brilliant action/adventure comic.
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If this is our first taste of what's to come in The Armageddon Game, fans will be eager for the next course.
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The Closet #1 is a page-turner. It's unfettered by overwrought narration, rendered obsolete by the impeccably crafted, atmospheric artwork.
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The Dreaming: Waking Hours #6 is a delightful feast for the eyes.
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The One Hand is a consistently stellar bit of cyberpunk noir magic.
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It's an intense and provocative read that manages to upend its own stated premise in a way that only makes things more intriguing.
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The Sandman Universe Special: Thessaly #1 is an issue that holds up perfectly well by itself, yet by the end, the full consequences of Thessaly's transaction with Tommi remain uncertain, and that's a story readers will likely have a great desire to follow.
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At three issues in, Nightmare Country remains one of the best additions to The Sandman Universe since the original series ended.
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Wesley Dodds: The Sandman continues to be one of the best-looking comic books published today, full of well-realized characters and compelling mysteries with meaningful moral weight.
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The Sandman: Wesley Dodds has been an unexpected delight for six consecutive issues.
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In Wild's End #4, INJ Culbard puts on a masterclass in using various layouts, panel shapes, and compositions to achieve the desired effects.
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There's so much going on in that era through these different comes, and it's getting difficult to care about all of it.
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If this continues, William could soon be standing alongside the likes of Hellboy, Miyamoto Usagi, and the Goon as part of the pantheon of iconic adventure heroes published by Dark Horse Comics.
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It's an inventive and exciting issue that sees every creator involved excelling at doing the things they're best at to create a tense and emotionally impactful adventure.
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Gerry Duggan's self-aware style of superheroes suits the premise well, allowing him to build Cyclops' importance as a fighter, leader, and symbol sincerely without becoming overbearing. Artist Pepe Larraz and colorist Marte Gracia make the most of the opportunity to unleash their complete mastery of superhero aesthetics.
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X-Men #11 is a nearly perfect modern superhero comic.
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X-Men: Forever #4 may be the most essential issue of the Fall of X era.
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Even as a casual James Bond fan at best, and even with 007 survival assured for future adventures, I find myself determined to learn how this clash of ideologies resolves itself and whether there's anything left of the relationship caught in the crossfires.
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Age of X-Man: Alpha looks to be required reading for anyone interested in the larger event. And if you're not interested already, you probably will be once you've finished reading the issue.
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Count this as another win for the "Age of X-Man" event.
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We only seem to have scratched the surface of where Brisson and To are taking this story, having just come upon a generational divide between violent and non-violent means of resistance, but two issues into NextGen, and we're already hoping that it proves to be the pilot for an ongoing young X-Men series featuring these characters in the near future.
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Ed Brisson and Marcus To are onto something here, something that deserves to outlast the "Age of X-Man" event.
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It's an interesting premise and while Marvelous X-Men #1 retreads some ground already covered by last week's Age of X-Men: Alpha, mostly introducing the concept and characters and seeding the conflict to come, the idea still hasn't lost any of its shine.
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It's a fun opening chapter for this new story that's easy to jump into if you missed the first few issues of the series.
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As long as readers can accept Anansi Boys for what it isa serialized graphic novelthey'll be in for a fine time in the Gaiman mold.
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It's one of the best looking issues of Soule's Astonishing X-Men run yet.
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Soule's dialogue between team members gets better with each issue, though this issue is a bit light on substance.
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The banter between the X-Men and the Reavers remains a strong point in Rosenberg's script, especially certain characters finally calling out Beast on his tendency to end up on the wrong side of nearly every conflict for the past several years.
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The latest volume of Astonishing X-Men comes to a close in much the fashion you would expect, with the underdog X-Men squad having their big damn hero moment. As much as it may be expected, it is also expertly crafted.
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Both parts of the story are well executed, and the former dovetails nicely into the latter as "No Surrender" continues to escalate in exciting ways.
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Another stellar chapter in the "Avengers: No Surrender" saga as the Hulk continues to threaten every Avenger left standing.
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This may not be a traditional Avengers lineup at work, but its classic Avengers storytelling in top form.
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All of that is drawn by multiple art teams delivering on the promise of these ideas with different levels of success.
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t's a bit sentimental, but after the journey, it feels earned.
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Avengers Assemble #1 is an endearing debut that'll give readers a dose of what Avengers comics have been missing.
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When thinking back on Tim Burton's Batman films, it's the gothic aesthetic that endures. Quinones' tight linework and framing, and Ito's blue-purple color palette imbue it onto every page of this issue. With its unexpected ending, Batman '89: Echoes #1 is a thrilling return to a fan-favorite era.
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It's a wonderfully crafted comic with a far more ambitious narrative scope than anyone was likely expecting.
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Leonardo Ito may be the breakout here. He manages to find the right visual tone to make Gotham City feel like a world of perpetual twilight.
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The issue proves to be a satisfying conclusion, elevated by brilliant artwork, making Batman '89 a worthwhile successor to the films that inspired it.
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Black Cloak #1 ticks the right boxes for sci-fi storytelling, hooking readers in to see its mystery unfold.
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Those who demand those answers might be disappointed, but the issue is a game-changing conclusion that promises a very different type of story when the series returns.
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Black Cloak returns with its seventh issue set several years after the fire that closed out its first arc. After all that time, it was shocking how fast the new issue reads, concluding just as it feels like it's getting started, but that's not to say what's here isn't worthwhile.
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There's a beautiful moment in comics where an unassuming panel from one issue can be revisited with powerful new resonance in a later issue. Books of Magic #10 includes one such moment. With a single panel, a single line of dialogue, a relationship established in the series' first issue is turned on its head, going from sad to outright tragic.
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It all comes together for what feels like an emotional oasis in the fallout of the series' most recent turning point.
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A new high mark for the series.
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It's familiar territory, but it's well-executed and done with charm, and Tom Fowler, as usual, draws the hell out of every moment.
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The issue shows the symptoms of being an unplanned finale, with some long-simmering conflicts coming to abrupt resolutions, but Barnett and Fowler manage to send the Books of Magic off with a sense of closure, warmth, and hope.
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Buffy fans new and old will likely find themselves hooked on this modern reimagining of the Buffyverse.
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Buffy the Vampire Slayer #4 has everything a Buffy fan could ask for, beginning with the Scoobies' perfect reaction to Giles offering them a night off. From there we get relationship drama, internal conflict, the big bads plotting, and a cliffhanger right as a key character reaches a major turning point.
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It's one piece and another great issue of Buffy that captures the spirit of old Buffy while still feeling fresh, new, and different.
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Artist Rosemary Valero-O'Connell brings a softer style to the standalone issue. It suits the setting and story, though the action scenes lack some weight and impact.
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This issue is an example of the series' creative team taking full advantage of the unique opportunity they have with this fresh comics continuity to improve upon the source material.
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Buffy the Vampire Slayer: The Chosen Ones offers fans a glimpse into the lives of three Slayers who preceded Buffy Summers in the "chosen one" line.
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Hellmouth #1 sets a hell of a tone, and we're excited to see where it takes Buffy and Angel next.
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So far, the first Buffy and Angel comics crossover is a worthwhile trip through the gates of Hell.
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It could stand to be a bit more grounded " as it is it feels a bit too dreamlike for something that is not a dream"but it's a solid next step on Buffy and Angel's journey.
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As an exercise in setting the stage, advancing the important themes with subtle foreshadowing, Buffy the Vampire Slayer: Willow #1 is an absolute masterclass.
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Cable being Cable, those specters are especially literal and deadly, but its good to see "the man called Cable" fulfilling his potential again.
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There's still a ways to go, but so far this is the best Cable story since the era this issue is set in.
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Cable continues to weave a terrifying web through Cable's history, this time through a locked room scenario in which everyone happens to be an incredibly powerful mutant.
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This is simply the definitive Cable story.
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Chris Samnee sure knows how to draw a Captain America action sequence. He gets to draw a few in this issue, the middle chapter of the three-issue "Out of Time" arc, and they are as dynamic and graceful as fans have come to expect.
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Manapul doesn't get quite the same opportunities to flourish here as he was in the first issue. However, he still turns the high-quality visuals expected of a master as Clear continues to dig into what is so subtly haunting about our current existence.
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The explanation for Dunes' helmet handprints comes dangerously close to being over-the-top melodramatic, but the grounded tone helps rein it all in for another engrossing issue.
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Marvel Comics has assembled the perfect creative team for a new era of Conan.
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Mahmud Asrar continues to excel with his depiction of Conan's fantasy world, and he and Aaron seem to be settling into an episodic rhythm with the series that fans of Howard's short stories will likely appreciate.
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Conan the Barbarian #5 feels a bit like a greatest hits of Conan stories. Jason Aaron and Mahmud Asrar offer a tale with pirates, cursed idols, elder gods, monsters, and storms at sea; it's Conan at his most anguished and most joyous.
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It's a story that feels very true to Robert E. Howard's idea concept of the barbarian and a solid read all around.
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It's a fun concept that ties together the threads Aaron has weaved and Asrar's artwork more than does it justice.
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Conan: Serpent War #1 is well-crafted but overstuffed as it struggles to get introductions out of the way so that it can move towards the conflict.
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Crush & Lobo #1 does an excellent job of entirely investing readers in Crush's story and the internal conflict that will almost certainly manifest as external butt-kicking in the issues to come.
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Crush & Lobo has been excellent thus far, and while this issue has to do some heavy lifting to keep the story moving at a decent pace, it seems set to only get more wild from here on out.
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Crush and Lobo #6 is a little thin on plot but still packs plenty of fun.
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This installment may not be the most emotionally rich issue of the series, but who can argue with a lovingly crafted game of capture the bounty between Crush and her deadbeat space dad?
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The final chapter of the excellent Crush & Lobo series suffers from a case of narrative indecision, seemingly caught between providing a sense of closure and leaving the conclusion open-ended enough for a sequel.
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It all comes together beautifully in a brutally understated moment of surprise from Muse and a final page that promises a big finale.
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The Hollywood Special #1 does some fantastic character work with grounded stakes for well-realized characters. That should be enough to get readers to come back for more.
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Dark Spaces: Wildfire #4 reads faster than the previous three. That may be because, as the metaphorical fire running parallel to this story reaches the "high heat" phase, there's not much left to do but step on the gas with action and twists.
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Wildfire proved to be a brilliant debut both for IDW Originals and Snyder's Dark Spaces concept.
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Even if the reader doesn't recognize or appreciate the issue's subtext, this is an enjoyable superhero book for anyone attracted to the darker side of the genre.
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There's still the lingering question about making restitution for their past deeds, but by giving us a glimpse at the normal, mundane lives they may choose to live, Deadweights #4 goes a long way in creating empathy for these burned-out henchmen.
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The colors are a bit muddy in a way that mutes some of the visual energy, but Doctor Strange is still among Marvel's best-looking comics.
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Donny Cates continues to do a great job of redefining Stephen Strange's personality. Other writers have pegged arrogance as Strange's tragic flaw, but Cates goes deeper, showing Strange's pride, temper, and wariness.
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With all of the overblown setup and tying into Secret Empire out of the way, Doctor Strange: Damnation #2 is able to play to writer Nick Spencer's strength: his ability to write fun banter for a motley crew of B-list characters.
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If you're a fan overflowing with love for the new Doctor, this is a great place to get an extra dose of Doctor Who.
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We don't get to the meat of the story until the end, but this issue is a fun read for Doctor Who fans.
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A Whisper of Caldan Seas doesn't have much in the way of plot. It reads like a moment, but that moment's emotive storytelling will stick with you.
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ElfQuest: Stargazer's Hunt is going to sink its hooks deep into ElfQuest fans in the best possible ways.
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Sonny Strait continues to be a suitable successor to Wendy Pini on the series, and Wendy and Richard Pini still know how to give their fans more of what they love.
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Based on the first issue, Extermination is an epic X-Men event years in the making.
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For the most part, Extermination comes very close to X-Men event perfection.
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Extermination gets another strong chapter that isn't quite as jaw-dropping as its first, but avoids the pacing pitfalls of its second.
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Fearless #2 isn't quite the perfect anthology that the first issue was, but it's a solid showcase of Marvel's female talent and characters.
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Alyss Wong and Alti Firmansyah close it out with a short, light-hearted Wolverine and Jubillee story. Fearless remains an excellent showcase for Marvel's female talent and characters.
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This entire series has been a worthy showcase for the women of Marvel.
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Excellent craft and a compelling story come together to create a comic book that Browncoats are likely to be very, very pleased with.
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Like most episodes of Firefly, all of this ends up putting a lot of pressure on the relationships between the members of that crew, which inevitably leads to more than one of them doing something noble but stupid that may only make the situation worse. In other words, it's exactly the kind of story Firefly fans crave.
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It seems influenced by classic sci-fi and western comics which, considering Firefly's premise, makes a lot of sense. And it feels less like a comic book doing its best to imitate the television series or the film and more like Firefly re-imagined as story native to the comic book form.
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Since this comic takes place before the events of Serenity, we know that the crew is going to make it out OK, but it is to the creative team's credit that finding out how -- which remains unclear at this point -- still feels like something to look forward to.
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Five issues in and Firefly is still like comfort food for fans missing the show.
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As usual, Dan McDaid draws pulpy action with as much skill as he does expressive characters. He also offers one of the most beautiful renditions of Serenity fans have ever seen, with the help of Marcelo Costa's colors.
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Watching the relationship between Mal and Boss Moon blossom into a friendship has been delightful, and Pak again gives the less violent members of the crew"Inara, Book, Wash"ample time to shine. This series is a delight for Firefly fans.
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Now that it's all told, "The Unification War" is a wild ride that gives Firefly fans a dose of the familiar and double dose of the unexpected.
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Mal's motivations here seem slightly out of character as his whole mission has always been to keep Serenity flying, not to set done for good, but conflict is interesting enough to roll with that indiscretion for now.
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Both Lalit Kumar Sharma and Danil Bayliss turn in solid line work, though the former's sudden switch to the latter is jarring. A stellar issue all around.
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As with the last issue, they both do decent work, but their different styles make for a jarring transition, especially when there's no apparent logic as to who draws which pages. Despite that, Firefly fans are likely to have a smile on their faces after putting this issue down.
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This issue's story is somewhat muted, with the problem child robot partner introduced and dispensed of without any real rise in tension. But the narrative raises some interesting questions about where Firefly is going, sets the stage for exciting things to come, and looks good while doing it.
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With introductions out of the way, it's easy to get swept up in the atmosphere and dramatics of the story even if the specifics may be unclear to newcomers.
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Larry Hama proved that gets how to use "silence" effectively in comics long ago, with the release of "Silent Interlude," his memorable silent story published in GI Joe: A Real American Hero #21. GI Joe: A Real American Hero #302 isn't entirely silent, but there are pages where Hama steps back and lets Chris Mooneyham and Francesco Segala's beautifully dramatic visuals breathe, and the issue is better for it.
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There are spots in the issue where the exposition is cumbersome, but it's hard to argue with this level of smart visual storytelling.
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Long-time Joe readers don't need me to tell them this, but I encourage newcomers to let themselves get lost in that sense of well-established wonder.
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G.I. Joe: A Real American Hero bears many of the hallmarks of Larry Hama's long and beloved run on the comic: unlikely odds, ninja action, and military tech jargon.
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Luckily, the tight pacing, rich artwork, and intrigue all hold together, investing the readers in all the intricate machinations that unfold.
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This issue sees the cold war between the various factions turning hot, affecting the vibe of an action movie, with standout moments like a Joe pulling the trigger on a cyborg's eye socket from point-blank range. If that sounds like your thing, this book will speak to you.
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This issue of RAH may lean a bit more into G.I. Joe's cartoonish aspects than readers are accustomed to, but it will still leave them eager to see what happens when it all goes down in Springfield.
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The sheer number of characters, many of who are not particularly distinct, can make the action a bit tough to follow in place, but the art is sharp and keeps a lively pace.
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G.O.D.S. #1 meets and subverts expectations, leaning into some familiar Hickman tropes while shining the narrative spotlight in unexpected places.
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Jonathan Hickman's commitment to treating the new additions he's introduced into the Marvel Universe in G.O.D.S. as if they've always been there is commendable and effective.
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G.O.D.S. is still laying out the full enormity of its mysteries, but it's doing so in a way that will ensure readers are too hooked to do anything but see all the way through.
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G.O.D.S. remains a beautifully crafted and compelling read.
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G.O.D.S. #5 is the most streamlined, quickest read issue of Jonathan Hickman, Valerio Schti, and Marvel Gracia's high-concept Marvel Comics series thus far.
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It's a personal issue that doesn't shy away from having Dimitri may a defiant, definitive statement on what matters to him. It's also tragic, though not quite as a heart-rending it seems intent on being, perhaps because it isn't all that hard to figure out what the downer twist before it lands. That said, the art remains gorgeous, and G.O.D.S., as it nears it (apparent) end, continues to feel like it is just now beginning to ramp up to something.
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Go Go Power Rangers maintains that powerful alchemy of melodrama, giant robot fights, and action that makes Power Rangers what it is.
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High Level #1 is an introductory issue at its core, but it's introducing readers to a world that is worth investigating. The themes here are rich, reflecting the tension inherent in consumerist society.
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High Level is an engrossing sci-fi thrill ride that somehow still feels likes its only getting started.
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Three issues in and so far High Level is a consistently strong road trip through a wild sci-fi wasteland.
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House of Whispers #13 is the best issue yet of the Sandman Universe series.
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This is the best issue of House of Whispers yet.
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Besides a distracting, out of place cameo from John Constantine, this is the strongest issue yet of a series that keeps getting better and better.
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House of Whispers has been an uneven series, but this is one of its stronger issues.
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Each part of the story enhances the other, creating a powerful whole.
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House of X #3 is the series' most traditional superhero narrative yet.
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Altogether, it's a fine tribute to Marvel's most misanthropic fowl.
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Even with these minor possible flaws in mind, Iceman #1 is a stellar return.
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This might as well be the next issue of Immortal X-Men. Which is still good, mind you. It simply feels less like an event.
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As a Star Trek and X-Men fan, this issue has me squarely in its crosshairs, but regardless, it's compelling and well-crafted stuff.
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Immoral X-Men leaves its Star Trek homage behind to go grimdark with X-Men by way of Warhammer 40,000.
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There's a moment that, taken in a vacuum, feels like a cheap attempt to shock the reader, but it is clear before the issue ends that there's more going on. Plus, Ewing has been doing this, and doing it well, long enough to earn the benefit of the doubt.
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Immortal Hulk #15 is a wonderful blend of big, philosophical ponderings and superhero violence.
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The world continues to grow darker around Bruce Banner, and this issue's final page hints that his mind may be more fractured than anyone thought.
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The issue's abrupt end is its weak point and feels haphazardly attached, but the rest of the issue moves at a deliberate pace as Loki recounts the tale of Thor's first meeting with the Utgard gods.
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Immortal Thor becomes one of the early adopters of the new cosmic Marvel paradigm laid out in Jonathan Hickman and Valerio Schti's GODS, and it's a fine fit.
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Part of why the action-packed issue works as well as it does is that it isn't simply a fight, but lesson, a test that Hercules and Thor must pass, challenging their wit as well as their combat skills, creating a clever and satisfying experience for the readers.
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Immortal Thor #16 is a beautifully structured superhero story.
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Gillen, Werneck, and Curiel have successfully managed to find an inventive, exciting, and surprising new angle on what's already the freshest take on the X-Men in decades, and this finely crafted debut issue will quickly have readers hooked.
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Kieron Gillen is playing all of the hits in these opening issues of Immortal X-Men, but he's playing them well.
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Leave it to Kieron Gillen to take the question of why Chris Claremont decided to give Destiny the same name as Irene Adler from the Sherlock Holmes stories and turn it into a stellar story that reads like it was always meant this way.
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Immortal X-Men #9 is a delightfully deranged deconstruction of the lives of Moira X as presented in House of X/Powers of X.
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It's two fronts of the war for Eden, fought amongst the fallen, and if this is going to be Krakoa's last act, that's a hell of a note to go out on.
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Immortal X-Men #18 is good in its own right and will also readers eager for Krakoa's grand finale.
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Hickman and company manage to create a palpable sense of tension in every segment of this issue as they rewrite the past, present, and future of Marvel's mutants. It's an impressive feat to behold.
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It's a fascinating and compelling way to end this era, even if it can't quite match the brilliance of how it all began.
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Gerry Duggan, Mike Deodato, and Frank Martin have delivered a brilliant opening salvo for a series that seems to be truly aiming for the stars. The issue is engrossing and leaves readers wanting more. With Infinity Wars #1, the next true Marvel epic has arrived.
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Anyone craving a thoughtful sci-fi that doesn't skimp on excitement or visual flair needs to check out Invisible Kingdom.
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It still feels a bit like we're waiting for liftoff when it comes to the plot, with G. Willow Wilson taking her time to thread these two narratives into one, and that's fine as long as the payoff is worth the wait.
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Invisible Kingdom draws its two leads together and picks up a sense of urgency along the way.
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Invisible Kingdom #4 is the best issue of the series so far.
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If you're looking for character-focused sci-fi in a space, Invisible Kingdom remains a solid choice.
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Invisible Kingdom is a character-focused space opera that's stellar but that still has room to grow. -
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Christian Ward's art is still beautiful, but looking rushed in place in this issue. There's a whole conversation where one character's face is a featureless, yellow slate. But with a statement of intent made, it'll be interesting to see where the creative team takes it through the rest of the arc.
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This is one of Invisible Kingdom's strongest issues yet.
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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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If nothing else, this miniseries serves as a strong argument for Invisible Woman being capable of carrying a solo ongoing.
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Kaijumax looks to continue its tenure as one of the best series published in comics today.
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Knock Em Dead #1 is a stellar character piece. Here's hoping the additional supernatural element in future issues proves additive rather than a distraction.
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Knock 'Em Dead is shaping up to a satisfying slice of horror-drama.
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While readers will have to wait for another issue to see the main thrust of the plot revealed (one would assume), Kroma #1 stands tall as a solidly constructed feat of worldbuilding, and a considered musing on the colors of life, primarily those we fear and those of which we deprive ourselves and others.
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The story's shift in its pacing as Kroma makes her journey to her new destination feels unnatural given the flow of the story thus far, but it doesn't take much away from what remains a compelling and affecting tale.
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Lucifer is ripe with depth and mystery that is poised to unfurl in captivating and compelling fashion.
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Guara's artwork still somehow feels both incredibly busy and somewhat empty at the same time, pairing over-emphasized figures in the foreground with often blank backgrounds. Still, if you're going to do mystery in Magic, Ravnica is the place for it, and you can sense the fun McKay is having while weaving these threads.
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. The scaffolding of all of this is by-the-books superhero fare, but the emotional core is there and shines bright enough to make it a worthwhile read.
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This is one that X-Men fans will enjoy and that can probably be revisited in future holiday seasons as well.
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Milestone 30th Anniversary Special #1 is a lovingly crafted celebration of the Milestone legacy with something to offer fans of any version or era of these beloved characters.
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This installment is more about nudging the plot forward than the previous couple and thus feels less revelatory. But that is, admittedly, a high bar, and one can still appreciate Mark Buckingham's delicate linework and Jordie Bellaire's humanizing colors.
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With Thompson's delightful dialogue and characterizations, Bazaldua's balance of the intimate and the exciting, and D'Armata's tone-setting, Mr. and Mrs. X seems set to deliver equal parts overdue emotional payoff and endearing adventure.
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In Mr. and Mrs. X #2, Kelly Thompson and Oscar Bazaldua continue to infuse Rogue and Gambit's cosmic honeymoon with the energy and amusement of a wildy caper.
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Mr. and Mrs. X remains one of the top books of the X-Men line.
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The high adventure continues in this issue, with Oscar Bazaldua delivering some great action shots and sequences of Gambit showing off his escape skills while in a Shi'ar prison.
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Mr. and Mrs. X slows down in its fifth issue, taking a break from the rollicking space adventure to focus in on the relationship at the core of the series, that between newlyweds Rogue and Gambit.
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Mr. and Mrs. X is easily one of the best X-Men books of 2018.
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Mr. and Mrs. X continues to be a delightful read.
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As Mr. and Mrs. X draws closer to its end, we get a fun, action-packed issue that begins by focusing on Gambit before putting the marriage between Remy and Rogue more in focus.
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By the time readers are done with Multiple Man #1, they may not be entirely sure what just happened or where they're headed, but they'll almost certainly have enjoyed the ride and be looking forward to more.
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This penultimate issue of Mutliple Man will not leave fans disappointed, but rather have them primed for more.
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This issue will serve anyone looking for a good-looking, fun, if a bit arch, cosmic adventures.
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"X of Swords" continues to be stellar throughout.
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This issue is a strong start for Ayala and Reis and a great jumping-on point for anyone enjoying this era of X-Men that isn't already aboard the series.
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Another all-around stellar issue from the New Mutants team.
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Storytelling like this is has turned New Mutants into one of the most compelling of the current X-books.
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While character voices in this issue again verge on the unbelievably measured, New Mutants #22 brings the overarching themes of Vita Ayala's run writing the title into focus.
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Vita Ayala approaches the conflict with nuance as the newer mutants attempt to distinguish the Shadow King and its host, Amahl Farouk.
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Much of New Mutants #24 focuses on mending lingering wounds, with text pages introducing each character-focused vignette. It's a conversational issue suited to Beyruth's style, which is slightly cartoonish and more akin to a slice-of-life comic than the more pose-focused superhero fare.
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Rod Reis has been a revelation throughout this volume of New Mutants and doesn't miss a step here, while Jan Duursama's flashbacks, recreating the style of the original New Mutants run, remain delightful.
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It's a solid issue that fits right in with what came before. Fans of the series should be pleased.
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New Mutants #30 pulls triple duty as Vita Ayala's sendoff issue, a 40th-anniversary anthology, and, for some reason, a teaser setting the stage for Marvel's upcoming Deadpool series. It succeeds on all fronts.
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There's a lot of potential in the groundwork laid here for what could be a fun and engrossing mutant monster hunt.
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All in all, it's the best issue of New Mutant: Dead Souls so far.
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Rosenberg has really honed in on these characters' voices and Gorham shows a some versatility in his artwork. This series just keeps getting better.
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Lack of resolution aside, New Mutants: Dead Souls' end will leave readers hungry for more.
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As usual, the book looks great, with some unique monster designs. This feels like a point-of-no-return moment for the series, and one that's sure to excite fans.
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It's a very solid climax to the Oblivion Song story so far.
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This issue is a breath of fresh air for a solid sci-fi series.
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With the sibling rivalry that was once the backbone of the series now resolved and a time jump allowing the world to grow, Oblivion Song is better than its ever been.
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Planet-Size X-Men may primarily be spectacle, but it is an impressive spectacle and one that will leave hungry X-Men readers even more eager to see what comes next.
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Proxima Centauri's visuals are some of the best in comics and they depict a fascinating world, though the wandering narrative may be an acquired taste.
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Proxima Centauri continues to be one of the most beautiful comic books being released on a monthly basis, and that more than makes up for its meandering plot.
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Not for those hooked on straightforward stories and consistent fantasy logic, Proxima Centauri is quite a trip for those willing to embark.
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Rat Queens #12 taps into the series' roots for one of its most fun installments since the series relaunched.
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It's an action-heavy and emotionally-charged issue that won't disappoint fans.
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The current arc of Rat Queens concludes with some of Owen Gieni's best artwork yet.
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A very solid issue all around which looks to pay dividends next month as well.
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In Rick and Morty #42, Kyle Starks and Marc Ellerby bring the "Rick Revenge Squad" story to a close (or do they?) in funny and satisfying fashion.
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Rick and Morty fans are going to love this one.
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This is shaping up to be a crossover that fans of either property won't want to sleep on.
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It's a surprisingly substantial crossover and a delight for fans of either franchise.
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At the outset, the slapstick humor and goofiness is a stark departure from past TMNT show and IDW's current line of original Turtles comics. That rambunctiousness doesn't go away, but if you can stick with you'll be rewarded with some genuinely funny moments, including an amusing concept for a mutant villain.
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Based on the first two issues alone, Rise of the Teenage Mutant Ninja Turtles seems intent on becoming the gag-strip version of the Turtles. That's not a bad thing either.
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SHIELD #5 is an exciting penultimate chapter of this long-lost series.
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With Schti and Gracia providing stunning artwork and Ewing plotting the course, S.W.O.R.D. promises to be a cosmic victory for Marvel's X-Men line.
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The issue ends somewhat abruptly as these early S.W.O.R.D. issues seem dedicated to planting seeds more than giving us a full narrative arc of their own. Still, if the sowing is this entertaining and well-crafted, readers should be eager to what Ewing and company reap.
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It's fun, it's gorgeous, and it'll have fans psyched for what comes next.
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Valerio Schti sweeping, dramatic art couple with Marte Gracia's lush colors make the diplomatic negotiations feel operatic where they could be dull. Add to that a more personal b-plot involving Magneto and S.W.O.R.D. #6 proves to be a weighty and beautifully crafted issue.
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The overall "The Last Annihilation" story is, thus far, pretty simple "bad guy attacks" material at the moment. Still, Ewing, Caselli, and company take what's simple, at least on the surface, and make it worthwhile by executing exceedingly well.
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S.W.O.R.D. is now neck-deep in cosmic conspiracies, and it should be exciting to see how those wheels within wheels continue to turn.
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Something interesting about Victor LaValle's take on Sabretooth is that Victor Creed is not unintelligent. It makes sense.
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Sabretooth & the Exiles continues to be a masterclass in grafting big, relevant ideas to traditional superhero narratives.
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Sabretooth & the Exiles continue to ground the mutant metaphor in real-world atrocities.
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From start to finish, Sabretooth and the Exiles proved as thoughtful, compelling, and unpredictable as the creative team's first Sabretooth series. Bring on the "Sabretooth War" and whatever else comes next.
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It isn't particularly eventful, but it is flawless in its execution.
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As usual, Fiona Staples' art is gorgeous, and this issue quietly sets up what will likely be a much more dramatic next issue.
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It is impressive how much tension Brian K. Vaughn and Fiona Staples are able to build even during an issue that is, for the most part, about a relaxing day at play.
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The colors are a little flat, but otherwise, this is the start of what promises to be an exciting fight comic with unforeseen depth.
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Alternate timelines and dark futures are familiar tropes throughout X-Men history, dating back to "Days of Future Past." Yet, the setup here feels fresh and exciting in ways a jaded comics reader might not expect.
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Star Trek: Sons of Star Trek #1 is a shining example of approaching a long-running series by combining the fresh and the familiar. Q Junior is unabashedly pulling from his father's bag of tricks by sending the mortals who have caught his attention to an alternate timeline to learn their lessons. However, the focus on Deep Space Nine's younger characters who were rarely the show's main focus stops it from reading like a retread.
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Since The Orville veered more into straight sci-fi as it progressed, Space Job feels like an alternate timeline where the show went in the opposite direction. It's one familiar premise crossed with another but executed well enough to hit the mark.
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The "Gwenom" arc has brought Spider-Gwen to new levels of emotional intensity, and everything comes to a head in this issue.
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Spider-Gwen #31 takes the themes and subtext of the series so far and makes much of it text.
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It's a wonderful summation of the entire Spider-Gwen saga so far.
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The issue brings a well-earned sense of closure to the saga of the Spider-Woman that fans who have been following the series won't want to miss.
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Comics fans and creators like to talk about how the medium is like television or film without budget restrictions. It's a flawed analogy, but Star Trek #3 is a near-perfect test case for it. The issue takes a tried and true Star Trek formula, the Q episode, and presents it in comic book form. What you get is all of the hijinks of a classic Q story, but with his omnipotence on display far beyond what television would ever have allowed.
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This series keeps digging deep into Star Trek lore, finding new corners of the universe to explore and new lights to shine on these characters, and Star Trek fans could hardly ask for more.
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There are twists and turns here that are legitimately surprising and set the stage for much bigger and more dramatic things to come, all while keeping up the high quality of artwork that has been typical of the comic thus far.
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Alternately epic and intimate, it's pretty much everything that Star Trek should be.
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Collin Kelly and Jackson Lanzing have the voices of these characters down perfectly to the point that readers may find themselves reading dialog in the voices of the actors who played them, from Avery Brooks' jazz-like line deliveries as Sisko to Gates McFadden's playful bemusement at Quark's advances as Beverly Crusher.
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Star Trek #8 feels even more like a direct successor to Star Trek: Deep Space Nine than any of the issues preceding it.
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It's a well-crafted, stellar issue with plenty of fun surprises for longtime Star Trek fans.
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Any Star Trek fan is going to enjoy this issue (and series), but it'll be especially fun for fans of the characters named above.
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Marcus To again shows his talents as he draws giant dinosaur people, Kim and Paris' quiet hearth-to-heart, and Scotty and Dr. Crusher's spelunking expedition with equal aplomb. It's hard to imagine what more any fan could want from a Star Trek comic.
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It's got brilliant character moments, political intrigue, ethical quandaries, and weird sci-fi shenanigans; in short, everything a Star Trek fan could ask for.
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It's a credit to Collin Kelly and Jackson Lanzing's grasp of Star Trek's characters and the subtle touches applied by letter Clayton Cowles that I practically hear Avery Brooks' voices giving one of his dynamic deliveries (often compared to jazz music by his peers) while I read Sisko's dialogue in Star Trek #17.
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All in all, Star Trek #19 kicks off what has the makings of another fantastic Star Trek story.
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Star Trek #20 offers artist Megan Levans a chance to show what she can do when put to the test. She plays with time over a two-page spread that shows the stationary Theseus ship in various states of upgrade (I did find myself wondering if a less explicit angle would have preserved a grander reveal later on, but what the issue offers is undeniably stellar), and gets to cut loose when things get psychedelic upon the ship's attempt to reach the pleroma through the galactic barrier.
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There's some concern here that the story is growing too big, too godly, to remain concise and relatable, the erasure of the Organians from the timeline feeling like a mere statistic compared to the individual lives of those among the ship's crew, but the plot plays out like a classic, diplomacy-heavy Star Trek episode and concludes on a strong enough hook to leave fans eager for more.
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Star Trek #22 runs the gamut of emotions, lines up themes with plot expertly, and is a total joy for a Star Trek fan to read.
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The Star Trek franchise has told stories that are epic in scale, but a pissed-off android breaking into the clubhouse of the gods and threatening to erase all existence out of apparent spite has to be up there with the grandest.
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The story is surprisingly emotional as conflicts internal and external hinge on a lapse in Data's learned humanity that may have derailed Lore's redemptive arc as Data is unable to reckon with his error in judgment, the slight he inflicted on his brother when the hand of reconciliation was outstretched. All of this makes Star Trek Annual 2024 an essential and rewarding read.
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Readers who aren't already familiar with the story of Kahless and his brother, Morath, may find these panels confusing. However, the way they allow the final page to weave a bit of ambiguity into Kahless's supposedly noble motivations is a nice touch.
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. For Star Trek fans, Star Trek #400 is an anniversary party worth attending.
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The penultimate issue of Star Trek: Boldly Go sets the series up to end on its highest note.
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The finest comic in IDW's Star Trek fleet comes to close with an excellent, if not quite perfect, landing.
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Greg Scott's pencils are tighter in this issue than they were and the last. Combined with Felipe Sobreiro's coloring, the visuals effectively set the desired noir mood, though Sobreiro's seemingly random colors to fill Scott's blank backgrounds are a distraction. Even so, this is the most successful and engrossing issue of Deep Space Nine's returns to comics yet.
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The best thing about Star Trek: Defiant is that it isn't scared to make Star Trek weird.
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Star Trek: Defiant offers a Star Trek story that is unlike almost any other Star Trek story to exist, even if it is drawing on familiar inspiration. But wearing its influences on its sleeve doesn't stop it from being an absolute blast to read.
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It's the conclusion to a Star Trek story that started as a tense bit of space horror and grew into something epic, a ride that every fan should go on.
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The shadow art fits perfectly with Defiant's darker tone, though it falters during the sunnier scenes. However, that's a minor flaw in what is otherwise a strong start to this series' next chapter.
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It's definitely a plot over character kind of story, but if you're seeking additional context for the events that kickstarted Star Trek: Discovery's first season, then this will not disappoint.
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This is exactly what a Star Trek: Discovery tie-in comic should be, providing insight into the show's characters by telling a story that doesn't fit into the narrative of the television series itself.
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It's impressive how the issue takes a minor, comic relief character and gives him great depth, ensuring that Adventures in the 32nd Century goes out on a high note.
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Angel Hernandez strikes the perfect balance in the art to keeps the characters recognizable but also stylized in an interesting way and the final page twist is predictable but still exciting.
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Succession is the perfect companion piece to Star Trek: Discovery and a must-read for anyone missing the show.
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This is everything a Star Trek fan could want from a comic book series and a mirror universe story unlike any in Star Trek's history.
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It's a fascinating mold to cast Khan in, and one that leaves me wishing Hell's Mirror was a miniseries instead of a one-shot, as good of a one-shot it is.
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While the Star Trek references may prove too thick for non-fans to appreciate, fans will be pleased with Lower Decks' comics debut.
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Thus far, Star Trek: Lower Decks has made a pitch-perfect transition from television to comics.
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The road to Star Trek: Picard begins here, and every Star Trek fan is going to want to be on it.
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Star Trek fans eager for Picard's return will do well to whet their appetite with Star Trek: Picard - Countdown.
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The issue tells a strong story with clean visuals from Hernandez and any fan thrilled by Picard's return would do well to dive into Countdown.
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More and More, The Illyrian Enigma feels like essential and enjoyable reading for Star Trek: Strange New Worlds fans.
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The Tiptons pack a surprising amount of story into a single issue without ever feeling overly dense.
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With the mirror universe Barclay story still simmering in the background, this is another delicious serving of comfort food for Star Trek fans.
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So far, "Through the Mirror" is an absolute blast for Star Trek fans.
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It's an incredibly fun read that does a great job setting up the next chapter of The Next Generation's mirror universe saga.
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The Tiptons provide some of their best characterizations yet as they bring out some of each character's history, and Silvia Califano proves more than up to the task of taking over for David Messina, offering crip artwork with stellar likenesses.
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Star Trek: Voyager makes its first journey into the Mirror universe in this Mirrors and Smoke one-shot. J.K. Woodward is the artist that defines the look of mirror universe stories for IDW's Star Trek line, having drawn Star Trek: The Next Generation's mirror universe comics.
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Seven's Reckoning #1 should delight and enthrall Star Trek: Voyager fans.
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It's a solid package and any Star Trek fan should find something to love in it.
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The pacing of the issue a little frontloaded, but it's still a solid, worthy successor to Star Trek.
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Fans would be hard-pressed to find a Star Trek episode that makes use of Uhura's xenolinguistic skills as well as this issue does. Another excellent installment of a must-read Star Trek series.
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The issue shines in depicting Capt. Kirk at his best through an intimate scene between Kirk and Sulu on the turbolift. Star Trek: Year Five continues to set the high bar for Trek comics.
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There's a lot of heavy lifting in this issue as it sets the stage for what's to come, but Star Trek: Year Five continues to be easy to recommend to any Star Trek fan.
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Angel Hernandez put in some solid work with the issue's layout as well, though his stiff linework combined with Fran Gamboa's colors creates the sense in some panels that the characters are wearing masks of their faces. It's a minor distraction in places, but otherwise, this is strong homecoming for Kirk and crew.
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This issue is a well-timed and well-crafted foray into the political for the best Star Trek comic in recent memory.
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Califano does well, bringing Houser's script to life in a solid installment of this ever-stellar series, all while building the intrigue around Gary-Seven's mission as it goes.
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This issue is another exciting new adventure for Star Trek fans to enjoy.
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Star Trek: Year Five has been an impressive bit of storytelling in the Star Trek universe, and its ending could be its best story yet.
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With the epilogue issue still to come, Lanzing, Kelly, and Califano provide an appropriately-scaled conclusion to what has been an incredible and essential Star Trek story.
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Star Trek: Year Five #25 is a fond farewell to a series that went harder than it had to and, by doing so, carved a place for itself into Star Trek's mythology.
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Thanks to strong scripting from Michael Moreci, and stellar artwork from Dere Charm, Philip Murphy, Louis Antonio Delgado, and Rebecca Nalty, Battle Tales is going out on a high note.
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The first issue may not quite stick the landing, but Stellar is beautiful and promises a world of possibility to come.
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Brett Blevins continues to deliver one of the most gorgeous sci-fi experiences in comics in Stellar.
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If sweeping cosmic superhero sagas with a dark side are your kind of thing, Stellar will do you right.
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At a time when new superhero comics often struggle to justify their existence, Storm #1 creates the framework to position Storm as a leading superheroine she perhaps should have become a long time. Here's hoping they can build on this strong start.
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Sword Daughter shaping up to be a journey worth going on, bumps in the road and all.
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A strong return.
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Up until now, Teenage Mutant Ninja Turtles has always felt like it was at its best during its more intimate stories. The fourth chapter of "Invasion of the Triceratons" shows that Tom Waltz and company can be just as adept at telling a story about urban warfare.
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There's action and humor and pretty much everything fans have come to expect from another solid issue of TMNT.
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This is another solid issue that will leave Turtles fans happy.
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David Wachter's style has become a bit darker and more jagged and that evolution fits well will this issue, which feels like the opening of a war story.
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The Teenage Mutant Ninja Turtles creative team continues to up the stakes of the Battle for Burnow Island with another solid issue.
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All in all, this is a real Christmas treat for Turtles fans.
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Fans will appreciate this calm issue, which offers an opportunity to touch base with these great characters before all hell breaks loose again.
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The issue impresses by delivering solid character interactions that work in and of themselves, but also reminding fans of how far these characters have come over the years - especially how all their lives were changed by the "City Fall" story and the milestone issue #50, which helps build anticipation as the series marches towards the "City at War" arc issue #100, a story that seems increasingly likely to revisit certain choices and fallout from "City Fall."
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TMNT fans have been waiting for this story for years, and it's off to a strong start.
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Another solid issue in one of comics' most consistently excellent series.
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A strong issue in a consistently solid series, with a final page that will have fans talking for sure.
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If Jennika's transformation turned you into a new reader, welcome to one of the best under-the-radar comics being published.
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It's another stellar step on the road to issue #100.
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As #100 approaches, "City at War" is shaping up to be a fantastic finale to this era of the Ninja Turtles.
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The final page of this issue brings it all full circle and fans of the series will be counting the days until Teenage Mutant Ninja Turtles #100 arrives.
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With the help of co-plotters Kevin Eastman and Bobby Curnow, the strong artwork of Mike Dialynas and Dave Wachter, and colors by Ronda Pattison, the issue is a fitting conclusion to an inspired reimagining of a fan-favorite franchise.
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All-in-all, this issue is an excellent blend of classic and new era IDW Turtles.
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Sophie Campbell remains brilliant at naturally finding surprising new directions in which to take these characters.
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It's a stellar issue that serves as a great example of what makes the series so appealing.
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Another excellent installment of a series that rarely falters.
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Turtles fans are in for a ride.
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Sophie Campbell's Teenage Mutant Ninja Turtles run continues to be a delight, especially with her also providing the artwork.
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While it's a middle chapter in the current story arc, Teenage Mutant Ninja Turtles #119 feels, in a way, like the beginning of a climactic moment in Sophie Campbell's run.
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It's a pivotal issue that ends on a tense moment that'll have fans impatiently anticipating next month's installment.
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Teenage Mutant Ninja Turtles #121 is another fascinating, exciting installment of a series that never disappoints.
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Another solid outing for the series.
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It's a stellar, relatively quiet, character-focused issue that will please all TMNT fans, especially Leo lovers.
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It's an excellent, exciting start to a new arc from a series that rarely disappoints.
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For a story about a fringe community trying to support itself, broadly, and its members, specifically, the idea of someone like Barlowe preying about such personal needs and vulnerabilities is fascinating and appropriately sinister.
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Teenage Mutant Ninja Turtles #128 proves to be a somewhat claustrophobic issue as Donatello and Alopex remain "guest" at Jaspar Barlowe's body modification clinic. The rich artwork sells this mood well without making the visuals challenging to parse.
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The stakes continue to rise on the path to "Armageddon Game," and the quality of each issue getting there remains high.
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Sophie Campbell's plotting and characterizations are strong as ever, and Pablo Tunica brings a gnarliness that befits both the grisly violence at hand and the frequently horrified expressions such acts elicit from the characters involved.
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It's beautiful work on all fronts.
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It's early yet, but thus far, "The Armageddon Game" has only given this excellent series more reason to shine.
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Campbell, Pe, and Pattison offer a masterclass on how to do that without resorting to gimmicky stunts and homages in Teenage Mutant Ninja Turtles #134.
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This is Turtles at its best.
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The issue loses a little focus as it sets up a major upcoming Armageddon Game battle by its end, but it's still a thrilling read
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The issue trips over its breakneck pace slightly in the middle as the cavalry arrives with no warning, making their sudden appearance jarring. However, overall it's another stellar issue of this typically stellar series. "The Armageddon Game" is only getting better and more exciting as it ramps up while heading into its final phase.
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Fero Pe's artwork is sharp as hell. While mentioned before, it bears repeating as Teenage Mutant Ninja Turtles #138 again shows Pe's linework, paired with Ronda Pattison's colors, creating the perfect look for a cartoony action comic.
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It's fantastic storytelling, and the new era of TMNT seems set to be as exciting as what's come before.
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Despite claiming victory in The Armageddon Game, the Teenage Mutant Ninja Turtles seem more fractured than ever in this new era.
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This is another stellar issue of TMNT that will leave fans feeling as eager and anxious as the characters themselves do as they anticipate what comes next.
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IDW has a knack for picking the right artist for each story arc of its Teenage Mutant Ninja Turtles series. Case in point, where Gavin Smith's stiff linework suited the urban action of the previous storyline, Vincenzo Federici's more fluid style makes the transition into the magic-and-time-travel-based Armaggon arc seamless.
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Teenage Mutant Ninja Turtles Annual 2021 is better than a prologue like this needs to be, becoming a true delight to read.
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In Teenage Mutant Ninja Turtles #1, Aaron and Jones offer longtime fans something that feels undeniably inspired by the original TMNT comics published by Mirage 40 years ago without being slavishly devoted to them, all while making the Turtles' wild and expansive universe easily digestible for new fans.
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As the weather warms up, Teenage Mutant Ninja Turtles/Usagi Yojimbo: WhereWhen #1 may be the perfect comic for readers to lose themselves in after finding a shady outdoor spot.
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It's unpretentious but no less masterful storytelling that even those unfamiliar with these characters should be able to appreciate.
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The battles between WhereWhen's robotic minions and the assembled parties of the Turtles and Usagi Yojimbo and his allies could have taken up the entire issue. Instead, Sakai keeps the combat relatively brief and straightforward, emphasizing the sacrifice involved in defeating WhereWhen over the spectacle of the conflict itself.
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It's a strong collection with something for every TMNT fan and plenty of reasons to revisit after the 40th-anniversary festivities conclude.
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The first issue of the TMNT Macroseries is essential to any Turtles fan.
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If you can get past the weak setup, this is a near-perfect Teenage Mutant Ninja Turtles story.
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Nightwatcher #1 has the vibe of a compelling pilot episode, making a clear case for the book's existence (Who is looking after the people of Mutant Town while the Turtles are scattered to the wind?), and giving its mystery hero the opportunity to break out like never before. Readers and TMNT fans should be looking forward to seeing what Ba and Pe build on this cornerstone.
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Nightwatcher #2 provides a strong, compelling origin for Mutant Town's new protector that should continue to compel as the creators unpack it through future issues of the series.
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Some of Santolouco's dialogue is overwrought, but otherwise, this is an exciting issue that any Turtles fan will want to check out.
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Teenage Mutant Ninja Turtles: The Armageddon Game's flagship title stays steady into its second issue, with Shredder, Michelangelo, Leonardo, and the Neutrinos continuing their cosmic quest.
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It's another satisfying chapter of this massive TMNT tale.
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Soares brings heavy shadows and a painter's sensibility to the colors, creating cityscape backdrops that are a blur of impressionistic lights. It's stunning work that, when paired with a compelling case for Karai as a leading character, is more than enough to justify The Alliance's existence.
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The Alliance is turning into an all-star artistic showcase from the TMNT universe. Here's hoping future issues deliver more of the same.
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Campbell's ability to vacillate between kinetic action beats and softer but not less bold emotional moments is crucial to executing this story, which involves time travel, a deadlier threat beyond the Armageddon Game, and themes of finding self through transformation, both physical and those that come with existing in the flow of time.
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The totality of their vision hasn't yet become clearno obvious central villain emerges in this issue, and it is clear there's more to these turtles than skill with weaponsbut Re-Evolution #1 will likely leave readers ready to discover what's next for Clan Hamato.
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It's TMNT by way of The Dark Knight Returns, down to the gritty internal monologues and vaguely cyberpunk aesthetic.
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The flashback within a flashback framing is a bit disorienting at first, and things are just getting started, but The Lost Years is shaping up to be a worthy successor to The Last Ronin.
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This fourth issue is the first in the series to live up to that potential fully.
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The Last Ronin seems destined to be an evergreen fan favorite for years to come.
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Secret History of the Foot Clan will have set a high bar in fans' minds, but based on the first issue, The Untold Destiny of the Foot Clan seems unlikely to disappoint them.
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Teenage Mutant Ninja Turtles: The Untold Destiny of the Foot Clan #2 is an action-heavy issue and thus benefits from Matteus Santolouco's sharp linework, fluid compositions, and dynamic layouts.
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Consistently compelling, thus far, The Untold Destiny of the Foot Clan has proven as essential and delightful as The Secret History of the Foot Clan. Teenage Mutant Ninja Turtles fans shouldn't miss it.
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The visuals are bright, dynamic, and arresting as they flow from one vision to the next, despite some odd lettering placement messing with the sequence of events.
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Untold Destiny of the Foot Clan does not disappoint.
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Altogether, TMNT Universe #20 is a great package for Turtles fans.
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Paul Allor wraps up the Triceraton and Ultrom story on Burnow Island (for now) with a surprisingly dark episode of political intrigue.
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This debut issue suffers for having to explain this new world, and some may doubt that even the vaunted Snyder/Jock team can pull off this story in as stripped-down a format as this. However, what they (and book designer Emma Price) accomplish with lettering choices and the application of highlighter colors is unnerving enough to suggest that Book of Evil stands to become a worthwhile new addition to their celebrated oeuvre.
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For longtime readers, this issue will offer both catharsis and excitement for what comes next.
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The Dreaming is a joy to read, but is likely to be even more rewarding now that this first arc is complete.
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Abigail Larson's flowy pencils with Quinton Winter's soft colors were the perfect companions to this surreal, secondhand retelling of Dream's time on the mortal plane.
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Another solid installment of an excellent series.
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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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It's a sign of success that a story remains as engaging after a mystery has been solved as it was before, and The Dreaming succeeds at that.
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Wilson, Robles, and Lopes offer a fresh start for readers curious about The Sandman or its universe, and the team follows through on that opportunity with a well-crafted introduction broaching questions of identity, attribution, and intersectionality.
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G. Willow Wilson falters a bit here as her Puck sounds a bit too much like a stock supervillain and not, well, puckish enough. But she's still spinning and enchanting tale about legacy, consequences, and responsibility that will leave readers excited to see how it all ends.
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It's a relatively subdued issue compared to what's come before, but it will have readers well-primed for the next issue's climax.
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This first arc of Waking Hours is an excellent, worthy addition to the Sandman canon.
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Despite being billed as an intermission, a standalone story breaking up two larger arcs of The Dreaming, this story seems to lead straight into what comes next. Despite that, it has the air of a backdoor pilot.
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It's an enthralling start to this new arc that'll leave readers eager to see how the creative team unpacks the broached themes and what that means for the story's protagonists.
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It's exciting to see Ruin come into his fullness as the creative team approaches the climax of this story. If there's a weak point to the issue, Perker's art in Heather's flashback doesn't match the level of quality on the surrounding pages, with some askew faces and an unexciting depiction of magic at work. Still, there's much to love as The Dreaming's tale continues to unravel.
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It's a strong outing for a great series headed towards this current story's climactic finish.
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The Dreaming: Waking Hours is a more than worthy addition to the Sandman canon.
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Derek Kirk Kim returns to comics with The Last Mermaid, and the debut issue is a reminder of the cartoonist's considerable talents.
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It's another stellar issue that will especially appeal to fans of comics that emphasize visual storytelling over verbose narration.
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Cafu and Butch Guice bring their best, making Harada's past and present feel distinct but both still worthy of exploration.
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Joshua Dysart has kept things compelling through the series so far, and we expect nothing left from the final act.
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It's another fascinating and appropriately bombastic chapter in the story in the story of one of the Valiant universe's most interesting characters, as well as a turning point for the motley crew of allies he had assembled around him.
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Cafu and Kano provide some stunning, quiet, personal sequences, making this another must-read issue.
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With visuals this stunning, readers should be more than willing to hop onboard and enjoy the ride wherever the epic journey may ultimately take them.
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The One Hand #1 proves a dark and deeply satisfying introduction to Neo Novena, a setting shared with The One Hand's upcoming sister series, The Six Fingers, in a Rashomon-style retelling of the same story from multiple perspectives and with different creative teams.
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If The One Hand hadn't already fully sunk its teeth into its readers, The One Hand #3 will surely do the trick.
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Even with only one issue of each series left, there still feels like plenty of mystery left to unravel in this thriller.
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The issue is written by David A Goodman, a writer and executive producer on The Orville, so it should come as no surprise that the issue's dialogue and plot are pitch-perfect.
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This series is proving to be a gift for Sandman fans.
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The Sandman Universe: Nightmare Country The Glass House #4 feels like a turning point issue, a quiet before the climactic storm of the story's final two issues.
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Regular Nightmare Country readers might be a little perplexed by this issue, but aside from the ending literally telling them to go buy another comic, they won't be disappointed with its contents.
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Taken as it is, The Six Fingers #1 is a captivating character study that deepens the mystery brewing in Neo Novena.
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With The Six Fingers #3, it feels like this duet between this series and The One Hand is hitting full stride.
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It's ripping, compelling cyberpunk noir with depth that hasn't yet missed a beat.
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There are no easy or clear answers to be found in The Six Fingers, any more than there were in The One Hand's finale, and nor should there be as such tidy summations would only betray the weighty spirit of the world these creators have built but the conclusion will likely linger with readers for some time.
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Dynamite rebuilds the Six Million Dollar Man for a new series that will delight new and old readers alike.
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Hahn offers clean, simple, and expressive artwork that still manages to deliver the shock and awe of more explosive moments.
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Delightful as ever.
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The excellent artwork combined with some of Gailey's best character writing to date (including Xander and Spike playing Mario Kart, a delightful aside) makes this The Vampire Slayer's strongest installment yet.
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Perhaps the most striking thing about The Vampire Slayer is how well the indie slice-of-life comic visual style brought by Hanna Templar (and some past artists) fits the comic's tone. Here, it works better than the superhero-like style used in many past Buffy comics.
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Gailey employs signature Buffy dialogue with enough restraint that it doesn't become obnoxious, and leans on Hannah Templer's ability to make the characters "act" to bring out all the emotion in the narrative. It's stellar stuff.
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Having never read any of those original Marvel Comics, this issue alone made me interesting in giving the series a look.
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This issue is a sign that this slow-burn series is about to start firing on all cylinders.
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The result is a flight through dangerous territory that's a nice change of pace, but not entirely successful as it doesn't spend enough time digging into the emotional impact of everything that's happening.
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It's been a slow and steady build, but this series is paying off everything readers have invested inot it.
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All combined, it forms a stellar issue through and through.
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The issue may not end the way readers expect either, which only digs this fun new spin on a tried and true franchise's hooks in even further.
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With all of the attention-seeking stunts of the first issue out of the way, the second issue of Uncanny X-Men -- drawn by RB Silva, an unsung hero fo the X-Men line -- moves at a much steadier pace, giving its large ensemble cast proper room to breath and readers something to latch onto.
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Mutants being on the verge of extinction for different reasons has been Marvel's status quo for the X-Men for years. Uncanny X-Men #11 sells that idea better than any attempt before.
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Larroca provides stellar artwork and Matthew Rosenberg writes the team with a sense of camaraderie the infuses each scene with joy. The issue ends with the team toasting to small victories, and that's an apt reaction to this issue.
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This issue has more great character moments, though does suffer from some clumsy pacing in the back half of the issue, which has way too much going on for its own good, even if they are all good, entertaining things in their own right.
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The melodrama that creeps in is understandable but feels cheap compared to what is at the core of the story. Still, this a standout issue of what has already been a stellar run.
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In other words, in this 275th issue of the series, Stan Sakai has found yet another way to effortless hook readers into another Usagi adventure.
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Usagi Yojimbo: The Crow #2 features Sakai's fine cartooning, as strong as ever with great expressiveness from its character, and its central theme, that of Yukichi with his youthful idealism regarding the samurai code confronted with the reality of what one must do to survive without a master, is compelling.
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It's another excellent Usagi Yojimbo chapter that teases an exciting twisttwo of Usagi's foes crossing pathsto come.
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With its straightforward and clear storytelling different permutations on three-tier pages throughout Sakai blends simplicity with depth, making Usagi Yojimbo consistently excellent comic book reading.
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Usagi and Jei are both compellingly expressive in their struggle, Jei's vengeful leering and Usagi's angry grimace both drawing the reader into the conflict. It's the latest in a long line of Usagi Yojimbo issues that never disappoint.
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It's impressive that, even as the series nears its 275th issue, Stan Sakai's Usagi Yojimbo can still surprise.
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Some bits in the ending don't completely satisfyI'm not sure the series ever gave a satisfying explanation for what Jimmu's whole deal was, and it's unclear why Stray Dog remains so standoffish about his true morality with his peersbut on the whole, its another compelling adventure for Usagi Yojimbo.
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The issue stumbles a bit at the end when the heroes regroup and transparently lay out the pitches for the many "War of the Realms" tie-in series being published alongside this main event, but it's a minor sin for such an epic tale ot commit.
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Wesley Dodds: The Sandman #1 is a debut with the makings of a great superhero comics run.
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Wesley Dodds: The Sandman remains one of the most exciting and impeccably crafted superhero comics being published.
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Wild's End #1 is more than worthy of reader attention, and they should settle in somewhere cozy for the long haul.
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Brutal and beautiful in equal parts, Wild's End #2 extends the stellar start to this successor series.
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More comics should have a fraction of the storytelling confidence found in Wild's End.
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In an industry where gimmicks and flashy styles are often employed to draw attention to stories not worth the effort to read, Wild's End stands out as a testament to how effective a compelling story told well can be.
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Wolverine: The Long Night emphasizes the mystery around the metal-clawed mutant and will suck you in.
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The comic book adaptation of Wolverine: The Long Night continues to be an engrossing bit of rural noir as the federal agents continue to dig up the mystery at the heart of this small, Alaskan town.
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Most of the story feels like it happened before the first issue and we're playing catch-up along with the investigating agents. Even with that small tic, Wolverine: The Long Night is one of the best Logan stories that Marvel has published in years.
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It's a slow burn, but a good one.
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Based on the first issue, X Lives of Wolverine isn't going to set the mutant world on fire the way HoX/PoX did, but it is easily Percy's most ambitious story to date, and this is a stellar start.
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If X-Men by way of Lord of the Rings sounds like a good idea to you, then this is a must-read event.
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It's hard to imagine a more fitting end to an X-Men epic at this grandiose scale.
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As long as Marvel keeps teaming Hickman with talented artists like Yu, X-Men seems primed to be one of the most exciting and talked about superhero stories published today.
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It shows the potential in this intricate Dawn of X machine, with Hickman making minor references to almost every other series that has debuted since X-Men #1. It makes the entire X-Men universe feel like a finely woven tapestry within being so knotted as to lose anyone following X-Men alone.
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X-Men #5 is probably the issue of the series most on-brand for writer Jonathan Hickman so far.
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This issue, more than any other, is about spectacle and action and tapping Madmun Asrar for the job was the right choice.
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Jonathan Hickman and Leinil Yu keep up the big, sci-fi action from last issue in X-Men #9.
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Despite some distracting artistic shortcuts, it's still a stellar installment of the flagship "Dawn of X" title.
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X-Men #11 is a strong showing for the flagship "Dawn of X" title.
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It's all scene-setting, but it'll have readers eager for "X of Swords" to get into full swing next week.
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For an installment dedicated almost entirely to the backstory, X-Men #14 does a stellar and subtle job of pushing "X of Swords" forward.
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Since House of X/Powers of X reshaped the X-Men line for the "Dawn of X" era, some fans have complained that this new status quo does not resemble the X-Men they've known and loved for decades. In X-Men #15, writer Jonathan Hickman addresses those concerns head-on. His response? Yes, you are correct.
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Despite Noto's issues with environments, X-Men #16 still succeeds at setting the stage for an exciting new phase in the Krakoan era of X-Men.
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Whether the plot points are enough to sate the hungry X-Men fan, Mahmud Asrar's slick visuals should satisfy with his depiction of this otherworldly locale, these mutant's unusual powers, and the battle within.
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It's a well-crafted issue that simultaneously gives a sense of closure to this X-Men series, revisiting important but understated narrative seeds and bringing to the fore of readers' minds ahead of the grand Hellfire Gala. X-Men fans should be plenty excited for what comes next.
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As a single issue, X-Men #21 feels like a coda to the intense stories that preceded it.
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It's a stellar superhero comic all the way around.
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X-Men #3 is about as impressive a superhero comic as you're going to find on the shelf.
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It's a stellar issue, especially for fans of Lorna Dane, some of the best art currently offered by the superhero genre.
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The stakes seem to be rising for Cyclops' X-Men as the X-line prepares to pivot into the "Destiny of X" era, and all creators involved are rising to the occasion.
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This issue is a refreshing change of pace that sets the stage for what's to come for the flagship X-Men title in the "Destiny of X" era.
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This one will delight Wolverine fans, with Rogue getting a few standout moments.
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It's been a fun ride, and this issue wraps it all up in style.
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An intriguing final reveal helps compensate for some of this issue's unfulfilled potential.
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Gerry Duggan's signature banter and humor are on display, and C.F. Villa and Matt Milla provide visuals in the style of, if not on the same level, as the X-line defining team of Pepe Larraz and Marte Gracia.
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It's good stuff all around, providing entertaining X-Men adventures and meaningful development for a character desperately in need of it.
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The "cameos" are as off-putting as they were last year, but they're hardly enough to make the Hellfire Gala anything less the mutant event of the season.
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It's a stellar issue that does well at building the tension for the coming Fall of X.
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It can not be emphasized enough how essential this issue is for anyone with a soft spot for Emma, and its plenty enjoyable for everyone else as well.
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X-Men Black - Mojo delivers a surprisingly heartwarming villain tale.
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While it will most fully appeal to those with prior investment, or at least curiosity about, the Psylocke character, X-Men: Blood Hunt Psylocke #1 is a stellar outing for the fan-favorite mutant ninja.
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Cullen Bunn writes Magneto exceptionally well, so this issue plays to all of X-Men Blue's strengths.
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It finally feels like X-Men Blue is back on track and headed towards an exciting climax.
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Marcus To shows some of his best work, building to a final visual note that will leave readers, longtime X-Men fans in particular, with chills.
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The biggest flaw here may be that it will leave fans wishing we saw those vignettes explored in more depth. But all good things come to an end, and X-Men Blue #35 is a thoughtful, satisfying beginning of the end for the original five.
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While arguably not as essential as Rise of the House of X, X-Men Forever #2 enhances the reading experience while feeling substantial.
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The character work and plot set up is of a high enough caliber to carry the issue few, but the rough around the edges artwork keeps the issue from truly soaring.
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Still, despite some small art hiccups, the strengths of this issue far outweigh the flaws, delivering one of the best installment of X-Men Gold in weeks.
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While X-Men Gold has been inconsistent as of late, issue #29 gets back to what made the series' early issues so much fun: high action-adventure and enjoyable dynamics between the characters.
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McGuire's story strips down the character to her basest parts to discover what it is at her core that really defines her and Failla's artwork does a great job of depicting the character and her campmates as being at that transitionary early teenage.
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It's a simple story but a successful one that will delight classic X-Men fans, especially those with a soft spot for Nightcrawler.
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If not for a reference to emoji, X-Men: Legends #3 could be titled Longshot #7 and have come out right after the end of the original Longshot miniseries, and that's perfect.
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X-Men: Legends #4 is likely one of those comics that some will bemoan as a story where "nothing happens," and, in fairness, the plot is circular, but that's not the point. Instead, Ann Nocenti uses her two issues on X-Men: Legends not to plug some hole in continuity, answering questions almost nobody was asking, but to show her skill as a satirist with a distinct and strong authorial voice.
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X-Men Red is still going strong.
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X-Men Red is the X-Men book to watch.
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While some of the books in the X-Men line seem devoted to recapturing past glory, X-Men Red continues to be the one interested pushing the X-Men into the future just as much as Jean Grey is trying to build a future for mutantkind.
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X-Men Red #7 is arguably the most pedestrian issue of the series so far, but it is a still very good superhero comics.
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It may not be the series' best installment, but it's still pretty darn good.
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Tom Taylor's script starts slow here, but before the end, he's managed to toss out another big, ridiculous idea that no one was likely to have seen coming and that will have will have fans ready for the big finish.
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As unfortunately short-lived as it is, X-Men Red is one of the best X-Men stories of the past decade.
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By the end, the emotional punch of X-Men Red Annual #1 more than makes up for the moments when it doesn't quite come together.
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X-Ray Robot continues to be a feast for the eyes, even if the thread of its story is hard to grip.
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X-Terminators #1 is a mood. Actually, it's a couple of moods.
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X-Terminators #2 is a fast read but a fun one.
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Those who believe superhero comics are and should only be serious business need not bother. Those who are looking for a good time should call on X-Terminators.
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Even for a relative neophyte to Bond's canon, King and Country has enough attractive flair to make it an enjoyable read and energetic reading experience.
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A Vicious Circle #1 indulges in the too-familiar trope of killing a barely developed, innocent supporting character to motivate its protagonist in what feels like a transparent attempt to add unearned, instant emotion to the plot.
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This whole exercise could have been a by-the-numbers extrapolation of what happens when a writer chooses option A over option B or when a character outlives their relevance. Instead, the tale is adding more depth to the character without fundamentally undercutting the thematic underpinnings that defined him in the first place.
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While the story of All-New Firefly as a whole is weighed by the tonal shifts in the series that preceded it, this finale issue, built on sentimentality though it may be, hits the spot.
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While All-New Firefly has had its ups and down thus far, and the arc has gone on perhaps too long, the idea of introducing Jayne Cobb's son, Owen, into the mix is starting to pay off nicely.
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While it's a bit awkwardly paced for a monthly release, the strong, if straightforward, visual storytelling keeps it from being a cumbersome read, and one that will likely be elevated once the entire adaptation is complete.
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The essence of those Batman movies is present here, and this issue will allow those who always wanted more of them to revel in the continued saga.
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https://www.previewsworld.com/Catalog/JAN241401
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Batman '89: Echoes continues at something of a slow pace, even as things begin to explode and costumes are revealed.
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Despite some muddled storytelling, the overall vibe remains intact and this series' most significant asset. If you've come this far with Batman '89, this issue won't disappoint.
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Perhaps it's got to do with the series' double-sized debut, but Black Cloak #2 feels both overstuffed and truncated.
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Black Cloak's first arc is still unfolding, but one hopes Kelly Thompson isn't drawing comparisons they're unwilling to address head-on down the line. Further, this issue introduces some familiar police story tropes into its narrative, such as the cop with a newborn at home, and some of the ribbing between the partners, while providing some levity, clashes with the gravitas of a murder investigation, especially one that could have such devastating effects on the city.
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The issue's ending promises answers, but the current lack of them remains a pain point distracting from the mystery at the series' heart.
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This moment shines through as one of the series' best to date.
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Carlini's expressive, loose artwork fits in well with the tone set by the main Buffy title. She and Lambert get creative using Faith's affection for cinema to visualize her trauma, doing what Buffy does best by overlaying monsters over the mundane.
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Buffy the Last Vampire Slayer #3 remains clumsy in spots, but this series makes a case for its existence for the first time.
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The issue asks what happens to a Slayer after their slaying days are over, becoming a fitting coda to the Buffy the Vampire Slayer saga fans know and love.
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Altogether, it's a stellar start to this version of Buffy's future.
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It's a version of the old "built on a native burial ground" trope, but Good Deeds treats the idea with more respect, nuance, and detail than usually afforded by shlocky horror stories.
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A strong enough follow-through in subsequent episodes will make it worthwhile, but it's hard to know what you're investing your time into.
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The issue puts the horse before the cart at times when pacing out its plot, but there are some wonderfully creepy moments in the construction.
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The focus on mood results in a sluggish pace of the plotmuch of Dark X-Men #2 is spent on bickering between teammates and the filling in of backstoriesbut it's a worthwhile tradeoff when the mood is apple this well.
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"The Yashida Saga" ends true to form, with gorgeous artwork and a fable-like tone, but an ambition to expand the Demon Days universe further keeps the ending from being entirely satisfying.
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It's Japanese mythology with a Marvel universe glamour. The company's characters are stretched and contorted to fit into the legend rather than the other way around.
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If you love Momoko's work or are interested in Japanese folklore, that's likely enough to make the issue worthwhile, but the storytelling leaves something to be desired.
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Firefly #25 from Greg Pak and Pius Bak is a sudden and drastic departure from what the series has been up until now.
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The issue provides mostly smooth storytelling and proves a fascinating chapter for Firefly as this new age continues to take shape.
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It's a solid little character piece made all the more poignant by Lindsay's inviting art.
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River Run doesn't live up to its full potential. Still, for a story that probably never needed telling, it proves a much more enjoyable read than most such interstitial franchise tie-ins.
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Dan Watters' narration has the tone of a storyteller recalling a myth to children gathered around a fire, giving the tale an epic quality. Leila del Duca's artwork is up the task, depicting the heroes taking on Herculean challenges with a statuesque style befitting the gods.
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G.I. Joe: A Real American Hero is in full climax mode as it wraps up its first arc, yet things are still escalating.
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Reading G.O.D.S. feels a bit like watching the creators pull a sleight-of-hand trick. Many of the flourishes associated with Jonathan Hickman's writing style are a presenta sense of gravitas and mystery, systems within systemsyet, underneath that veneer, the series hasn't revealed much conflict or plot to latch onto and remains content to slowly build out its new take on Marvel's cosmic power balance as an exercise in pure worldbuilding.
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Right now, this feels like an inessential addition to Ewing's ongoing Thor saga, but only time will tell if that proves to be the case in the long run.
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While Godzilla: Here There Be Dragons II Sons of Giants #1 may not hook readers on its central mystery by the time the issue ends, the gorgeous historical vignettes are enough for even casual kaiju lovers to consider returning for a second look.
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While Gone #1's visuals are as strong as anyone familiar with Jock's work would expect, its vagaries fail to build a setting readers can believe in, leaving much of the issue's narrative scaffolding feeling like half-formed thoughts in Jock's mind.
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The issue wobbles a bit but doesn't fall down, keeping this stellar series on the right track.
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It's an entertaining read but feels primarily invested in laying groundwork and seeding themes that will pay off later in the series' run.
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It remains a solid tale, but not the best that readers have seen from the series.
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The issue is probably the most interesting character work Exodus has received in his 30-year history, but this issue needed a stronger emotional underpinning for the ecclesiological thought experiment to land with a stronger impact.
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It's still a stellar comic, but one that will likely frustrate readers with what could have been.
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It's a tricky beat to land in the confines of a monthly comic, and while the execution is flawed, the ambition, at least, is admirable.
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While it's apparent that Hill and Rodriguez are having fun with Neil Gaiman, Sam Keith, and Mike Dringenberg's creations, it's unclear if it amounts to anything more than fan service.
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Magic: The Gathering #6 is almost entirely a backstory info dump solving the series' great mystery and setting up the story's next act, but it's least it has some depth to it.
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It's a self-contained issue that doesn't contain much action or events until the end, but it's hard to complain about a solid, standalone-ish, character-focused episode.
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The fast-paced script plays to Ig Guara's strengths as an artist, and the colorswhile still a bit soft in softare vibrant and varied. It's an action-heavy payoff to the plot thus far and ends on a note of excitement as things seem poised only to escalate from here.
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At its root, Nahiri's story is one of change, how scary it can be, and how grateful we all should be for it, and it makes for a surprisingly and welcomely intimate tale.
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While some of the lettering choices stand out poorlythe book would need a much more comedic tone for "CHOMP, BITE" to appropriately represent the sound a monstrous grub makes attempting to eat someoneThe Hidden Planeswalker #1 is a stellar start nonetheless.
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In its second issue, Man's Best remains a charming, well-crafted endeavor, though the pace isn't quite what one might expect.
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Fans looking for a unique artistic experience won't be disappointed, but those looking for an animal adventure may be less fulfilled.
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There are some questionable plot points (A brilliant scientist builds a walking death machine with only one flimsy control device?), and narrative cohesion is sacrificed for thematic grandeur, but Man's Best ends on the right note.
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Artist Rod Reis proves more than up to the task, his painterly linework and his colors proving equally suited to the barren moon as to Krakoa's lush wilderness.
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It lacks the series debut's ambition, but there are enough fun beats here to make it a worthwhile read, and Valerio Schiti and Marte Gracia make it a lush and gorgeous book.
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S.W.O.R.D. may have dug itself too deeply into the game of intrigue, making it difficult to connect with the plot for all the redirects. Perhaps "Destiny of X" will offer its successor series the opportunity to renew its focus.
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Overlooking the opening pages of the issue, brutal as they are, readers' enjoyment of Samurai Doggy will likely come down to how much they appreciate the visuals, and there is a lot to like in that regard.
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As far as spectacle goes, it's gorgeous if not perfect, and while there's little else to it, that might be enough.
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Perhaps those internal monologues that read like essays will become more relevant as Something Epic reveals more about the rules and secrets of the imaginary world and Danny's increasingly dangerous relationship with it, making them more than curious, if at least refreshingly personal, sidetracks.
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It's a solid character arc told against the starship battle happening alongside it, and even Tuvix is put to good use getting everyone on the same page in understanding the whole time loop thing. It's a stellar issue of character-first Star Trek.
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As with previous issues, anyone who sees the appeal of The Office meets Star Trek elevator pitch will likely enjoy Space Job. Any who doesn't won't.
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Space Job ends with some legitimate laughs.
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The series also continues to borrow a modern X-Men vibe, with a data page explaining how the Klingon Empire the threat of fascism from within, and it works to give the issue some heft. It's a bit unwieldy compared to the debut issue, but still a stellar read.
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There's a touch of art nouveau in the issue's style that gives it a distinct look from its Star Trek comic book counterparts, and it proves to be a delightful romp.
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There's some awkward plotting in the issue, such as Vanah lamenting that she doesn't know the names of Vors' past hosts right after a scene in which she asks a docent about Vors' history. Meanwhile, the artwork gets the story across, although some flashbacks struggle to convey their intent. Otherwise, the issue proves to be a thoughtful use of Star Trek aliens.
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The dialogue is playful, the premise is inventive, and reading this issue is good fun.
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As if a sentient holographic Dracula isn't enough, the added issue of, as the footnote asides call it, "programs programming programs" increases the threat exponentially in short order. And yet, there's not much tension here as the crew simply acquiesces to Dracula's demands and he behaves well, even heroically, in return.
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The visuals bring clean and expressive characters, and the coloring has a retro vibe. That aesthetic doesn't sell the awe intended by the two-page ship shot that has become a standard of any new IDW Star Trek first issue but does compliment the journey into the mysterious unknown quite well, making for an intriguing debut.
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The Scorpius Run has a fun premise and the right vibe to make Star Trek: Strange New Worlds fans feel at home.
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It's a satisfying snack for Star Trek fans awaiting their next full Strange New Worlds meal.
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Star Trek: Strange New Worlds The Illyrian Enigma #4 closes out the Star Trek: Discovery spinoff's first comic book adventure by keeping up the stellar quality of the previous issues. That perfectly-balanced blend of seriousness and lightheartedness is intact, best exemplified by Captain Pike's dialogue, equal measures passionate and playful.
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The pieces are all here"the Tipton's dialogue is the correct pitch, and Carlos Nieto's artwork is solid, despite a couple of awkward faces"and the issue does some needed scene-setting. Still, it will mostly leave readers eager for the story to start in earnest next month.
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As Star Trek: The Mirror War reaches its halfway point, it finally leans into the "war" aspect of the title.
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The Mirror War remains stellar Star Trek reading.
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Star Trek: The Mirror War loses a bit of focus in its penultimate chapter.
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It's a stellar coda to "The Mirror War" saga that will leave fans eager to see what comes next for the Mirror Enterprise crew.
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In its final issue, Star Trek: Voyager - Seven's Reckoning poses some interesting questions without providing as many satisfying answers.
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This year's iteration of the Supermassive crossover one-shot is full throttle from start to finish, with a visual style that is kinetic to the point of exhaustion and replete with exaggerated fight scenes.
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The team embarks on a recon mission to search for the wayward mutants Tokka and Rahzar, which is standard fare. Still, it is elevated by Campbell's artwork and Bebop and Rocksteady's return, injecting a chaotic uncertainty into the proceedings.
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After reinventing the status quo for Clan Hamato following the series' hundredth issue, Campbell remains an exciting storyteller and the high-bar for modern TMNT comics art.
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Despite the battle of the bands being a bit of a letdown, the series continues to be stellar.
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It does feel like something of a prologue, but it's a good prologue nonetheless.
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Even with some stumbles, Campbell and Garing have put together an intimate portrait of the Turtles family. It's an issue likely to warm readers from the inside out on a cold winter night.
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IDW's Teenage Mutant Ninja Turtles has long established that it's about the long game and this is one of those slow burn issues that builds the stakes and the tension. Fans of this Teenage Mutant Ninja Turtles series will eat it up.
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The central idea may be on the clunky side, but the execution of the issue is top-notch.
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Teenage Mutant Ninja Turtles #144 sets a somber tone heading into the end of one of the brightest spots in the Turtles' comic book history.
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The road to Teenage Mutant Ninja Turtles #150 is shaping up to be an exciting path to travel.
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Another cliffhanger time jump closes the issue, making Teenage Mutant Ninja Turtles #147 a stellar, well-crafted issue that doesn't land enough memorable beats to be counted among the series' best.
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Teenage Mutant Ninja Turtles' grand finale is a little less grand than one might expect, speaking in terms of scale rather than necessarily in quality.
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It's a shame that an otherwise stellar issue suffers for this baffling error that will likely distract readers.
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Having to do most of the heavy narrative lifting for the event simply prevents this issue from singing quite as sweetly as the others.
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Once again, the flagship maxiseries in "The Armageddon Game" event takes a macro view of what's happening and doing a lot of the heavy lifting, moving characters into place.
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It may be beating a dead horse to say again that the flagship miniseries of "The Armageddon Game" taking a larger view of the story's events makes it feel a bit hectic and stuffed and unable to affect the more intimate storytelling tone as the other titles tying into the event, but it's true.
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The issue is one page after another of solidly drawn action that should keep Turtles fans on the edge of their seats.
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The Lost Years story might feel unambitious at times since it amounts to Michelangelo's quest to kill the guy he kills before going on the mission he goes on to kill a different guy. Yet, the stellar artwork from both artistic teams makes it worthwhile and does add some context to the original Last Ronin story.
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Reading The Last Ronin is like watching a prophecy fulfill itself, and there's a particular pleasure there for those that understand the history. However, it's still a shame that it only briefly transcends its preordained path.
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The second issue of Teenage Mutant Ninja Turtles: The Lost Ronin II is well-drawn and written but does hit a few problems, particularly with the recap of Fugitoid's history.
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The Last Ronin is feeling more and more like a story that needs to be read in completion to be fully appreciated, as it's more about atmosphere and cool factor than plot beats. Still, it remains an enjoyable enough read regardless.
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The Lost Years remains a for-the-fans series, one meant to appeal to those most enthused by the original The Last Ronin miniseries, but it serves them well enough.
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There is an unexpected amount of post-9/11 nostalgia wrapped up in the book's reverie for New York City that feels misplaced. Yet, the many artists working on the book each pull their weight, including a few quiet but captivating pages where Kevin Eastman inks over Freddie E. Williams II linework.
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What illustration is here is up to Jock's usual quality, but readers should know that they're getting something that walks the line between a comic book and a chapter of a sparsely illustrated prose story.
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Have the tales of once righteous revolutionary turned tyrant been overblown? Have the heroes been fed lies? Or does Nuala's outward faade mask something more dreadful? Those questions linger as this issue of the series draws to a close, but after another stellar installment, fans will be eager to learn the answers.
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The story still unfolds as if written network television, failing to leverage the comics medium in any way. Still, anyone primarily coming at this issue for a dose of the Orville to tide them over during the long gap between seasons will find in Artifacts a satisfying adventure.
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This issue of The Sandman Universe: Nightmare Country features a fun callback to the original Sandman series that's made more than simple Easter egg thanks to Dani's guest artwork elevating everything about it.
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Nightmare Country has reached the point where it has to start moving its narrative machinery more obviously.
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At two issues in, The Six Fingers remains the cooler, more collected counterpart to The One Hand's weathered shabbiness.
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The Vampire Slayer #1 starts Boom Studios' latest foray into the Buffy the Vampire Slayer multiverse, and it hits the same stumbling block. Like its peers, The Vampire Slayer leans on readers' assumed familiarity and attachment to Buffy's cast of characters to hook readers in but never clarifies how much previous knowledge they should assume applies to this particular branch of the multiverse.
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The Vampire Slayer has struggled to find a consistent focus, but this is at least an interesting reinterpretation of some of the original series' familiar tropes.
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While the execution isn't what it should have been, there's still a stellar thematic core to the story that should appeal to fans.
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There's some good old-fashioned robot blasting fun in this issue, and it's a welcome change of pace from what's been a morose march towards the series' conclusion.
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Transformers: Beast Wars #10 is an enjoyable entry in the series that will leave readers eager for the next, perhaps more so than any previous installment.
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It's not a bad collection of shorts, especially if you're interested in catching up on Trinity's story without hunting down a copy of Wonder Woman #800 or the other places where the bulk of this issue's contents have appeared previously. However, none of it feels essential, and the new material is the issue's weakest, making it redundant to those most invested in its title character's existence.
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It's not a bad issue, but it doesn't feel as if Harren is playing to his own strength.
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The issue doubles down on some unfortunate tropes when dealing with Lillith but is hopefully heading in a more exciting direction.
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It's a concept that needs to go as much as Harren should stick to the strengths of the series' first issue.
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The story is passable, but the artwork is the star.
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Ultimately, X-Men '97 lacks the thematic ambition that characterized the TV show and helped it transcend mere nostalgia play into something more resonant and essential. However, as a prequel, the comic appropriately fits the more indulgent mode that X-Men '97 starts with before shifting into more serious matters.
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X-Men #1 succeeds in achieving that goal, but it all feels somewhat juvenile when compared to what preceded it.
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Not the series' best, but a stellar issue nonetheless.
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It's ultimately an issue that is more likely to leave readers excited about what's coming next issue to satisfy in itself, but it's still not a disappointment.
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X-Men's return to the vault takes some twists and turns, with Gerry Duggan furthering and resolving certain plot threads left dangling by Jonathan Hickman's exit from the X-Office.
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There's enough cool stuff in this issue of X-Men to keep anyone into its brand of super heroics hooked, even if the execution doesn't hit all of the marks.
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The series still feels like it's in a holding pattern as it waits for Fall of X to begin, but it's a stellar issue in its own right.
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The issue raises some questions about what exactly happened during the Hellfire Gala (If Professor X marched practically all mutants through the gates, then who is it Orchis is deporting to Mars?), but is a stellar enough start to mutantkind's dark days.
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X-Men #29 is a stellar issue that serves as a bright spot during what has been an otherwise uneven Fall of X era for this series.
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The issue is hampered a bit by lots of references to events occuring in other "Fall of X" books. Otherwise, this issue represents a solid outing that will put a smile on the face of a longtime X-Men fans.
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The issue lacks urgency, but it makes up for that with thoughtfulness and fine craftsmanship.
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Immortal X-Men was one of the highlights of the latter half of the Krakoan era. X-Men: Forever continues its narrative, but trying to service the scale of the "Fall of X" meta-narrative means sacrificing some of the sharp focus on character that made Immortal captivating.
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Whilce Portacia returns to X-Menand his creation, Lucas Bishopin X-Men: Legends, teaming with writer Brian Haberlin and colorist Arif Prianto to tell the story of what happened to Bishop before he stepped through that time portal in Uncanny X-Men #282. The story is thematically complex.
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The Trial of Magneto continues and it highlights all of Leah Williams' strengths and weaknesses as a writer. The issue's script navigates and expresses the nuances of mourning and grief in ways that superhero comics often gloss over, but there's also a least one line in the script that will likely leave readers confused unless they belong to a specific subset of online fans.
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Marvel Comics celebrates the renewal of Mystique and Destiny's vows in X-Men: The Wedding Special, which doesn't shy away from the complexities inherent in the celebration of two women who have had careers as terrorists and been unrepentant murderers or accessories thereof. The
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X-Terminators #3 sees Leah Williams pushing the grindhouse buttons perhaps too much, as some of the team's raunchier dialogue seems somewhat contrived in places where it came naturally in the first two issues.
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This final issue is a and fast read, little more than pure catharsis for everything the team has had to endure, but Leah Williams, Carlos Gomez, and Bryan Valenza know how to make that fun. Gomez brings pure joy to the characters' faces and body language.
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It's better than almost all of what appeared in X-Treme X-Men's pages during the second half of its run, meaning anyone who found anything to enjoy in that original series will likely find something to appreciate here.
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It'll be interesting to see how this develops over future issues, but I'm apprehensive after issue one.
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The plot reads like a spec script for an action movie, specifically the part where the protagonist fills us in on the minimum backstory required to justify the fight scenes. The artwork remains strong but offers fewer opportunities for Bermejo to play with different styles, making it less exciting than the previous issue, if not any less skillfully done.
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The Progenitor refuses to let Jean off the hook for the death of the D'Bari people, but Jean doesn't seem to learn or change based on his judgment. Instead, she deflects, focusing on the Celestial's hypocrisy rather than her anything interior. It's a shame because tackling questions about whether fictional characters need to be held accountable for crimes committed decades ago under another writer's pen seems like the kind of thing writer Kieron Gillen would knock out of the park. Instead, he sidesteps, and all that remains is a sparse, basic infiltration story drawn in something approaching the early 2000 shadowy realism popularized by Bryan Hitch and others, minus the obsession with cinematic framing and lacking depth.
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All of the "Age of X-Man" stories coalesce into Age of X-Man: Omega. Considering Nate Grey's outlook on the X-Men's never-ending cycle of violence, it's fitting that the climax of the event is a philosophical debate rather than a knockdown, drag-out battle.
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NextGen continues to be the highlight of the "Age of X-Man" line by concerning itself less with the high concept itself and more with how the characters in this world manage to live in it.
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Marvelous X-Men, and perhaps the "Age of X-Man" concept, feels like it's running out of steam.
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Marco Failla and Matt Milla make the issue look good, but in the end, it's just good enough to be disappointed that it wasn't better.
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It's not an outstanding issue but it is a stellar reset setting the stage for the series' new era.
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The issue frames the story again by focusing on Jayne, first with another flashback and then with a surprising ending that could go in a few different directions but will unavoidably change the character. Is Jayne Cobb ready to grow up? That seems to be the question All-New Firefly is looking to answer, which could lead to either a frustrating or delightful new status quo.
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All-New Firefly #5 makes the case that this story will read better in the eventual trade-paperback collection. It takes this issue's reactions to the unexpected revelation at the previous issue's end for seemingly random asides from earlier issues to begin congealing into a cohesive narrative.
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It's a low-key issue, but not uninteresting.
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There may be a bit too much going on in this story arcspeaking for myself, between the Tax Collector and the monks, I'd almost forgotten the whole Jayne has a son subplotand I may be grading on a curve because the series has been on shaky ground lately, but this totally unremarkable but competently crafted issue of All-New Firefly somehow feels like a win.
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The story isn't particularly memorable, but there's a certain boldness to be appreciated in how it escalates despite how contrived the payoff ultimately is.
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It feels a bit like the issue throws readers into the middle of an ongoing series, and the lack of familiarity with these particular versions of the characters makes it hard to feel invested when apparent tragedy strikes. But there are hints at multiverse madness afoot, and while the story may not fully get readers to invest emotionally, it'll likely have them curious enough to want to see what happens next.
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Even as is, it isn't a terrible diversion for Angel fans, but it doesn't transcend that as its purpose.
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It's not bad but suffers from the same lack of focus and direction that seems to have infected all of Boom's Buffy-based efforts.
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The first arc of Angel never really established a reason for its existence beyond simply putting out more Angel content. As far as that goes, it isn't bad. However, the decision to set it in a just-slightly-different timeline is ultimately more confusing and distracting than additive, and judging by the final pages of this issue, that problem may only worsen.
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It's just a shame that what came before wasn't more cohesive.
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There might be something to this new series, but that something doesn't show up in the first issue.
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Its a solid story held back by Paulo Siqueira's art.
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Soule's Astonishing X-Men has been a fun ride, and the finale isn't bad, but it doesn't quite live up to the title's name either.
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It's a book fans are going to want to like, but the artwork will serve as a barrier to entry.
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Astonishing X-Men should be a really enjoyable X-Men comic with a more comedic bend than any of the other books in the current line, but the art is working against it.
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The dialogue, the tone, the plot are all there for an exciting and unusual X-Men series, but without the visuals to match it continues to feel half-baked.
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The actual plot of the issue"which involves the return of Xavier's old foe Lucifer"may not be the most memorable, but expectation-defying characterizations and their potential ramifications will linger.
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Avatar: Frontiers of Pandora Solek's Journey #1 is a solidly assembled start to the character's pilgrimage.
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It's not going to surprise anyone or transcend expectations as a licensed tie-in to a video game based on a movie, but for the target demographic, it likely does enough to satisfy.
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It's another issue that's crafted well but relies heavily on established tropes and a narrative pattern that is, by now, well-worn.
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"Avengers: No Surrender" continues to be a throwback to the epic, cosmic, do-or-die superhero fare that so many Avengers fans fell in love with in past eras.
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The origin of the mysterious Voyager, the formation of the Lethal Legion, and the resurrection of the Black Order are all finally explained. Mark Waid, Jim Zub, and Al Ewing manage to make it compelling.
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This issue is primarily told from the point of view of Red Wolf, who gets a rare moment in the spotlight in the midst of the Avengers mega event.
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The visuals don't quite do the concept justice, but it's a fun, almost self-contained adventure that also manages to push forward some of the central mysteries of the larger "No Surrender" story.
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Its all executed well enough, and in the grand scheme of things, this breather of an issue is necessary to reset the board for the final act of "No Surrender", but it's also not the most memorable chapter of the saga.
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It isn't bad, but it feels like it doesn't quite meet its full potential.
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Much of Batman '89: Echoes #3 is spent on a flashback explaining how Bruce Wayne found himself in Arkham Asylum impersonating Firefly. However, this story is moving at such a crawl, with such little forward momentum, that it's hard to appreciate it now moving backward.
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There's fun to be had here, and the big reveal at the end suggests there' another layer to this crossover madness, but we're not quite to the good stuff yet.
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Two issues in and Batman / Teenage Mutant Ninja Turtles III so far has been an exercise in exposition.
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Batman/Teenage Mutant Ninja Turtles III hasn't done a great job of capitalizing on the fun potential of its premise. Its fifth issue offers a taste of that untapped potential, but the supposedly epic battle that makes up the bulk of the issue is shapeless, taking up space rather than telling a story.
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If you've enjoyed the series thus far, the finale won't disappoint.
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As with past issues, there are too many moments that seem meant to be significant but don't quite land because the reader lacks all the requisite contextual information to understand its impact.
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The "Intergalactic Empire of Wakanda" storyline that's been running through Black Panther for almost a year slows down a bit here where it feels like it should be speeding up.
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It's a heavyweight for a single issue bear and a bit exhausting by the end, but it seems the story is poised to enter its final act.
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The comic nails the sci-fi noir tone of the films but doesn't feel like its retreading familiar ground. The art seems confused in places as if Guinaldo and colorist Marco Lesko had a communications breakdown resulting in misbalanced layouts, but Blade Runner 2019 is likely to hooks fans and have them coming back for more.
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Tom Fowler continues to make Books of Magic a stunning comic to look at. In this is he has some fun playing with magic, boundaries, and the comic book form.
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Books of Magic will grab a reader's attention, but may not draw them all the way in.
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It's an issue that doesn't commit any cardinal sins, but that also doesn't live up to its potential.
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Tim is a hard protagonist to connect with because his behavior is so offputting, and that's proving to be a real problem for Books of Magic.
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It's fine, but at some point, the series needs to remind us why we care.
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The Books of Magic wraps up a stellar arc that sees Tim Hunter wrestling with his inner demons.
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Altogether, the issue is well-crafted, despite being a bit frantic.
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David Barnett had some fun as the new writer of Books of Magic by sending Tim Hunter on some adventures detached from the series's overarching plot. Now that he's returned to that main narrative throughline, the book has lost the life that he brought to it.
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Bellaire is building to something -- Xander's detachment makes it clear that keeping the gang separated is intentional and not an oversight -- but without those core relationships intact, this issue of Buffy feels like its missing something.
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Whereas the previous issue of Buffy the Vampire Slayer felt like it was moving too slowly, this issue goes hard in the other direction. There's so much going on that it feels like two or three different stories crashed into other.
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Jordie Bellaire provides a strong script that both feels like a perfect replica of a traditional Buffy TV episode structure while being wildly different from any particular episode in interesting ways, and that's enough to make up for Lopez's mixed artwork.
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. It ends with Lopez returning for a strong final scene between Willow and Xander, but it still feels like a story missing most of its middle.
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Fans will have to wait and see if that helps focus the series and improve its pacing issues, or imbalances the series even further.
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The story lacks a smooth flow, but the characters"while not at their most endearing here"are still those lovable Scoobies. Now that Jordie Bellaire, David Lopez, and company have broken them down, it should be fun to see them built back up again (presumably) over the course of the crossover event.
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What stands out most in this issue is how insufferable Giles is, a far cry from his composed, paternal television counterpart. It's another example of the series jumping into the deep end.
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The issue does highlight why the reimagined Robin Wood has been such a strong addition to the reboot's cast, especially now that he's been paired with the new slayer.
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This issue feels more focused than those that preceded but still doesn't stick the landing on its most dramatic moments.
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With this issue, she appears to be treading familiar ground at first until one of the characters questions the premise. Bachs' art isn't the strongest we've seen on the series, but the issue is still keeping the series headed in exciting directions.
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The ideas here are exciting, and Bachs' artwork is solid in other places, but it's frustrating to see such a crucial scene flubbed this way.
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Unfortunately, Ramon Bachs' artwork is a distraction here. Bachs tries to give these high school students a youthful look, as you'd expect, with character manga-inspired character models, but his faces and bodies are inconsistent from page to page, resulting is something that looks like Dan Mora's work minus discipline.
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Buffy the Vampire Slayer #19 is an uneven comic comprised almost entirely of three conversations.
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There's also still too much going on here narratively, burying the emotional core that's vital to making Buffy work, but this is a solid issue with some notable high points amid continuing series woes.
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It's not a terrible package, but it hardly feels like the celebration it ought to be.
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Some readers may be frustrated with how coy the story is about revealing the truth about Aelera and Abhainn. Still, there is a thematic richness and artistic beauty here worth slowing down to appreciate.
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This issue is a little light on plot development, but the overall story is still intriguing enough to keep readers hooked.
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This issue feels like a chapter we could skip and head straight to the story's end. It isn't bad, but it may leave readers feeling a little unfulfilled by the end.
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It's maybe an issue too long and marred by forced, unsatisfying conflict, but it's still a worthwhile diversion from Boom Studios' Buffy the Vampire Slayer series.
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Despite its flaws and inconsistencies, it does fulfill the brief of giving readers time with the ur-versions of these characters, and they feel authentic here. That'll be enough for some fans.
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Despite the wrinkles, it all rings a little too familiar to be genuinely exciting, and the busy artwork makes it hard to connect with the characters. However, it at least feels like a story built on firmer ground than some of the Buffy comics that preceded it.
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Thessaly remains a compelling character and a believable evolution of the Slayer role for a new generation. However, Buffy the Last Vampire Slayer needs greater focus in its plotting and visual storytelling if its creators hope to do the character justice.
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There's a fun twist ending, and some of the individual artwork is stunning, but otherwise, it feels like there's not much to hold onto.
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Any attempt at subtlety that Mark Waid may have been making in his latest Captain America story goes out the window in #703 as the conflict becomes defined as the technocratic, universalist, elite blue-skinned Kree against the retrograde fascism and hate of the Red Skull, with regular people caught in the middle, their only hope resting with America's youth -- literally, youngest descendant of Captain America.
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Several moments feel entirely tone deaf, but the material is at least elevated by Leonardo Romero's wonderful artwork.
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Carnage #1 is on the cusp of something worthwhile but hasn't fully invested.
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Even as Carnage #3 offers up the series' centerpiece a showdown between the original Cletus Kasidy and the Carnage symbiote, with its coughed-up clone it lacks the focus and seems at odds with itself.
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It's a solid enough issue that picks up the pace but can't shake off all the problems plaguing the series.
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Casual Fling started as the kind of sex thriller you don't see much of in comics and lost its focus a bit in the middle, but at least it wraps up tidily, even if the finale lacks flair.
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It's not bad, but it's not the most memorable Conan comic book either.
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The issue looks good but is ultimately forgettable.
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It's mostly fine, but any memory of it is likely to evaporate from your brain 30 seconds after contact.
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It's all a bit too much zigging and zagging for a single issue to handle, even an oversized milestone issue.
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It's a solid start, setting up a story with a lot of potential for superhero action and fun.
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What comes next as Dark Space: Good Deeds continues will ultimately determine whether this introduction is worthwhile, but the chances seem good that'll only get more interesting from here.
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Dark Spaces: Good Deeds #2 keeps the Vertigo vibes established in the first issue but still hasn't firmly differentiated itself from other stories in the genre, ultimately repeating the same narrative bits.
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The conclusion to Dark Spaces: Good Deeds reads like watching the end of a Twilight Zone episode on fast-forward.
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Dark Spaces: The Hollywood Special continues to pair luminous artwork with an unmoored narrative.
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It's still an attractive comic to look at, but it feels like this issue needed to accomplish more narratively than what it ultimately managed.
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There's some impressive craft herethe art in the series has been a consistent highlightbut at the end of it all, the reader might struggle to explain what the story was about.
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The pacing is a bit on the slow side, but Foxe is still nailing that horror-tinged narration, and there's enough weird going on here to want to keep reading.
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Dark X-Men #4 starts on a strange foot. Gambit touches base with his wife Rogue, who hasn't appeared previously in the series, seemingly as a reason for him to recap the series thus far. Given this is the penultimate installment of a five-issue series, that hardly seems necessary. Once that's out of the way, Steve Foxe, Jonas Scharf, and Frank Martin kick things into a higher gear with a mercilessness typically reserved for horror stories rather than superheroes.
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The artwork remains as appropriately dark as it has been, setting a grim mood, but much of the action feels uninspired, perhaps because the real conflict is in the staredown between the Goblin Queens while other threats previously built up as formidable fall fairly quickly.
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As a package deal, DC's 'Twas the Mite Before Christmas is hardly essential reading but should satisfy anyone with a craving for holiday heroics.
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There are some genuine laughs in Deadweights #2 as well. Here's hoping it all comes together as the series progresses.
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Death Orb #1 doesn't offer a lot of substance to sink your teeth into, so far it has a pretty basic lone-desert wander on a quest plot and not much else, but the execution is good enough that if you appreciate any of the influences mentioned above you may want to keep an eye on it.
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The Thirteenth Doctor's comic book adventures are off to a solid if not spectacular start.
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The series remains a solid read for fans of the show.
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While the drama in this issue is more compelling than most of what's preceded it, there are still some unfortunate indulgences.
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Stargazer's Hunt #2 digs into the big reveal from the first issue, but doesn't come out with much clarity.
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The real adventure of Stargazer's Hunt begins in the third issue of the ElfQuest miniseries.
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It may not be Extermination's strongest chapter, but it ends on a note that is sure to have X-Men fans talking until the final issue arrives.
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X-Men: The Extermined features two separate stories. The first is a direct follow-up to the death of Cable in Extermination. Written by Lonnie Nadler and Zac Thompson, the story focuses on Hope Summers and Jean Grey and feels like both an epilogue to Extermination and a coda to the writers' recent run on the Cable ongoing series.
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Azarrelo is unfurling this mystery slowly, and much of the dialogue is oddly affected, but Llovett's artwork is stunning throughout.
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This issue of Firefly opens with a bar fight that doesn't quite land its punches as well as it should.
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This story is getting a bit long in the tooth and its time to find its resolution, but that's not to say it hasn't been fun a ride getting there.
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It feels a bit like Greg Pak is playing a game of "yes, and" with himself that has gotten out of hand, as each new issue of Firefly adds more chaotic elements to the mix.
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It may not be the most cohesive and concise tale, but it's still fun and man can Dan McDaid draw sci-fi goodness.
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Though the storytelling is muddy in places, the style is strong, and Firefly fans will find plenty to enjoy here.
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There's some awkward letting placement in the issue as well, but otherwise, it's another solid issue.
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It's not reinventing the wheel, but it gets the job done.
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With the arrival of someone calling themselves "The Bandit King," this arc may be falling into the same problem as the previous arc, with too much going on to keep the focus where it needs to be. Still, for now, it remains a decent way to spend time with the Serenity crew.
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Francesco Segala shows some real versatility as a colorist, switching between the Boros desert's earthiness to jungle vistas and lush plains, even if his lighting effects occasionally wash out characters in an odd way.
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It is a little strange having RoboCops running around the Firefly universe, especially those with Mal's face. Still, it's exciting to see that Pak is taking the crew into some complicated and relevant territory.
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For the most part, the issue hangs together on the strength of Pak's dialogue and enjoyable, if not coherent, artwork.
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While the resolution of the previous issue's cliffhanger doesn't live up to the hype, it'll still further invest fans in this new future for the Serenity crew.
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All in all, it's a solid enough entry in the continuing comic book misadventures of the Serenity and its crew members.
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The artwork veers too far into the cartoonish, at times feeling empty and flat, to convey the weight of the situation. It's serviceable and gets some bonus points for trying to imbue the comic with more worthy thematic underpinnings than its source material.
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The Firefly series is way out of the franchise's comfort zone at this point, but this installment makes for solid reading.
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Firefly #35 is the picturesque quiet before the storm.
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It's not the conclusion most would expect, but little about Pak's run has been, and this finale radiates that he's entirely at peace with that.
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In a way, it's a microcosmic example of the odd direction the Firefly comics have gone in since coming to Boom, with the characters behaving like cartoonish versions of themselves ("It's Jayne time"?) and a heavy reliance on sci-fi plot devices, neither of which helps to elevates a mediocre celebration.
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It's a decent read for Firefly fans, especially those with a soft spot for Jayne, but it has little else to offer.
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The issue wraps up this era of Firefly nicely and in a way that will have longtime fans eager to see what comes next.
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It isn't a perfect issue, as Simon explicitly stating that his family's safety is paramount and then ignoring Zoe's warning boggles the mind, and Lucia Di Giammarino's colors are still too washed out. However, it's a step in the right direction.
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It's a mostly fine issue for those invested in the series.
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It's a newcomer-friendly issue as it goes out of its way to present a full crew roll call over multiple pages. While the sci-fi elements may be toned down, the story still operates on a larger-than-usual scale, involving a political assassination that could affect the whole galaxy.
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It's a fine enough continuation of Firefly's comic book adventures, but unlikely to draw or keep the attention of curious newcomers.
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There are some fun ideas here and simmering tension between Superman and Wonder Woman. Still, it is disappointingly conservative for part of an event meant to be looking forward.
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Peter Milligan and Piotr Kowalski do their best gothic horror impersonation in God of Tremors from AfterShock Comix. As an exercise in genre, it's largely successful.
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If you're here for cool Kaiju art, you'll be satisfied with what's on offer, but the issue will bring you no closer to understanding why you should care about these kaiju-obsessed weirdos and their little conspiracy.
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Jock's artwork is as stellar as ever, walking that line between gritty realism and impressionistic flair, but while focusing on Abi and her father may be beneficial, it still feels like much of Gone's narrative picture is unpainted.
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In wrapping up Gone, Jock provides a sensible conclusion to Abi's story that doesn't fully cover some of the weaknesses in the series overall.
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Head Lopper continues the Knights of Venoria story and, as fans have probably come to expect, it's a fun fantasy ride.
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The search for Minnow resolves quicker than expected, but succeeds at building the bond between her and Thirteen.
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Things are happening, but it isn't clear why we should care. Still, changing up the format a bit makes this the best issue of the series so far.
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Nalo Hopkinson and Dan Watters are turning the disjointed narrative that House of Whispers began with and turning it into a cohesive narrative, though there's still some work left to do.
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Of all the Sandman Universe series, House of Whispers has been the hardest to latch onto, but the series continues to improve as we get to know these characters more and the story gains greater focus.
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Not a standout issue, but not one that will turn longtime readers off either.
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It's not bad, but it also doesn't feel like it is fulfilling its full potential.
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It's a story that needs more room to breathe, but there's something to be said for a single comic packing in this much thematic strength into a single issue.
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If you're in it for the craft, then the work that was done on "Secrets and Lives" may be worth the inflated cost that comes from being bundled with "Hunter's Pryde." Maybe.
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The visuals are as they have been, perhaps too realistically rendered and a bit flat but otherwise serviceable, which is also how I'd describe the issue holistically.
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A solo adventure crafted with reasonable competency like this one could be enough of a draw. For those less invested, the appeal is hard to see.
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The storytelling is solid, characterization on point, and it looks good, there just isn't much going on beneath the surface, at least not in this issue. But if you're a fan of the Fantastic Four or Invisible Woman in particular, this issue will deliver.
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It's not bad, but it's not going to stick with you for long after reading.
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However, while it's hard to tell how much Scioli has changed without the original work to compare it to, the finished product hardly feels like a fully formed vision of what might have been.
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A solid-enough middle chapter of the ongoing storyline.
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If this is your thing, you probably already know that it is. If it's not, then there's little reason to change that unless you're a very curious Westworld fan.
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None of it transcends its source material, but if Looney Tunes is what you want, then Looney Tunes is what you'll get.
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It's the kind of fan service you often expect from these licensed books, nothing more and nothing less.
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The issue has the tone of a middle chapter of a long-running superhero series, restrained in action but allowing for the relationships between the heroic Planeswalkers of Ravnica to shine through and further solidify.
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It's a fine enough issue if you're already deeply invested in the series' story and promises a big climax in the next.
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As the climactic chapter in this Marit Lage saga, Magic: The Gathering #10 suffers somewhat from too much going and yet not enough at the same time.
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While uneven, the issue assembles an exciting cast of characters for further adventures. Plus, it's full of action that's exciting enough moment to moment to overlook the thin plot.
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It's not the most exciting issue but does the job and points towards more exciting things to come.
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While the issue doesn't do much to advance the plot, it does offer insight into these new, emerging character dynamics.
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Magic: The Gathering #16 isn't a total wash, and fans of the series will likely find it passable, but it is significantly worse for its poor pacing, ill-suited art, and lack of attention to detail.
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Jed MacKay gives Niko a strong characterization in the issue, as they are shown to be fiery, empathetic, full of wonder, and also perhaps a bit reckless and impulsive.
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It's a stellar character piece that should serve those already invested in Boom's series and those looking for a jumping-on point equally well.
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Both stories feature a few too many scenes of characters standing around talking about things that have happened already or elsewhere, but they're otherwise enjoyable affairs.
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For an issue primarily comprised of people doing research in a school library, Magic: The Hidden Planeswalker #2 is an engaging read. That's largely thanks to the delicate line work and iridescent colors
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Magic: The Hidden Planeswalker proves to be a nice showcase for the complexities of Liliana Vess's character.
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As Man's Best nears its end and the journey becomes increasingly weird, more chances are taken with layouts and compositions, which adds some flair and excitement to this issue, including one especially arresting two-page spread.
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The second issue of Marvel Rising finds more sturdy storytelling ground to stand on.
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It's a simple story, but the characters seem to be having fun.
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Marvel Two-in-One comes to a satisfying conclusion, wrapping up all loose ends before bowing out so that the relaunched Fantastic Four comic can pick up the torch.
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It all adds up to an issue that's a bit flat compared to other installments of the series, but considering how good the series has been so far, that's still not bad at all.
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This issue feels a bit like doing the hard work necessary to set up the good times to come.
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It's not bad, but it's not as tight as some of the earlier issues.
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A solid second act, but something of a jog after the first issue sprint.
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This issue may be a touch overly indulgent, but it's still a fun read.
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While it isn't quite the return to form for Madrox that some may have been hoping for, this series is a worthwhile read for any fan of the character.
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Vita Ayala and Claire Roe team up for a new Nebula series, but the first issue feels more like a prologue than a true first chapter.
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It's exciting to think that Hickman and Brisson want to dig into these characters. Moving them away from the rest of the X-Men forces the focus onto their unique roles and personalities. Let's just hope they have something more interesting to say about these characters going forward.
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It's a fine issue, but one that you may forget about soon after reading.
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Ed Brisson writers some fun interactions here as Magik stand her ground when Cyclops gets condescending and the New Mutants insist clinging to their "better to beg forgiveness..." attitude.
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The issue puts Flaviano's penchant for drawing cartoonish exaggerations and surrealness to good use as the New Mutants get pulled deeper into the Carnelian mutant's nightmare dreamscape.
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We do get some new insight into Glob Herman's past, which is nice, but on the whole, the issue would have served its subject better by delivering its message through story instead being a sermon in comic book form.
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This story has been solid for the most part, but the ending is a bit clumsy.
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New Mutants: Lethal Legion #3 has a clear message that it wants to impart, and that's commendable. However, the message is almost too clear, as one character verbalizes it point-blank to another in the middle of this issue.
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The second issue of New Mutants: Dead Souls maintains a lot of the potential from the first issue without really building upon it.
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It's captivating stuff, though some of the action sequences in this issue are a bit hard to follow. Still, the series seems to be building up to quite the climax.
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Where the issue fails is in providing a compelling introduction to the characters, who so far feel a one note and flat. In particular, the main protagonist is very angry, but the issue provides only the vaguest hints as to why, making it hard to empathize with his anger. Still, it's a good-looking comic that involves emergency space exorcisms, so it earns some leeway to grow.
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There's something interesting about Afu Chan's approach to drawing Outer Darkness.
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This is a solid blending of genres, a concept that can be built on. It just needs stronger characters to carry it.
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It's still hard to really care about anything that happens to anyone on this ship, and even Elox's character is undermined by the trite conclusion of this issue, but the issue does hint at the potential of this series if it could just find a way to make readers care about anyone in it.
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It may not have come out of the gate at full-speed, but Quicksilver: No Surrender seems likely to pick up momentum as it goes.
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The mystery Kurtis Wiebe has woven around this mysterious and "helpful" mage has its hooks in deep, especially after this issue's stunning final page.
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Not a bad issue, but not the series' best either.
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Rat Queens #10 wraps up the current story arc, which feels like it maybe bit off a little more than it could chew.
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Rat Queens feels like its in a strange space. The previous story arc was the series' most ambitious so far, but so much happened that's it is almost hard to keep track.
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This may be "reads better as a trade" material, but it's still another fun Rat Queens adventure so far.
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All these changes are causing friction, which leads to an angst-ridden episode. The artwork is solid but doesn't fit the usual tone. Its linework and colors are a touch too realistic for the book's over-the-top personalities. Then again, that may be reflective of the issue's atypical mood.
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The path might be rocky, but the direction is exciting. A solid issue all around.
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The result is mostly a lot of fun. Kurtis Wiebe is able to maintain these characters' voices across genre and William Kirkby's use of jagged lines and fluorescent color gradients sells the setting, though there are a least a few panels where it gets a bit simple, to the point that it seems unintentionally comical.
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Refrigerator is shaping up to be the sillier sequel to a taught horror story"not an unfamiliar scenario"and is less likely to be remembered when finished.
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Here's hoping we'll see more of this issue's first half and less of its second half as Refrigerator Full of Heads moves into its back half.
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Refrigerator Full of Heads finds some of that grindhouse goodness in this final issue, but the heart that made Basketful of Heads delightful was excised from this subpar sequel long ago.
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The art is on-model, the story is solidly told, the character voices are accurate, and Oni Press provides another strong issue to hold fans over during the wait between seasons.
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It isn't going to replace the Rick and Morty-sized hole inside of a fan, but it may help ease the longing just a bit.
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The first story, written by Kyle Starks, is a riff on a Hunger Games scenario. The second, written by Josh Trujillo, starts as a parody of courtroom dramas and becomes something else by the end. Each is fine, garnering at least a few laughs, but no substitute for the source material.
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Rick and Morty #43 is another solid installment of the series to tide fans until the television series returns.
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It plays out pretty much exactly as you'd expect, but leaves it all feeling a bit forgettable, though Marc Ellerby does sneak in some great shots of the villain, Worldkiller, and his army.
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Another solid if not an especially memorable issue of Rick and Morty.
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The series remains a worthy diversion for those looking for a lighthearted take on the Turtles.
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Rogue & Gambit continues to deliver straightforward superheroics in its third issue while adding some texture to the tension between the lead characters.
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Rogue & Gambit might bring satisfaction to the die-hard fans of these characters, but it does little to stand out from its peers within the genre.
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Rogue & Gambit's final issue contains several high points for the series. The rest of the issue wraps up a run-of-the-mill superhero story in predictable and familiar ways, except for Rogue's dealings with Destiny.
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Ewing, surprisingly, doesn't have much new to add to the template. Coupled with Villanova's clumsy fight scenes and Fernando Sifeuntes' flat colors, the issue doesn't offend, but it does underwhelm.
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It's hardly the most memorable issue of the series, but it is a good time for fans of inventive super-violence.
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There are some clever moments here, but for an issue that seemed primed for hijinks, it's surprisingly forgettable.
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Renato Guedes and Simon Bowland's visuals skew heavily towards realism, which helps with the conspiracy-thriller tone of the book. Whether Andy Diggle and his collaborators can help elevate the plot to something more than it's basic structure remains to be seen.
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Sons of Star Trek's final issue brings the story to a close in a way that tracks perfectly well with what came before yet feels too tidy.
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It's a well-crafted book, even if some of its jokes aren't well-considered.
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The current iteration of Spawn feels like a blend of old and new.
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Jason Shawn Alexander gets to draw a lot of pinup-style pages here and the way he incorporates a bit of McFarlane's style into his renditions of moments from those early Spawn issues is a nice touch.
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Jason Latour spends a lot of time on conversations between the two, which should be riveting, but it doesn't feel like much of anything new was learned about either character.
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There's solid stuff here, its just unfortunate that the execution can't match it.
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The return of the Sinister Six story continues in the pages of Spider-Man and its... fine.
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The penultimate issue of Brian Michael Bendis' Spider-Man run is, unfortunately, little more than an average throwdown between superheroes and supervillains.
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It's a front-loaded title, with its best efforts being the swashbuckling fairy tale focusing on the Hikaru Sulu of the Kelvin Timeline that kicks off the issue followed by a story about the dynamics of Raffi Musiker's relationship with Seven of Nine, the kind of micro-story that there wasn't much time for in three packed seasons of Star Trek: Picard. Stories featuring Paul Stamets, Jett Reno, and Christine Chapel get too bogged down in the pseudo-scientific details.
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I wish the book had a slightly stronger hook, especially regarding why the dog, but it's not a bad start.
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It's a solid outing with plenty of appeal for Star Trek: Deep Space Nine fans.
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Star Trek: Deep Space Nine The Dog of War continues offering a decent Star Trek story, even if it's torn between two focuses.
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Star Trek: Deep Space Nine The Dog of War #4 is a fine Deep Space Nine comic that suffers from some of the same tonal dissonances that plagued the previous issue of the series.
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In the end, The Dog of War may have been balancing a few two many subplots, but it's hard to complain about a competently crafted adventure where the Deep Space 9 crew set out to save a good boy and happen to help out the rest of the quadrant in the process.
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One of the reasons the Tiptons have lasted so long on the Star Trek line is their uncanny ability to mimic character voices and plot structure from the television shows, sometimes to a comic's detriment. Here they nail each character except for Worf, who comes off as a regressive caricature of himself as he looks to arrest suspects based on their species' reputation. Otherwise, leaning into the noir helps keep this issue from becoming merely a pale imitation of its source material
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Still, fans of Odo, those interested in seeing noir detective work in the Star Trek universe, or longing for any excuse to revisit Deep Space Nine will likely find it worthwhile.
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On the whole, Adventures in the 32nd Century #1 is a slight issue that's likely to be remembered long after reading. Still, Grudge-lovers will get a kick out of it.
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The issue ends up feeling more like a vignette than anything else, but it's a welcome insight into the life of one of the recent additions to Discovery's cast of characters.
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It's a strong story with a weak presentation, but fans eager for more of Capt. Pike, Spock, and Number one will find something to enjoy here.
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A good story held back by iffy artwork, it's probably still worth a look for Discovery fans who are missing the show during its offseason.
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If you're looking for something to tie up loose ends from Discovery's second season, Aftermath will serve. If you put more value on aesthetic, it may not be worth the trip.
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Angel Hernandez's artwork as as solid as ever, and writers Mike Johnson and Kirsten Beyer give fans an unexpected ending to this Discovery tie-in.
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Star Trek: Holo-Ween is a ridiculous story, one that would put even the campiest Star Trek: The Original Series episode to shame.
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Even with the tonal dissonance, it's an enjoyable enough read, but imagine what it could have been if the book had committed to one direction or the other.
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Star Trek: Picard Stargazer isn't the most ambitious comicit isn't even the most ambitious Star Trek comic that IDW has published recentlyand it's unlikely to transcend the expectations that come from it being a tie-in story filling the gap between two seasons of a television series, but its strong character work is enough to fulfill its mandate as worthwhile reading experience for fans of the series.
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The line work is tighter than in the previous installment, but the coloring is still splotchy when applied, and the splash pages have some compositional problems. However, the characterizations of Picard and Seven remain spot on, and the conflict at the story's core remains interesting.
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A satisfactory ending to a passable, if unmemorable, adventure.
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For the most part, it's a solid debut, leaning heavily on familiar designs from the Next Generation era to set the stage ad the mood, but the plot gets a little muddied in places.
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Despite soaking in the vibe of the Next Gen era, this issue is more action-oriented, focusing on a covert rescue mission that ends up being less undercover than intended. The visuals aren't up to the task of depicting the action, with bodies distractingly contorted after being struck by phaser fire, inappropriately over-the-top reactions, and an at least one instance where an officer trying to shield his captain looks more like he's going in for a hug.
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There's an unusual conflict in this Star Trek: Resurgence prequel, in that the hero ship's captain, typically cast as the pinnacle of Starfleet values, is perhaps too close to another character, too invested in the research, to see the danger all around him clearly.
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Star Trek: Resurgence #4 is a solid enough entry in the prequel series.
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Thus far, The Scorpius Run contains enough solid and familiar elements to keep Strange New Worlds fans invested. However, it feels built on shakier ground than its predecessor.
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The plot could use streamlining, and there's at least one beat that feels out of character for Captain Pike, but there's still a solid core here for Star Trek: Strange New Worlds fans to enjoy.
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The characters still lack facial definition, making them look a bit like putty, but it's nice to see a strong if familiar theme emerging towards the end as friend and foe alike realize that their goal shouldn't be to win the race, but to stop running it.
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These issues will surely irk technically-minded Star Trek fans, and the art is undeniably busy, but it's an otherwise enjoyable conclusion to an enjoyable Strange New Worlds adventure.
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Star Trek: The Mirror War #1 is an inoffensive start, if not particularly exciting, but if the series is to live up to the event hype around it, it will need to hit the gas hard and find something new to do with the 55-year-old plot device that is the Mirror Universe.
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After a slow start, this issue picks up some speed, so here's hoping The Mirror War builds on that momentum going forward. There's still a lot of potential here waiting to be worked with here.
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Thus far, Star Trek: The Mirror War isn't living up to the martial nature of its title.
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The Mirror War has proven to be a worthy addition to IDW's Mirror Universe saga and will have fans excited by how it tees more stories to come.
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It paints a complex picture of the man who has collaborated to survive, the shame he buries, and the tactics he uses. Unfortunately, there are odd distractions throughout the telling.
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The issue functions as an origin story that twists the sadly stereotypical TNG Geordi story, with a woman taking a strong interest in Geordi before his arrival on Utopia Planitia. This officer stands out among her Terran counterparts for being "too happy" and possibly naive. It's a playful twist that helps the story amount to more than the tiresome wanton backstabbing that often characterizes Mirror Universe stories to the exclusion of all else. However, the framing device turns out to be preposterous, though perhaps less so in the Mirror Universe than the Prime Timeline.
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There's solid footing here, but Echoes needs to find ways to distinguish itself from other similar narratives if it wants to leave a lasting impression.
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With energetic artwork that prioritizes dynamism over recreating the cinematic experience, Star Trek: Echoes #2 is a fun and engaging read.
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It isn't exactly new ground, but it's written well enough to be compelling and has some character depth to an otherwise action-heavy plot, while making the best case for this story being set within The Motion Picture's narrative orbit.
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If Star Trek meat and potatoes are what you're after, then Echoes is serving it up piping hot.
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Writers Scott & David Tipton will also be familiar to Star Trek comics fans and they begin this story on a slow burn, but it seems like a tale destined to go in some interesting directions as we see mirror Barclay redefine the character's relationships with his colleagues.
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Star Trek: The Next Generation - Terra Incognita continues to be a curious series. Billed as the next installment in The Next Generation mirror universe series, the issue minimizes Barclay's role. Instead, the issue plays out like a lost episode of Star Trek: The Next Generation. Captain Picard plays the familiar role of mentor when one of his crew members comes to a emotional turning point.
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There are some characterization issues -- Worf seems strangely standoffish even by his standards when dealing with Dr. Crusher -- but the story, on the whole, is still solid Star Trek goodness, and the surprise ending promises that Barclay's storyline will finally be resolved in the next chapter.
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Star Trek: The Next Generation: Terra Incognita #6 brings Mirror Barclay's trip to the Prime Timeline to an end, but feels less like a conclusion and more like it is setting up whatever the next chapter of the Mirror Enterprise-D crew's story turns out to be.
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Through the Mirror spins its wheels a bit this week and feels mostly like a setup for what's to come in next week's finale.
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Scott and David Tipton, veterans of IDW Publishing's Star Trek comics line, know these characters well and draw out their voices effortlessly. Nonetheless, this issue is all set up, an overture before the story really kicks off. Readers will have to wait until next issue for the follow-through.
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The mixing of crewmembers hurts the series on a conceptual level -- crew vs. crew was more interesting than pitting semi-random assortments of Starfleet officers against each other -- but also on a practical level since most of the characters have no established chemistry with their teammates.
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While there are ways this event could better execute on its promise, it isn't a bad read.
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It's not bad, but it doesn't feel like it lives up to its potential.
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It's a passable issue, certainly not a reason for anyone invested after the first issue to jump ship, but hardly memorable in its own right.
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There are worthwhile ideas mixed into Seven's Reckoning. However, the society built on narrative, the class struggle, and Seven's identity crisis may be too much to congeal into something cohesive.
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Star Trek: Year Five delivers another stellar episode, though this one doesn't have the same thrill-factor as some of its predecessors.
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Star Trek: Year Five #10 struggles to bring the excellent story from last issue to a satisfying conclusion.
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This issue isn't the series' best, but then it has been an excellent series.
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The issue isn't bad, but it doesn't live up to the series' typically high standards.
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As a time travel story in the Star Trek-mode, it's fine enough, but it's hard to shake the feeling that the issue squandered the opportunity to transcend its familiar premise.
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Storm #1 is a throwback to the X-Men of the 1980s, and writer Ann Nocenti leans hard into the melodrama that defined the series during that era, with interpersonal conflict around every corner.
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The issue digs deeper into the conflicts and relationships surrounding Storm at a breakneck pace. At times, this means characters come off like one-note caricatures of themselvesKitty a petulant child, Rogue a thoughtless bruiser, Wolverine a possessive and rage-fueled admirerwith even Storm seeming to be in an unusual hurry to bring this man she's known for about a day home to meet the found family.
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While it's easy to appreciate what its creators are attempting to do with Storm, something still feels not quite right with this throwback to 1980s era X-Men.
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The bones of an interesting Storm story are here, but overall, the series feels muddled and overburdened with subplots, distracting from the character it intended to spotlight.
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If you're a fan of Wood's past Viking-era dramas like Northlanders and Black Road, or even his Revolutionary War series Rebels, Sword Daughter is the spiritual successor you've been waiting for.
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The issue won't turn off anyone who enjoyed the first two, but it doesn't live up to its potential.
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Sword Daughter #4 flashes back and forth between the two narratives. It is a bit of an adjustment, with the future scenes feeling a bit divorced from context, but there is an added texture in being able to see the ramifications of this father-daughter journey immediately in Elsbeth's future.
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Perhaps it's the jumping back and forth between time periods or maybe they've lost the thread of the original impetus for this father-daughter journey, but Sword Daughter hasn't quite congealed into a cohesive narrative whole and so the heavy emotional beats just don't land like they should.
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The payoff could have been a bit stronger with a little more time spent emotionally investing readers in Elsbeth and Dag, but the thematic resonance is strong.
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After a powerful and focused penultimate issue, the final issue of "Invasion of the Triceratons" struggles a bit to stick the ending.
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A solid, if not momentous, issue.
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It's a decent installment, but we're still waiting to get to the meat of this arc.
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The TMNT team is playing the long game here, and this is one more tension-building step down that road.
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The art is stellar, as usual, and while there are still some loose ends to wrap up, this definitely feels like turning the page into the next chapter for the Turtles and their extended cast of characters.
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Kevin Eastman, Bobby Curnow, and Tom Waltz have channeled Chris Claremont's X-Men in weaving the various story threads at play to lead to this point.
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Campbell's first arc is a tough act to follow, and #106 does feel pedestrian by comparison.
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Nelson Daniel gets to show a little more style in this issue, and the dialogue is having a bit more fun. It all amounts to a good time for Turtles fans.
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The pacing is a little off on the issue as it spends much of its time delving into the dark fantasies of each character, and the artwork is a bit stiff and almost overbearing in the darkness of the sewers and the lightning effects wreathing many of the layouts.
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Much of this issue is spent reading about the Turtles and their allies attempting to understand what the heck is going on with Armaggon the timeline-devouring shark and various other time travel shenanigans going on, but that doesn't make for the most compelling comics book storytelling.
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Teenage Mutant Ninja Turtles #149 is a functional issue, and there's still reason to hope that issue #150 will be the grand finale the run deserves.
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The story set in hell allows Mateus Santolouco to go absolutely wild with his artwork and character designs, and that " plus the development of Shredder's character in an exciting direction " makes it all worthwhile.
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In the end, the creative team behind The Armageddon Game promised something epic, and they certainly delivered in that respect.
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The issue offers a nice take on who April O'Neil is and moves the plot along capably, even if it isn't as ambitious as some of the miniseries' previous character spotlights.
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Teenage Mutant Ninja Turtles: The Armageddon Game The Alliance #6 finally brings the group together for a mission that isn't the thrilling team-up some may have hoped.
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It feels like the middle act of a movie one might watch on Tubi on a Saturday afternoon. That's not bad if you're into that kind of thing, but it doesn't live up to what the original The Last Ronin series offered. Hopefully, this doesn't turn into a series of diminishing returns.
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Mondo's descent into punk rock raging against the machine is a bit on the nose, but Ryan Ferrier provides a solid foil in how he writes Michelangelo and Pablo Tunica's loose linework and Patricia Delpeche's saturated colors are the perfect aesthetic for Mondo's worldview.
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The story will be of interest to anyone following the Turtles saga, but watching these aliens try to hammer out the logistics of cohabitation isn't the most exciting Turtles adventure ever.
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It's a fun concept, but the tale ends so abruptly that it feels a bit more like a pitch than a complete story. All around, an okay issue, but not a standout.
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Still, while it may be familiar territory, Flynn and Daniels do a solid job of bringing this spiritual realm to life and, much like the most recent arc of the core Turtles book, this helps build tension heading into the coming showdown between the Turtles and the Pantheon.
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Book of Evil continues to defy categorization as a comic book, veering increasingly into illustrated story territory.
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The darkness and desperation in the issue's script also play into Alejandro Aragon's artistic strengths"his loose lines and long shadows"helping this penultimate chapter coalesce into the series's best installment thus far.
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The final issue of The Life and Death and Toyo Harada feels more like an epilogue than an ending, but there are interesting beats within.
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It's unadventurous by comics standards but should be familiar and fun for Orville fans.
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The Orville fans will feel at home and like they're reading an unproduced episode of the TV show, while more comics-literate fans will be let down by that same feeling.
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Fine, but not memorable.
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The series' art remains unremarkable, but it shouldn't be a barrier to entry for anyone looking for an offseason Orville fix.
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This issue of The Six Million Dollar Man is as delightfully drawn an earnestly written as the wrest.
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It's a curious comic that feels like a reset for the concept. Hopefully, it will explore some new territory going forward.
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The issue proves to be one of the better installments of this consistently inconsistent series.
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This issue of The Vampire Slayer showcases some of what the series does best, and what the series does worst.
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Willow reflects on each of her close friends, highlighting their strengths, flaws, and internal struggles. It's a narrative move that feels insecure as if double-checking to make sure readers have been paying attention, or that the point has come across effectively enough before moving on to the next act. The issue is thus left redundant, if not condescending, for any reader who has invested enough to stick with this iteration of the Buffy the Vampire Slayer universe for 10 issues.
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The status quo is familiar, but the dynamics are different enough to keep things interesting. The dialog is recognizably Buffy, with subtle adjustments to delivery to account for it being read rather than heard. Lastly, the teases of a couple of familiar faces and locales are likely enough to keep readers hooked.
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It isn't bad, but if the creative team can sharpen their voice and let the visuals do more of the storytelling in future issues then this could be something more.
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Ben Bates' is still the perfect artist for this story, but the script still doesn't quite keep pace. It's like two musicians playing the same song at different tempos.
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Weaver's art and the chaotic material make this issue feel like the miniseries has finally achieved its potential for highly destructive hijinks, which has been there from the start.
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This issue feels like connective tissue put between the over-the-top chase scene that made of up most of the previous issue and what looks to be an action-heavy climax, but it is still worth the ride.
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Bebop and Rocksteady Hit the Road will be a fun ride for hardcore Turtles fans, but an easy pass for more casual fans.
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The book looks as one might expect, with the artwork matching up to the television series perfectly. Similarly, the stories which are more comedy than horror rely mostly on puns and pop culture references for their jokes, the Creepy Eddie story throws in some clever metafiction into its plot involving Eddie having to stay legally distinct from Freddy.
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Furman's dialogue doesn't have the same over-the-top flair here that he exhibited in his previous outing, but fans of old school Transformers comics are going to appreciate what the team has done here.
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If you don't have the inclination or the interest, you should steer clear, but if you do, then Transformers '84: Secrets and Lies is can't-miss material.
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If it wasn't clear from the start (and it probably should have been), Secrets & Lies isn't a series meant to bring in new readers. It's a love letter to the original Transformers comics as much as it is a prequel.
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Brian Ruckley is weaving a vast, political conspiracy thriller, and the dividends are still paying off. At 20 issues in, it's a take on the Transformers that still feels fresh.
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Anna Malkova's artwork could stand to be more detailed and flesh out Cybertron, but she tells the story well, and for the first time in several issues, I'm curious about what will happen next.
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It's a decent issue with good ideas that didn't somehow isn't as engaging as it could have been.
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It's another stellar installment of a series now operating like a well-oiled machine, but it could stand to find a way to connect on a more emotional level.
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With this current "War World" arc, political machinations fall to the wayside while the Autobots and Decepticons begin marshaling their forces and taking up arms for civil war. It's a welcome shift as, after 24 issues, the subterfuge and plotting started to wear thin. Yet, instead of being an exciting transition, the series is taking on such a familiar shape"the classic robot versus robot warfare that defined the original Transformers toys and cartoons -- that it feels like more returning to a status quo.
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Still, it provides some visceral robot vs. robot thrills in what has otherwise been a slow and sterile series.
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Now that the conflict is in full swing, 30 issues of running in circles while pursuing a Game of Thrones level of intrigue done, there's reason to believe Transformers is about to heat up.
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It's still not the most engaging storytelling, but it's more coherent and exciting than many of the series' past issues.
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The Transformers #35 gives Transformers fans their most basic desire: a big, old-fashioned Autobots versus Decepticons battle.
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This issue feels like prologue as it is mostly Optimus Prime getting vague warnings from immersive Transformer, but there's some solid action beats here and Winston Chan brings a little more texture to the series' visuals.
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It's what fans have come to expect from this Transformers iteration, for the good and the bad.
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There's not much of a narrative arc here, just pushing the pieces closer together so that they can have the big fight next issue (presumably).
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It's hard not to be a little exhausted by this Transformers series. There are many characters and so much happening at any time, yet everything moves at a glacial pace.
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The issue isn't anything game-changing, but it's the kind of simple, stellar storytelling that readers have been expecting from the series from the first issue.
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Anyone enjoying this series thus far won't find a reason to argue with its sixth issue, but nor will convince any detractors to change their minds.
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It's all business as usual for the series, but it goes off without a hitch, and anyone who's enjoyed the series to date should appreciate what this issue is offering.
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Not much happens here beyond a long walk and a fight with some robotic wolves. Apropos of nothing, another character lays out certain time travel rules, priming readers for the return of of the fourth-dimensional interlopers watching events unfold, which feels out of place in this particular issue. But if Erik Burcham continue to build of Beast Wars' cast of characters as he does with Skold here, then Transformers: Beast Wars could grow into a compelling ensemble adventure series.
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Another solid installment for IDW's Transformers line.
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This issue is a little uneven, but it's interesting enough to keep readers around for the next installment.
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If you're particularly fond of Ultra Magnus, you'll appreciate this issue more than most.
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The final few pages bring this story up to date with IDW's main Transformers comic and feel mostly perfunctory, but the rest of the issue is a solid enough action comic.
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Exarchon is one of the more exciting aspects of this take on Transformers, serving as an otherworldly being of pure destruction antithetical to the political intrigue that has defined this run. Yet, War's End maintains the same sluggish pace as the main Transformers series, with readers waiting for everyone else to catch up to what they already: that Exarchon is indeed back and ready to begin the Three-Fold Spark's conquest once more.
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There's plenty of action to be had, though it remains difficult to feel invested in much of it. There are some nice cartooning bits, especially involving Soundwave and Starscream's jockeying for Megatron's favor.
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The issue is certainly an attention grabber, with plenty to love on the surface, but comes up short on substance.
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The story still feels a bit too much like a pastiche of '90s X-Men events like "X-Cutioner's Song," but it's a big step up from last weeks nadir.
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The quiet is welcome in a series that has been so much cacophony so far, and hopefully, the sense of focus will carry through the final act of "Disassembled."
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It's another case of "Disassembled" remixing old X-Men ideas rather than offering much new, but it is solidly crafted at least.
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Despite the many talented creators involved, "Disassembled" was not the rousing return of the flagship X-Men series that it was made out to be.
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Uncanny X-Men is again a strong story hampered by murky artwork.
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There's a bit more handwringing about Cyclops' time as a revolutionary than seems necessary, and there's also a couple of moments where another panel beat would have helped. Otherwise, Rosenberg has a solid take on the X-Men for the era they're in, and the execution issues that have hounded the series seem to be improving.
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It's fine, but a little too illusory for its own good.
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The artwork in this issue is surprisingly consistent for having three credited pencillers and sets up an exciting conflict to come.
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Vampire: The Masquerade's sophomore outing is an improvement over its debut issue.
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The individual elements can be enjoyed, but they don't quite form a cohesive whole.
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The "Poison X" crossover between X-Men Blue and Venom continues in Venom #162, and the story may be suffering from symbiote overload.
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Venomized feels like a comic book with the volume turned up a bit too loud.
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It's an uneven issue, but one with some interesting things to say.
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The visuals are still busy, but the slowed pace makes them more bearable, and the new context helps give the narrative a weight that previous issues lacked.
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This penultimate issue feels like the series is finally operating on all cylinders.
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When telling a story about time travel, moving back and forth in the "present day" portion of the narrative is risky, and X Lives of Wolverine #2 is evidence of that.
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X Lives of Wolverine continues to be the slightly better of the two largely underwhelming Wolverine focuses miniseries leading into the "Destiny of X" era. That's mainly due to Joshua Caassara's artwork.
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Like the rest of the series, it's functional but forgettable.
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It's not a total bust, but it is a bit underwhelming and quite derivative.
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X-Factor #2 feels less like a case of early 2000s deja vu than the series' debut, focusing on Havok and Polaris' increasingly complicated relationship.
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There's enough pure fun here that the issue isn't a total wash, but it's a messy affair.
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The issue redefines Apocaypse's existence in a way that longtime X-Men nerds are sure to appreciate. Otherwise, it's a fine but not particularly memorable installment in the "X of Swords" saga.
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X-Men #14 suffers, as its predecessor did, for being a tie-in issue to Judgment Day.
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The issue is competently crafted, but largely feels like it's waiting for another story to start.
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At least the story looks great, with Joshua Cassara and Frank Martin synergizing into something that brings out the best in the linework, and there are enough stellar action beats to be worth reading for fans of the series, but some of the scenes are confounding.
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Phil Noto's soft artwork helps the tragic end of Talon and Synch's time together go down smoothly but is less well suited to life-threatening throwdown with a killer robot, though some of that lack of menace can be placed on the issue's awkward timing in relationship to Fall of the House of X #1.
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It's beginning to feel a bit like X-Men is stretching out its finale to ensure it makes it to the upcoming milestone 700th issue.
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X-Men #1 isn't poorly crafted but is indebted to a version of the X-team we've seen in the past. X-Men #1 lacks a strong hook, seemingly hoping that simply sending out these characters under familiar circumstances will be enough to make its case. It's not. Perhaps that's overly criticalthe issue is functional and capably sets the stage for future adventure, and it isn't a bad-looking comicbut it doesn't make much of a statement.
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The Apocalypse backstory slows the pace down a bit in this installment, but the chapter ends on a note that suggests things are going to pick up in a big way next week.
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Robbie Thompson's story dives into Cain Marko's psyche, both literally and figuratively, but rather than revealing anything new, it doubles down on who we already understood the Juggernaut to be.
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As the opening chapter in a story that will continue throughout X-Men Black, it's just enough to whet your appetite, but Nadler and Thompson's take on classic archvillain Apocalypse, Geraldo Borges' artwork, and the hook that reveals itself at the twist at the chapter's end will have readers intrigued.
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The idea of pairing up the X-Men and Venom is still fun since its so unusual, the story Bunn is telling is still resting on solid legs especially given the interesting final page turn, but this issue stumbles a bit in its execution.
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Bunn seems to be going somewhere, but the road to get there is a bit bumpy.
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It's not awful, but it feels like it should be much, much better.
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Marcus To does a solid job with the art, but there's still the lingering feeling like X-Men Blue became a different book at some point.
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X-Men Blue #30 is a textbook example of a serviceable superhero comic book. There's some melodrama, some fighting, some teases of things to come, but none of it is particularly memorable.
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Marcus To delivers stellar visuals in what is a solid issue that seems primarily interested in setting up bigger thing to come.
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X-Men Gold #22 doesn't stray far from typical X-Men superhero fare, but it executes that material very well.
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It may be comfort food for X-Men fans, but it's good comfort food.
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The road to the wedding of Kitty Pryde and Colossus begins here, with a flashback drawn by David Marquez. It's beautiful, but given the problematic elements of the early days of Kitty and Peter's relationships, one wonders if reminding fans of those early days is a wise choice.
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It's a solid start to what seems like it may be the story Marc Guggenheim has been building towards through his entire run.
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X-Men Gold seems to be hitting its denouement as it wraps up every long-running plot that Marc Guggenheim planted in his run.
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The result is a relatively quiet but solid chapter that moves X-Men Gold closer to its finale and whatever may be next for the X-Men.
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It is a strange way for X-Men Gold to be heading towards its end. With most of the cast unrepresented, this feels like a postscript to the wedding. Perhaps Guggenheim will bring it all together for the finale, right now the book feels a bit listless.
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On a technical level, it's solid, but it feels like a strange note to go out on.
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As with the rest of X-Men: Legends to date, the premise doesn't feel strong enough to justify the trip back through time, but the execution is stellar enough that diehard fans and those nostalgic for the era should find it enjoyable.
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Of all the X-Men: Legends issues thus far, X-Men: Legends #7 is the one that feels least stuck in the era that inspires it.
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It isn't inventive, but if you enjoy a good-old-fashioned Wolverine slice 'em up, it won't disappoint.
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The style may seem dated to newer readers, but anyone who knows the tone and style and maintains a taste for it will enjoy this slice of nostalgia.
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For any X-Men fans who feel like they need a little insight into how Bishop became a member of the X-Men Gold Team after showing up through a time portal in a murderous rage, this will provide that. The issue offers no hook for anyone outside of that narrow demographic.
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The stories go from bad, to not bad, to good, making the issue easily recommendable if you're really invested in these characters, but easily skipped if you're not.
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The wild, sci-fi plot involving living robots and time travel gives Allred an excuse to render multiple two-page spreads depicting techno-psychedelic wonder, which pop perfectly with Laura Allred's colors. As a story, it leaves something to be desired.
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You may not be able to hang on to the story's narrative thread too title as you turn pages, but the visuals never disappoint.
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X-Treme X-Men #4 is fueld by familiar Chris Claremont tropes. Characters lose their powers only to show how formidable they are without them, and the power of teamwork overcomes seemingly insurmountable odds.
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There's still hope that this series will find its footing and learn to walk a balance between fresh and familiar, but this issue isn't it.
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Jayne's arc is a good hook, but the rest of the issue doesn't come together.
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A simple plot paired with repeated ideas makes it feel like this All-New series may be running out of steam quickly.
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It's a clumsy but passable issue, but not an exciting one.
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Angel #7, while crafted well enough, is built on shaky ground.
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It's a fine enough comic for fans of the game or the larger Avatar franchise, but it's unlikely to impress outsiders.
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There are ambitious ideas here but a flawed execution results in a muddy reading experience.
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There's a strong concept here, but the execution isn't doing it any justice.
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If they'd had different artists, or a perhaps a more versatile single artist, craft each, it would have enhanced each character's perspective in a way that fully embraces comics as a visual medium. Perhaps Xander's story would become a full-on superhero tale, and Willow's something more retro horror. Instead, the issue feels like a shadow of what it could have been.
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If it can shed its ponderous pacing, Carnage might become something worthwhile.
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Casual Fling #3 is the weakest issue of the series, but it's unlikely to deter anyone who's invested in the story already.
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Visually, the issue still feels like it walks the line between realistic and supernatural, but the pacing is tripping up the story.
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Ultimately, this is all thematically muddied, with Deadweights suffering an identity crisis that mirrors its main character.
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They say you can't go home again. After reading Fall of the House of X #1, it feels like Marvel and the series' creative team may be poised to test that maxim, clumsily stumbling all the way back to Xavier's front door. -
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The finale to Fall of the House of X bears the same signs of being rushed out the door as the rest of the series (and several others of the "Fall of X" era).
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There's potential here in setting a new stage for adventures in the Firefly universe, but the creatives will need to execute better than this for it to pay off.
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Coupled with Luci Di Giammarino's pale colors, the visuals sap the energy out of what should be a thrilling escape.
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It still reads like a lesser version of other comics, particularly the 2012 Harbinger relaunch, but this installment reads smoothly, at least.
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There's potential here, but the creative team will need to cut through the chaos to find it.
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Magic: The Gathering #3 sees writer Jed McKay slowing the pace to spend some time fleshing out the Planeswalkers' backstories. Unfortunately, it's an exercise in telling instead of showing.
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The three different artists aboard make the reading of it feel disjointed as the styles are not similar nor are they sectioned off in a way that makes any particular sense. It's a minor annoyance in a functional if not particularly eventual issue.
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While reading Magic: The Gathering #22, I'm struck by how small Magic's supposedly infinite multiverse feels.
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It's mostly inoffensive, but the issue ultimately feels like it swings and misses.
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None of it feels very cohesive and ultimately the issue feels thin as a result and run of the mill as a result.
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There's a story worth appreciating at the heart of Search for Hu, but the muddy and ill-paced telling makes it a challenge.
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Something Epic has a strong premise and great artwork, but all the hand-wringing over the burden of creativity gets in the way of any semblance of plot, which makes it a nebulous read.
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If the intent is for these one-shots to feel self-contained, this first is a success as it seems like an irrelevant diversion best suited for completists.
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It's a passable issue, but not one of Year Five's best.
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The story told here hardly feels essential to The Last Ronin saga, and while it's hardly a terrible read, most will probably be better served by waiting for the proper sequel, Re-Evolution, to tell the story of the next generation of Ninja Turtles.
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There's simply too much going on here, and not all of it is as interesting as the rest.
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The second issue of The Expanse from Corinna Bechko and Alejandro Aragon is an uneven installment.
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The entire series is the definition of inessential and quickly forgotten, but it isn't poorly crafted.
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The Madness #1 feels like a comic that's been in hiding for 20 years. Like many of AWA's comics, ACO affects a Bryan Hitch-like "widescreen comics" style.
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The Vampire Slayer #6 is a mix of some fresh ideas and others that are quickly going stale.
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Who would have thought that a comic book about transforming robots fighting could be this verbose?
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The last page offers a fun tease for fans of the series and possibly a drastic shift in direction, but this issue is a small step towards getting there.
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Unfortunately, the mixture of these elements results in an uneven reading experience.
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There are seeds of interest here, but they go mostly squandered, as is the recurring theme for the current Transformers line.
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Ultimately, this era of Transformers comics failed to leave a lasting impression.
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Writer Erik Burnham delivers that, and Josh Burcham's art makes the transition from 3-D to 2-D a graceful one. But it does feel like a missed opportunity to do something a little more transformative (no pun intended) with this property.
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Transformers: Beast Wars continues to be the simplistic, distant cousin to the main Transformers series.
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There's not much memorable here and the issue is likely to be forgotten once its closed.
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There's the start of a good idea here, but the execution is boring, and the whole thing runs its uneventful course too quickly to be fulfilling.
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There's no shortage of drama in X-Men #21, and it's a shame the artwork can't quite channel it.
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With its slow pace, X-Men makes Fall of X feel less like it has anything to say and more like another awkward holding pattern for Marvel's mutants.
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Duggan is hardly the first writer to tell stories about conditions and times more dire than those he has lived through. However, the coopting of contemporary watchwords that have already run their course and other unsubtle parallels makes the entire endeavor feel dated and too literal.
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The issue does bring some closure to the Synch/Talon/Wolverine situation that has been at the heart of the book, but with even the considerable artistic talent involved struggling to make something out of what little the script has to offer, X-Men #34 feels like the tail-end of a story stretched too thin.
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At four issues in, this latest X-Men volume is already feeling rote.
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The series has potential as the ending hints at something far more significant than Magneto's tantrums happening, but this opening chapter can't seem to settle on a consistently compelling tone.
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X-Treme X-Men #3 is chock full of patented Chris Claremont dialogue, from the hammy "body and soul" style dialogue to the mutants losing their power beat. The issue feels scattered as Claremont, over the course of only two previous installments, established at least four subplots playing out simultaneously, making it hard to connect with any of them.
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It's a series built around the charms of a particularly uncharming character, making reading it a dense chore.
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A Vicious Circle feels like a story built on a clever plot device desperately grasping for meaning and coming up empty.
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The NextGen story in the "Age of X-Man" comes to a close with a whimper.
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Like most of the "Age of X-Man" events, it's a decent premise that lacks forward momentum.
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It's an exercise in unfulfilled potential.
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"Age of X-Man" seems to be losing its way a bit. Marvelous X-Men #2 spends a lot of time pondering the goods and evils of love but struggles to define what the word really means.
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At this point, Age of X-Man: Marvelous X-Men feels like a concept in search of a story. This issue meanders, lightly hinting at beats without striking any of them firmly.
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Boom Studios' current Angel series from Christopher Cantwell, Daniel Bayliss, and Patricio Delpeche fails to shake some of its frustrating flaws in its sixth issue. Again, it feels like we missed an installment as a significant amount of time appears to have passed since the previous issue's events.
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The idea New Gotham City, this amalgamation of the DC Universe and the Turtles mythology, is fascinating. Yet we're spending almost no time exploring it. Instead, we're searching out those least changed by it so revert things back. That's the endgame in any situation, but going in that direction with little time to meander seems like such a missed opportunity.
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It feels like Batman/Teenage Mutant Ninja Turtles III should be more fun. All of the elements are there, but it's not spending enough time reveling in the absurdity of these mashed up characters.
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As is par for the course with Buffy the Vampire Slayer, there are excellent ideas hampered by messy, uneven execution.
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The series needs to start paring down its narrative threads, or this reboot will soon need a relaunch of its own.
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The Buffy the Vampire Slayer ongoing series stumbles through another issue that should be revelatory but is jumbled and forgettable due to subpar storytelling and lack of proper setup.
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The story does channel some of the tone fans of Buffy love, with the Lurkers being appropriately creepy and the beats about shrimp tacos bringing the humor. But it also suffers from all of the usual problems this series struggles with"a lack of grounding and mediocre visual storytelling"making it hard not to feel like this forgettable issue could have been something more.
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Buffy's narrative may lose its power without a seasonal structure to mark a meaningful passage of time, force it into periodic climaxes, and organically mark the start of a new chapter in its characters' lives. Instead, it's devolving into the worst type of superhero story, an endless string of things happening simply to keep things happening, which is disappointing given how much potential there is in the building blocks of this relaunched timeline.
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Yet the script devotes too much of Buffy the Vampire's Slayer #27 to watching the characters talk in circles about a villain with barely any presence.
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It's pretty telling that even Buffy herself spends half the issue asking for someone to provide a plot summary because she's lost.
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With a listless plot and clumsy visual storytelling, this issue of Buffy the Vampire Slayer is another that doesn't justify its existence.
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The series is overly-busy, and it hasn't given Joyce and Buffy's relationship enough weight for any of this to feel meaningful. This comic just can't land the big beats, making it feel like a hollow endeavor.
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It seems the series' creators can't grasp the correct pacing to give any of the story beats in this comic the appropriate weight.
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There's too much going on and not enough grounding to make any off it feels like it matters.
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There are good ideas here, but it all feels like it needed a little more time in the creative oven, and little more patience when it comes to execution.
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It's hard not to feel like Buffy the Last Vampire Slayer is ripe with wasted potential and only suited for those who can't get enough of Boom's take on the Buffy mythology.
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It's got plenty of hooks to sink into Buffy the Vampire Slayer fans, which makes it a shame it flubs the execution this badly.
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There's a nice two-page spread as well, but on the whole, this is a puzzling, unpolished conclusion to an uneven series.
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With another creative team change coming next issue, Cable remains a book searching for an identity.
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The book slow crawl and lack of clear purpose make it ill-positioned for a crossover with another title, but all Carnage stories seem to inevitable lead back to Venom, and here we are.
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It feels like there are ideas buried here, but the lack of mood and motion makes it hard to invest in whatever the narrative is trying to say.
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Only die-hard fans will want to glance at this, and even those will likely forget it soon after.
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A skippable entry overall.
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This issue of Conan is forgettable and easy to skip.
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It's a boring execution of an exciting premise.
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Conan: Serpent War feels like it's going through the motions and is perhaps telling a bigger story than its built for.
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Marvel's big Moon Knight meets Conan and some other Robert E. Howard characters has proven to be a structural mess.
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Dark Places: Good Deeds may be falling into a common trap, which is including one twist too many.
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A clashing of tones that fails to commit to one sensibility or another, or even to the tension between, creates a disorienting reading experience that fails to pose some obvious and important questions about its central characters.
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What action is included is competently done, but there's just not enough substance or flair in this comic to be truly memorable.
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Doctor Strange: Damnation may turn into a worthwhile story, but the first issue feels more like homework than entertainment.
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Compared to the far more consistent Doctor Strange ongoing series, Doctor Strange: Damnation feels all over the place.
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Those eager to visit the universe of Arrakis would probably be better off waiting for the new movie.
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Two issues in, this adaptation remains forgettable.
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When it isn't confounding, it's merely dull, going through the motions to tell a story we already know the most important beats of and failing to add anything of interest to the larger narrative.
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Dune: House Atreides stars stronger than the previous four issues of the BOOM! Studios series.
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Dune: House Atreides continues to be an uncompelling prequel.
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But the issue ends on an odd note, driving home that the series title refers to Leto's coming of age, referring to himself as House Atreides.
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But the issue's greatest sin is trying to convince us of the nobility of these political death troopers with the trite notion that, if not for Bashar's flash of conscience during the raid, the Dune saga might have played out differently. Color me unconvinced.
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At best, The Waters of Kanly #2 offers the briefest glimpse at how Arrakis suffers under Beast Rabban's rule. That's hardly enough to make the issue a worthwhile read.
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Ultimately, the issue doesn't do much that one couldn't gather from a Wikipedia summary, failing to truly engage the reader at any point with its thin plot, near-nonexistent characterizations, and competent but unmemorable artwork.
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Fall of the House of X #2 is full of moments where the artwork fails to live up the pitch.
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At three issues in, Fall of the House of X has become the antithesis of the House of X miniseries from which it takes its name. Where Jonathan Hickman insisted that all other X-Men titles end before he began his run to ensure that House of X (and Powers of X) were the sole, singular X-Men narrative for readers to focus on, Fall of the House of X feels less like a story in itself and more like a highlight reel of events happening in the handful of other Fall of X stories that are running simultaneously.
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Fall of the House of X #4 has a lot going on. None of it quite hits the mark.
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The issue builds up to twist that's telegraphed well in advance, and there's the creeping sense that this storyline"built on a quality premise"may be past its prime.
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The pieces don't come together for this issue of Firefly.
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There are the bones of a good story here, and Pak's characterizations are always spot on, but it's all a bit too muddled to appreciate fully.
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There's a nice bit of connectivity hidden here that will reward those who have been reading Boom's ongoing Firefly series. Otherwise, it's frustrating to see a good idea fall to confounding and disappointing execution.
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Brand New 'Verse's peak into the future of the Firefly universe ends quietly. With most of the character conflicts resolved in the previous issue, the finale is a pretty by-the-book escape with the aid of a conveniently place Inara and River's telekinetic friend.
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There's a rocket-powered stagecoach in this issue of Firefly: The Fall Guys, and I feel like that's somehow symbolic of how far the Boom Studios take on the series in comics has fallen.
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Firefly: The Fall Guys #4 feels like it is retreading old ground as the Serenity crew and the Archambeau Gang continue this endless process of trying to frame and/or kill each other.
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By the end, the issue feels like its run a lap on a narrative tread that's wearing increasingly thin, without anything memorable to show for the effort.
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Sons of Giants hasn't made a strong enough case for why readers should be this invested in the titular group and is taking too long to get the point of this sequel.
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Basically, if you're a fan of action movies that take clever sci-fi concepts and do basically nothing with them concoct increasingly ridiculous action pieces, then Hardcore might be your jam. Otherwise, not so much.
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This once strong series feels like it's coming apart at the seams.
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Fans probably aren't going to the Kick-Ass universe for subtlety or depth, and they won't find any here.
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It is all feels a bit rote at this point. At least Rafael Albuquerque looks good, even if it isn't pushing any boundaries.
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What this particular issue has going for it is some nice Rafael Albuquerque artwork, so at least there's that.
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Another frustrating, middling installment of the series.
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House of Whispers continues to improve from month to month, but still doesn't quite soar.
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There's an exciting development at the end of this issue, but the journey there is too often muddled and confused.
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The multiple story threads of House of Whispers finally come together in series' final issue, but they don't form a memorable harmony.
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It will prove satisfying to some hardcore X-Men fans, but lacks much of the energy and excitement that infused the first issue.
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This five-issue Iceman revival is only three issues in and already it seems to be spreading itself pretty thin.
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Iceman was supposed to be one of Marvel's canceled-too-soon, returned from the dead fan-favorite series, but at this point it seems like maybe it really has run its course.
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Iceman comes to a close -- again -- ending a less-than entirely successful revival.
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Indigo Children #1 doesn't deliver enough. It's derivative, ineffective at the basic tenets of the genre it's trying to play in, and the execution of its simple plot is rough around the edges.
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The whole thing feels hollow, a style in search of a purpose, and a mystery imploring readers to place unearned trust in the book as it unravels.
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The artwork is a little looser in spots here, but it is unlikely to change anyone's mind about the series, which continues to be a dry and unmemorable read.
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Indigo Children continues to be a case of style over substance, essentially a prolonged action movie sequence in search of even a shred of emotional resonance and reconfigured into comic book form.
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It's all fairly forgettable material.
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The way the series expresses the act of performing standup visually is still interesting, but this issue may have derailed the entire plot.
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As with the rest of the series, the issue has stellar visuals, but it's all wrapped around a confused and muddled half-story.
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Life of Wolverine #1 adapts the vertically scrolling "Infinity Comic" by writer Jim Zub and artist Roman Bachs into print with passable results. Knowing that Life of Wolverine existed first as a webtoon-style comic, it's hard not to look for the seams where the phone-sized pieces were sewn together.
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If you're not already interested, I can't say I recommend it -- I'd just as soon go watch the cartoons these are inspired by -- but I also can't really fault it for being what it is.
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Looney Tunes #245 is another example of a comic taking typical Looney Tunes characters and humor and depriving them of the inherent energy of animation to create a kind of carbon copy homunculus of a cartoon in comic book form.
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The rest of the issue is your pretty standard fare for Looney Tunes, which means pretty forgettable attempts at recreating the charm and energy of the cartoon.
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The issue touches on worthwhile themes as the conspiracy could pit the Guilds against the guildless, an almost literal representation of the haves and the have-nots, but that's not enough to excuse such poor pacing and dull means of revelation.
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As a climax to this story's first act"with much more teased by the ending"Magic: The Gathering #7 fails to deliver.
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It's a dull read that entirely focuses on the make-believe mechanics that make the plot function and little else.
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It all comes together into something that feels slapdash and serviceable at best.
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He adorns the plot with simplistic posturing dialogue and overbearing narration. It's a muddled end to this long Magic: The Gathering saga.
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This Cliffs Notes version of the epic metaplot isn't likely to compel the uninitiated. At some point, you have to trust that those who don't know and care enough to be curious know how to look things up on the internet and tell the story with the confidence that this issue is lacking.
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There's simply not much memorable to speak of in this muddled, middling issue.
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It's all anticlimactic and underwhelming and like the ghost of a better story.
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Magic: The Hidden Planeswalker has been stellar enough until now, but this issue feels like it tried to make a hairpin turn now that its secret character has been revealed and ended up skidding out. Hopefully, it can course correct in the next issue.
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It's a thin tale that leans too heavily on a twist that will leave readers annoyed more than enamored.
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Unfortunately, the simplified release program may be the most memorable thing about Marvel Rising #1 as the content of the issue uses an odd setup to present some of Marvel's most exciting new heroes at their most generic.
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New Mutants #3 is the first issue of the series without Jonathan Hickman as a cowriter. It's also the first issue to shift focus away from the original New Mutants. The results are a bit clumsy.
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There's some fun interaction between Sage and Boom Boom, but it isn't enough to carry this frustrating story.
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Compared to how engaging and interesting Sunspot's team is in the other New Mutants, Armor's group falls flat, failing to give readers a reason to care about what's going on. And Flaviano's artwork, while beautiful in its own right, still feels ill-suited to this grittier tale.
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For readers with a high tolerance for cheesy geek speak who want to see a trans hero in the spotlight, New Mutants #31 provides, but there's no escaping the sense that it is a broader and less sophisticated take than the one that preceded it.
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There's a commendable attempt here to make a new character stick in the Marvel Universea challenge, for surebut there's a sense that this is being rushed which makes it hard to invest.
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The story's intent is admirable, and there's at least one good gag, plus the comic-strip style interludes which, while awkwardly placed, are sincerely sweet. However, the execution lacks the polish and depth needed for the story to leave a lasting impression.
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The issue's dialog is often pedantic, oscillating between speaking in inspirational memes and baldly verbalizing the themes.
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New Mutants: Lethal Legion concludes with the same blend of therapy speech and cheesy humor that's defined the series throughout.
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It's all a bit messy and lacks the joy that makes the best Rat Queens stories so appealing.
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On the upside, Tom Fowler's artwork is always delightful and fits the expected grindhouse stylings. Still, the script is a confusing jumble, and fans of the original series are bound to be disappointed.
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Unfortunately, this sequel continues to fall short of the original's grindhouse greatness.
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At this point, Refrigerator Full of Heads feels entirely too indebted to its predecessor and yet misses so much of what made that original Basketful of Heads such great fun.
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While Declan Shalvey's artwork is good, it feels poorly matched to this series, too tight and controlled to convey Wolverine's savage side or the raw emotion driving most of the action.
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The series offers nothing new to say about Wolverine and no evolution, with Wolverine triumphantly exclaiming that he is the exact same character that he was before this overlong story started. Which leaves readers to wonder why they bothered.
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This issue tries, but fails to recreate the humor of its source material, playing instead like a watered down gag strip.
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The result feels confused in its purpose and like a shadow of the original rather than an extension.
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The issue looks decent enough, and there are one or two moments that earn the issue's premise, but this one is purely or the Rick and Morty completionist.
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Young fans may find it an entertaining diversion, but it's unlikely to be considered memorable.
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Unfortunately, this first issue feels somewhat retrograde.
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If the idea here is the have Samurai Doggy wander in and out of other people's stories or even the opposite, that's fine, but the creators will have to execute much better than this if they want to keep readers interested.
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The results are something like mixing together two different action figure toy lines, but the tone makes it feel like whoever is doing that mixing is a bit too old to be playing this seriously with toys.
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Search for Hu #2 is a disappointing follow-up to a stellar first issue.
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Search for Hu is a story stuck in an odd narrative loop of its own making.
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Search for Hu began energetic and ambitious, but its end feels tired and unpolished.
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There are technical skills on display herethe framing of the dream conversation nicely mirrors the real-life conversation, and the red glow of sunset speaks to the ending of the mother's lifebut that's not much to recommend.
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Jason Shawn Alexander is still a stellar fit for the series, but here's hoping he gets something more interesting to draw than mangled fingers in the near future.
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This feels like a skippable episode of an otherwise enjoyable story.
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The second issue of the Abrams' Spider-Man isn't offensively bad in the way the first issue was, but it feels like a pale imitation of other, better stories.
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There's something interesting buried underneath all of this as it becomes increasingly clear that there is a conspiracy at play. Unfortunately, the presentation and execution are too messy to make it enjoyable.
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Having the Enterprise haunted without a sci-fi explanation would break Star Trek rules, but trying to ground a haunted house scenario in Star Trek's logic leaves little room for the themes or anything beyond the base plot to shine through.
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Nonsensical dialog, weak jokes, and disjointed artwork plague the story, yet it gives Sutherland an epic, if familiar, last hurrah while drawing some interesting parallels between Sutherland and Leah Brahms. This final installment, like the miniseries collectively, is uneven but not without some merit.
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Through the Mirror struggles a bit in its third issue. The action finally begins in the first story, but Josh Hood's artwork doesn't match the level of polish of the two artists who preceded him.
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The issue is drawn well enough, but there is somehow both too little and too much going on here to find the signal through the noise.
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It's an infodump of an issue, but at least the front half has some stellar craftsmanship.
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Storm's story feels like it's getting away from itself.
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It's nice to know that Waltz has one foot still planted firmly in the Turtles universe he helped build, but this return visit feels like an exercise in wheel-spinning that's easily skipped by fans.
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The story has a sweet ending, but it's not worth the journey.
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Ultimately, the issue ends up feeling more like bookkeeping than storytelling.
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At best, this is a story for Orville completists desperate for something new during the long wait between seasons, but even they will likely find this story unexciting.
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It's an increasingly frustrating read, especially considering the promise the series showed early on.
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The Vampire Slayer #12's resolution to the story doesn't quite match the scale of its threat, and the issue doesn't build the appropriate tension.
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It feels like an issue that's standing still, and then awkwardly chooses to have characters dump their emotions all at once during what should be times of urgency.
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The issue ends feeling flat, both in its characterizations and its execution.
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It's a slow-going issue, but hopefully sets the stage for a more exciting finale.
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The charm of Transformers '84: Secrets and Lies begins to wear thin in its third issue.
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There's still something interesting at the core here as Orion Pax finally begins to see that Megatron is at the center of the upheaval that's struck Cybertronian society. We get a single page dedicated to that core as the issue buries it under harder to follow, less engrossing asides.
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Transformers #23 proves to be the end product of a narrative with all the moving parts of a great political thriller, but that can't deliver the goods.
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Transformers' most impressive achievement is making war between alien robots that transform into planes and cars an unintelligible bore.
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The script suffers many of the same problems that have plagued the series from its start, primarily dry, jargon-heavy dialogue.
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The newest issue of Transformers turns out to be another dull and unwieldy mess of characters and plotlines that are difficult to distinguish and untangle.
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There have been some action-packed issues lately, but the series consistently reverts to this state of near inertia, forcing readers to wait for the next random fit of action to happen, and the characterizations are not strong enough to carry these quieter issues.
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Perhaps next issue, the series will become something more than a pointless nostalgia strip.
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All in all, it's a disappointing payoff after a not-particularly-exciting buildup.
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There's little here to hook anyone but the most dedicated Beast Wars fan with such a thin plot.
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Maggs relies heavily on internal monologue captions to express Gauge's uncertainty. That leaves little for the art team to do then to spend another issue depicting Gauge's cult-assigned routine fo menial tasks that are as boring as to look at as they are to execute.
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Transformers: Galaxies stumbles in its conclusion to an arc that had a promising start.
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All this mustache twirling leads to one exciting development from the previous issue resolves in the most obvious way possible (at least as it appears here). At the same time, the Decepticons and Autobots continue their tiresome bickering on the outskirts. Additionally, the artwork has some noticeable issues with perspective and foreshortening, making this installment one irksome frustration after another.
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It's a shame that this installment couldn't rise to the bar set by its companion series.
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Uncanny X-Men's "Disassembled" arc is beginning to read a bit like an "and then"" improv exercise that got out of hand.
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Uncanny X-Men continues to feel like an overplayed greatest hits album.
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This story has been unfocused and detached and failing to invest readers early means the payoffs aren't paying off the way they should.
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This is a weak issue from a creative team that's proved they're capable of much better.
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It feels like this run, which started strong, is running out of gas before the end.
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Matthew Rosenberg's run on X-Men started off feeling fresh, focused, and energetic. As it's continued on it's grown a bit unwieldy, and that feeling is present in this final issue as well.
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The issue has solid art and some strong character work, but otherwise, it feels like a continuity bridge between two different eras of X-Men and little else.
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It reads like someone took the basic premise of Neil Gaiman's television show-turned-novel Neverwhere and adapted it to appeal to fans of supernatural teen dramas like The Vampire Diaries with tedious results.
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There's potential for both of these stories to grow into something worthwhile for fans of the source material. This issue isn't there yet.
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Perhaps when the larger Poisons storyline that Cullen Bunn is telling is complete this chapter will feel more worthwhile, but for now, it just feels like a derailment of what he had going on in X-Men Blue.
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Venom is beginning to feel like a skipping record. Each issue plays out pretty similarly to the last.
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The first issue of Venomized makes it clear that Cullen Bunn has thought long and hard about how the mechanics and ecology of symbiotes and Poisons work. Unfortunately, those details aren't particularly interesting to have explained.
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Venomized remains hard to recommend, but at least it's pretty and the plot seems to be going somewhere in this issue.
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The tonal hairpin road of Vinyl reads more like mismanagement than zany delight.
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It's an abrupt, clumsy end to an otherwise stellar adaptation.
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Perhaps future issues can build on the groundwork lain here and find the sense of scale it's reaching for by playing off of events in its companion series, but this debut issue is a frustrating start.
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It all feels a bit slapdash as if the creators weren't on the same page about the issue's goal, and it ends up being more unintentionally funny than good.
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A low point for Krakoa's flagship title.
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There's little in the way of dialogue beyond combat orders, leading to a confusing, off-putting mess of an introduction that also doesn't feel terribly essential to Judgment Day's plot, making it a miss on all fronts.
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The big battle should be the issue's setpiece, but it lacks the epic punch and vibrant grandeur of earlier installments of the series, feeling faded and by the numbers by comparison. A lot is going on here, and yet nothing stands out.
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A lame-duck pall hangs over this run of X-Men, which feels increasingly like a retread of the "X-Men: Disassembled" arc that preceded House of X/Power of X. Krakoa isn't even dead and buried yet, and already the X-Men are back to retreading old ground. It's a real shame.
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I'm not sure what X-Men #2 is trying to achieve beyond possibly turning X-Men into a straightforward power fantasy and not even doing that particularly well.
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X-Men Blue #22 continues the "Poison X" crossover with Venom, and the story feels like its dragging.
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X-Men Blue feels like it had a lot of its life sapped out of it due to its main character being elsewhere during what feels like the culmination of over 20 issues of stories.
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X-Men Blue is a comic where important things happen, but the comic itself fails to make those things feel important.
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The serviceable but not particularly memorable artwork does little to elevate the material.
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It is hard not to feel a little divorced from the rest of the issue's events as a result, those events comprised mostly of seven mutants yelling very passionately at each other.
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X-Men: Forever #3 tries to depict an epic battle for the fate of Krakoa, but the art isn't up to the task.
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X-Men Gold #25 loses all sense of narrative causality.
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There's nothing to hate in X-Men Gold #35, but there's not much to love here either.
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It isn't even hard to imagine revisiting those original comics and inserting X-Men: Legends #1 into the reading order to see if and how it all holds together. However, for anyone but the most dedicated fans of that bygone era, X-Men Legends #1 is little more than a baffling contradiction, a new thing made to be old that it may provide shelter to those who live in the past.
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Louise Simonson still has a strong grasp on these characters, and Walter Simonsons is a singular artistic talent, but X-Men: Legends continues to feel like a pointless endeavor.
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What was a solid Wolverine throwback story gets messy in its closing chapter.
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Nicieza tries to make something of nothing, turning it into a character piece about Sinister, but it ultimately feels at best like part of a larger story that doesn't exist.
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The lively artwork does its best, but there's no salvaging this bore.
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The story is unlikely to disappoint his fans, and David Wachter draws it well, but for anyone else, its existence is likely to raise more questions than are worth pondering.
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Even fans of the original X-Treme X-Men run will struggle to find what's essential in this revisitation.
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Avengers Tech-On #2 opens with a fight scene that is all but unintelligible due to Jeffrey Cruz's borderless artwork and milky coloring.
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The series continues to fail to build on the base pitch in an exciting way.
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There's not much here to recommend as Avengers: Tech-On continues to take an exciting premise and execute it poorly.
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There's not much here narratively to latch onto as the issue moves characters from point A to point B, reading like a rough draft of half-baked thoughts.
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Buffy the Vampire Slayer has needed a refresh for a while now. The best thing about this issue is that the opportunity has finally come.
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Buffy the Last Vampire Slayer #4 is a disjointed mess of a comic book.
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This series has been a total dud that fans will be better off avoiding.
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It's a low bar, but compared to previous series issues, Dune: House Atreides is practically readable.
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Even for the most dedicated Dune fan, there's not much here to recommend.
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It's an entirely baffling end to an utterly pointless story.
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The most noteworthy thing about Extreme Carnage: Scream is how bluntly it shows Marvel symbiote events' dull, repetitive nature.
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Perhaps the series will pick up as we get closer to uncovering how Kratos go to where he was at the beginning of the 2018 series relaunch, but this opening salvo is an uninspired bore.
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Indigo Children's ending lands with an empty thud befitting the entire run.
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Frankly, if Boom and its creative talents aren't taking this kind of book seriously enough to commit to the bit, I don't see why anyone else should.
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What more can readers get from another take on Marvel's first five mutants after 60 years and all those previous returns? Based on The Original X-Men #1, not much.
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The Vampire Slayer was an uneven attempt to start the Buffy the Vampire Slayer mythology over anew, proving too familiar at times and pointlessly different at others but it had its high points as well. This finale is not one of them.
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It was unwise to prop these Wolverine-centered series as spiritual successors to House of X and Powers of X. It set them up to disappoint, and disappoint they did.
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It feels like there's a disconnect between the story the creators think they're telling and the story that appears on the page, and I'm not entirely sure they envisioned the same one to begin with.
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X-Men #5 simply does not measure up to the legacy it seeks to co-op.
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These X-Men: Legends stories often struggle to justify their existence, but this one may make the previous work it intends to complement retroactively worse.
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X-Men: Trial of Magneto #3 goes entirely off the rails and reads like a jumble of random events, abandoning any sense of cohesion.
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Are the events of Trial of Magneto going to be significant and perhaps a relief to certain fans? Sure. Are they enjoyable to read? Not really.
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It's entirely possible that, with this bit of homework out of the way, the remainder of this miniseries will be something enjoyable for fans of Claremont's X-Men voice, but this issue is a waste of everyone's time.
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But even setting aside cultural sensitivity issues, with the central premise not coming to the fore until the final page, Avengers: Tech-On #1 is running on nothing but wasted potential.
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Avengers: Tech-On remains an idea in search of a story worth telling.
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Brian Herbert and Kevin J. Anderson's prequel story hasn't been all that compelling of a read before this, but now that it's just checking boxes, it's somehow even more rote than before.
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The plot is spread too thin, is so lacking in focus that it's a struggle even to enjoy it as a fictional history of a fascinating universe. It's almost literally a shadow of what spawned it.
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This issue isn't simply terrible. It's offensive in the most careless and puerile ways.
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This story is simply an infuriating and baffling read.
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Ultimately, Firefly: The Fall Guys is another failed attempt to get the Serenity crew's comic book adventures back on track.
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After two issues of hollow navel-gazing and half an issue of working up to it, perhaps the next issue will eventually see this God of War series living up to its namesake.
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We've reached the penultimate chapter of this miniseries, and the story has yet to justify its existence or the time spent reading it in any way.
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If you enjoy big dumb action movies, you should probably go watch one of them instead.
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This is a resurrection story that has clearly drug on too long.
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All-in-all, Rom: Dire Wraiths #1 is a rote and entirely skippable affair.
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ROM: Dire Wraiths #2 is as much of a boring, poorly-crafted, mess of a comic as its predecessor.
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It's a maddening slog that transcends the traditional definition of a vanity project while wasting Kudranski's artistic talents.
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Spider-Man #1 is an inauspicious start to what might be the biggest Spider-Man comic of 2019. Fans of Spider-Man, Abrams, or Pichelli may hope to find something to love here. Unfortunately, the poor storytelling, bland characterizations, and less-than-memorable visuals combine to make Spider-Man #1 hard to recommend.
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This Spider-Man story continues to be a frustrating blend of cliches and poor storytelling.
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The most impressive thing about this Spider-Man series is how seamlessly it blends its derivative story to its clumsy execution.
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The final issue of the much-hyped Abrams Spider-Man series almost approaches competence.
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IDW'S first Star Trek: Discovery miniseries continues to trudge along, but at this point is hard not to wonder why.
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The creative team here is capable of solid storytelling, but this issue just does not come together in a way that makes sense.
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Typhoid Fever X-Men feels like it was a failure from the word go.
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The fourth issue of Uncanny X-Men takes the "Disassembled" arc from "not living up to expectations" territory to being actively frustrating.
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If Venomized ever had a narrative thread, it has certainly lost it by now.
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X-Men Gold #24 is a low point for the series.
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The idea of a series existing alongside the main X-Men line that revisits eras from the past isn't inherently a bad one. However, this is a prime example of how to go about it in all of the wrong ways.
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Simply one of the messiest ventures to come out of the X-Men's Krakoan era.
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