Jamison Nilsson Comic Reviews

A Mischief of Magpies #1 features idyllic artwork that captures a rich and original world of unrestrained imagination. The writing is self-aware and full of colorful characters, with the lovable magpies calling out tropes and Mar being entirely cognizant of his own call to arms.

Absolute Flash #8 is an essential issue both for fans of Barry Allen and those just seeking to collect the key issues of the Absolute Flash run. Not only are several different origins revealed, but characters are given more texture, and the future of possibly all of Absolute Flash is set up in its pages.

Absolute Flash #9 is a beautifully drawn and well-written character-focused interlude that doesnt push the narrative much further but instead brings all of the principal characters up to speed with each other while also deepening the mythos and the powers of Wally West that are beginning to prove more plague than privilege. My recommendation: if youve been collecting Absolute Flash so far, then I recommend picking up this comic. On the other hand, if you havent yet picked up any of Lemires Absolute run yet, then Absolute Flash #9 might be a good place to dip your toe in the water to see if Robless art or Lemires version of the characters is your cup of tea, although you might be missing some important context provided by the past eight issues.

Despite its shortcomings, I found the tenth issue of Absolute Flash to be one of Lemires best works in recent memory. Each of the principal characters, especially Wally himself, is given enough time to shine without bogging the issue down in side stories. Unfortunately, the issue moves at a pace much faster than the rest of the issues so far, leading to a feeling of jet lag as the reader waits for the story to catch up with the writing.

Absolute Flash #11 is effective as a direct continuation to issue 10 but fails to answer any of the readers' questions regarding the experiments in Fort Fox or the nature of Wally Wests superpowers. The momentum of Jeff Lemires Absolute Flash storyline is beginning to slow despite nearly a dozen issues of building this far; this makes the issue into purely connective tissue for the previous issue and the next, which may alienate a number of current readers if it fails to deliver on any of the major plot threads that Lemire has set up in the course of a years worth of writing.

Absolute Flash #12 is the summit Jeff Lemire has been trying to reach since Absolute Flash began a year ago now. It feels like an anniversary, celebrating the previous eleven issues while also changing the status quo for Absolute Flash’s second year running.

Absolute Flash #13 sets up the relationship of Wally West and Linda Park. The issue reads like an episode out of a slice of life anime, both in Jeff Lemire’s writing and in the new art style from Haining.

Absolute Flash #14 is a masterpiece of artistic display and an incredible example of narrative setup and payoff. The issue effectively writes each of its principal characters while continuing to build on the growing Absolute Universe as an elite example of world-building in modern comics.

Absolute Flash #15 is a fast-paced feast of visual feats and absolute universe first appearances that fit together nicely and set up one of the title’s most exciting story arcs so far.

Issue #16 is tightly paced from start to finish, with every line of dialogue either developing the bonds between the characters or pushing the storyline to the next page. Even the last few pages don’t feel like bait for the next issue because they actually answers the reader’s questions rather than simply kicking the can down the road.

Aquaman #11 works well as a tie-in to the wider DC K.O. event happening right now but feels more like a side story or a filler episode in the wider narrative created by the past ten issues. Adams writing remains sharp for the series, while Malavias art doesnt quite fit the world and characters as theyve been put together in the current run. My recommendation: If for little else, this issue is worth collecting for its continuation of Meras story and journey through waves of mystery. Alternatively, if you want to collect the entirety of the DC K.O. event, then this tie-in issue provides some additional texture and information on Aquaman and closely related characters, such as the recently assembled Justice League Blue.

Barbara Gordon: Breakout #1 is a fresh take on Batgirl beyond the suit but doesn’t do much to justify its own premise. The artwork is good and maintains the tone of the Batman line at DC Comics, while having a unique enough visual identity to separate it from the other titles running parallel to it.

Batman #6 is an entertaining interlude that gives readers a short rest from the breakneck pace of the storyline that was kicked off in Batman #2-3 last year.

Batman #7 is a well-written issue that understands Batman’s complicated, decades-long relationship with the Joker and subverts readers' expectations at the same time.

Batman #8 is beautifully drawn by Ryan Sook and is narratively divided between three characters, none of whom are Batman. That may put some readers off; they’re paying to see Batman (and while they do), some may dislike that he’s not the focus of this issue.

It’s the level of character writing you would tend to see in a several-issue-long story arc, not contained in one issue. Matt Fraction has made it well known that he wants his Batman run to feel more like episodes of the week with connective elements rather than a long continuous story arc. The goal of this is so that any given issue, especially when collected randomly, would be worth a read. Issue #9 is the exact formula for that specific kind of storytelling.

Batman #10 experiments with interesting visuals and confirms the character growth of the current Batman run while setting up future storylines.

The eleventh issue of Matt Fraction’s Batman is an exciting start to new storylines and the introduction of a new character.

Fraction’s run on Batman has been episodic, focusing on monthly stories with some story threads that connect different issues. Batman #12 works as a part of this run because it focuses on establishing a few characters we’ll see again in the future rather than a long, winding story arc that requires several issues to properly follow.

Batman/Static Beyond #1 is a promising start to a new ongoing series. Evan Narcisses writing gives both characters room to shine, and Nikolas Draper-Iveys artwork captures a futuristic world thats not so different from today at its core. If you are a fan of either Batman Beyond or Static, whether it be from the '90s and 2000s cartoons or from their respective appearances in other comics, I recommend giving Batman/Static Beyond #1 a shot.

Despite the issues first appearance, which I dont mention above due to that character not having enough development to really talk about, Batman/Static Beyond #2 was a disappointment compared to last months exciting opener. My recommendation: wait for a future collection of this story has held your interest.

Batman/Static Beyond #3 is an issue trying to tell two different kinds of stories, and one of those works while the other doesnt. The central blackout storyline is executed well, while the motivations of its villain seem petty and shallow. With artwork that continues to shine despite a few minor issues, Batman/Static Beyond #3 is a solid pickup for fans of either character and is the continuation of a decent storyline.

Binary #2 is a solid story with visually striking art and a strong thematic throughline for both the characters and future issues to follow. If you picked up last months Binary #1, then I recommend counting the story with Novembers Binary #2.

As the setup for a 4-issue limited series, Black Panther: Intergalactic #1 expands the mythos of TChalla as a leader and lays the foundation for a landmark story against the backdrop of Jonathan Hickmans Imperial event.

Capes #1 by Kirkman and Englert is an irreverent and raunchy superhero series that falls just a bit short of the satire greats like its Invincible backdrop or The Boys. With characters that try something outside, it is hard to be overly offensive to evoke comedy, and art that feels outdated for the year and genre, Capes #1 is a misstep in what could have been a major expansion on Robert Kirkmans Invincible universe.

The Comics Giveaway Day 2026 edition of Locke & Key #1 is an accessible entry point to the award-winning series made all the more popular by its Netflix adaptation. And since graded copies of the original first printing can reach several hundred dollars in the secondary market, making them mostly inaccessible, it’s generous for IDW to put this out as a free comic rather than as an expensive promotional deluxe edition.

Cyclops #1 is a fast-moving issue that sets up the next four issues of this five-issue limited series and features excellent, darkly cinematic artwork. The issue only stops its pace very briefly to hammer home the deep characterization of the X-Men’s leader for both new and longtime readers.

Cyclops #2 is an incredibly genuine issue that reads like a celebration of the entire creative team to the reader. As the second issue in a five-part limited series, it sets up the stakes and establishes the characters clearly without needless filler or fluff to bloat page count. The writing is sharp, and the art is detailed, with no glaring weaknesses or oversights that might otherwise lessen the impact of this story.

Cyclops #3 sits in a solid position within the limited series. It’s not quite the climax that issue #4 is building up to be, but it’s a solid bridge between issues #2 and #4 that develops the growing mentor-mentee relationship between Cyclops and Mei as they struggle to outrun the Reavers.

The fourth issue of Cyclops nails its role as the penultimate issue by bringing together all the characters like pieces on a chessboard and setting up the final confrontation.

Alex Paknadel’s Cyclops limited series is about the true price of self-sacrifice and Cyclops’ role as the first to put himself on the line, even when dragged into a risky fight without fanfare. Beyond that analysis is a complex, focused storyline that respects the reader’s time, honors Cyclops, and has rich visuals.

My recommendation: A great pickup for fans of lighthearted fantasy or dark fairy tales. If youve read Brett Beans I Hate Fairyland, then you know exactly what to expect.

The overall quality aside for a moment, this new story doesn’t rely on too much context of the previous storyline, making it highly accessible for readers who haven’t read the previous run. There is also a helpful page for new readers that includes a quick recap of the previous storyline and another page showing each character’s allegiances.

DC K.O. Knightfight #1 is a short but thrilling adventure full of well-drawn pages penned by Dan Mora and populated by characters who are at their absolute best when written by Joshua Williamson. If you are keeping up with the mammoth DC K.O. event, are a longtime Batman fan, or are just a fan of anyone on the creator team, I fully recommend DC K.O. Knightfight #1 for your collection. Not only are each of its creators doing some of their best work, but the issue stands in the perfect position to become an important landmark of the DC K.O. event.

DC K.O.: Knightfight #2 is a fast-paced adventure full of action through two very different but equally intense future worlds where Batman is forced to confront both his failures and his fears. Joshua Williamson is able to bring out Bruces personality and the personalities of his sons even with fewer pages than fans would want. The art nails not one but two worlds and makes the one constant between the two of them, Batman, pop out. My recommendation: If you read and enjoyed Knightfight #1 last month or are a fan of Red Hood, I recommend DC K.O.: Knightfight #2.

With both Scott Snyders Absolute Batman and Matt Fractions mainline Batman, it truly feels like Dark Knight fans are getting spoiled nowadays, and to top it all off, fans get this excellent story from Joshua Williamson. My recommendation: if you have read and enjoyed the previous two issues of DC K.O.: Knightfight, then issue three is a great pickup for you.

Thats all, folks; I dont think I need to bother with a my recommendation section like I usually do.

Deadpool: April Pool’s Day #1 is a funny, self-contained adventure that encourages readers to check out older comics.

Whether he’s drawing notoriously detailed erotica, dark urban fantasy, or some mix of the two, Stjepan Šejic’s artwork is one of a kind. Gruesome, painterly, and full of clashing colors, Death Vigil is one of Šejic’s best outings. The characters are each quirky and unique, with memorable traits and visually interesting gothic designs. Issue #1 is both a good jumping-on point for new readers and a great point of return for those who read the previous volume a decade ago. Alternatively, the trade paperback for the eight-issue first volume was reprinted last year and is quite accessible for those who are interested.

As the beginning of an ongoing series, Deathstroke: The Terminator #1 is action-packed and beautifully drawn. The writing manages to capture the persona of the world’s greatest assassin without making unnecessary changes to his impressive comic canon.

Deathstroke: The Terminator issue #2 ups the ante on Deathstroke’s revenge quest by having the hunter be hunted. Millions of mercs, famous and unknown, are after Slade. This title is shaping up to be something rather special that feels like an animation divested into the comic book format.

This issue is an exciting escalation of a storyline that was already a strong running series. Enough is set up for readers to want to read the next issue, even while issue #3 itself was packed full of meaningful content without relying on filler or heavy exposition.

Tony Fleecs has been able to make me think of Deathstroke as Slade Wilson, rather than just the intimidating badass he is normally portrayed as. Carmine Di Giandomenico’s is as sharp and vivid as always, while Ivan Plascencia’s ability to visually track lighting in shifting scenes across dozens of panels and use it to enhance the tone is also a notable highlight of the issue’s visuals.

Deathstroke: The Terminator #5 is a beautifully drawn, intriguing chapter in Tony Fleecs’ story that brings Slade face-to-face with one of the people he’s hurt the most.

Personalized recommendation: If you have collected the previous 5 issues (#1101-#1105) of this story arc, then Detective Comics #1106 is a natural capstone to that collection. However, if you’ve not yet picked up any of the six issues or only have a few of them, I would recommend reading the entire story before committing to a full collection.

Detective Comics #1107 sets up a multi-issue team-up arc for Batman, Green Arrow, and Black Canary. The beginning of this new storyline is a bit strange, creating the sense that it’s “filler” or unnecessary to the reader.

Detective Comics #1108 is a solid improvement over #1107, especially with the storyline Tom Taylor is developing with the new retroactive character of Prion and the expanded art team that illustrates a more immersive world.

Detective Comics #1109 brings back Mikel Janín’s artwork and develops the storyline that began in issue #1107 quite well.

Detective Comics #1110 is a character-driven issue that’s a strong continuation of the “Flight” storyline that enriches the mystery of Prion’s character.

An intergalactic investigation headed by Batman AND Lobo is exactly the kind of wild storyline that makes annuals exciting books to collect. The Detective Comics 2026 Annual is a solid story with good artwork, simple as that. It’s not something that will redefine Batman storytelling for years to come, but who would want it to?

Echo: Seeker of Truth #1 manages to honor the character of Echo and her nearly thirty years of comic history while also bringing a great indigenous story to comic book stores in time for Native American Heritage Month. With a sharply written story and colorful artwork, if you have any interest in Echo as a Marvel Comics character or simply want to support your heritage, I gladly recommend Echo: Seeker of Truth.

Fantastic Four/Gargoyles #1 is great for what it is but ultimately lands as a generic yet entertaining one-shot with a mostly forgettable story. If you are a fan of Gargoyles or just like to collect the odd one-shot or two, consider Marvels Fantastic Four/Gargoyles by Greg Weisman.

At 56 pages, Fireborn #1 is a sizable comic and a long read. Unfortunately, that is a very unbalanced read, as the writing is rather awful with a self-important voice that weakens the overall experience despite the issue’s incredible artwork.

As a last thing to note, each copy of Foundations #1 includes a free 90-day trial of 3W / 3M’s MythicPowered.com, which carries all of their currently released comics in digital format. For that reason alone, the $7.99 price tag of Foundations #1 has a bit of extra value for readers to consider, as a monthly subscription to 3W / 3M is the same price itself, so readers are getting somewhat of a two-for-one here.

Immortal Legend Batman #2 (of 6) is a fun, stylistic action-adventure. However, it lacks the depth that diehard Batman fans might expect. Immortal Legend is also missing the character of Gotham itself, at least so far, which is a definitive element of anything titled Batman.

With finely detailed art, a philosophical message at the core of its plot, and the glamor of good comic color work, Jubilee: Deadly Reunion #1 is an exceptional issue for fans of Jubilee.

Kill All Immortals II: #1 is an action-packed start to a great graphic novel. Thanks to Kaplans writing, it is accessible to both new and returning fans from Kill All Immortals first run back in 2024. I recommend picking up the first issue to fans of action series like John Wick or fans of series with complex family dynamics like Succession. For those who want the full story, check out the original Kill All Immortals graphic novel!

The first issue of Knulls new solo series is a decent start to a niche storyline, albeit with minimal narrative setup in its first 28 pages. Instead, Knull #1 seeks to introduce new readers to the king in black himself and to create a new iconic title. Whether or not this story works for you depends heavily on your own tastes. The gore was well drawn, and the rest of the art was strong. The story from a single issue is almost impossible to judge aside from what it sets up, which so far is very little. The gore in just one issue is enough for fans of the specific subgenre, but readers looking for more depth might not find what theyre looking for.

Magik & Colossus #1 works great as an opening to a 5-issue limited run duo story. It seems like ever since the massive success of Deadpool and Wolverine that Marvel has learned to place two contrasting personalities together for a great story. This works even better here, as Magik and Colossus are siblings with a much clearer attachment to one another.

Magik & Colossus #2 slows down the overarching storyline to focus on the characters themselves.

Magik & Colossus #3 takes the build-up that the first two issues have created and uses it as fuel for the best of the three yet. Ashely Allen’s dialogue is full of subtext, and Germán Peralta’s artwork is at the top of its game across all 27 pages.

Magik & Colossus #4 is a solid penultimate issue for a storyline that has been consistent in its tone, impressive artistic style, and its character’s voices.

Magik & Colossus #5 is a solid ending to a 5-issue limited series that was pretty good up until now. It’s not a bad issue, but it lacks the same tight pacing and narrative nuance as the previous four issues, making it the weakest of the run.

Whether you are a fan of the game or exclusively a fan of Marvel comics, Marvel Rivals: Ignite #1 has a little something for everyone. My recommendation: a great pickup for fans of Marvels short story collections and an even better pickup for Marvel Rivals players who want to dip their toes into comics.

Marvel Zombies Red Band #2 (of 5), while fun, is a disappointing read in terms of what it could have been. Opportunities are missed left and right, such as non-generic zombie redesigns of iconic heroes or tension between heroes and villains forced to team up to survive the flesh-eating horde. While the issue features plenty of action, the story reads more like a tunnel between Issue #1 and Issue #3 coming in November 2025. If you plan on picking up the entire five-issue series, then Marvel Zombies Red Band #2 should be a part of that collection. But if you are just looking to see if the Red Band line has delivered on its promised gore and horror, then in my opinion no, it hasnt, and I would not recommend this months issue of Marvel Zombies Red Band.

New Avengers #6 continues to build on the plot threads established in the previous 5 issues, beginning a new stage of the same overarching story. The sixth issue of New Avengers brings out more of the characters personalities and pushes the story forward with an interesting cast of villains that are sure to entertain in future issues. My recommendation: if you have been following the current New Avengers run by Sam Humphries so far, I recommend adding New Avengers #6 to your collection.

From the decision to use singing captions as a narrative device to the reoccurring motifs of prejudice and finding a sense of belonging in toxic subcultures, the writing of Odin #1 is sharp. That combined with the artwork, which includes several detailed pages and an excellent command of color, creates a cinematic narrative that actively entrances the reader in the story of a group of characters they easily dislike.

I cant begin to stress just how much I personally loved Radioactive Spider-Man #1, both as a critical reviewer and as an all-things-Spider-Man fan. If you are a fan of Spider-Man like myself, especially the weirder runs, or if you are simply looking to pick up the best titles of the Age of Revelation, then I wholeheartedly recommend Radioactive Spider-Man #1!

Radioactive Spider-Man #2 is a tension-focused issue with dull action sequences and overly heavy dialogue. However, the issue manages to bring out some of Peter Parkers better qualities and is fantastically colored. My recommendation: if you picked up last months Radioactive Spider-Man #1 and are interested in seeing where the story goes, then I recommend picking up a copy of issue #2 for yourself, but if you are simply looking to see if issue #2 improves on the first issues strengths or diverges from its lesser qualities, then you will find this months Radioactive Spider-Man lacking.

As the end to a limited series, Radioactive Spider-Man #3 is an emotionally charged conclusion with incredible artwork but is plagued by unusual narrative decisions and a clunky execution of its main plot.

Erica Schultzs Rogue #1 sets up a fresh storyline for Rogue without stepping on the toes of Gail Simones Uncanny X-Men, of which Rogue is an integral part. My recommendation: Rogue #1 is a great expansion to the current Uncanny title but perhaps not the best place for new readers to start with Rogues character.

Rogue’s solo story is setting up to be more than just a detour. As changes to both her powers and revelations about her past begin to surface slowly throughout the issue. Erica Schultz’s characterization of Rogue has been excellent, especially when combined with the artwork by Luigi Zagaria, which is able to capture the chaos of shapeshifting and power-stealing at the same time.

Rogue #3 (of 5) doesn’t do a lot story-wise, but it’s a good transition issue. After Rogue’s powers begin to malfunction, it’s reasonable that a “bridge” issue is needed for both her and readers to adapt.

Rogue #4 is an easy read and continues to develop the limited series’ storyline but does little to justify that storyline’s continually delayed plot points.

Rogue #5 ends a limited series that didn’t do much with its title character and doesn’t fit the tone of Rogue’s ongoing portrayal in the Uncanny X-Men series.

Sai: Dimensional Rivals #1 is the start to a series of what promises to be unique stories told by an excellent creative team. Three of modern art and storytellings masterminds have created a story fit for a niche audience looking for exactly this kind of story.

Even with moments of predictability and, at times, overly dense pages, Skinbreaker #1 serves as a successful opening to a wider world and a longer story that is sure to keep readers enthralled for its 8-issue limited run.

My recommendation: If you picked up the first issue of Skinbreaker back in September, then issue #2 will make a nice addition to your collection.

Skinbreaker #3 is a bridge issue between the beginning of Anoks era and what comes after. Finchs artwork continues to excel at sketching an alien world full of an all too familiar primal dread. For all three issues thus far, the creative team has been working on overdrive to deliver their talents in a way that complements one another without compromising the story. My recommendation: if you have read and enjoyed the previous two issues of Skinbreaker, then issue #3 is for you.

Issue #1 of Spider-Man: Long Way Home is a good start to a storyline that feels fresh and distinct from the current Marvel titles and features masterful artwork from Adam Kubert that uses heavily cinematic scene composition.

The second issue of Spider-Man: Long Way Home is an entertaining and cinematically drawn read that moves the characters around the board.

Strange Tales #2 (of 4) is a very silly comic in the best way. The writing and the artwork both work towards the same goal of accentuating the sheer goofiness of a magical adventure backlit by Halloween. Whitleys writing is full of humor, and Underwoods art is full of heart. If you enjoy Marvels magical stories or stories centered on any of Strange Tales principal characters, then I recommend picking up Strange Tales #2.

At 48 pages, the “Summer of Supergirl Special #1“ is an enjoyable though predictable read, well dedicated to Supergirl, that acknowledges her importance without simply watering her down to “Superman’s cousin.” Further, the individual art teams each nail different variations of the cartoonish aesthetic that a set of stories like these thrive on. The stories themselves don’t connect, but they don’t need to, as each one focuses on a different part of the Woman of Tomorrow’s character. Beyond the heart and the optimism of the three stories, there is little nuance due to a lack of an overarching storyline so the trade-off for the reader is in the variety of the different stories and how their creative teams go about them.

By the end of it, even with its last page hook, Terminal #1 felt just decent. While Kubert’s artwork is strong, nothing in particular about the story or world carries a certain wow factor readers look for when diving into a new ongoing series.

The Darkness versus Angelus is an intricately detailed one-shot that weaves together story threads without drastically altering the cultivated tone or aesthetic of The Darkness. While it adds a lot of depth to previously underwritten characters, the one-shot also touches on the story of the current run by reinforcing the emerging character dynamics.

The End 2099 #1 (of 5) is the impetus to a larger story, focused almost entirely on setup but manages to avoid feeling like the bad kind of required reading by filling that setup with carnage while also establishing stakes for the characters involved. This is a big story, but its not a complex one, which prevents too much cramped detail and offbeat dialogue. My recommendation: If you are a fan of Marvels all-out war-style stories or if you have an interest in any of the iconic 2099 characters, then I recommend giving The End 2099 #1 a read.

The Last Wolverine #2 is Saladin Ahmeds Wolverine story that reads like fan fiction. With solid artwork and a poorly written storyline, not to mention the weak characterizations of its principal characters, I recommend skipping this second issue unless you really loved last months first issue. However, if you were drawn to this story for its titular character, Wolverine (the real one) has yet to show up, and Id advise keeping that in mind while weighing your purchase.

The Rocketeer: Infiltrator #1 sets itself up as an intriguing start to an espionage storyline bordering on the noir genre.

Undead Iron Fist #2 (of 4) proves that Danny Rand is truly immortal, at least when it comes to sheer martial arts coolness. Last month he returned with a mysterious new mission, and while this months issue only revealed a small portion of what that mission is, it did manage to capture the famed awesome action of the iconic former Iron Fist. If you are a longtime Danny Rand fan and happened to pick up last months Undead Iron Fist #1, I recommend Undead Iron Fist #2.

The Witcher: Blood Stone #1 is an excellent introduction to a short four-part story and is set up as strong further reading for fans of the Witcher universe. Both the story and the art seem to understand the world and its most famous character, Geralt of Rivia, who is portrayed well despite only playing a small role in the actual events of the issue itself. My recommendation: perfect for pre-existing fans of The Witcher, perhaps a bit confusing for first-time readers that arent already familiar with the character or world.

If you are a fan of The Witcher, whether it be from the original books by Andrzej Sapkowski, the video games from CD Projekt Red, or the television series from Netflix, The Witcher: The Bear and the Butterfly should be perfectly aligned with your expectations from the setting and characters. My recommendation: a fantastic conclusion to a four-part comic series for Witcher fans of all kinds.

Unbreakable X-Men #2 is a classic set-up issue that gathers more characters and provides context to the big bad of the storyline, the Voice of DarknessShuvahrak. With an enormous art team that brings even bigger talent to the page and a writer who, so far, doesnt waste the readers time, Unbreakable X-Men continues to be a story worth collecting. The two issues so far have very little breathing room between action scenes and lengthy exposition, which some readers may find overwhelming at first. My recommendation: if you picked up last months Unbreakable X-Men #1 and were interested in seeing where the story goes, then I recommend adding issue #2 to your collection. Alternatively, for my Gambit fans, Unbreakable X-Men continues to be one of his better characterizations in recent memory.

As a finale to a limited series, Unbreakable X-Men #3 (of 3) delivers on Gambits emotionally charged journey by making the story about the challenge of living rather than the big picture goal of defeating a giant villain. This focuses the story on something more bittersweet than just a large action fest and brings a realness to the characters involved. My recommendation: if youve enjoyed the past two issues of Unbreakable X-Men, then I recommend issue #3.

For an annual, Uncanny X-Men 2026 is a solid enough issue for its 30 pages but doesn’t do much for the Louisiana X-Men aside from build the world around the Haven House and its already likable mutant residents.

Uncanny X-Men #22 is a continuation of a strong story in a sea of new beginnings for many others. With great writing, especially in the dialogue and characterization of iconic characters like Nightcrawler, this months issue shows why the series has been so strong in its two-year run since From The Ashes began and ended. Gail Simone has once again proven that the series can stand on its own two legs and be absorbed into the new era of X-titles with Shadows of Tomorrow beginning this month at Marvel Comics.

Uncanny X-Men #23 starts a new storyline for the Louisiana X-Men with a twist. The arrival of new foes and the rift forming in the team sets up a lot of potential for the next few issues.

Uncanny X-Men #24 is packed full of great art and dialogue. The artwork nails the dark and eerie ambience of '80s slasher films, and the internal dialogue captures each character’s own personal lightning in a bottle.

Uncanny X-Men #25 is packed to the brim with excellent artwork and strong character writing, albeit with an overwhelming amount going on in one issue.

Uncanny X-Men #26 is a much-needed reset between the previous storyline and the next arc of Uncanny. Vecchio taking over the art is a strong new direction, although David Marquez’s art will still be missed. A new art style just in time for a change in story trajectory was a good call.

Issue #27 of Uncanny X-Men reads like a comic with an interesting story that someone deliberately removed the context from to make it seem more mysterious than it actually is.

This storyline has gotten more and more confusing to the point that it would be nearly unreadable without Vecchio’s artwork holding it up like atlas and the sky.

Uncanny X-Men #29 is a messy ending to two poorly handled storylines with lazy writing and simplistic artwork. This storyline, which covers the past four issues, does not respect the readers' time, interest in this series, or the money they spent on these comic books, and therefore, I cannot personally recommend this issue.

This issue is really messy. Not quite as fever dream-like as the previous one, at least not yet, but the writing feels incomplete while the artwork does the heavy lifting in carrying every scene from the first page to the last.

Uncanny X-Men #32 unfortunately continues a trend of blandness for the title.

Undeadpool #1 is a great issue to start off a new run for one of Marvels most iconic characters. The issue has all the eerie ambience of a slasher horror, the purposefully cringey young adult drama of a team of young superheroes, and the humor of the merc with the mouth. This issue proves that no matter how mutated he may become, Deadpool never truly changes. My recommendation: great for new fans, even better for Deadpool fans.

Undeadpool #2 is a solidly paced issue with decent writing and smooth artwork that adds a dash of spookiness but doesnt overdo it to the point of being a full-blown horror comic. There is a subtle tension brought out by how the artwork and writing work together, which elevates the overall experience for readers. My recommendation: if you enjoyed last months issue, then I recommend Undeadpool #2.

Undeadpool #3 is a satisfying conclusion to a strong story. The pacing of all three issues has been extremely tight with flashy but dark artwork and one of the weirdest versions of Deadpool weve gotten as fans in a long time.

Universal Monsters: The Invisible Man #2 (of 4) is dark and twisted in all the ways fans of either James Tynion IV or the Universal Monsters franchise would expect. If horror, weird science, and a light dash of psychology are any of your personal favorites, then Universal Monsters: The Invisible Man continues to be for you.

Universal Monsters: The Invisible Man #3 (of 4) serves as an effective penultimate issue to this psychological horror series, capturing the weird science and eerie thriller elements of the Universal Monsters franchise. Its nice to see such an old, beloved series be brought to life with fantastic artwork and entertaining writing. That said, Universal Monsters: The Invisible Man is definitely not for everyone. If youve read and enjoyed the previous two issues of the series, Id recommend picking up a copy of issue #3 for yourself. If not, then Id give it a pass for now.

Universal Monsters: The Invisible Man #4 (of 4) is an effective ending to a well-written and drawn story that rounds out the growing Universal Monsters comic series. As fans of James Tynion IV likely expected, all four issues of this mini-series have been full of tension and plot twists that have driven readers from page to page and issue to issue. With some nice small references to past incarnations, strong art, and fluid dialogue, issue #4 is an effective ending to James Tynion IVs Universal Monsters: The Invisible Man. My recommendation: if you enjoyed any of the past three issues, I recommend finishing the story with issue four. On the other hand, if you havent yet checked out Tynions Universal Monsters: The Invisible Man, then I recommend starting with issue #1 released back in August.

The riches-to-rags pirate adventure promise of Vampyrates! is only partially fulfilled in issue #1. The characters are clearly portrayed but rather simplistic and lean towards tropes, while the artwork excels at creating the vampiric aesthetic of the series, dripping with gothic nautical fantasy.

Wade Wilson: Deadpool #1 is beautifully unhinged and works very well as the setup for Deadpool’s new ongoing series. Most of the issue is scattered fun and games until the end, but that’s very in line with Deadpool’s brand. Whether or not this redefines the character of Wade Wilson can only be seen after several issues, but for now, it’s not a bad start.

What If…? Thor Is a well-paced one-shot that doesn’t try to outdo any prior storylines. The writing is sharp, and the artwork is neat and full of dynamic action scenes. Overall this is a solid read for fans of Thor or any of Marvel’s numerous What If...? titles.

As an epilogue to a very bloated event that was met with mixed responses, X-Men #23 is an excellent subversion of the story arc it concludes and will certainly serve as a north star of the story arc it intends to set up. My recommendation: a solid piece for both the end of the previous age of X-Men and the beginning of the next age, Shadows of Tomorrow.

Ultimately this is sort of a side issue, at least thats the best way I can think to put it. Two issues in one month signal a bold play from Marvel, who has expedited the end of last years Age of Revelation to begin the next era of X-Men storytelling with X-Men United coming in March of this year. Whether or not this issue is essential to the greater story is a matter of focus. If you want a complete and rounded picture that delves deep into each mutant faction, then yes, its a pretty important issue. But, if youd prefer just the core adventures or the greatest action pieces, then no, its not very essential at all.

X-Men #25 is hard to review because some of the characters are written very well, and it’s easy to see just how much Jed MacKay understands them, but on the other hand, the actual storyline of the issue is a mess. Most of its problems stem from previous issues and a reliance on a major title-wide event that most readers are extremely bored of.

X-Men #26 opens up a new story arc for the Alaskan X-Men. The new art team does an excellent job, and the story for at least the next four issues is set up without too much exposition.

X-Men #28 is well drawn but with a generic storyline that doesn’t seem to be going anywhere special.

By the last page, X-Men #29, and honestly, the whole Danger Room story arc so far has felt like, at best, amateur fan fiction inspired by older X-Men storylines. There is a hint of substance to the writing; some scenes try to set up a meaningful narrative, but none of it ever comes together into something that the reader is actually supposed to care about. It is saying the same thing as any X-Men story about being the outcasts, but in a way that lacks the nuance that has defined X-Men in the past.

X-Men #30 is a poorly written issue that finishes an overly dramatic story arc that has failed to change anything about the X-Men’s status quo or establish interesting new characters.

X-Men #31 begins a new “Anomaly” storyline without laying interesting plot threads or doing any character work and instead relies on unimportant dialogue and a lazy last-page reveal.

X-Men #32 interestingly ramps up the Anomaly storyline that began in X-Men #31 with solid character moments and solid artwork.

X-Men #33 is a deeper exploration of Ben and Schwarzschild’s characters than readers would expect since Ben hasn’t had much development since his first appearance thirty-one issues ago.

X-Men #34 is a soft analysis of the current state of the Juggernaut rather than a deep dive into his character. The issue is meant to challenge him more than it’s meant to give any kind of exposé on the character’s past as a villain. All in all, it reads like something readers have seen before and is simple but has its nuance to a point.

All of the above being said, X-Men: Age of Revelation Finale #1 does set up some loose but interesting plot threads for the future of X-Men. These are mostly Chekhovs Gun-style seeds that many fans focused on just one or two titles may forget about entirely, which is why this review did not warrant a higher score than it got. My recommendation: X-Men: Age of Revelation Finale #1 has some value to event and crossover collectors and for fans of Doug Ramsey, but as a whole is more of a bridge between past and future.

My recommendation: if you are a longtime Avengers or a New Mutants fan, then X-Vengers Issue #1 is right in your wheelhouse. Or if you are a collector just looking to pick up the best issues of the Age of Revelation, then X-Vengers Issue #1 should be on your list.