Jason A. Fleece Comic Reviews

Fans of Mark Russells work on 2017s Flintstones and 2018s Exit Stage Left: The Snagglepuss Chronicles will find the same sharp satire and deep wit in Dynamites The Lone Ranger. The latest issue is fantastic, and the series is early enough in its run that catching up should be easy. This is one of the best books being published right now and deserves to be read by as wide an audience as possibleand this issue ends with a hell of a cliffhanger, promising an explosive resolution next issue.

Much has been written about Superman as the ultimate American immigrant, and its great to see that side of his experience being explored as frankly as it is here. Its also nice to see a story take a firm, unwavering stance against hatred and xenophobia, in a time that lacks the moral clarity that is Supermans greatest strength.

Superman Smashes the Klan #2 is a beautifully rendered, complex comic that takes a simple idea--racism is bad--and explores it from many different angles, with care and nuance. The only people who will take issue with this book are people who dont like being reminded that racism is terrible, and really--who cares what they think?

Something is Killing the Children #1 is not Stranger Things. It is not cute, it is not tongue-in-cheek. Instead, its bleak and horrific, and immediately compelling.

Something is Killing the Children is a great new horror title, and the second issue adds layers to the mystery. This is a great series to get in on while its still new, and really appropriate for the Halloween season.

Something is Killing the Children remains one of the most exciting books of the year, in a year that has brought many interesting horror series to the forefront. Tynion and DellEderas facility with character is a treat.

Something is Killing the Children is a strong comic, one of quite a few tremendous horror titles at the end of 2019. This issue is another great one and ends with probably the biggest cliffhanger of the series so far. 

Its too soon to say if DCs new Hill House label will be a hit, let alone if it will bring horror comics back to their pre-code days. Basketful of Heads #1 is an auspicious start, however, and is highly recommended.

Basketful of Heads #2 is great horror. It's one weakness is it's so decompressed that the issue reads too quickly--the events of the story probably cover at most ten or fifteen minutes of the protagonist's life. One suspects that the series may be a stronger read in trade, though there's something to be said for leaving the audience wanting more.

Basketful of Heads #3 is another solid entry in what is turning out to be the best of DCs Hill House horror comics line. Its dark, its weird, its disturbing, and its funny. Its everything youd want out of a horror comic.

This timely and political first issue of Lois Lane is an instant classic and a great start to the series. If the next eleven chapters match the quality of the first, then the eventual hardcover collection will look great on any collectors shelf, right next to the Gotham Central omnibus.

It seems difficult to believe that Rucka, Perkins, and Paul Mounts can continue this momentum for ten more issues, but the first two indicate that Lois Lane will be an instant classic. Jump onto this title now, dont wait for the trade.

Rucka and Perkins do great work making Lois and Clark, the first couple in superhero comics, feel somehow both iconic and real. Lois Lane #3 is a stellar book and is highly recommended.

Superman is so often used as sort of a linchpin of the DC Universe, and for a good reason. He is, after all, the character who originated both the genre and the world of these comics. People often forget that Lois Lane made her first appearance with Superman in 1938, and deserves to be considered just as much of a linchpin of this world. Lois Lane #4 is an excellent example of why and how she serves that role.

Its thrilling to see as powerful a team like this one tackling as iconic a character as Lois Lane. They really are creating the comics equivalent of a prestige cable drama, and it really is one of the best books on the stands. Highly recommended.

Lois Lane #6 is a terrific comic and were this title an ongoing, it would be a shining moment in the story. Still, since its the midpoint of a finite series, this issue feels like a detour from the main point of the comic, in a way that seems detrimental to the whole series.

The only big flaw in the issue is that its over too soon. Something about the issue feels slight, and an early sequence in the UK feels tacked on out of nowhere. These are small quibbles, though, and overall, Lois Lane #7 is a strong entry in a strong series.

Its no secret that Supermans Pal Jimmy Olsen, along with the currently-running Lois Lane mini and the upcoming Legion of Superheroes relaunch, is part of the renaissance of the Superman titles that began last year with Action Comics #1000. The first issue is a comedic masterpiece and promises great things to come.

If anything, this issue of Supermans Pal Jimmy Olsen packs a little too much in; the constant twists and turns and time-shifts can get a bit confusing. Still, its an ambitious comic, and its ambition pays off.

DC Comics is often criticized for its reliance on grim and gritty doom and gloom. Fraction and Liebers Supermans Pal Jimmy Olsen is definite proof that DC has more going on than just the cliche.

Supermans Pal Jimmy Olsen remains the funniest book that DC is currently publishing, by a mile. As it hits its first third (the book is a 12-issue limited series), its larger design becomes slightly more visible, which makes it all the more exciting.

Supermans Pal Jimmy Olsen has become one of DCs most innovative and exciting titles since its launch, and issue #5 is a highlight of the series. Fraction and Liebers take on the Dark Knight is idiosyncratic and irreverent. Highly recommended.

Supermans Pal Jimmy Olsen #6 is a stunning issue of comics, one of a so-far tremendous run. The only downside of hitting the midpoint is the knowledge that there are only six issues left in this tremendous series.

Supermans Pal Jimmy Olsen remains DCs funniest title, which can make it easy to forget theres some depth to it. But there is, as we learn from Jimmys therapist, and Fraction et al make it easy to identify with and feel for Jimmy and the people in his orbit.

Dying is Easy #1 is a solid first issue, introducing the major players and the world of the story well. The cover page makes it seem like this might be the first in a series of adventures for Syd Homes, so heres hoping that future issues are as strong as this one.

Its a treat to see Joe Hill breaking out of his comfort zone and into a new genre, and Dying is Easy certainly seems successful gamble for IDW Comics. A good mystery is only as good as its solution, though, and right now, it looks like Shit-Talk Homes has found his culprit at the end of the second issue; heres hoping that there are more twists ahead.

This issue is a great jumping on point for and a very accurate representation of Boom! Studios licensed comics based on properties created by Joss Whedon. If you like what you see here, then youll likely enjoy both Firefly and Buffy the Vampire Slayer.

Frogcatchers is very different from Lemires mainstream work at DC and Marvel and Dark Horse. Its not slick and shiny, and it doesnt spell things out for the reader. Instead, it offers something far more vibrant and more profound. Highly recommended for a reader willing to engage.

Suicide Squad #1 is a strong debut from DC comics, introducing several new characters and a new status quo for Task Force X. Its exciting to see Taylor and Redondo playing in this new sandbox, and it will be even more exciting to see what happens when this new Squad bounces up against the rest of the DCU.

The first issue of The Question: The Deaths of Vic Sage smartly reintroduces the Question and his supporting cast. It will be interesting to see how the mystical turn at the end of the issue informs the rest of the series.

The Question: The Deaths of Vic Sage hasnt gotten much fanfare from DC Comics, and thats a real surprise. Perhaps its because its a Black Label book, or perhaps its because The Question isnt one of their bestselling characters, but whatever the reason it likely means that many readers are missing out on a hidden gem from their catalog. Highly recommended.

The Sandman Universe Presents Hellblazer #1 is a strong reintroduction to John Constantine, and bodes well for a strong new John Constantine, Hellblazer series launching next month. It doesnt bode well for Constantine himself, though, as his new status quo is as uneven as ever, and hes got a terrifying new antagonist.

Wonder Woman: Dead Earth #1 is a surprise from DCs Black Label, which until now has been home to established DC superstars like Frank Miller and Scott Snyder, playing in familiar sandboxes. Its a nice departure for Black Label and one thats extremely welcome.

Serendipitously releasing as the upcoming Captain Marvel film brings the Marvel Universes oldest alien race (the Skrulls first appeared in Fantastic Four #2 in 1961) back to prominence, this first issue is a promising start to what could be a modern classic, provided it continues to find its own voice.

Unlike the first issue, which seemed to be trying too hard to be The Vision, with this issue the series has clearly found its own voice. Meet the Skrulls is an excellent mashup of sci-fi, espionage, and family drama, and is shaping up to be a must-read part of the Marvel Universe. Highly recommended.

Meet the Skrulls #3 is one of the most visceral, pulse-pounding issues to come out of Marvel in quite a while, and makes a good break from big crossovers and their incessant tie-ins. Do not sleep on this sleeper hit.

Meet the Skrulls has been a beautifully structured series from the beginning, introducing four immediately likable new characters and putting them--and the reader--through the wringer. This issue lays a bunch of cards on the table, but theres one more issue to come; hopefully, the landing is executed as skillfully as the ride.

Meet the Skrulls has been a truly terrific ride, from start to finish. This final issue is a satisfying conclusion to the Warners story, as the four remaining members of the family reclaim their own identities.

After the controversy of Batman: Damned, 'DC's Black Label imprint needed a hit. Thankfully, DC Comics MVPs Scott Snyder and Greg Capullo were here to provide one. Highly recommended.

Batman: Last Knight on Earth #2 is a great issue of comics, and is the crown jewel of DCs meager offerings on this fifth week at the end of July. Highly recommended.

Snyder and Capullos collaboration on Batman has been an achievement, any way you look at it, and the first two issues of this series were an exciting part of that monumental task. Its unfortunate, then, that Batman: Last Knight on Earth leaves so much unexplained.

The first issue of Second Coming introduces the themes and characters and raises some big questions. Itll be interesting to see how it goes about answering those questions in subsequent issues. In the meantime, its clear that DCs loss is AHOYs gain with this compelling first issue.

The first issue of Second Coming debuted after months of controversy, making its arrival seem more portentous than perhaps it needed to be. This second issue, though, proves that the series has legs. It will be interesting to see how Sunstar and his heavenly roommate continue to affect each other as the series continues.

Second Coming remains smart enough, and that goes a long way, but this third issue seems worryingly unfocused. Heres hoping that the introduction of Satan as a character and the significant plot development at the end of this issue signal a return to tight plotting and story focus in future issues.

Second Coming remains one of the best comics on the stands right now. Fans of novelists Douglas Adams and Christopher Moore, in particular, should seek this title out, ASAP.

With issue #6, Ahoys Second Coming reaches the endof its first season, as Ahoy has announced that the series will be continuing beyond its initial solicitations after a brief hiatus. Thats a good thing, as some aspects of this issuethe Jesus story particularlyseem unsettlingly up in the air.

Far Sector #1 is a compelling first issue and the debut of an excellent comic for Jemison. One wonders right now if it might have been better served being wholly separated from the DC Universe and the mythology of the Green Lantern Corps, but hopefully, future issues will make that clear.

Its refreshing to see a Green Lantern story thats not about world-ending stakes and the clashing of godlike entities, but instead about law enforcement personnel trying to solve a crime. The fact that Jemison and Campbell have crafted such a beautiful, noir-influenced world for this Green Lantern to inhabit makes it that much more exciting.

Dial H For Hero #1 is a promising start to what looks like another win for the Wonder Comics imprint. This first issue makes a lot of great connections; heres hoping the call doesnt get dropped as the series continues.

The second issue of Dial H for Hero is just as much fun as the first and is still a promising start to what could be an exciting new series. Heres hoping future issues can manage some substance along with the razzle-dazzle.

DCs Wonder Comics line has been a string of successes for the publisher, and Dial H For HERO remains one of the lines crown jewels. Highly recommended.

Dial H for HERO continues to be one of DCs most consistently engaging books, and it has just recently been extended to twelve issues. If this issue is a taste of things to come, the extension was a wise decision on DCs part.

Dial H for HERO #5 is a rip-roaring ride, while also ruminating on what makes a hero--the powers or the motivation? This title continues to be a hidden gem of DC Comics current lineup, and possibly the most heartfelt of the uniformly fun Wonder Comics line. Highly recommended.

This issue could very well have been a satisfying ending to "Dial H for HERO". It's a gift, then, that Humphries and Quinones have been given another six issues to tell the story of Miguel and Summer's adventures with the H-Dial.

This largely unnecessary issue is still fun, primarily because of the work of the four fill-in artists. The final page promises a return to the main storyline of the series, however, and hopefully with it a return to the inventiveness and fun that the series usually brings with it.

Dial H for HERO #8 is an excellent comic. It has heart, it digs deep into character, and it excitingly plays with the form. What more could you want?

This isnt the strongest issue of Dial H for HERO. It doesnt have any huge revelations or significant moments. It gets the story from point a to point b and sets up the next arc. But even a weak issue of Dial H for HERO is more inventive and more clever than quite a bit of whats on the stands.

This issue of Dial H for HERO may not be a series best, but its certainly a tremendous amount of fun. This is the tenth issue of a 12-issue miniseries, so its bittersweet to see this fantastic series reach its endgame.

The one thing this telling of Harley's origin lacks, so far at least, is a sense of humor. Harleen is characteristically glib, but none of her jokes seem to land, and the Joker isn't that funny either. Everything else, like any good tragedy, is weighed down by the reader's knowledge of where these characters are headed. It'll be interesting to see if eji can (or even cares to) lighten things up in future issues.

Harleen #2 is a solid book, depicting the title character's descent into evil deeds, with a disturbing flash-forward reminding us of what's to come. It's also a deep dive into Batman lore, reexamining parts of the Batman mythos without radically changing them.

Harleen #3 is a fascinating finale to an excellent character study. If theres one complaint about this book, its that we get precious few moments exploring Harleys relationship with Poison Ivy. Hopefully, eji is interested in a sequel...

Wonder Twins #1 is another success for DCs Wonder Comics line, and a terrific start of what promises to be a rollicking superhero adventure. The only thing missing is Gleek, but hes promised in Marchs solicitations for issue #2...

Wonder Twins continues to be the ridiculous shining star of DCs teen-oriented Wonder Comics line. This issue is a gem, and shouldnt be missed. Plus, this issue featured a brief cameo of Gleek--hopefully, hell feature even more prominently next issue...

Wonder Twins continues to be a weird, misshapen highlight in DCs current publishing line. Three issues in and the series still have not hit a false note. Best of all, Gleek is finally center stage.

Wonder Twins #4 feels like a rare misstep in what has otherwise been an exceptional miniseries. Heres hoping Russell, Byrne, and Sharpe stick the landing in next months conclusion.

Wonder Twins continues to be a charming blend of sweet and topical, a rollicking triumph for DCs Wonder Comics line. DC announced today that the 6-issue miniseries has been extended to 12 issues, which is a great decision.

In original solicitations, this was supposed to be the final issue of the Wonder Twins miniseries. Given that the series has now been doubled, it will be interesting to see how Russell and Byrne explore the ramifications of this issues events.

Wonder Twins #7 is pleasant enough. Its got heart and wit and charming humor. But it lacks the bite of earlier issues, and of some of Mark Russells other work like Snagglepuss or Second Coming. With five chapters left, heres hoping the title gets its groove back.

Wonder Twins #8 is a great return to form. Even better, it manages to be a stand-out issue without including any of the Justice League or the Legion of Doom--it keeps the stakes high and the jokes flowing by sticking entirely to the setting of Zan and Jaynas high school. There is one major flaw, however: No Gleek.

Wonder Twins had a promising start, and theres still some good material here. One wonders, though, if the title might have been better served with the shorter run, it was initially promised to maintain the titles focus rather than diffuse the books humor and themes over twice the length.

Wonder Twins #10 is a fun comic, and a solid entry in the series. It sets up one last conflict that the Twins and their friends will have to contend with in the final two issues of the series.

Miles Morales: Spider-Man #4 might be the platonic ideal of the perfect Spider-Man comic. It features a charismatic villain who has set his sights on our hero, a crew of compelling supporting characters for Spidey to bounce off of in his secret identity, a love interest, New York City as a backdrop, comedy galore, and lots of web-slinging action.  Best of all, its a done in one story, rather than the continuation of an arc.

Miles Morales: Spider-Man continues to be one of the most charming, most classically superhero books on the stands. This new Tombstone arc--complete with a final-page twist introducing a new character--looks to be the continuation of a winning streak for the title with no end in sight. Would that Miles himself could catch the same kind of break.

Miles Morales Spider-Man continues to be one of Marvels best books on the stands. This issue introduces a compelling new character to the Spider-Man mythos. Like Miles, we can only trust that the disparate, unconnected subplots tie together in future issues.

Miles Morales: Spider-Man continues to be one of Marvels best titles right now, and issue #7 is a solid entry that ends with a great cliffhanger. Highly recommended.

Ahmed and Garrn do great work building the tension and creating an atmosphere in this issue, and the excellent work theyve done on the first seven issues of this series buys them some goodwill here. Hopefully, in the next issue, they provide some answers and some forward movement in the plot.

Miles Morales: Spider-Man remains one of Marvels most reliably well-executed titles, and this latest issue is no exception. This issue will surely have repercussions in the future of the series.

As ever, Miles Morales: Spider-Man is one of Marvels best titles currently running. Its nice to see it reach a milestone, even if its a weirdly inflated one through Marvels Legacy numbering system. 

The writing alone makes Miles Morales: Spider-Man #11 still a worthwhile read, but the use of fill-in artists really hurts this issue. Heres hoping Javier Garrn returns for #12.

Miles Morales: Spider-Man remains one of Marvels more consistent titles, and the return of Garrn means a return to form for this issue. The final page of the issue promises an even more exciting adventure next month.

Miles Morales: Spider-Man was for a solid few issues, one of Marvels most consistent, strongest titles. Lately, however, replacement artists and other chapters have lowered their quality dramatically. Hopefully, the simmering Ultimatum subplot and Miles new status as a big brother will lead the book back to its former heights.

The result is a mushy mess of a comic. It has no clear beginning, middle, or end, and it doesnt feel visually consistent. Miles Morales: Spider-Man should be one of Marvels flagship titles, and some of its previous issues have been stellar, but its depressing to see its quality flag.

After 26 issues of Superman, Lois Lane, Wonder Woman, Booster Gold, time travel, alternate universes, magical battles, the whole Batman rogues gallery, Poison Ivys world conquest, two proposals, and Catwoman shopping for a wedding dress, the wedding in issue #50 couldnt help but seem anticlimactic. Its a relief, then, to see this team taking Batman back to his roots busting heads in the streets, in a simple but novel story.

Family Tree #1 is a solid first issue, establishing the small circle of main characters and putting them in a horrific situation. The narration on the first page promises the end of the world; it will be interesting to see how the book gets from here to there.

Like most AHOY titles, their FCBD issue features one strong comic story, two other comic stories, and a prose piece. Theres something for everyone, and the best thing about an anthology title is that when something does hit, the reader can shrug and move on to the next feature.

Hawkeye: Freefall #1 is a strong first issue, showing promise for a compelling superhero arc that could propel Rosenberg and Schmidt to the superhero comics A-list. Can it do the same for Hawkeye himself? That remains to be seen.

John Constantine: Hellblazer #1 is an excellent debut. Whether the story can continue to sustain itself for an entire arc or two remains to be seen.

The second issue of DCs newest John Constantine title continues to be a success. It will be hard to judge the series more definitively until its first arc is over, but for now, its off to a great start.

For new readers, Locke and Key: Dog Days will make little sense. Its all steeped in the concepts and iconography of the original comic, with little to no information to provide context. For fans of the original work, though, Locke and Key: Dog Days is like coming home, even if the visit is all too brief.

Superman: Leviathan Rising #1 is an expensive comic, coming in at $9.99 for approximately 70 pages, but three out of the four stories included are really top-notch, making it worth the high cover price. The issue serves as a very exciting appetizer for the upcoming Supermans Pal Jimmy Olsen and Lois Lane maxi-series, debuting next month. If a good comic feels like a meal, then this issue is an excellent buffet, one where you might find yourself leaving a little overstuffed.

The Low, Low Woods #1 isnt scary, per se. But its definitely creepy, and its built up enough mystery to hope for some real scares in future issues. Definitely worth picking up.

Undiscovered Country #1 is a solid debut, with some interesting themes and some fantastic worldbuilding. Its not a home run for Image, not the next Walking Dead or Saga, but it has potential. Recommended.

This issue of Undiscovered Country is an improvement over the first, focusing as it does on Daniel and giving the artists more opportunities to show off some wild stuff. Unfortunately, its still a little muddy and esoteric as a comic; some answers to what has actually happened inside the US in this weird sci-fi hellscape would go a long way towards making the series make a bit more sense.

X-23 #1 is a promising start to a new adventure for the former Wolverine, establishing her place within the world of the X-Men while still setting her apart and defining her. Heres hoping that this great new series finds an audience, and that the continuing story isnt sidelined by any continuing larger drama of the X-Men line.

The only problem with the issue, unfortunately, is its reason for existing in the first place. The inclusion of Lex Luthor and his offer feels shoehorned into what is otherwise a stunner of an installment. Still, its great to see a one-and-done comic done well, and Year of the Villain: Black Mask #1 is definitely that.

DC Comics fans and Brian Michael Bendis fans will find a lot to love in Event Leviathan #1. Critics of Bendis who decry his tendency toward extreme verbosity will see their fears confirmed. All in all, its a compelling, if flawed, first issue setting up what could be an exciting new era at DC.

The central thesis of the issue--that Jason Todd may well be Leviathan--is almost certainly a red herring, picking up as it does on a thread introduced way back in Mays Year of the Villain special and reintroduced here in the second issue of a six-issue series. Still, it leads to some compelling drama between two characters with a deep history and is sure to include clues to Leviathans true identity. Event Leviathan #2 is an exciting part of Bendis and Maleevs wild ride.

Event Leviathan is Brian Michael Bendis first big crossover event since moving to DC comics, and it doesnt disappoint. The six-issue thriller hits its midpoint with this issue and still has secrets to reveal. Highly recommended.

Its to DCs credit that theyre allowing Bendis and Maleev to play with all the big DCU toys in Event Leviathan without drowning the book in spinoffs and tie-ins. This title continues to be a fun, brisk, compelling mystery.

Bendis first big DC event has gained so much momentum that some of the parts seem to be falling off the sides, leading to an uneven but still entertaining penultimate issue. All Event Leviathan needs to do now is stick the landing. Oh, and redefine the status quo of the DC Universes espionage community. No pressure.

The first five issues of Event Leviathan were a tight little thriller, with some interesting character work and gorgeous art. Unfortunately, with this dud of a reveal, the sixth and final issue proves that the whole story is less Leviathan and more a beached whale.

Absolute Carnage #1 is a rip-roaring adventure, a lot of fun to read. It might have been better served as an issue of Cates and Stegmans Venom. Particularly if that title hadnt been interrupted for the just-ended War of the Realms crossover. It will be interesting to see if the crossover can maintain its focus and momentum with its countless spinoffs and tie-ins over the next few months.

Absolute Carnage #2 is a rip-roaring ride, though its over too quickly. Its supported by a narrow focus and clear stakes, this issue was brutal sadistic fun.

Absolute Carnage #3 ends with a hell of a cliffhanger, as the Venom symbiote leaves Eddie for greener pastures, so to speak. It will be exciting to see what happens to those two crazy kids in future issues of this epic crossover.

Absolute Carnage #4 isnt deep. Its not this generations Maus or American Splendor. Instead, its a gloriously over-the-top action comic, with notes of horror. Its dumb action, and thank God for it.

Absolute Carnage has been one of Marvels most entertaining crossovers to date. Still, all of the various climaxes and reveals and emotional turns are beginning to get exhausting, to the point where the story has no time for falling action, and leaves various threads left dangling to be resolved in the main Venom title. Its been a good event, but it feels unfinished, and ends extremely abruptly.

This debut issue is a promising beginning, reuniting the reader with beloved characters and dropping seeds for new and exciting storylines. After years at Dark Horse, its clear that moving the Buffy franchise to Boom! Studios was a great opportunity to revitalize the beloved property.

This installment of the new Buffy saga is a solid second issue. It continues the fresh tone of the first and expands the world appropriately. There are no fireworks just yet, but the issue lays the groundwork for some down the line.

The first two issues of Buffy the Vampire Slayer were fun rides. While this issue feels like a lot of wheel-spinning and table-setting, it does end with a promising cliffhanger. Hopefully, the next chapter will be a return to form.

Boom! Studios reboot of Buffy has been solid from its start, but its this issue that really shows why relaunching the franchise opens up new possibilities in a way that continuing it couldnt. This issue is a promising surprise; heres hoping that whats done here isnt undone, as it so easily could be.

So who is this series for? If its an exploration of these characters made relevant by rebooting their situation entirely, then this issue takes a bit of a cowards way out, backing off on one of the series boldest moves. If its a clean slate meant to introduce the classic characters and concepts to new readers, then it assumes the audience knows more than they should. Either way, its lacking.

As this issue plays with the themes of friendship and sacrifice, it also hints at upcoming drama as Robin Wood shows potentially nefarious ulterior motives. This is another solid issue of raising stakes and adding complications in a compelling new direction for the Buffy franchise; itll be interesting to see how it all pays off, if at all.

On its own, this issue is a great character study and a nice change in structure. Unfortunately, it also exacerbates one of the biggest problems this series has shown so far. Which is that its so decompressed that it feels like nothing happens issue to issue. Heres hoping the title can pick up the pace overall while still finding time for moments like these.

Boom! Studios reboot of the Buffyverse has been an ambitious project from the start. This issue is a promising (if slight) beginning for their first crossover.

Buffy the Vampire Slayer #9 is a particularly strong episode in Boom! Studios hit-or-miss reboot of the Buffyverse. Its telling, though, and a little troubling, that both of the Buffyverse titles seem to hit their stride when their main characters are absent.

This is another solid issue of Buffy the Vampire Slayer. Its also yet another issue made stronger by the absence of its lead character, which has been a constant for both this series and its sister series, Angel since the Hellmouth crossover (which this issue is nominally part of) began. Heres hoping that Buffys eventual return doesnt mark the end of the high quality of the series.

Once again, Buffy the Vampire Slayer continues to be an MVP title for Boom. Once again, however, the title character is absent from the book. When will she return? And can the book maintain its momentum when she does? 

If this were the first issue of some brand new property, this would be great for first issue, compelling enough to give the first trade paperback collection a look. As the first issue of a new Angel series, though, it feels just a bit lacking. Heres hoping future issues connect the story somehow to the Buffyverse we know and love.

Hill, Melnikov, and the rest are doing compelling work here, building a supernatural mystery of the type that the TV shows Angel Investigations might take as a case and slowly assembling the shows core cast. Despite all their exceptional work, however, something is still missing--possibly a connection to the larger universe, maybe the history that these characters had pre-reboot in the Buffy universe. Perhaps the upcoming crossover between the Angel and Buffy the Vampire Slayer comics will remedy that.

Theres solid work in Angel #3. Its slowly laying the groundwork for new adventures of the Angel/Fred/Gunn/Wesley team we all know and love. Its a shame the book is constrained by a reboot, that mostly serves the needs of another book.

Angel #4 is competently made and pleasant enough. It offers hope for the future that fans of the TV series will get to see the character interactions that led them to love the property in the first place. Still, it cant overcome a feeling of slightness, of being simply perfunctory, that does not bode well for future installments.

All the components for a good comic are here--a good writer with a handle on the characters, a solid art team that particularly works well together. Why, then, does Angel #5 feel (pardon the pun) lifeless? 

Angel #6 is not just the best issue of the title to date. Still, because of its focus on the supporting cast, it also feels the most like the original television show--an admirable feat, since the context and situations are so radically different from the TV series. More issues like this one could put Angel near the top of the pull list.

Angel #7 is a solid comic. It tells its story clearly and does its best to raise some stakes for the characters despite the challenges of being a licensed book and the baggage that any reader will have from the original material. It doesnt, unfortunately, transcend the source material, but perhaps thats asking too much.

Angel #8 is another strong issue in a series of them. The dynamic between Spike, Gunn, and Fred is exciting, and theyre solidifying into an impressive team. Sooner or later, though, the title character will have to return; heres hoping that doesnt ruin the balance Hill and Melnikov have created here.

Why does The Dark Knight Returns: The Golden Child work so well when its plagued by so many of the same problems as the execrable Superman: Year One? Possibly its because Millers callousness and distance from humanity dont seem out of place in Carrie Kelley or Lara Kent in the way it did with Superman. Possibly its because Rafael Gramps art elevates the book so much that Millers foibles are easily overlooked. Regardless of the reasons, this title is a must-read for the art alone.

The main story is a compelling introduction to Humanoids new superhero universe. The book also includes short previews for other Humanoids offerings, including Meyer, The Big Country, and Nicnevin and the Bloody Queen.

This is a substantial first issue, setting the table for an exciting mystery and a detailed character study. This book is excellent for fans of Stranger Things and Paper Girls, though whether it continues to follow in those other stories footsteps or steps out on its own to do something new and unique remains to be seen.

Bendis is smart to tie the Legion into more present-day DC mythology than just the world of Superman, and this issue sets up several new dilemmas that will undoubtedly plague the Legion in the future. Surprisingly, this issue does not continue the thread of the immortal Rose and Thorn and what she (they?) wants from the Legion, but certainly that will come into play soon as well. The Legion is no more. Long Live the Legion.

So why, at the end of the day, does Legion of Super-Heroes #2 seem so disposable, so without stakes? Is it because it takes place in the far future, away from the DCU proper? Is it because of the two-week delay? Is it because of rumors that Jon Kent will be taking over as Superman in the mysterious 5G event in 2021? Or is it merely because it falls into the trap of Bendis team books at Marvel, where every character sounds the same and has a default of mildly clever? Whatever the reason, its a perfectly fine comic, as long as the reader is expecting something ephemeral like cotton candy rather than something substantial like steak and eggs.

Legion of Super-Heroes could be one of DCs flagship titles, along with the Justice League family of books, and its clear that thats where DC and Bendis want this title to go. Before it can get there, though, Bendis needs to slow down a little and let the story breathe, at least more than he does with issue #3.

Bendis fails to give the four vignettes any type of through-line, and neither Rose nor Thorn seems to change much as the book lurches forward. It seems like the only reason for this books existence is to give Bendis a chance to briefly visit all of DCs various futures before landing in the world of the Legion when its title debuts in November, but theres really not much substance here. So far, at least, this series seems superfluous and unnecessary. 

Legion of Super-Heroes: Millennium #2 is like cotton-candy--theres some great art here, and its nice to see a bunch of DCs future characters. But theres really no substance to this seemingly disposable series.

Why, then, does the issue feel like it lacks something essential? It might be the dependence on story beats from the Batman Who Laughs mini (which itself was a continuation of the Dark Knights: Metal crossover), making this feel like yet another cynical extension of the never-ending-event cycle that can dominate Big Two comics. It might be that it covers ground weve seen before, analyzing once again the similarities and differences of the most dissected duo in superhero comics. Whatever the reason, while Batman/Superman may be essential reading for those following the metastory of the DC Universe, it has some work to do to justify its own existence.

The second issue of Batman/Superman is a quick read, zooming from one set piece to another like Batman stealing his nemesis plane. Fans of widescreen, brainless superhero action could do worse than to pick up this book.

Batman/Superman #3 is not a deep comic. It doesnt say anything new about the characters or reinvent the superhero genre. What it is, though, is a fun ride, with spectacle galore and a story thats essential to the big metastory of the DC Universe right now.

If youre following the overarching meta-story of the DC Universe as its Year of the Villain crossover continues, Batman/Superman #4 is a must-read. If not, then the issue doesnt offer much more than a well-rendered slugfest.

The Batman Who Laughs doesnt actually appear in Batman/Superman #5, but his shadow is all over the issue nonetheless. And thats a real shame, because hes become an extremely tiresome character, and its holding an excellent creative team back.

Ghost Rider #1 is a compelling first issue, showing a great deal of promise. If it manages to shake some of the road dust off its wheels, this could be a hell of a good title. 

All that said, the design of the demons is very cool, and when the team is firing on all cylinders (another engine pun!), the book really works. Heres hoping that the creators involved work out the kinks for issue 3.

The concept of Ghost Rider is a good one, and this should be one of Marvels flagship titles. Instead, its a joyless slog with inconsistent art. Its a major disappointment.

Savage Avengers #1 is a gorgeous book, with a story that is entertaining despite (or maybe because of) its predictability. Unfortunately, the issue doesnt feel like anything substantial--it reads perhaps too quickly, and it feels as though nothing much happens. Indeed, only four of the books six-character roster has been introduced yet, and the story feels like its over before its begun.

Hellmouth #1 is a compelling enough continuation of the story thats been ongoing in the Buffy the Vampire Slayer series. Its great to see the first official meeting of Buffy and Angel in the rebooted world of these titles.

The Hellmouth crossover has been a strange beast, producing series-best tie-in issues in the Buffy the Vampire Slayer and Angel titles while their supposed leads are away. Meanwhile, however, those leads are here, in the Hellmouth, not doing anything terribly exciting.

The Hellmouth crossover has been an odd comics event, in that its led to some excellent elevated work in the main series, but the crossover itself seems to get weaker and weaker as it goes on. This miniseries has two issues left to turn it around; itll be interesting to see if it can manage it.

The best thing that can be said about Hellmouth is that it has led to some fantastic issues of Buffy the Vampire Slayer and Angel. Thats not much of a recommendation for the Hellmouth mini, though, which just seems to be slouching along.

The concept of the series--Spider-Man and a Marvel Universe aging in real-time, with issues a decade apart--is fantastic, and Zdarsky, Bagley, Dell, DArmata, and Lanham are clearly the team to pull it off. This issue is a solid start, using familiar characters and beats (with one extremely tantalizing swerve on the last page) to set up what will hopefully be an exciting study of what makes Peter Parker tick.

Overall, the art in this issue is well-done. Its a shame, then, that its in service of a story so persistent in its misery. Heres hoping that future issues of this series include the type of brightness and humor that audiences have come to love about the Friendly Neighborhood Spider-Man.

Spider-Man: Life Story continues to be uneven, which is a shame given the Spider-Man bona fides of its stellar creative team. Still, this issue is a significant improvement over the last chapter.

Spider-Man: Life Story seemed like such a great idea on paper. A real-time Spider-Man title by one of his best writers in recent memory and one of his most iconic pencilers should be a rousing success. Instead, its a depressing tragedy, like this version of Peter Parkers life.

Like every issue of this series, this issue begins and ends with yet another senseless tragedy. The mission statement of this title seems to be everyone who Peter Parker loves must die horribly, for no reason. The title has one issue left, set in the present day. Heres hoping Zdarsky and Bagley dont take the opportunity to ruin Miles Morales as well.

On paper, Spider-Man: Life Story was an exciting venture. The creative team is top-notch, and the idea lent itself to so many exciting possibilities. Its a shame that Zdarsky and Bagley and the rest decided to wallow in the misery instead.

This issue is the best issue yet of this series, which is, unfortunately, a low bar to surpass. Would that this title could reach the heights of Boom!s other Joss Whedon adaptation. Still, the ending of this issue at least promises something new for next months installment.

Boom! Studios is known for its compelling, risky takes with licensed properties like Mighty Morphin Power Rangers and Buffy the Vampire Slayer. Unfortunately, the Boom! magic doesnt extend to Firefly, and thats a gorram shame.

Boom! Studios take on Firefly has been hit-or-miss, and many of the issues that plague the title as a whole are still on display here, but issue #6 is a substantial step forward for the series. Heres hoping that Pak and McDaid can maintain the momentum moving forward.

Firefly #7 is a solid, if unremarkable, entry in Boom! Studios management of the license, and dividing the characters up continues to be an excellent way to overcome the small weaknesses of the series as a whole.

And yet, despite all of these flaws, He-Man and the Masters of the Multiverse #1 still has a certain charm. Perhaps its because the book refuses to take itself too seriously. Maybe its just the nostalgia factor of seeing all these obscure characters--Gwildor! The mutants from The New Adventures of He-Man!--in one place. Its not a good comic, by any means, but its still entertaining.

He-Man and the Masters of the Multiverse #2 is the equivalent of a Big Mac with a large fries and a Coke from McDonalds. Its not good, and nobody will ever argue that it is, but sometimes its exactly what you need, and in those moments, its actually pretty satisfying.

The first two issues of He-Man and the Masters of the Multiverse felt like being a kid again and playing with action figures after eating too much candy and cake. Unfortunately, issue #3 feels like what happens when the sugar crash hits, and you and your friends just start fighting over the figures.

If DC Comics and Mattel set out to create the comic book equivalent of mindlessly throwing toys together in the backyard (or of mindlessly mashing buttons to make Wonder Woman and Cyborg fight for no reason), they have succeeded. Injustice vs the Masters of the Universe is a fun, if substance-free, romp--provided you can see past the confusing continuity issues--and it ends with a cheeky nod to the original MotUs shameless swipes from Jack Kirby that promises more ridiculousness in issues to come.

The Dollhouse Family really is a love letter to a very specific period in comics. What it lacks, unfortunately, is the innovation and unpredictability that really characterized the heyday of Vertigo comics.

As an individual issue, Michael Cray #9 is a perfectly serviceable story, using good meat-and-potatoes storytelling to put its characters in place for the final three issues of the series. As a part of the larger whole, its a refreshing change of pace from the established formula of the series, with a strong cliffhanger ending. Its still unclear why this story needed to be told outside of the main (and markedly superior) The Wild Storm series, or how the two series fit together, but this issues shifts promise a satisfying ending to Michael Crays adventures in this new continuity.

For its first issue, at least, Year of the Villain: Hell Arisen seems to be almost entirely unnecessary. Worse than that, its pretty dull as well. Unluckily for us, there are three more issues left.

With its team of antihero misfits working together in a world where the grotesque lives side-by-side with the so-called normal, this book is a better Angel series than the actual Angel comic over at Boom! Studios, and would scratch the itch of fans of that property. Its a shame that, so far anyway, it feels so separate from the magic side of the DCU.

Overall, Gotham City Monsters #2 is an inoffensive book. It has a compelling character, a few funny moments, and it ends with a good cliffhanger. Its not a standout, however, and it has some confusing moments, which makes it a good issue, but hard to call it great.

It's a shame. The first issue of Gotham City Monsters was substantial, but so far, it has just deteriorated as each new chapter comes out. The book is slated for six installments; the scariest thing about this horror-themed miniseries might just be how bad the final issue will be if it continues in this direction.

The problem with Gotham City Monsters #4 isnt that its bad. Its that its boring and forgettable. It isnt very impressive. Ironically for a book starring Frankensteins Monster, it lacks the spark of life.

Gotham City Monsters #5 is a bloated mess. Worse, its a bloated mess being published by DC Comics, a company that just celebrated its 85th year of publishing comics this past week. Editorial at DC should have known better than to let this go to press.

That professionalism, unfortunately, doesnt save what is ultimately a meaningless exercise. At the end of the day, this book doesnt so much destroy Marvel history as it does dilute the Marvel brand. If youre jonesing for the adventures of Cosmic Ghost Rider, skip this one and check out the current run of Guardians of the Galaxy instead.

Not only does Miller appear not to understand Superman, and not only is the issue riddled with cliches, but the comic's biggest sin is that it's simply dull. This issue is 63 pages long, and it only gets us to Clark leaving homethe Daily Planet, Lois Lane, and the Superman costume are all left for future issues. In 2005, Grant Morrison and Frank Quitely took one pagefour panels and eight wordsto tell Superman's origin. In 2019, it appears that Frank Miller needs three 63-page issues to do it, and to do it extremely badly.

Overall, Superman Year One #2 is slightly less offensive than the first issue (implied mermaid incest aside). Instead, it commits the even greater sin of being simply boring. For a comic that is approximately sixty pages long, surprisingly little happens, and much of Millers labored and hackneyed narration is repetitive. Thankfully, DC will only be inflicting one more issue of this series upon its readers. Then it can be consigned next to its spiritual sibling All-Star Batman and Robin in the annals of history.

With Superman Year One #3 on the stands, Frank Miller has completed his statement on Superman. Unfortunately, its clear that that statement is Frank Miller doesnt understand Superman, either as a character or as a symbol. The book ends with Superman leaving Earth on another quest, possibly foreshadowing a Year Two; lets hope that that never comes to pass.