David Messinas art, on the other hand, takes after his Ironheart predecessor Luciano Vecchio with a similar overall aesthetic, which lends some continuity with Riris most recent solo title for those continuing from Eve L. Ewings quality run. His visuals arent especially flashy, but they work with the script given to him. Most of this issues action is relegated to tense conversations, which requires a certain skill to successfully convey the emotion of those scenes, and I think Messina succeeds there. Mattia Iaconos colors are similarly grounded, with occasional pops of techy purple for N.A.T.A.L.I.E., which look very pretty on the page. Overall, the package presented in 2020 Ironheart #1 is a low stakes, but worthwhile, side story.

Im less hot on the art here, drawn primarily by Jacen Burrows and colored by Pete Pantazis. Ive come across Burrowss work in the past and liked it, but Im not a huge fan of how it looks with Pantaziss colors. Burrowss thick lines combined with Pantaziss heavy, blotchy colors and shading give an overall effect of muddiness, which doesnt suit the character especially well. Flatter, cleaner coloring might have complimented Burrowss linework better.

With this preamble out of the way, we finally begin our journey in next weeks A.X.E.: Judgment Day #1. Until then!

As first issues go, A.X.E.: Judgment Day #1 does a pretty great job of setting up this event without it feeling like "homework or superfluous action, which they often do for this sort of narrative.

I think Gillen has an interesting opportunity here, reflecting on current events through super-fantastical cosmic shenanigans in an otherwise superfluous comic book crossover.

At the very least, I can say that Absolute Carnage very much reads like it was created by people who have a deep love and understanding of Venom. (Cates is a very big fan of the character, and has stated that writing Venom was a lifetime career goal of his.) Penciller Ryan Stegman is a great fit for this kind of material, since his art has always had a frenetic, spindly quality to it that really suits the visual representation of symbiotes. Ill have to admit Im never been crazy about colorist Frank Martins work in general, which always looks sickly to me, but considering the assignment it does the job here fine.

Overall, the look and feel of Johnson and Larrocas Alien is too middling to really invest in at this point. Even if I'm not so hot on this debut, I am very interested to see Marvel's further plans for their newest license, which includes more stories set in this universe. There's also a brand-new Predator #1 from Marvel on the horizon, and a return to the Alien vs. Predator franchise is inevitable. What I wanna know, however, is when we're going to see Alien vs. Venomnow that it's a possibility…

As mentioned above, Aliens vs. Avengers has a stacked creative team firing on all cylinders here, and the xenomorphs fit seamlessly into the setting despite being very recognizably from a different world entirely. Hickmans script is full of his characteristic wordiness and grandiose plotting, but Ribi really shines through with his stark, painterly art. The characters really do come across as tired and worn-down after losing so much to the xenomorphs who, themselves, also look terrific as depicted by Ribi. I already would have been in the tank for a series like this since I love alternate universes and possible futures, but the inclusion of the Alien franchise is the bonus that really makes this series worth checking out.

While the script of All-New Venom #1 leaves a little to be desired, Carlos Gmez turns in some beautiful art here. Theres lots of detail on the page, and although most of the issue takes place in one courtroom, Gmez gets to draw a fun fight scene showing off what the new Venom can do. Its a great showcase despite the limited opportunities offered by the script, and Id love to see what else Gmez can do in further issues. Color artist Frank DArmata deserves a mention as well, with some lovely lighting and a great rendering of the gold on the new Venoms symbiote, which is really flashy and unique. (Which, in turn, convinces me its Rick because of his flamboyant personality)

Something that impressed me about Amazing Fantasy #1 is the diversity of visual styles displayed throughout by Andrews. Each story begins with their own stylized vignette that shows where they were before being whisked away to the island, and they all look distinct and unique from one another.

Carlos Gomezs art is expressive and playful, which is what youd want from a Mary Jane comic. Its also consistent with the aesthetic established by Ryan Ottley on Spencers Amazing Spider-Man, making a seamless transition between readers of the flagship title and this spinoff. I havent been following Amazing Spider-Man too closely, but based on what I know of that ongoing story (as well as Ottleys art) this title feels like part of a whole with that one, which is a credit to Williams and Gomez.

Ant-Mans status as a comical character means artists can play with his visual depiction more than the artists of, say, Avengers might have an opportunity to, which makes Dylan Burnetts zany art a perfect match for Wellss script. Its dynamic, cartoony, and accurately reflects the vibe Scott (and Ant-Man) represent. But hes not the only member of the art team putting in some solid, quality work here Mike Spicers colors are vibrant and varied, while letterer Cory Petit really breaks loose with his rendering of sound and dialogue.

Time travel is a classic trope in superhero fiction; some would even call it a lazy crutch nowadays. So with this series employing it as its main plot thrust, it all comes down to the approach and the level of care put into various details that make it worth the price of admission.

Vincenzo Carrats art is also very good in this issue; the pages set in Bobbys ice palace in particular give him a lot to work with, between the actual scenes themselves as well as the flashbacks to Bobbys snowy resurrection, framed with ice shards between panels. Combined with Java Tartaglias colors, which are bright and vibrant, I think the visual package of Astonishing Iceman #1 befits its title character, optimistic on the outside while hiding existential darkness on the inside. In the decade or so since Bobby came out, hes given so much interesting material for writers to work with, and Id really like for this book to have a decently long run so that Orlando and his artists have the space to examine Bobbys psyche more.

In any event, Javier Garrns art makes the proceedings at least worth looking at, with his typically kinetic style that helps move the script along at a brisk pace. Theres lots of imaginative imagery throughout, from a quick-paced fight scene between Moon Knight and Iron Fist, to MK overtaking Doctor Stranges Sanctum Sanctorum with zombie mummies. Even if the events being depicted are murky, at least they look good.

Javier Garrn's art is at least something interesting to look at during this arc, but even then I've seen better work from him in the past, which isn't necessarily his fault. "Enter the Phoenix" has involved a lot of fire-based imagery, and it grows similarly monotonous as it goes on (I have enjoyed seeing his Phoenix variants of existing character looks, though. Those are always fun).

At the very least, Avengers #1 is a fun read, with plenty of character interactions and zippy pacing that lets it go down smooth and easily. Focusing the action through a singular character (Carol, in this instance) always helps an ensemble book feel less frantic and aimless, and with her solo title on the way out without an immediate replacement lined up, Avengers is as good a place as any to give her the spotlight. There are also some interesting dynamics on this particular team that could bear fruit later, e.g. Carol and Tony (remember Civil War II?), Vision and Wanda (exes, uh oh!), Sam and TChalla (they beefin!). MacKay tends to have a light touch in his comics, so I expect a similar tone for a lot of it. But this issue is also a good showcase for artist C.F. Villa (recently of X-Men and MacKays Black Cat), who delivers rather solid superhero art that always looks good on the page with Federico Blees colors.

If this storyline is meant to conclude Aaron's long tenure with these iconic characters, it's gonna have to do something a bit more interesting and unique to stand out in the broader Avengers pantheon of stories.

As alluded to, writer Orlando seems like hes enjoying himself on this series, an energy that transfers to the reader. I read a lot of Bronze Age Avengers when I was first getting into comics, and this title (thus far) gives me that vibe. Cory Smith, Oren Junior & Elisabetta DAmicos art here isnt totally to my personal taste and comes across a little workmanesque, but it serves the script fine and theyre definitely given a lot of fun material to work with. I do wonder if theres a plan to have revolving artists on this title, which would reflect the anthology-esque plotting it seems were being given, but a solid creative team who can deliver the material on time would also be great. In any event, Avengers Assemble #1 is a fun start to what should be an enjoyable, easygoing superhero comic.

Avengers Forever #1 a challenging proposal. As is the case with offshoots that are part of larger runs and aren't technically standalone, this issue assumes you've read not just Avengers #50 but Aaron's entire run up until now. I've read most of it, and even I found myself getting a little confused as I worked through the issue.

But that aside, it really is a fun little issue with great art by Jim Towe, whose killer Vibranium Man design is already beginning to find use in other applications and adaptations. In the multiverse of superhero oversaturation madness, Avengers Forever #6 is at least worthy of your time.

I actually think Avengers Forever #7 is a great example of episodic storytelling in a serialized setting, especially by modern comics standards. It feeds into the ongoing story Duggan and Kuder have been telling though not made clear until the endbut also stands on its own enough that you could read this and then ignore anything before or after it. Though this arc of the series has apparently been indulging itself with the multiverse of it all, its hard to complain when an issue like this is as fun as it is.

Avengers Inc. #1 is a very dense issue that throws a lot of information at you without much explanation such as Luke Cages recent election as mayor of New York City, which happens in Devils Reign but if youre onboard with the concept here, you probably already expect that from Ewing. Leonard Kirks art also reflects the muted vibe of the action by not calling too much attention to itself, if slightly less interesting than it could have been. Perhaps future issues will deliver on the strong premise here a bit more, but Avengers Inc. #1 has potential all the same.

In any event, Jonas Scharfs art does a good job of emulating the darker, inkier style of previous stories set in this universe, while Neeraj Menons colors are similarly muted to match the dusty setting of the Wasteland. I havent encountered Scharfs work prior to this issue, but some research tells me his most prominent works to date have been based in both horror and superhero stuff, which is an interesting pedigree for this story. As alluded to, the OML timeline is fairly gritty and brutal in comparison to the mainstream Marvel Universe, and I wonder if well see more of that aspect moving forward.

Thats another criticism I have to bring up with this issue: The lack of authenticity. As much as Marvel has been making an effort to diversify its roster of creators (see: Peach Momokos upcoming X-Men series, which certainly looks different than their usual fare), this is another instance wherein they probably could have taken things a step further. I dont see why this series couldnt have at least been drawn by an actual manga artist so as to bring some of that sensibility to the page. Wouldnt that be something? Credited cover artist Kei Zama, recently of the underrated Deaths Head (and flipping Transformers!) is Japanese, but thats as far as her involvement goes here. Its weird that she isnt just drawing the thing itself given her pedigree and previous history with Marvel, but alas.

Furthermore, the fact that its drawn by the legendary Alan Davis will be another potential yuck or yum depending on the reader; his style isnt totally accurate to that period of comics, but its still a more classic aesthetic than what youd normally see nowadays. Rachelle Rosenbergs colors definitely give his art a more modern feel than the flat coloring of that era; a little bit of the new with the old here. All things considered, if youre a fan of classic superhero comics, then you cant go wrong giving this one a look.

But if youre someone who cant totally appreciate the social and political commentary offered here, theres still plenty of the mythical sword-clashing thatll leave you satisfied; any issue featuring Britannica Rex, the dinosaur Captain Britain, is one worth reading. (Betsy/Rachel shippers will also be well-fed with this one, thats for sure.) But most of all, the issue builds to an intriguing cliffhanger that I wont spoil here, but implies an incoming clash between Betsy and another UK-based character that is incredibly genius. (You can glance at the solicits for the next issue if you really want a heavy hint as to what Im alluding to.) With a new perspective but retaining everything that has made Howards time with the character so much fun, Betsy Braddock: Captain Britain #1 continues this era of the Captain Britain with a new lease on its life.

Sergio Davilas art is fairly classical, bordering on house style-y, and suits the script given to him, but I hope he has more of an opportunity to dig into some weirder visuals as the series goes on. Most of this #1 involves an Avengers tussle and isnt especially interesting to look at, but then there are glimpses of life at his weird castle (complete with a goat-man butler) that hint at strangeness on the fringes. Since this is a Black Knight story, I would assume thatll be the case moving forward, but that much remains to be seen.

Theres lots of interesting worldbuilding here,, such as the introduction of a previously unseen urban metropolis in Wakanda where TChalla has been doing much of his crime fighting, that almost gives this issue a Batman-esque feel; low-level criminals on the streets of Birnin TChaka speculate and fear the specter of the Black Panther wherever they go. This run seems to be telling a Black Panther story of political intrigue through the lens of neo noir, which is a solid take to go with. Chris Allens art is appropriately dark and brooding when it needs to be, and the way he draws a looming Black Panther only feeds the Batman comparison in a way that makes for a compelling hook.

Casagrandes work is especially worth checking out, continuing a great run that she started on Black Widow, very much following suit with that comics energetic art but taking much more of a horror-influenced approach here. (Jordie Bellaires gauzy, moody colors are just the cherry on top of whats already an eye-popping package.) If youre a fan of the character or even just looking to brush up on your knowledge of him before his upcoming movie if/when that ever actually comes out then Blade #1 is not the worst place to start.

A big asset working in Bloodline #1's favor is that it doesn't require an encyclopedic knowledge of Blade to be understood; she knows slightly less about her origins than the reader does, and we're both discovering the extent of her nature in real time with one another. I'm not especially familiar with Blade stories myself, but I know his whole deal as a general character; that's more than enough.

Written by Marauders scribe Gerry Duggan, the tone he seems to have settled on here is "Saturday morning cartoon" meets Saved by the Bell, and it's surprisingly perfect? Straight away on page one, I almost expected him to say something along the lines of "So you're probably wondering how I got into this predicament," or, "I'm Cable, and my life is pretty crazy!"

David M. Boohers script is also very tight and strong, sufficiently laying out the premise of the overall series based on this first issue. The mark of a good comic book writer is knowing when to say nothing and let the pages speak for themselves, which happens quite often here. By my count, theres a handful of pages without any text on them, save for the occasional sound effects. I appreciate any comic that knows when to pull back on narration or dialogue for the sake of them, letting the art breathe and do its own job of visual storytelling, so Canto gets high marks in that regard.

Carneros art really helps convey that Steve is a living, breathing person on the page, and thats an important ability to have when the star of the piece is a literal perfect specimen of man. Theres also just one really great double-page splash spread that serves as a sort-of greatest hits of his backstory up until now, depicting the history of Steve Rogers through art and minimal dialogue. If youve never read a Captain America comic before, there are worse places to begin than this one.

Instead of pooling the art of R.B. Silva (Symbol of Truth) and Carmen Carnero (Sentinel of Liberty) together for this issue, the job instead goes to Mattia de Iulis, whos really made a name for himself over the past few years with his gorgeous, painterly art that possesses astonishing realism. It makes sense that they would seek a third option here rather than cross-stitching two separate artists, making for a more cohesive look throughout the issue, but its almost something of a detracting point because of how much I wouldve loved to see his art on either title. A rare case of almost being too good.

Symbol of Truth also delivers on the art side, with R.B. Silva delivering great visuals throughout. Silva really came into popular esteem with Powers of X a few years ago and has since become something of a superstar artist for Marvel, which this issue more than exemplifies. There are some great images here that are elevated by color artist Jesus Aburtov, whose use of light offers a feel of near-realism to the page. Whereas past creative teams may have not delivered on the promise of Sam Wilson as Captain America, this issue gives me no reason to doubt that Onyebuchi and Silva, at least for this first arc, can live up to the hype.

Marika Crestas art helps convey the lightness of this series, and she does a good job of giving Peggy a physically imposing presence equally measured by her feminine strength. With a character like her, you really need to sell them on the page as a person who inspires awe in others, and she always sticks out in any scene shes in. And although McKelvie takes a rare role as the sole writer here, his art still makes its way to the fantastic cover of this issue. The graphic design of Captain Carter is top-notch, which is always true of a title with McKelvies touch on it.

While Captain Marvel #12 moves along briskly, it's pretty emblematic of decompressed monthly comics at their worst, comprised mostly of pages that look nice and are fun to read but ultimately don't move the story much.

I think writer Kelly Thompsons run thus far has been full of a lot of fun ideas, and the fact that its lasted as long as it has (especially compared to previous recent Captain Marvel volumes) with no obvious end in sight is a testament to her ability to deliver consistently entertaining superhero comics. Shes also had the benefit of working with some of Marvels best up-and-coming talent, with penciler Sergio Dvila marking his sendoff from this title with slick visuals worthy of an actual event series.

I also quite like Jan Bazalduas art in this issue, which almost gives something of a manga-esque quality that lends itself really well to Captain Marvel, who is probably Marvels closest thing to Goku from that franchise. Theres also lots of dark-light contrast in the art that makes for a dynamic reading experience, aided by Bryan Valenzas colors. If youre a fan of the character and want to get excited for her next big MCU appearance, then Captain Marvel #1 is definitely worth a look.

With all that being said Dark Tempest #1 is just fine? Thats kind of the unfortunate thing here. Its not bad, but Im not really sure what to make of this story based on one issue. Knowing Thompsons long run just ended and Wongs promising take on the character is arriving soon, it places Dark Tempest in an awkward spot wherein it cant do anything too radical with the character, but should also probably feel substantial in some form. These sorts of interstitial limited series are actually quite common throughout Marvels yearly slate and share similar issues, so Im willing to cut Nocenti a little bit of slack in that regard. Artist Paolo Villanelli does great work with the material, however, and the cosmic trapping of this story should offer him a lot to do in the coming issues. I just wish there was a little more there there in this one.

Though Jones doesnt draw any of this issue herself, shes joined here by competent artists (four in total) that all share her general artistic sensibility. Its easy to forget this issue has a variety of artists attached, because nothing ever feels out of place or spotty in relation to the whole. Sometimes, a cavalcade of artists telling a single story doesnt run this smoothly, so thats a testament to editor Jamie S. Richs judgement. It also helps that coloring superstar Jordie Bellaire provides a unifying visual tone that runs through all of the art it really shouldnt be underestimated how important a colorist can be in that specific way!

Speaking to the issue overall, Children of the Atom #1 sets up an intriguing mystery at its core that has me interested to keep reading, but it's TBD on whether or not it ends up becoming an essential pull for readers moving forward.

To its credit, Children of the Vault #1 is a pretty good package overall. Deniz Camps script moves quickly perhaps at the expense of exposition, which some might need and Luca Marescas action-packed art holds the readers attention. Camp puts some fun little details in the issue, such as Cables safehouse being a flower nursery called DaySpring or the way he hides in plain sight by making someone recognize him as Josh Brolin, which lighten the mood despite the world-shaking circumstances of the characters. The explanation of how the Children are proliferating themselves is also very interesting and relevant to our current times in a way I wont spoil. It may not be for everyone, but Children of the Vault #1 does offer an intriguing story about survival and assimilation that might be worth your time.

Writer/artist Steve Skroces script is appealing zany and weird, but the real star of Clobberin Time #1 are his wacky visuals. Just a few examples for the imagination on display includes an Iron Man/Doctor Doom/Ultron hybrid man wielding (what appears to be) a Mjolnir briefcase, a kaiju I can only describe as a goth Klawf, and an allen race of what are basically mystical shaved Ewoks, theres a lot to look at here. Bryan Valenzas colors enhance the vibe further, with each page popping with all sorts of flavor between Skroces heavy lines. Clobberin Time has a big indie comic sensibility in tone that makes it an incredibly entertaining read, but even if youre only here for the clobberin promised by the title, youll likely walk away from it satisfied.

Included as back matter here is an essay on the Clue franchise by Tim Hodler, which is a good read by itself, but it feels like padding to justify the issues $4.99 price tag. Its superfluous but worth reading regardless.

Though a horror-tinged story, Contagion #1 is fairly tame in tone, and likely wont disturb or put off potential readers. A lot of this comes down to Rog Antnios art, which is much more in line with the style seen in the current Fantastic Four run by the likes of Sara Pichelli and co. than, say, Ryan Stegmans eerie work in the aforementioned Absolute Carnage. Its not a bad thing, per se, but it definitely doesnt convey the monster mayhem as much as youd expect. The forthcoming issues have been solicited with different artists on each, so itll be interesting to see how they affect the vibe of Brissons story moving forward.

The jury is out on whether or not this idea has enough steam in it to sustain months of tie-ins, but it's not a bad start in the slightest.

Artist Claire Roe nails the faux-retro vibe of the story, which is obviously meant to be set in the vague past of the Marvel Universe when Jan and Hank were still an item. Her linework here contains lots of black space, invoking shadows and darkness befitting Jan's mental state. It contrasts nicely with Bellaire's colors, which are often bright and vibrant.

Dazzler is definitely not a character suited to aesthetic doom and gloom, and everybody involved here seems to be on the same page about who Dazzler is and what she represents.

I know from anecdotal experience that artist Gerardo Sandoval apparently isnt to everybodys taste, but I do really enjoy his work and think it serves the material here well. Deadpool is first and foremost a product of the '90s, and its always been my opinion that Sandovals art retains enough of that era in style to make it appealing while still being modern enough that it doesnt come off as retro. There are some genuinely great images in this issue (e.g. Deadpool getting sucked into a symbiote monstrosity with twisted limbs, him presenting a wall of fact cards depicting his allies, generally any appearance of Jelby but specifically when he becomes a Megazord containing the team), and I think that helps make this issue feel substantial enough to check out.

And even with Ewings caliber of plotting, Javier Rodrguez matches and possibly even exceeds what he brings to this issue with tremendous visuals. Im not surprised to see great art from him, but his retro pulpy art style is perfect for Defenders, and it seamlessly conveys the script through clever panel composition. His last big project, History of the Marvel Universe, pushed that angle a bit further than he does here, but its hardly something I would level as a complaint. Frequent collaborator lvaro Lpezs inks are also worth a mention, as they really give Rodrguezs pencils a graphic quality that leads to some lovely contrast in the colors and linework.

In an industry defined by sameness and a lack of deviation from an established formula, Demon Days really stands out as a unique take worth checking out.

Chip Zdarsky and Marco Checchetto are continuing their Daredevil run as a relaunch, while the new Thunderbolts are set to feature in their own series soon, and it seems Luke Cage: Mayor for Hire is a development that might get its own spinoff as well. (One presumably distinct from the abruptly canceled Luke Cage: City of Fire.) If any of those are of interest to you, or if you want a more satisfying conclusion to this storyline, then you probably want to check this out. But if $5.99 is more than you're willing to pay for what are essentially teasers for future titles, you won't miss too much from skipping out.

Rounding out the package is a backup story by MacKay and Andy Macdonald featuring W.A.N.D., the magic division of S.H.I.E.L.D., and its a delight. Now boasting Wong as a member, the sequence plays out like a post-credits scene of sorts, offering another perspective that quickly ties back into the main story, leaving the reader with an intriguing hook to continue from in the next issue.

Because Fall Sunrise is so kooky and dubious, however, you could make a case that its meant to be read in full and not in weekly increments like its being published in. If you need a strong narrative hook to keep you invested from the jump, then this series may not be for you, at least not immediately.

Side stories are fun, but events can be incredibly expensive for the reader if they feel compelled to follow everything that happens. Accordingly, Empyre #0: Fantastic Four doesn't really "need" to exist because the Avengers issue succeeded in setting up expectations for what's to come.

I will say the plotting of this first issue somewhat reiterates the same beats of an Avengers-centric zero issue that was published a few weeks back, but it also gives you enough context through narration and dialogue to jump right into this issue without necessarily having to catch up on anything else.

Empyre #6 also suffers from a problem that's common with these big event stories: the ending isn't really an ending, or at least a satisfying one.

Overall, Eternals: Celestia is good additional material for Gillens run if youve been following along. His script can be a little hard to follow if youre completely new with this complicated side of the Marvel Universe, but I think it gives you all the context and information you need as it goes along. Kei Zamas art is also very impressive here and very different from what Esad Ribi is doing in the main title. While Ribi excels at grandiose, painterly imagery, Zamas style allows more for smaller-scale character work that helps sell the gamut of emotions shared between Ajak and Makkari here.

While it may not be new-reader friendly, those already following the story in progress will likely enjoy the elaboration of Thanoss origins even if Thanos himself does not appear much at all throughout it. Artist Dustin Weaver also does a good job of approximating what Esad Ribi has established on the main title without it coming across as derivative or an exact copy; it feels epic but still kinetic in a way that Ribis art arguably isnt. With an origins issue that pulls from largely established material, the biggest plus I could give Eternals: Thanos Rises #1 is that it doesnt seem frivolous.

Ramn F. Bachs at least makes the most of what hes given, with clean art accented with Rachelle Rosenbergs bright colors. The two are especially good together in key flashback scenes, which are rendered to look straight out of the Bronze age, with simple linework and flat colors that you could very easily mistake as actually being lifted straight out of old comicbooks. Its a neat trick I mightve even liked to see a little more of throughout the issue.

Tos art is very much in line with what weve seen from Pepe Larraz and R.B. Silva on House of X and Powers of X, respectively, which lends some cohesiveness to the overall aesthetic of DoX. That said, he gets to play with different subject matter (i.e. magic) than what was seen in those titles, which keeps his art from feeling too samey. His linework gives colorist Erick Arciniega a lot to work with, opting for colorful flourishes to represent magic and the like.

While I dont know if this issue is necessarily a good jumping-on point for those not already following the story in progress, its a promising start for this new arc that gives the team something meaningful to do, hopefully culminating in the full return of a de-shattered Betsy. Marcus Tos art also continues to be a lovely asset, with whimsical visuals that help sell Excaliburs place in the Krakoa saga. And again, Gambit in a crop top. Cant go wrong with that.

The saga continues in next weeks Rise of the Powers of X #1 and Wolverine #41.

Id say Hills script is a bit stronger than Kudranskis art, colored here by Frank DArmata, which comes off as something of a cross between Greg Land and modern Mike Deodato that Im not totally decided about. I will say the books horror-flavored visuals add an interesting dimension to the proceedings that enhance what Hill has written on the page, even if theyre a bit muddy and lacking definition at times. But that speaks more to DArmatas colors than Kudrankis linework. In any event, Fallen Angels has a distinct look from some of the other art seen in Dawn of X, and that has to be commended.

The art of 4 Yancy Street is uniformly great, switching between four talented artists who all deliver great visuals, even if their clashing aesthetics make for a somewhat jarring reading experience. Greg Smallwoods pages are definitely my favorite, especially the early ones that recount Bens upbringing, presented with flat coloring and grainy sepia overlay that evokes the feel of older comics after decades of aging. Im not sure if this issue will actually be printed on specific paper stock and not the glossy lightweight kind that Marvel usually uses, but it would really lend a little something extra to the proceedings if they go with the former.

All things considered, Fantastic Four: Antithesis #1 is an ill-advised blunder that wastes the veritable talents of its creators. Laura Martins colors are reliably good and letterer Joe Caramagna does what he can with such a verbose, dense script, but judging it just on this one issue alone, Antithesis simply doesnt justify its existence.

If you're looking for a riveting one-and-done standalone comic book that doesn't require any further reading once you've turned past the final page, Fury #1 isn't a bad place to start.

Writer Alyssa Wong's script is brisk and delivers a classic superhero origin story, but told from an Asian perspective that we don't get much of in the American comic book industry.

Having glanced at all of this week's Future State offerings, I definitely think Wonder Woman is the strongest of them all, and that bodes well for Yara's future in the DC Universe.

To Hickmans credit, though, a strength of G.O.D.S. #1 is that it doesnt feel like a Marvel comic. A lot of the shared universe-ness comes across as cursory for better or worse and theres definitely a version of the series thats an entirely original, creator-owned work. Would that improve the comic as is? Unclear, but its commendable that Marvel editorial felt willing to take such a big swing with a new IP like this one. And above all else, it looks gorgeous thanks to Valerio Schitis art, which helps it go down smoothly despite some of the narrative roughness. Hickman definitely gives Schiti a lot to work with; this is Eisner-worthy stuff. I just wish the story being told excited me a little more is all.

Ghosted utilizes the talents of Siobhan Keenan, a veteran of BOOM!s youth-driven imprint BOOM! Box, to great effect. As seen in her work on Clueless: Senior Year (among others), Keenans art is perfect for this kind of story, giving off a vibe thats somewhere between a cartoon and a romance comic. Cathy Les colors are especially fitting for Keenans style, featuring a wide palette of hues, most notably the cool blue-greens of the ghosts Daphne meets in the mansion. Letterer DC Hopkins completes the visual creative team with some great on-panel text message work and comical uses of sound effects and dialogue.

I think the art of Giant-Man, headed by Marco Castiello and colorist Rachelle Rosenberg, is very good, which is reliant on two factors: big boys and a frosty palette. You do get a sense of scale despite the constrictive layouts throughout the issue youd expect at least one double-page splash spread given the premise here, but nada. And while Rosenberg does sell the chilliness of Florida (again, you read that right) setting, she also makes an effort to contrast the snowy ice with pops of warmth, like an orange sky that contrasts with the deep blues of their Frost Giant disguises. Letterer VCs Joe Sabino does his reliably good work, though Im mildly disappointed there isnt even bigger text on display here. It's Giant-Man!

As I mentioned, this issue is mostly dialogue-free, with only the beginning and ending parts containing panels with words. When used poorly, this tactic can come off as a gimmick, but thankfully, Hickman hands his sparse script to modern master Russell Dauterman.

A letter written by John to Krakoas resident costumer extraordinaire, Jumbo Carnation, explains what he wants for his updated look and why its important to him; its a satisfying way for Orlando and Rose to have John speak for himself outside of brief narration boxes and dialogue. Words and pictures obviously have to work in tandem with one another for a successful product in this medium, and Thunderbird exemplifies that pretty well all-around.

But the real star of Fantomex is the art, done beautifully here by Rod Reis. His painterly, Bill Sienkiewicz-esque style (which makes him the perfect artist for latest New Mutants run, whenever he actually gets to work on it) works tremendously here, dealing with a setting that is increasingly more surreal each time we return to it. The panel layouts are equally as inventive, breaking form from the grid-based look of scenes set outside The World, while the visual palette of colors is varied and eye-popping. Reis shows a lot of thought was put into every aspect of the art here (also, his Fantomex is very handsome).

It remains to be seen how the story proceeds from here, but Abnett sets a good enough foundation that it should make for an entertaining read, and Damian Couceiros art (with Matt Milla's colors) definitely lends a feeling of retroness in Groot #1 that works with the inherent classic setting of the story. More crucially, however, Couceiro is able to deliver on what matters most in any Groot comic: selling the emotional scenes that endear everyone to the lovable tree-thing, especially in his baby Groot state originally seen in Guardians of the Galaxy Vol. 2. (Seriously. Theres a reason why that thing is a merchandise machine.)

Another commendable thing about this Guardians of the Galaxy was the solid art throughout, which began with Geoff Shaw and ends with Cory Smith. Replacing an artist in the middle of a run is always tricky you either find someone whose aesthetic is compatible with the person theyre replacing, or completely swerve off the path into a new style altogether. They took the former approach here, and Smith has been an exceedingly seamless transition from Shaw that you may not even notice the change if you werent paying close enough attention. The fact that he also brought with him a new inker (Victor Olazaba) and colorist (David Curiel) from the departing Shaw and Marte Gracia makes the changeover even more impressive.

The Cosmo-centric Faith is more of a book-ending series of pages than a full story, placed at the beginning and end of the issue, but it's not lacking intrigue. It seems our favorite talking (Russian) dog is being controlled by a shadowy Cabal seeking to unite the others for less-than-savory means, and were told itll be followed up in next months issue of Guardians. TBD! John McCreas brief art is worth a mention, if only because of how cute he renders Cosmo. Never underestimate the power of a cute animal.

Perhaps just as exciting as Ewing on the title is artist Juann Cabal, who has really emerged as a major name at Marvel over the past few years. I first became familiar with his work in All-New Wolverine some years back, and Im always interested in checking out what he has to offer with his visuals. Cabal proves to be a great fit for the material here, with some solid pages (and one especially impressive, intricately laid-out double splash spread) that should only further his profile as one of the companys best new finds of recent note. Federico Blees colors add a lot of dimension to Cabals linework, contrasting with the various artists of Catess run through vibrant colors opposed to their more muted approach.

Juan Frigeri replaces Juann Cabal on art starting with this issue, and unfortunately itll be a tough act to follow. Cabals GOTG run cemented himself as an emerging VIP in Marvels rolodex of talent, but thats not to say that Frigeri isnt up to the task. I like his art style here; its very clean and appealing, accented by Federico Blees bright colors. He just has the misfortune of coming in after career-making work by his predecessor. Id like to see Frigeris art loosen up and play with form more as his run develops, because Guardians of the Galaxy is precisely the kind of title that allows for it.

It's all just a great package from every party involved, and I wouldn't be mad if the suits at Marvel decide to give Prince his own series after this fantastic issue.

The "good guy breaks bad plot is nothing new, especially not in superhero media, but there's enough novelty to the fact that it's Groot apparently going bad that leaves room for curiosity and interest. That, plus the space Western aesthetic Walker really gets to lean into with his art, makes Guardians of the Galaxy #1 a solid opening for what will hopefully be another worthwhile and esoteric take with these characters.

The interview device is a clever way to reflect the title (rewinding time through memories and recollections) but I wonder if there were a better way to implement a dialogue-heavy subplot like that amid more propulsive, interesting action. Thats ultimately why Cosmic Rewind feels like such a disappointment, because its not like theres nothing good here. The characters feel like the characters as they exist in various media under Kevin Shinicks pen, and I personally love exaggerated Gerardo Sandovals art style, so no complaints from me there. I just wish there was more to Guardians of the Galaxy: Cosmic Rewind beyond it serving as internal brand synergy.

Letterer Joe Caramagna deserves a special mention for his work here as well; this is a dense script that undoubtedly took a long while to put on the page. I have to imagine Gwenpool is a character any letterer would kill to work on because of how inherently subjective and expressive she is!

Princes script deserves credit for being as restrained as it is, prioritizing a mood over gratuitous violence (which there is some of) or a statement of arent clowns creeeeeepy? (YMMV) that you might expect from the material. Its also less of an origin story, and were not meant to glean that Bart pivots into a life of crime because of what happens to him, regardless of what may or may not unfold after the final page. You could very easily see this story continuing as its own series, but I always respect when creators leave a little something to the imagination–suggesting to the reader that their subjects will continue existing whether or not we see what happens next.

One aspect I really enjoyed about this issue though is the art by Enid Balm, recently of this years Reptil. I liked his pencils in that series, but his sketchybut polishedstyle really pops here. He draws Kate with a dynamic springiness (seen especially in the opening set piece) that suits the character. The additions of Oren Junior and Brittany Peer to the art team also really illuminate just how much an inker and a color artist can affect the look of a pencilers linework; his Reptil art looks similar to the visuals here, yet somehow feel very different in tone with Juniors inks and Peers colors. Balm is definitely an artist to watch after his Marvel work this year.

While I do think Hellcat #1 is a good debut issue you could dive into cold, I think it may behoove anybody interested in checking this one out to read the Iron Man/Hellcat Annual from last year first, which essentially serves as a backdoor pilot for what transpires here. I admittedly hadnt checked it out until after reading Hellcat #1, and it clarified a lot of things I was a little unsure about prior. (E.g. the Daimon-possessed stuffed rabbit, which is not explained in this issue whatsoever.) I presume itll be included in the inevitable trade paperback because of how vital it is to set up this new series, but for now thats something you may want to be clued in on.

Writer Zeb Wells has a knack for the sort of wacko-serious vibe I assume Hellions is going for, and, hopefully, it lives up to the promise of this issue (his concurrent Ant-Man run is also very good). Stephen Segovias art is comparatively tamer given the books premise, but its very consistent with the vibe established by Pepe Larraz and R.B. Silva in House of X andPowers of X, which lends some nice continuity to the overall slate. Im very interested to see what he can do with the material given to him here, especially if it involves Nanny in greater capacity.

If you're in the mood for capital-letter SUPERHEROING, then Heroes Reborn might be a worthy investment.

Even if I dont totally understand whats happening here, it certainly looks great, with Akandes art doing a lot of the work to keep the reader visually hooked and wanting to keep reading. His lines are soft and expressionistic, even when depicting the man sometimes referred to as Shellhead in his aforementioned shell, and his lighting is gorgeous, giving a photorealistic feel to what are increasingly out-there and surreal images. Its really quite an impressive overall package for two relatively new names in the industry, and theyre definitely worth keeping tabs on moving forward.

I'm less sure how Flatline plays as a standalone tale set in the Immortal Hulk sandbox, so I could see it coming across as redundant for some readers. It feels like Immortal Hulkboth to its benefit and detrimentand Im not sure if it really adds anything new to Ewings lore. But in Shalveys defense, essentiality probably wasnt a directive given to him by editorial. The sole purpose for Flatline seems to be that of a spotlight for its creator and how they interpret the material, so in that ultimate sense, it succeeds.

Time of Monsters is bolstered with a bonus Bruce-centric story by David Vaughan and Kevin Nowlan, which is perfectly good but ultimately feels like padding to justify a higher cover price. I appreciate efforts to spotlight other creators and give them free reign to do whatever they want with characters through shorter backups, but I dont know if this issue in particular needs it.

Artist Lucas Werneck, recently of The Trial of Magneto, also returns to Krakoa as the ongoing artist of this series. I was hot and cold on the former title, but his art consistently remained one of its high points, so Im not at all complaining to see more of it here. Immortal X-Men requires a skilled artist who can sell character beats and quieter momentsthis is definitely not an action-packed bookand Werneck excels at that. Gillens script is very dialogue-heavy and doesnt exactly call for dynamic pacing, but Werneck finds a way to make each exchange exciting and suspenseful.

In addition to Empyre, Incoming #1 also plugs future storylines like Outlawed (seemingly a take on Civil War but with the MUs youngsters), Iron Man 2020, Atlantis Attacks (a crossover between Namor and the Agents of Atlas), Ewings Guardians of the Galaxy relaunch, and X-Men/Fantastic Four. Even for the most cynical of readers, its hard to not read Incoming #1 and not be at least a little bit curious of what Marvel has up their sleeves for the new decade.

Looking forward into the futurecall me DestinyI have a theory about the state of Krakoa following Inferno. Moira has been very clear that Krakoa should not have precognitives like Destiny, and that rule has been obeyed and maintained. So that being said, why is the very much dead Blindfold seen in this recent teaser image? Hmm. If I didnt know any better, I would think Krakoa is about to get its own version of Minority Report in the very near future. I know Xavier has kept this promise to Moira thus far, but I also know men aint shit and Xavier especially aint it. Guess well have to keep that one on the backburner for now.

Not so good for Krakoa! This series is definitely leading to some sort of schism between the mutants (After the other Schism? Another one?!) and recent solicits for the near future seem to suggest as much, but well see. Now would be the perfect time for the Krakoa experiment to show cracks right as Orchis is primed to make a breakthrough. Until next time!

Next up: the final issue of Inferno. What will burn to the ground and who will be left to clean up the mess? Until then!

And, as ever, there is fantastic art from Valerio Schiti and Stefano Caselli, who seemingly continue to outdo themselves each time they take to a page.

Writer Alyssa Wong continues her work on Asian mythology-inspired Marvel tales with this series, directly following the aforementioned White Fox one-shot, and Im interested to see how this series progresses. Her script never drags and always moves along at a clip, which you would expect in an Iron Fist series, and the tone is light but with a peering edge of darkness in the corners. But as with any comic featuring martial arts, the art needs to be similarly dynamic, and Michael YG delivers on that front. A lot of this issue is spent fighting and in various states of motion; visual stiffness would ruin the vibe. But he also successfully conveys Lin Lies youngness in comparison to the older (and slightly grizzled) Danny, which is important because of their burgeoning mentor/protg dynamic. All in all, Iron Fist #1 is more than worthy of your time.

As for the art, its good, but not necessarily the best Ive seen of Cafus. Ive been a fan of his work since Vixen: Return of the Lion, but Iron Man isnt especially visually interesting like that series was, which does him a disservice. Its mostly cityscapes and crowd shots, but the plentiful opportunities hes given to draw the classic armor are enough to admire. Im also not usually a fan of Frank DArmatas colors, and this issue is no exception to that. His coloring tends to come off as a bit blotchy and overly brown-toned to me, which hinders my enjoyment of Cafus linework, but not to a debilitating degree.

Artis Julis Ohta gets a lot of material to work with here. From Hulk-adjacents, to repulsor beams, to various Iron Man suits, its a good showcase for him. A character like Iron Man never usually lends himself to having the most fantastic or surrealistic art, and his books usually trend more towards realism, but Ohtas handle is in incredibly solid, which fits in with the broader whole of the package presented here Iron Man #1 is perfectly solid.

Downlings art follows a similar note from predecessors Cafu and Mattia de Iulis with a style based in visual realism, which helps make the more fantastical elements of the story feel grander and more epic. Jesus Aburtovs colors enhance the effect even further, delivering some truly beautiful shading that gives the lighting in various scenes an uncanny level of photographic verisimilitude. Jane Foster & The Mighty Thor #1 is altogether just a well-made comicbook that leaves the reader wanting more, which is all you can ask for from a new number one.

As stated, Simonson clearly has a great handle on this character, but her reverence for Jean doesnt get in the way of storytelling; the Jean we see rise here is kind of a supervillain? Like late stage Xavier-level bad? Without her potential blocked, she more or less becomes Magneto with Xaviers telepathic prowess, which is a fascinating spin. Im curious to see how Simonson continues this experiment. Shes joined by fellow X-Men veteran Bernard Chang on art for this series, and he gets a lot of material to work with. Theres one double page spread here that is full of details and references to Jeans past that would take a solid few minutes to decipher, but the thing as a whole is a solid package worth checking out even if youre not super interested in the Kraoa saga but love the character.

Unfortunately the same is true about the art, penciled by Aaron Lopresti and inked by Matt Ryan (presumably not that Matt Ryan) with colors by David Barron. Much like Vendittis script, its fairly bog standard superhero action fare thats not especially interesting or great to look at. Coming off a run largely drawn by the likes of Jorge Jimenez and Francis Manapul arguably two of DCs best regular artists at the moment anything else wouldve been a disappointment, and Lopresti/Ryan/Barrons work doesnt meet the level of their predecessors. The overall package of this issue is very meat and potatoes for a certain sect of DC fans who dont want or expect their comics to reinvent the wheel, but I cant help but be left feeling hungry for something else.

I have to say the art in this issue is wonderful, especially regarding the new King of Petals himself, who is equal parts creepy and beautiful as depicted by artist Guillem March and colorist Arif Prianto. The art direction of the issue as a whole is rather gorgeous, with ornate layouts (particularly around the flashbacks of the King of Petals's past life) and panel compositions. Rob Leigh's letters also deserve a mention, as there are frequently lots of them, sometimes even broken down into paragraphs on the page beside images. It's certainly a dense read that will take you some time to get through.

Thompson's story is good, but the art of Ka-Zar: Lord of the Savage Land is undoubtedly fantastic and more than worth the cover price.

Despite the potentially confusing nature of this series, I do think it'll make for a pretty sturdy collected edition when it's done, and a good "official" introduction to the character's comicbook counterpart when audiences finally get to meet him on the big screen.

That being said, Im interested in checking out some of the upcoming tie-ins, such as the aforementioned The Union, Return of the Valkyries, and Iron Man / Doctor Doom, which apparently has the odd couple teaming up against a symbiotic Santa Claus? If that doesnt sound like a true Christmas miracle after the hellish year that was 2020, I dont know what does.

With a more expressive artist to elevate the material, Iron Man/Doctor Doom #1 potentially could have been a must-read, especially for a between-holidays, fifth week one-off. But unless you're a completionist for either character, or you're looking to read every entry of the King in Black event, you can probably skip this one, or wait until next Christmas when it's on Marvel Unlimited.

Luciano Vecchios art is just as crucial to selling the story here as Howards script. As mentioned above, this issue has the trappings of a big crisis crossover event but with an intimate relationship at its core. Vecchio can do all of the expected superhero action that an army of symbiotes in outer space calls for, but what impresses me the most about his work here is the quieter moments between Billy and Teddy. After all, this is meant to be their honeymoon, not an Avengers swap meet. Theres one Sixteen Candles-esque scene in the middle of the issue that really, really works, in big part thanks to how Vecchio renders the scene. While the overarching story of King in Black doesnt do much for me personally, its moments like these thatll stick with me as a reader largely invested in this one relationship (additional credit goes to Espen Grundetjern for coloring the issue as vibrant as one could in a comic otherwise drowning in a sea of black symbiotes).

Its fitting that Aaron ends his Thor saga with the great Ribi, whom he started it all with in 2012. Ribi is exactly the perfect artist for a character like Thor, and especially one of this scale.

I liked Excalibur, but I do think the aforementioned urgency of Betsys assignment here allows Howard to get the plot moving a little faster than the former ever did. Its very much a Betsy-centric issue though, so fans of cast members like Gambit or Rictor might be a little disappointed to see their faves sidelined, but its otherwise still a very fun group of characters. Dragon-Shogo is back, and really thats all anybody could ask for. Bob Quinn's clean, appealing artwork with Erick Arciniega's bright colors also looks great on the page, setting a mystical mood that promises to deliver on the concept. I'd like to see the art team get even weirder and bolder as the series progresses; this is a fantasy book after all!

That being said, Laura Kinney: Wolverine #1 is worth checking out, especially for fans of the character. Shultz brings up some good ideas here, namely the idea of the model minority and how not every marginalized person is good. That would be a take Id like to see expanded upon, especially with a character like Laura. I also really like Giada Belvisos art, which is reminiscent of David Lpezs work on All-New Wolverine, offering a sense of visual continuity with that fan favorite series. The fight scenes here art fantastic, as are the smaller moments that require Belviso to convey the complex emotions of the character. Overall, this book has potential, but I dont think its completely there yet.

The publisher recently attempted something similar with 2019s History Of The Marvel Universe, and while that series also suffered from a similar sense of book report-itis, Javier Rodriguezs art elevated it into something novel and visually gorgeous. Ramn F. Bachs art here, while not bad at all, is forced to pack in so many narrative beats and recreate classic moments from Wolverines lore that none of it gets to breathe or linger on the page. I can see this one-shot becoming something of a staple in New to Wolverine? reading lists once it drops on Marvel Unlimited, but as a standalone comic book priced at $4.99, you could pick up something more substantive than Life of Wolverine #1.

Mike Perkins art is another asset to the series. Going back to the comparison of Gaydos Alias/Jessica Jones, his particular art style works for this kind of story something of a hardboiled mystery wherein nothing is pretty or simple to grasp. Among the three Event Leviathan projects, they all look distinct from one another, which helps lend individuality to each despite all of them being of a piece with one another.

Emperor Hulkling also feels like a revelation in how unabashedly queer it is, despite being a crucial part of the company's latest crossover event. Marvel is often criticized for being reticent to embrace its LGBTQ characters, so it feels pretty momentous when a crucial fight scene takes place at a drag show attended by four queer-identifying superheroes.

In reading Maestro, I just didn't come away from it feeling like his backstory was a gap that needed filling.

Because so much of this issue's story is internal and limited, the onus is on artist Minkyu Jung to depict Saladin Ahmed's script in a visually interesting way, which he handily succeeds at doing. Magnificent Ms. Marvel #14 gives him an opportunity to draw a bit more surreally than Kamala's monthly adventures tend to do, which is a welcome deviation from the norm, but it's the aforementioned character moments that really sell the gravity of the situation.

Frequent Marauders artist Stefano Caselli has a lot to work with in this issue, which should be obvious since much of this issue is centered around mourning and unexpected joy. When Kate is reunited with her trusty dragon Lockheed (who has been having a rough go of things lately himself), you really believe it; meanwhile, its hard not to empathize with Emma Frost after the funeral once shes away from the crowd and allows herself to be vulnerable.

Ahead of the upcoming takeover by Steve Orlando and Eleonora Carlini, Duggan and Lolli (with an assist from Phil Noto) conclude their saga in a satisfactory, if subdued, way.

While I am once again questioning Marvel's business practices with their choice to sell this as an annual and not a new #1 for the series it's setting up anyway, it is a nice sampler for what Orlando will bring to the table when he returns with ongoing artist Eleonora Carlini in a few months. His writing is " as ever " action-oriented and a little pulpy, but he also really leans into the mutant metaphor in regards to queer acceptance with the chosen villain of the piece, and I'm hoping we'll see more of it in the book proper.

Steve Behling & Riccardo Secchi, credited with the plotting and scripting of the comic respectively, dont take the concept too seriously, and thats the right call. Its inherently very silly and they deliver accordingly. Artist Lorenzo Pastrovicchio, however, does take it very seriously and as such provides perfectly whimsical visuals that will be appreciated by children and adults alike. Donald looks like Donald here, and that may be a given, but theres no attempt made at subversion or trying to be unique with the material, which is another correct call. Color artist Lucio Ruvidotti enhances Pastrovicchios art with candy bright hues you would possibly expect from an old timey comic like the ones this is riffing on. What If Donald Duck Became Thor? #1 is just a very good, clean, fun package that could be enjoyed by anyone.

If anything, the creative team who were also behind What If Donald Duck Became Thor does a great job of establishing the tone and visual identity of the piece. Writer Luca Barbieri keeps it light, while Giada Perissinottos art is fantastic, really delivering the Disney aesthetic you would expect, with lovely colors by Lucio Ruvidotti.

There's nothing wrong with Spencer's script, strictly speaking, but it probably could have done with a few more edits and clarification.

As with every version of this retro throwback title, YMMV on whether or not Marvel Super Heroes Secret Wars: Battleworld is worth reading based on your experience with the material. Theres probably not much here for the newer reader who doesnt hold any nostalgia for the original series. Creative team Tom DeFalco and Pat Olliffe do a good job of approximating the vibe of Bronze Age comics while still updating them enough for current storytelling standards, but if you dont have a fondness for that era of Marvel then it might leave you cold. I appreciate what DeFalco and Olliffe are doing here particularly the latters art but Im not especially compelled to continue reading because theres only so much new you can do with a series like this. But thats just me.

The rest of the stories here are fun in their own right, ranging from fan favorites (Young Avengers, Moondragon/Phylla-Vell) to recent breakthroughs (Hercules/Noh-Varr, Rna the Valkyrie) and even a real deep dive Id never heard of prior to reading this issue: the Wakandan couple Venomm and Taku. There isnt enough room for every LGBTQIA+ character in the Marvel universe to make an appearance here, and just one annual special is the minimum that could be done to improve the state of queer representation on the comics side of the company, but Marvel Voices: Pride is a great new tradition to spotlight a side of the industry that often goes ignored or undervalued by the powers at the top, and I hope it only gets bigger and better with each passing year. Happy Pride!

Claire Roes art at least lends a playfulness that does benefit the material. Alex Rosss art on the original Marvels series was very much a grandiose, ultra-realistic aesthetic that highlighted the lofty status of superheroes compared to the street-level characters it followed, but Im glad to see that these one-shots have had room to do their own thing and not stay beholden to the original vision. Her style lends itself to character work over superhero action (which she can also do), so when Jennis discovery of the Avengers unfolds into a double-page splash layout, it does give off the sense of landing right in the middle of a superhero battle.

In addition to the main story is a charming little backup by Cody Ziglar and Natacha Bustos, which serves as a fairly stark contrast to the Clone Saga lead. While the main story is sober and serious, Big-Time Buzzkill is bright and colorful, with lots of humor. Its not essential at all in regards to the headliner, but still worth checking out. Bustos, in particular, is a favorite of mine thanks to her fantastic run on Moon Girl & Devil Dinosaur, so Im not complaining about getting to see more from her.

MacKay definitely nails the desired vibe for a Moon Knight comic in his script, but where this issue really shines is Cappuccios art. Im not familiar with his work, but based on Moon Knight #1 I think theres some serious superstar potential for him in the years to come. His linework is lively and angular in a way that works for the character, and theres some impressive shadow rendering that conveys darkness even without colors. But while were on the topic of coloring, Rachelle Rosenberg does her usual good work here, draping Cappuccios renderings with a moody, dark palette thats strikingly contrasted with Marcs stark white appearance (this was an innovation expertly utilized by Jordie Bellaire in the Ellis/Shalvey run, but Rosenberg still makes it look good). I personally believe a Moon Knight run is as good as its art team, so, in this instance, I think Mr. Knight will be in good hands for the foreseeable future.

But I have to say the real star of this one-shot is Tom Reillys art. Reilly, most recently of Jay Edidins Cyclops-centric X-Men: Marvels Snapshots #1, has a wonderful retro sensibility in the vein of Chris Samnee, Greg Smallwood, and Leonardo Romero that serves and elevates the material well. The truncated method of his visual storytelling, usually employing multiple smaller panels on the page rather than opting for larger splashes or widescreen panels, allows for lots of room to focus on specific moments while also keeping the momentum going. Chris OHallorans colors are also a great asset here, whose bright colors provide some contrast to what would otherwise be a dark and gloomy horror piece. After observing their quality work here, Id very much like to see the two collaborate on another project.

Vellani's script, co-written with Sabir Pirzada, manages to make the best out of an admittedly cynical premise (corporate synergy) that keeps within the spirit of past Ms. Marvel runs while also feeling like a new chapter in the character's history.

My main quibble with Murderworld: Avengers #1, though, is Marvels characteristically overcomplicated publication strategy for it. Theyre doing the one-shots that arent actually one-shots thing where each issue has a distinct title and a #1 on the cover, even if they would each be fairly incomprehensible if you read them separately or out of order. I know why they do this a shiny new #1 sells better than a #2, #3 or #4 would but its such an annoying habit of theirs and I wish they would break themselves out of it. This is the kind of thing that prospective new readers often complain about when they say theyd like to start reading Marvel comics but dont know where to start: needlessly making the process of finding and reading comics more convoluted than it needs to be. (When Murderworld inevitably makes it to Marvel Unlimited, for example, theyll be listed alphabetically as separate one-shots, even though the alphabetical order wont also be the correct reading order you see what I mean?)

Of all the From the Ashes launches so far, Mystique #1 is something of an enigma, perfectly befitting its eponymous anti-hero. The vibes here are great writer/artist Declan Shalves visual storytelling are great as ever but the story presented hasnt totally gotten its hooks into me just yet. Thats totally fine, since its only the first issue, but because its the first issue it does present a problem. I like the stuff Shalvey is setting up here; I just dont completely have an idea of the broader scope. But as I said, it looks so good that it may justify the cost for some.

Artists Paul Davidson & Alex Lins contribute a lot to the story through their art, trading off between the contrasting time periods. Donaldsons present is scraggly and grimy, reflecting Namors situation in the now, while Lins takes a softer smoother angle befitting that of a young persons life, even if under intense scrutiny as Namors. Color artist Neeraj Menon alternates between each era as needed, which helps them feel of a piece with one another while also distinct. Color art can be such a subtle tool in comic art, and this is a great example of it.

I havent seen Roes art since her run on Batgirl and the Birds of Prey, but from what I remember of it, she has a knack for expressiveness and action, both of which are represented here. Shes also upgraded her game quite a bit since then, with interesting panel layouts and detailed linework that gives her visuals a propulsive energy youd expect from the character. Mike Spicers colors are a nice match, opting for a multicolored, almost Lisa Frank-esque palette that doesnt seem like it should work, but does (speaking of the Lisa Frank connection, Jen Bartel will be doing covers for this series, and her work especially calls to mind that whole aesthetic with a modern sensibility).

But if youre in the mood for a light superhero romp with some yassified queerness, then Negasonic Teenage Warhead #1 is well-worth the price of admission.

Along with the incoming Ayala, ongoing artist Rod Reis returns for this weeks issue, and its more than welcome. His Sienkiewicz-esque style has been a huge part of the books appeal since it began last year, and the issues without him have really suffered from his absence. His work here is especially fitting since this issue also features the return of the Shadow King, who notably appeared in the original New Mutants run drawn by the aforementioned Bill Sienkiewicz, which makes for a full-circle revelation. I hope Reis remains the regular artist moving forward, because his art is just too gorgeous and expressive to miss out on (his Warlock is spot-on and presents exactly the kind of weirdness you want for the character).

There's action here, of course, but that's not necessarily what its target audience wants from a book like this, which I think writers Jackson Lanzing and Collin Kelly understand. The relationship between Kamala and Sophie in particular seems to be the heart of the series; they contrast each other quite a bit and it'll undoubtedly lead to some great character development for both.

The art by Kim Jacinto is similarly up to snuff, even if his pages tend to be distractingly busy because of the action happening in them. Theres a lot to look at. Almost too much. But at the same time, its pretty astounding how much detail Jacinto puts into scene backgrounds; at the very least its impressive.

Luca Marescas art here is very clean and appealing. Obviously working with an element like the Phoenix fire, flames, red gives them a lot to work with in the visual aspect, but the added human element of Maya being vulnerable requires deft character work. Her varied emotions throughout the issue are believable, which is a big aid to Roanhorses script.

To their credit, Planet of the Apes #1 looks great and is written impeccably well. Walker in particular is an award-winning creator who is especially known for his work with established IPs like Shaft and various Marvel/DC comics (as well as his own original stuff like Bitter Root) so if anyone has it in them to deliver a thought-provoking comic book adaptation, its him.

Psylocke #1 is a good showcase for the character that, thankfully, fails to mention any of the race-related baggage that formerly defined her. Writer Alyssa Wong rightfully chooses to focus on her life before Betsy, and how it informs the person she is in the present. But dont you worry theres plenty of action to be seen here. (She is a ninja, after all. That was her thing! Not Betsys!) Wongs script gives artist Vincenzo Carrat a lot to do, with plenty of superhero fighting like you might expect, but also some more personal, tender moments with her beau, John Greycrow. Theres a lot to like about Psylocke #1, and hopefully the audience agrees in big enough droves to allow for a decently long run.

Granted, this is only one issue, and I dont know what the creative team is planning. Peposes script, while not especially exciting or unique, does whats expected of it, and Wachters art has a scratchy, pulpy quality contrasted by surprisingly bright and vibrant colors at times. Theres potential here, but I dont know how well this Punisher will be received, or if will even endure long enough for them to deliver something worth reading.

Trial of the Watcher works as well as it does because it uses the event tie-in as a framing device for what is, essentially, a tangential story that also informs what's happening in the main narrative.

The complexity of Red Goblin #1, though, may also make this series a bit impenetrable to the casual Spider-Man reader like myself. Im vaguely aware of the circumstances around Normies current deal, but thats arguably a requirement of someone like myself who reviews comics, so I have to wonder how this lands for someone who barely knows who Carnage even is, let alone spinoff characters. Writer Alex Paknadel does his best to provide the reader context, as does the ever-stalwart recap page, but its a lot of knowledge to have going in that it could be alienating for non-completists.

While those not invested in Reptil might not find much here to mull over, I can see this overall creative team winning over new fans of the character

Ewing's Empyre collaborator Valerio Schiti re-teams with him to draw S.W.O.R.D., and it looks as great as you'd expect from him. Schiti is among the current class of newer Marvel talent whose work you see with increasing frequency and prominence, and there's lots in this issue to prove his clout.

Carlos Magnos art at least fits the tone of the script, with heavy lines and a lot of black space accented by Espen Grundetjerns dark colors. Savage Avengers is definitely not a lighter book geared towards younger readers, and Magno takes it to the line of a parental advisory that doesnt require being bagged on the shelf. But that being said, I almost find myself wishing it did take it that far, which would give it slightly more novelty than it has in its existing state.

Scarlet Witch #1 also boasts the superstar art team of Sara Pichelli and Matthew Wilson, which really makes for some stellar visuals. The Emporium shop feels lived in and cozy, while the various acts of magic come across as appropriately otherworldly. When dealing with magical subject matter, the limit truly doesn't exist, and I hope they get even weirder and weirder with it as the series progresses. (Another point of appreciation: Wanda and her brother Pietro are both depicted with deeper skin tones befitting their traveler heritage, which is often overlooked by color artists in their various other appearances. Details!)

Ongoing artist Sara Pichelli returns from a brief hiatus last issue (joined this time by Lorenzo Tammetta) and they deliver inventive visuals made even better by Frank Williams vibrant, deep colors. The art team of Scarlet Witch hasnt been totally consistent since it began in terms of personnel, but it always looks good regardless, and thats always the best scenario for rotating artists. I suspect Tammetta did more of the heavy lifting here based on the aesthetic quality of the pages, but its not an unwelcome addition. Its a testament to Orlando, his various artists, and editor Alanna Smith that Scarlet Witch is probably one of Marvels best ongoing series at the moment and Marvel themselves seem to agree with me on that, since last months Annual was the prelude to their upcoming, Agatha Harkness-centric Contest of Chaos crossover event. This is as good a place as any to start if you havent been following along, but starting from the beginning would also be a great suggestion.

A book like Scream: Curse of Carnage requires a darker, horror-inspired tone, which I think Mooneyham really nails, accented by Rain Beredo's brooding colors that pop when Andi transforms into Scream mode. If there's any reason to check out this comic, I'd recommend it for the art alone.

With another X-Men election due to announce its winner very soon, I wonder if this concept will be reused on an annual basis for whoever isnt picked to succeed Polaris on the main squad. It wouldnt even need to be this same exact setupthough the issue ends in a way where it could bebut I just think X-Men fans would get a kick out of it.

But that might be an unfair critique, because Sensational She-Hulk #1 is otherwise perfectly fun and readable just as it was before. Id really like to see Rowell have a long run with the character as she did with her previous Runways tenure, and returning artist Andrs Genolet doesnt skip a beat with his playful and expressive visuals, rendered in bright candy colors from Dee Cunniffe. Its all good, if not especially fantastic by Shulkies standards, but in this instance her main villain is one shared by all superheroes in one way or another: expectations.

As for what this book is about, its not hard to see an overarching theme of the military industrial complex and commodifying war and hatred for profit in the way writer Alex Pakandel portrays the books cast to varying levels of morally gray to outright evil. Its not subtle, and yet it will still go over some peoples heads. Justin Masons art perfectly fits the worldview of the book, with dark, heavy lines and plenty of shadows conveying the antagonistic nature of its characters. While it may not be the most pleasant read and it definitely wont deliver the amount of fanservice some may request from an X-Men title, Sentinels #1 at least presents something a little more interesting and challenging than one may expect, and sometimes thats enough.

First and foremost, this new run of She-Hulk seems laser-focused on bringing Jen back to basics. After years of inconsistent characterization and experimental new takes of varying success, the Shulkie fans know and love is more recognizable than ever in this series. From a requisite appearance from Titania to the return of a major figure from the beloved Dan Slott run, writer Rainbow Rowell firmly has Jen back in the Ally McBeal-esque mode her fans prefer.

Im not as familiar with Goos work as they're more known for their prose, but I can definitely speak to the art team of Takeshi Miyazawa and Ian Herring. They previously worked together on Ms. Marvel and provided some of my favorite visuals in a Marvel comic quite possibly ever. Their sensibility and synergy work tremendously well for Silk. Miyazawas mangaesque art reflects the graceful zippiness of Cindys skill set, while Herringone of my favorite working color artistslends a softly colorful vibe that makes her adventures feel distinct from those of her Spider-Contemporaries like Peter and Miles. (Herring also colored the entire Robbie Thompson run, so it's a nice aspect of visual continuity from Miyazawa's predecessors Stacey Lee, Veronica Fish, and Tana Ford.)

I will say that Silk #1 isnt totally new reader friendly, as it does drop you in the middle of the action without explanation, nor does it explain its overt connection to a prior Silk run that would go over your head if you havent already read that one. But if youre a fan of the Spider-Fam looking to jump into something new, then Silk #1 isnt the worst place to start.

I dont mean to overshadow writer Donny Cates in praising Moores contributions here, because it should also be commended how well hes structuring his Guardians of the Galaxy run. Silver Surfer: Black is a spinoff, of sorts, to his Guardians saga, but I think it also stands on its own as a neat little Silver Surfer story that can be read divorced of that context. Even if I think Moores art functions so well as visual storytelling that it almost renders the text redundant, Cates has a pretty good handle on the character and his voice that will serve him well as the series continues.

Marzs script wouldnt feel out of place with his original Surfer comics, while Lims art is clean and striking with hard lines and classic structuring, draped in somewhat muted (perhaps on purpose?) but bright colors from Romulo Fajardo Jr. Overall, Marz and Lim both understand the assignment and Silver Surfer Rebirth: Legacy #1 delivers on that front, but YMMV on whether or not the assignment itself is all that interesting. For me, these series continue to provide an interesting contrast to everything else on Marvels shelf, but Im not completely sold on them as something that intrigues me beyond that.

The uninspiredness of Sinister War unfortunately extends to its visuals. Im loath to critique the artistic sensibility of confirmed industry legend Mark Bagley, but his classic aesthetic is just not an exciting aspect of this series. I actually like his modern art a lot when its used cleverly (i.e. Spider-Man: Life Story, where his old school vibe serves a metatextual purpose), but it just doesnt work for me here.

With an intriguing narrative hook and gorgeous art from Lucas Werneck, Sins of Sinister #1 is sort of a no-brainer for me to pick up unless you're somehow a Sinister hater, who is a type of person that apparently exists and I pity for.

The art by Enid Balm is also worth pointing out, as it sort of harkens back to Robbi Rodriguezs original run on the title that defined so much of its early aesthetic. Its not overtly similar at all to his art style, and more takes after the scratchy sensibility befitting that of a punk rocker like Gwen. Exaggerated proportions and dynamic posing come into play her like they did under Rodriguez, so it helps Smash feel familiar and not derivative.

(And, completely appropo of nothing, Ilove the use of the '90s animated series logo on the cover!)

Star has the zippy plotting we've come to expect from Thompson as a writer, even if her protagonist hasn't really emerged from the initial sketching phase just yet.

Dawsons script is playful on its own, but Gaston and colorist Sebastian Cheng definitely accentuate it with colorful, whimsical visuals. Tardigrades are already cute to look at, but its their rendering of Star Pig that makes him look especially cuddly, depicted in a welcoming shade of pink that almost gives the impression of a huge, floating wad of chewed gum in some spots. I also love the general art direction of the book and cover (by Sara Richard), which is very 80s/90s Lisa Frank, Trapper Keeper-esque. It gives you a sense of the tone the creative team is trying to achieve, and I think it meets it rather successfully.

The creative team of Storm is incredibly solid, with writer Ayodele who I believe to be the first person of African origin writing an ongoing series with the character having a reverence for the subject that is entirely expected. Storm is one of the coolest characters in Marvels roster, yet hasnt been given a spotlight like this as often as you might assume she has. Theres a lot to explore with her. But Ayodele is not alone; Lucas Wernecks art is fantastic, as it usually is. Each scene is stunningly gorgeous, lush, and full of detail. Storm #1 is worth the price of admission alone just on the visuals, but the entire package is exceedingly quality and worth checking out.

MacKays script also gives penciller Marcelo Ferreira more than enough material to work with, especially as concerns the mystical with all sorts of magical creatures and fantastical action to depict. I wouldnt describe this first issue as horror, but some of the imagery leans into the macabre in an intriguing way that perhaps befits the circumstances around Cleas promotion. But most of all, this series continues to feature Stephens ghost dog Bats, and thats what we really want to see.

Artist Germn Peralta does a good job of pulling off the supernatural horror aspects of Strikeforce, with appropriately creepy imagery that never feels too gross or off-putting but just enough that it wont alienate readers. In a comic filled with decapitations, dismemberment, and impalement, thats pretty high praise. Colorist Jordie Bellaire, a veteran of (supernatural) horror herself, comes through with reliably good colors that run the gamut of tones from page-to-page, but especially reds that arent always just blood and gore! (But usually, they are.)

But if you miss Dan Slott writing and/or Mark Bagley drawing Spider-Man, you could do worse than Superior Spider-Man #1, and it will possibly give you exactly what you want. Those two creators need little explanation, and their work here is probably exactly what you'd expect from them. Im just not someone who has any nostalgia in particular for either with this character, so I come off reading it a little cold. (What I did love, however, is the appearance of the Marvel NOW! era F4 in the Spider-Boy backup story. Bring back Darla Deering, dammit!!)

One thing you cant deny about Jimmy Olsen is the creative firepower it contains. As well as the aforementioned Fraction, whose beloved Hawkeye ended four years ago this week, he brings along fellow Marvel alum Steve Lieber, whose acclaimed Super Foes of Spider-Man ran concurrently with the former. Together, theyre unstoppable its such a perfect match of sensibilities that you have to wonder why it never happened sooner. Fractions script is witty enough on its own, but Liebers art takes it over the top. It also helps that Liebers style is very compatible with the platonic ideal of Silver Age comics, with clean lines and simple layouts. Colorist Nathan Fairbairns palette is equally suited to the aesthetic, opting for flat tones whenever possible but utilizing visual depth when appropriate. Its easy to pretend this is a comic that was published decades ago, and I say that in a good way.

Im not saying Superman: Year One needs to be exactly that, but blending the old guard (Bagley Jr.) with the new (Zdarsky) like that title does couldve made for something a little more special. For a character whos often (derisively) called boring by some readers, Superman is capable of so much experimentation! With creators like Frank Miller and John Romita Jr., Year One feels like a wasted opportunity more than anything.

As far as what you can see on the page, Ariel Olivettis art is as good as ever here. Hes really the artist you wanna go to for bombastic, intimidating men doing violent things (e.g. his work on Cable, Punisher, Namor), and his rendering of Thanos makes you believe why others would fear him. While I still prefer Olivettis art as colored by himself (i.e. his recent work on Venom: Space Knight), Antonio Fabelas colors arent bad, and actually quite beautiful in many spots. Rounding out the creative team is VCs Joe Caramagnas, whose lettering does a good job of translating Howards dense script into a readable fashion without distracting from the art.

Joining writer Jed MacKay is artist Lee Garbett, who recently did a run on Captain Marvel that I really enjoyed, and they bring a similarly grounded"but still fanciful"superhero look here. For a book whose title evokes the concept of death, Garbett's art isn't solemn or even gritty; it's spritely and dynamic with bright colors from Antonio Sabela, almost in defiance of the grim topic at hand.

The issue itself is perfectly competent. Alex Paknadels script moves briskly and has the characters acting like themselves, while Ryan Bodenheims art is clean and appealing with Rachelle Rosenbergs bright colors. Tie-ins like these can be tricky for a creator because theyre largely dependent on overall interest in their main event title; anyone looking for extra material out of Death of Doctor Strange will probably be satisfied with this one. But even in a slighter week for Marvel (especially with technical issues delaying most of their output through to February), I dont think this issue would be most peoples first or second choice to pull, especially with a premium $4.99 price tag attached.

Andie Tong and Luciana Vecchio share art duties on The Death of Doctor Strange: White Fox, which leads to some visual incongruity in spaces. Their art isnt analogous enough that one could read the issue and not notice a switch-up from page to page, but it otherwise doesnt totally disturb the flow of the issue. Tongs art is appropriately more Eastern flavored, particularly in some sequences that depict Amis backstory in a manner meant to evoke scroll paintings, while Vecchios pages have his characteristic cartoon-like style. Arif Priantos colors do a good job of melding the two into a mostly-cohesive whole, with fairly realistic shading techniques that add a nice dimension to scenes.

But as much as I liked this issue, I do have some quibbles. The main one is their continued (and frustrating) publication strategy of selling a series as separate one shots rather than a straightforward limited series, which allows them to sell each individual issue as a new #1 despite being parts of a connected whole. They really need to stop doing this! The next issue of this story is Amazing Spider-Man Annual #1 and while Im sure it wont be totally false advertising, itll definitely confuse some people who are Spidey completionists. My other criticism is Salvador Larrocas art, which like most of his output is workmanlike and not especially interesting to look at despite the material given to him, especially compared to Sara Pichellis backup art. But thats just my taste.

This issues triumph isnt just in the script but Jan Bazalduas art as well. She contrasts the normal mundanity of their teen years with the sci-fi bombast of the present day sections, which makes their overall arc feel appropriately epic. It takes a certain deftness to have a couples first kiss come across as eventful and big as two cosmic entities wreaking havoc on our heroes; Bazaldua manages it. Marvel keeps teasing us with the idea of a Hulkling/Wiccan series in these event tie-ins, and this is yet another creative team permutation that I wouldnt mind seeing being given a greenlight towards.

Because it's so linked to what Aaron has done with Jane over the past decade, you might want to check out all of his Jane-relevant stuff leading up to now, or at least the last two Valkyrie runs. You could read this issue cold and probably follow along, but I think the context is crucial.

Reilly uses a faux-retro style that calls to mind the vibe of comics from this nebulous era without actually resembling it, and superstar color artist Jordie Bellaire manages to make it look simultaneously classic but updated.

(Also, I would love to know who came up with the series logo, because it slaps.)

Befitting a Thor book, Nic Kleins art here is absolutely gorgeous and easily some of the best Ive seen from a Marvel title in recent memory. Aaron is a tough writer to follow, but so are the myriad great artists (most notably Russell Dauterman, Mike del Mundo, and Esad Ribi) who collaborated with him across his run. Colorist Matthew Wilson himself a veteran of Aarons run really clinches the visuals of the book with his trademark palette, full of vibrant colors that come together (at one point, literally) into a brilliant rainbow.

The last story, Rule of Reflection, reunites writer Kathryn Immonen with Lady Sif, the character she wrote in an acclaimed run of Journey into Mystery earlier this decade. This one is set during the Jane Foster era of Thor and sees them teaming up, which is a fun dynamic we didnt get nearly enough of while Jane was in Thor mode. Rule of Reflection might be my favorite of the three, if only because Im a bigger fan of Sif and Jane than I am of Bill or Thunderstrike. Immonen proves here why she may be one of the more underrated comic writers of her generation, while Tom Reillys art is appealing cartoony with colors by Chris OHalloran that match the playful vibe of Immonens script.

Timeless is probably catnip for Kang fans, but its also very dense and requires your full attention. I wonder how this issue reads for someone who was introduced to the character in Disney+s Loki. (This years Kang the Conqueror series is probably a better entry point for them.) But to the credit of writer Jed Mackay and the expanded art team, its still an entertaining diversion that offers a peek behind the curtain of the unknown future. Just be prepared to bring your full and undivided attention.

Much like last years Timeless, writer Jed MacKay makes the best of a tough assignment by delivering an action-packed romp that focuses more on the immediate story rather than just allude to whatever is coming from Marvel in 2023. Those, instead, are depicted as visual asides while Kang soliloquizes his plight to the reader; its an elegant solution to serve both masters while not distracting from the meat of the story. There are definitely some intriguing developments to be seen in them Beast appearing to lead a sort of army, a Wolverine-y Ghost Rider, the Pet Avengers(!!!), a belt with a stylized 777 on it but it does beg the question if any of them will actually be paid off within the next year.

. I can't really imagine how much appeal a bigger Torrent-verse would have based on this first issue. It's possible it picks up in later issues and distinguishes itself more from the crowded superhero market, but that remains to be seen.

While Earth-616 has more or less absorbed Ultimate Marvel's initial ethos into its own DNA in the years since as well as one Miles Morales, the golden child of that experiment it's still rather fantastical and "unrealistic, which gives Hitch and Co. a lot of potential to do something great with this developing sandbox. In any event, Ultimate Invasion #1 forebodes an exciting new future for one of comics' most enduring initiatives of the past twenty-odd years. Welcome back to the multiverse, Ultimate Marvel!

Personally, I'm always a fan of alternate universes and seeing what twists are imposed on familiar characters, so Ultimate Universe #1 is like catnip to me even if I don't totally understand what's happening just yet or where Hickman is taking the narrative.

(Plus: former Head of X Jonathan Hickman supplies a brief teaser for his upcoming G.O.D.S. series, if thats something youre intrigued by.)

As for Uncanny Spider-Man #1 itself, writer Si Spurrier does a commendable job of integrating Kurt to the wider Spider-Verse while also continuing his ongoing Nightcrawler/Krakoa narrative that started in Way of X. This comic is very much of a larger piece he began in that series, but still new reader friendly enough for people to jump aboard with.

It's an overall package well worth checking out and deserving of the Uncanny name.

At the very least, Venom War: Fantastic Four #1 is a great showcase for artist Joey Vasquez, who gets lots to do here. His style is cartoony in the best possible way; it leans into the zany Saturday morning-esque nature of this story, which essentially amounts to Doom and Kang playing Rock ‘Em Sock ‘Em Robots. Im not sure if its totally worth the hefty $4.99 price tag thats increasingly the norm in comics, but at least it looks fantastic. (Pun unintended this time.)

Even if you havent been following the main storyline, Venom War: Daredevil #1 will probably satisfy any Daredevil fans on the strength of its focus on Matt and Elektra doing what they do best fighting with and against one another in a sexually tense way. Also, there are zombie symbiotes.

All in all, you could do worse than Venom: Lethal Protector #1 if you prefer a more vintage Venom story, but TBD on whether or not it builds up to something worth following.

But wait, theres more! The bonus story in this issue was a lot more enjoyable to me: a horror-flavored romp following a dwindling party of Avengers as they investigate who is picking them off one but one. (Spoiler: its Venom!) Benjamin Percys story isnt especially notable as there have been similar stories with this exact setup (see: that one episode of What If?) but Brian Levels art is what makes it worth reading, with gruesomely gory visuals aided by Ruth Redmonds sickly colors. This is par for the course with anthology series, of course, offering a mixed bag of stories and styles. If youre a Venom completist then youll probably seek this out, but for anybody else it might be a wait for the trade and/or Marvel Unlimited sort of thing.

Rounding out the team is Matt Hollingsworth, whose vibrant color palette keeps in line with Matthew Wilsons on the main War of the Realms title, making for some nice visual consistency, even though Yus style doesnt resemble Russell Dautermans in the slightest. Its easy to overlook the importance of coloring throughout a major crossover event like this, but this is a clear case of how much it can make a difference in helping disparate titles feel alike.

Having read a bunch of War of the Realms tie-ins, I gotta say this might be my favorite. The action is great, the art (by Gang Hyuk Lim, Federico Blee, and Clayton Cowles) is beautiful, and theres some really fantastic character work that helps you identify with the characters, even if you (like myself) dont share their common Asian heritage. One scene at the beginning does a great job of exploring Asian diaspora and how different each culture may be talking about the same thing but perceive it differently based on their ethnicity. Lim deserves a special shoutout for his work here; hes been on my list of names to watch since I first encountered him on Infinity Countdown: Nighthawk last year, so Im glad to see more of him.

Rachelle Rosenbergs colors help elevate Ferreira and Poggis art with a bright palette that reminds you that this book is Thor-adjacent, even with its comparably low stakes.

At the very least, Marz and Lim turn in some quality work here, with a script that moves briskly and art that feels retro enough without coming across as dated. Having Lim on art duties particularly helps the story feel as though it was actually published in the era its set in, which is sometimes the risk of doing any sort of throwback project amid more modern sensibilities. (See: the most recent Alien films looking incredibly slick and high-tech despite them taking place before the original film.) I dont know if Warlock: Rebirth #1 will turn any new readers into superfans of the character, but its not a bad place to start.

Web of Black Widow seems to be placing itself as a noir mystery of sorts, effectively swapping the hard-boiled detective protagonist with that of the femme fatale who's usually either a secondary love interest or ruthless antagonist " sometimes both. It's not a bad concept for a Black Widow title, since her loyalties are always being questioned, particularly by Tony Stark in this debut issue.

It feels harsh to describe What If? Dark: Spider-Gwen #1 as redundant, but Spider-Gwen has become such a fandom in her own right now not to mention the many Gwen variants that have since sprung into existence because of that that it has the unfortunate effect of making this story feel a little rote.

Jan Bazalduas art is good, with sharp visuals definitely enhanced by Federico Blees colors and shading, giving the linework added dimensionality that it might have lacked otherwise. There are some panels in particular that really have a near-photorealistic quality to them that I found impressive. The prologue of the issue is drawn by Djibril Morissette-Phan, but it doesnt really stick out as looking that out of place because of Blees coloring, once again proving the point of how important a color artist can be for the visual continuity of a book.

Wolverine: Revenge was greenlit in celebration of Wolverines fiftieth anniversary, and this series definitely seems to be just about as Wolverine as one would expect. Though not as dense as a lot of Hickmans works can get, theres still enough of a high concept here that one would expect from a Hickman joint, and at least a few surprises that might catch a reader off guard. Capullos work is also unmistakably Capullo here, delivering the high standard of quality youd probably come to expect from him, especially on a superhero book. This really is the sort of thing that sells itself on the strength of its creative team: you wanna read a Wolverine book by Jonathan Hickman and Greg Capullo? If yes, then Wolverine: Revenge #1 is for you.

As for the look of it, Edgar Salazar does a great job of emulating the feel of that specific era without it feeling dated or overly derivative, which does a lot of work to convince the reader theyve been transported back to this specific era. It seems the goal of this series is to make it so that, hypothetically, someone could read every Laura Kinney-focused comic in chronological order without it being too jarring, and on that level X-23: Deadly Regenesis succeeds. As for whether it not it transcends the flashback-y premise, that might remain to be seen.

But you cant talk about X-Statixor The X-Cellentwithout mentioning the great Michael Allred, whose art looks just as good (and exactly the same) as it did back in 2001. Im glad Marvel didnt feel the need to update the look of this book with new art, because Allreds Lichtenstein-esque visuals just work for the vibe of these characters and this premise. The smoothness and vibrancy of Allreds art contrast the ironic, acerbic, and often violent nature of Milligans writing in a way that I cant imagine seeing any other artist tackle it. (This technically has already happened in other X-Statix titles, but the point is that Im glad he returns to his original creation with this series.) And you also cant talk about Michael Allred without his wife Laura, who once again colors his work with a candy-coated palette that counters the tartness of Milligans script with sweetness.

X-Corp definitely has the potential to grow into something, but it's gonna be a wait-and-see until then.

This is also the second go-round for artist David Balden, last seen in the X-Men world drawing Gail Simones fun Domino series from a few years ago. Balden also recently worked with Williams on Gwenpool Strikes Back, and theres a pretty good sense of writer-artist synergy throughout. His style is a bit more cartoony than some of the other Dawn of X titles, but thats a good thing; his art helps lend a sense of levity to the otherwise grim premise of the book. Im really looking forward to seeing what kinds of stuff hell get to draw in the coming issues (also, his costume designs havent gotten to show up just yet, but they are stellar). Im a little less enthusiastic about Israel Silvas coloring, which is occasionally a bit too heavy and textured for my taste, but overall it works for Balden linework.

After two consecutive weeks of just one issue each, were getting a whopping three chapters: Wolverine #6, Marauders #13, and X-Force #13. We havent seen much of most of the characters in those titles yet, so Im interested to see how they feel about the current conflict. Im sure Logan will handle the prospect of war with the calm, measured attitude hes known for"

If your prefer a funnier iteration of the X-Men, then X-Factor #1 is a great starting point to check out.

The art of X-Force, drawn by Joshua Cassara and colored by Dean White, is another reason this book feels different than the other Dawn of X titles, coming across as more lush (and even grittier at times) than, say, the clean and colorful aesthetic on Marauders as done by Matteo Lolli and Federico Blee. Cassaras inks are also much heavier than weve seen yet in the Dawn of X line, which lends a sense of foreboding that Percy clearly wants you to detect (no spoilers, but this issue ends on a major cliffhanger thats arguably as massive as the Moira MacTaggert retcon in House of X #2).

As a first issue, X-Force #1 does a rather remarkable job of establishing the premise, introducing the cast of characters, and delivering a standalone story that will also fit in a longer narrative arc.

From head to toe, X-Men '92: House of XCII #1 is a nostalgia-tastic package that actually delivers on its premise and offers an intriguing alternate version of events that makes you appreciate everything it's riffing on even more than you already did.

A heavyweight like Hickman obviously needs someone whos batting on his level enter Leinil Francis Yu. Fresh off a stint on Ta-Nehisi Coatess Captain America, Yu offers visuals at his austere best, with pencils inked by frequent collaborator Gerry Alanguilan and colors by Sunny Pho. X-Men is a handsome book befitting Hickmans stoic but not emotionless script that also manages to look completely different from what Pepe Larraz and R.B. Silva were doing on HoXPoX, and the diversity in visuals so far bodes well for the rest of the revitalized X-Men line moving forward.

As mentioned, Duggan is taking over from Hickman on the main X-Men title, and theres enough of his style established on Marauders (quippy team dynamics, classic superhero adventure plotting) to make his take feel distinct while also retaining Hickmans grandiose tone. A big part of that undoubtedly comes from the art team of Pepe Larraz and Marte Gracia, who previously provided the visual storytelling of House of X to great effect. Everything that worked so well about that run on the art side of things is back here, and Im very much looking forward to seeing more of their work on what will theoretically be the X-Men book of the entire line.

The plotting of X-Men Annual #1 is, admittedly, a little simple the X-Men go fight baddies but as alluded to above, the hook of this issue is the Firestar spotlight that her fans have been desperate for. Shes not a character who usually gets a ton of focus, so when she does pop up somewhere and is somewhat relevant to the greater goings-on, naturally people take notice. Writer Foxe clearly has a fondness for her as well, giving her a rare triumphant moment when her character is historically wanting for those. Enthusiasm for an underserved character can really do a lot of heavy-lifting as evidenced by this issue, so with the added benefit of Andrea di Vitos gorgeous art, this one is an easy recommendation for fans of Firestars and the X-Men in general. Plus, youll get a glimpse at a late-breaking contender for 2022s weirdest comic book aside: the Zombie X-Babies! What else could you ask for?

In the world of ever-shifting cape comics, all you can really do is have an open mind and hope for the best and failing that, simply tune out for a bit until its back to your personal liking. X-Men #1 and this era of the franchise isnt likely to inspire passion in anyone like its predecessor did, but at this point in modern fandom discourse when everything is toxic and non-stop negativity, thats a concept as radical as Krakoa itself was.

Spurriers script is top notch and delivers these events with the right amount of poignancy, but the art team of Wilton Santos, Oren Junior, Marcus To, and Ceci de la Cruz are a huge part of why the material works as well as it does. X-Men Blue: Origins #1 is an emotional story, and the visuals need to reflect that. They sell the grandiose nature of the events depicted while also making it engaging to follow page by page.

As written by Al Ewing, Before The Fall Heralds of Apocalypse is equal parts epic in tone but otherwise small in scale. The bulk of the issue is essentially one long fight scene with bits of conversation and exposition seeded throughout, but Ewing knows what hes doing. He makes it an enthralling read with such high stakes on the line for both, while the extended art team (Luca Pizzari, Stefano Landini, Raphael Pimento, Ceci de la Cruz) sells his script with gorgeously rendered art. YMMV whether or not this issue is an essential read (prelude-y interludes like these vary on that scale) but for those looking to reunite with an old friend (foe?) before shit goes down for the X-Men, youll probably want to sit down with this one.

I'm interested to see where this series goes from here, but it might be worth it to wait for when it's concluded.

But not to be outdone, X-Men Red #1 also offers more beautiful art from Stefano Caselli, most recently of the aforementioned S.W.O.R.D. as well as Inferno. Ewings script really gives Caselli a lot to work with, from gorgeous Arakki landscapes to seedy neon hangouts (also, impossibly stunning people, which has always been one of Casellis calling cards). I just dont know how else to better sell this series beyond reiterating the fact that its a Storm-led X-Men book by Al Ewing and Stefano Caselli. What more convincing do you need?!

The creative team behind the issue is pretty solid, spearheaded by Tom Taylor (one of the best superhero writers currently working, in my opinion) and Cully Hamner, whose experience drawing grittier action-heavy stories like this serves Taylors script well. Dave Stewarts vibrant colors offer an appealing contrast from the darkness of Hammers inks, especially the pops of bright red when Batwoman is in the scene. In all, Year of the Villain: Black Mask is a pretty unimpeachable little one-off supervillain tale.