Nicole Drum's Comic Reviews

Reviewer For: ComicBook.com Reviews: 1383
7.3Avg. Review Rating

Szymon Kudranski's attention to detail and brilliant use of space on the page gives the story a tangible, real-life feel. The words on the page have meaning, certainly, but the expressions Kudranski creates on the faces of the characters go so much further, to the point that in some panels you don't even need the words to understand what is going on. It's breathtaking.
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It's a perfect pairing and it makes for another, standout issue.
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Action Comics #1051 lives up to the hype with a trio of stories that are just honestly really good.
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It is beautifully done on every level, from story to art. This is a fantastic issue all around.
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Overall, this is very clearly one of DC's best books right and this issue is proof.
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Adventures of the Super Sons #6 is an absolute treat. Peter Tomasi takes all the elements of what makes for a classic, entertaining comic book adventure, injects some spot-on humor, and even throws in a dash of intrigue and an engaging cliffhanger to boot.
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Adventures of the Super Sons is quite possibly one of the most enjoyable books DC Comics has put out in a long time, and that holds true even with an issue that sees the Super Sons separated and in peril.
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While the story is pretty predictable -- Luthor is up to something far worse than initially hinted -- there's something pure and refreshing about the straightforward story that reminds readers of just how fun comics can be.
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The issue is a superb, fun romp approached with the heart and determination that has been a defining feature of this whole run. A fantastic read with bright, truly enjoyable art; you won't want to put this issue down.
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Alligator Loki #1 is perfect. A collection of the Infinity Comics series from Marvel Unlimited, the one-shot is packed with individual stories of the lovable Loki variant as he gets into adventures and mischief.
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Coming off of a truly charming and engaging first issue Amethyst #2 continues that momentum with an issue that captures, both in words and art, the frantic feeling of helplessness Amy experiences upon discovering her entire world gone and no allies to help her.
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Honestly, this one is just great all around.
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Archie #32 marks the final issue of Mark Waid's run and the end of the modern relaunch of the series before it shifts into legacy numbering with a new creative team and as closing issues go, this one is practically perfect.
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You can truly feel the heaviness of the looming war and even though we already know where the world ends up in the end, how the beloved Archie characters fare is as much a mystery for us as it is for them and this first issue is an excellent first chapter.
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Ascender #5 does that in a heartbreaking way this week, one that will leave you gasping aloud in the final pages. It simpy doesn't get better than this.
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While narratively there are threads that still need to come together, Ascender #7 feels almost like a one shot, but it's an elegant and beautiful one that sets a new tone for the story ahead. It's exquisite.
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Ascender continues to be one of the best comics out there and this week it accomplishes that with a frenetic, powerful combination of deeply emotional storytelling that bring's Mila's parents back together in the worst possible way along with incredible art that draws the sinister tones out of the story written on the page.
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I don't know how each issue keeps getting better, but this one is one of the best.
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As this chapter of Ascender's story ends, it offers no answers and just the barest shard of hope, but the story is filled with both light and feeling in a way unlike anything else. It's good.
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From cover to cover, Ascender #11 simply outstanding. A great read.
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All in all, a perfect chapter in the Batman story.
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Overall, a very well-done issue that readers won't forget any time soon.
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The issue is not an easy read. It's subtly graphic with some intense moments, but it is an incredible issue that will leave readers wanting more even as they flinch and try to look away.
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Given all the hype around the wedding between Batman and Catwoman -- and the way that affair turned out -- one might expect that Batman #51 would take the easy way out by delivering a broken, violent, emotionally shut-down Batman. And it does, but to Tom King's credit the story takes a very different turn.
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Tom King's writing is giving Bruce an introspection one wouldn't have expected after Selina left him at the altar and it might be one of the finest chapters in the Caped Crusader's story yet.
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Batman #53 is a great reminder that there's a bigger story to be told in King's run than just the love story between Batman and Catwoman.
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If you've been reading Tom King's Batman, then you've likely figured out that it's the issues that are the quietest in terms of action and major events that end up packing the biggest punch, and that holds true for Batman #55.
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The balance between the anger stage of grief in Flash and Batman's guilt and desperation makes for a deeply meaningful story, and it's one you won't want to miss.
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Tom King's extended run on Batman has its highs and lows, and while more recent installments of the "Knightmares" arc have been more on the low side of things, this week's Batman #68 is decidedly a high point -- and possibly one of the most enjoyable issues King's done yet.
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The threat to Batman honestly doesn't feel that substantial. But, of course, that may be the ultimate beauty of the entire issue.
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This is 100% a key issue of Tom King's run and an absolutely defining moment for the hero himself.
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Batman #79 is another one of the more quiet, character-driven issues in Tom King's run and, like many before it, an excellent example of just how good this run truly is.
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Comic books, at their best, tell stories by showing and not telling. Batman #83 does that in a way that is rarely seen anymore and it may well make this heartbreaking issue the crown jewel of the entire run.
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A brand new chapter begins with Batman #118 and for the first time in a long time it actually feels, truly, like something new.
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While first issues of new runs are usually pretty promising, Batman #125 comes out of the gate operating at such high levels that it genuinely feels like the only direction is to keep going up. Between the incredible art and a rich understanding and appreciation for DC's most iconic character, this comic book, this issue specifically, is exactly what Batman is meant to be; it's about damn time.
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This book, as the kids would say, slaps.
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Zdarsky and Belen Ortega both bring their A-games with the story and the art with the entire book feeling richly satisfying. Simply put, this isn't just a good issue; it's a great one.
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It's tight visual storytelling and it's spot on. This is start to stop a fantastic issue and another chapter in a truly excellent run.
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Chip Zdarsky is continuing to prove that not only is he the best writer on Batman in a long time, but he is carving out a spot as one of the all time greats.
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It's a home run all around.
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It's something that Tom Taylor's story tells well alone, but Otto Schmidt's art shows it as well, the end result being a beautiful, satisfying, and perfectly Batman tale.
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This might be the best Batman book of the year.
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Bryan Hill knocks it out of the park with his stripped down, raw take on Black Lightning's anger and grief, and it makes for a stunning, satisfying issue.
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It's exciting, intriguing, and feels like solid payoff for all the build up we've had thus far.
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For all of the frequent issues of imbalance in storytelling that Batman and the Outsiders suffers, this week's issue #13 is an issue that finds itself firmly set on stable ground with a chapter that offers up not only some explanation as to what's next for the team now that Ra's diabolical plan has been revealed, but delivers on some of the doubts and concerns that have been planted irregularly through the series thus far.
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In keeping with the rest of the prelude books, Tim Seely does an impressive job at revealing intimate sides of those in Batman's world and the way he deftly handles Harley and Joker will make you wish he wrote them all of the time.
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If you aren't reading Batman Prelude to the Wedding, you need to. The third in the series, Batgirl vs. Riddler is, like Robin vs. Ra's Al Ghul and Nightwing vs. Hush, excellent.
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A solid, incredible issue you'll want to read over and over again.
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The march towards the wedding of Batman and Catwoman continues, and Batman Prelude to the Wedding #1 Robin vs. Ra's al Ghul is perhaps one of the best moments of that march.
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Batman Prelude to the Wedding: Red Hood Vs. Anarky #1 may be the weakest of the Prelude one-shots, but that doesn't mean it's not still a worthy issue.
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Well-paced and carefully crafted, Betty & Veronica is an excellent start. The glimpse it offers into the friendship and inner lives of two of comics' most iconic female characters is a welcome and intriguing one that feels long overdue in a world that all too frequently revolves Archie.
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Every page of Betty and Veronica #2 rings true, and you'll get to the end wanting more.
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Betty & Veronica #3 is a thoughtful, carefully crafted read that continues to delight.
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It's sad that the series is done, but there's so much good to take away from the story. Jamie Lee Rotante has created an instant classic with Betty & Veronica.
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There is only one way to describe IDW's Big Hero 6: The Series #1: adorable.
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Billionaire Island #1 is by far the most intelligent, jaw-dropping, razor sharp, impeccably-timed comic you'll read this week or possibly ever.
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From cover to cover the issue is great writing and great art and it's overall a great read.
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Everything just hits here. It's another knockout issue.
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This issue is another excellent chapter of this all-too-real story.
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Some comics falter a little in their penultimate issue, that's not the case here. Russell continues to craft a layered story while Steve Pugh's art is just so spot on.
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There are plenty of rich and interesting details and plenty of mysteries to unpack while still giving the reader just enough to compel them deeper into a complex and harrowing journey.
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It's a great balance that reestablishes the characters, addresses how things have evolved for Hum and Serka, and sets up what may just be the wildest adventure yet.
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It's scary, it's interesting, it's even got a bit of humor. The art is top-notch. It's a winner for sure.
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Contagion #2 is perfect. It's got it all: there's action, there's some adventure, there's a dose of horror, a lot of heroes, and some unexpected turns.
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Not to put too fine a point on things, but Contagion is a great series and if you aren't reading it you should be.
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What started just as Ben Grimm's worst nightmare has quickly become everyone's and it's so satisfying, if not frightening to read.
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The story alone is brilliantly written, but it's well-supported with art and color that look every bit like Instagram snapshots, making the world of Crowded almost hauntingly like our own. It's a combination that sets Crowded off on an excellent start.
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It's a stunning warning and an uncomfortably honest take, one that makes one wonder just how far Crowded will take us into the depths of our own hearts.
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It's unsettling and that is a huge part of why Crowded #3 is such a fantastic read.
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The issue balances that depth out by also fleshing out Vita and Charlie just a bit more as well and, just because it can, ends off on a cliffhanger that will leave you wondering just how the story can move forward from there.
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Fast-paced from almost the word go with an incredible amount of depth and heart, Crowded #5 is absolutely perfect, especially when it comes to the ferocity of the library.
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Packed with action and intrigue, Crowded #6 is a stunning issue that promises even more to come.
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It's a wild ride, but a truly great one and a solid reminder of why Crowded is simply one of the best comic books to hit shelves in years.
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The twist at the end is pretty much the cherry on top of the whole crazy sundae that is an issue that kicks off fast and simply doesn't stop.
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Crowded continues to be one of the best comics out there with Crowded #10 this week, and part of that is because of how much of a departure the issue is.
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Crowded consistently manages to be one of the best books out there but this week's Crowded #12 takes things to a new level as it shakes up the story in a big, big way while also closing out the current arc.
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If you aren't reading Cyborg, you're doing yourself a disservice.
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This is quite honestly one of, if not the, actual best anthology DC Comics has ever put out, period.
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It seems a little strange to call a horror comic rooted in religion and populated by uncomfortable characters with art and colors that make one feel like they need to wash their hands after reading them a masterpiece, especially after only one issue, but that's what Soul Plumber is.
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This issue sets up a weird and grand mystery that blends the horror of exploitative spiritual malpractice with the very mysteries of the universe and it never misses a beat in terms of interest and excellence.
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Yes, it's bonkers, but there's also a lot of well-done commentary about how religion is concerned only with itself and not the people who truly believe and it's that balance between vicious commentary and bonkers adventure that makes this book and this issue an absolute delight.
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This issue is unholy in the best way and it it forces the reader to genuinely think about the nature of faith and it's brilliant.
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This issue is an absolute blast and a knockout for one of the best series currently going.
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This may be DC's best anthology to date and one can only hope that it is the start of more of these stories from these creators outside of just this one month
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DC does an incredible job with its Pride issues, but this one, is truly outstanding.
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For the third year in a row, DC has celebrated Pride Month with an oversize one-shot that puts its LGBTQ+ characters front and center. And, in addition to the issue once again being packed with solid stories and art that put the characters first in an authentic and humanizing way, it's an issue that feels timelier and more necessary than ever.
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It's a fine collection, one that will make you wish DC did this more often.
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Dead Day #1 is an outstanding comic.
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Dejah Thoris isn't a title you can just jump into. In order to have an idea as to what's going on in Dejah Thoris #4, you really need to read the previous three, but if there is one thing that this issue makes clear is that it's worth it.
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Haunting, masterful, and beautiful, this issue would be gorgeous if done all in black and white, but Sharlene Kindt's colors elevate the entire experience. It's a beautiful end to a beautiful series.
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Simply put, this book is practically perfect.
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Engaging and well-considered, Event Leviathan #1 both looks and reads like thriller, offering just enough in the way of twists and turns to take readers on a story that is both a little predictable and a bit unexpected, leaving the quiet possibility that this is a threat that the heroes may not be able to stop"while also making one wonder exactly who the heroes really are and what cost is worth paying for a "better world."
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Event Leviathan is billed as a six-issue mystery thriller and after a stellar kick off issue, the second installment is absolutely living up to that.
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To put it bluntly, Event Leviathan #4 is a damn fine issue of a damn fine series. Period.
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The result is a damn near perfect penultimate issue that makes the wait for the finale that much harder.
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Beautiful story, lovely art, it's an excellent closing issue to the short series, well-executed and well-done.
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The writing, the complete "one and done" story format, the art, and even the carefully crafted culture of The Feld all makes the book a standout. Come for the anthropomorphic cat. Stay for a genuinely original and fascinating story that will leave you wanting more in the best way possible.
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One of the best things about Fairlady is that each issue is a full story, but while Fairlady #3 does, in fact, give readers a full story, it also sets up a bigger mystery.
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It's just a top notch issue and if you're not reading Fairlady then you need to correct that immediately. This book is fantastic.
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The issue manages to pull off both a conclusion and a cliffhanger, defying convention much the way the book's heroine does thus making Fairlady #5 one of the best books out this week.
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It's been a long time coming for Fire & Ice to get their due, but Fire & Ice: Welcome to Smallville more than pulls it off. in the hands of Joanne Starer and artist Natacha Bustos, the issue delivers what might be comics' most iconic friendship with both deep and obvious respect for their character histories while also leaning into more modern complexity.
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It's a simple book done beautifully"a real winner.
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The whole book is just incredible and easily one of the best Future State offerings. This book is a knockout.
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It's a gorgeous story, a gorgeous issue. A winner all around.
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It's a back-to-basics story that is anything but basic.
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This is a bold book and it's masterfully done and a great launch into "Future State."
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DC's "Future State" continues to be a fascinating set of stories about the future of the DC Universe, but just as was the case with the first issue, Future State: Dark Detective #2 is easily one of the best.
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The whole issue is just a great turn from start to finish.
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There's a lot of good stuff coming out of "Future State," but this story of strength, sacrifice and hope transcends it all.
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Simply put, this book from cover to cover is a revelation and it's brilliant. If this is the future of the DC Universe, these are absolutely the stories we need.
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Every Batman story should be this good. Period.
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The result is a fast-paced and nail-biting issue that is a delight to read.
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This comic book is just so very, very good, subtly building a haunting tale while also digging into human emotion.
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The art here is also really stunning. It's also really neat to see the issue take on the idea of certain roleplaying games being demonic. It's a little tongue in cheek and clever and nice. -
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Giant Days #38 is a rare issue where everything just works in the best way possible making it a great read across the board.
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Giant Days continues to be one of those rare books where there's no need for something to fix or a mystery to solve. Instead, it finds its story in real-world situations that readers can easily identify with.
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Giant Days may not be a book with a lot of action, but it's that relatability that makes it outstanding yet again this week.
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It's another delightful issue. This title is really just a joy.
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Every issue of Giant Days is a treat. It's rare that a comic book will tell a complete story in a single issue while still feeding the bigger picture that will, eventually, become a future issue's central problem.
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Moving, funny, and brilliantly real, Giant Days #42 is another excellent issue you won't want to miss.
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From cover to cover, this is a truly glorious book and while there is a little bit of cliche in some of Storm's thoughts about life and its meaning, this book is so beautiful we'll just look past it. It's wonderful.
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Yes, you have to pay attention and think your way through the Gospel #2, but it's well worth it.
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Will Morris does an incredible job with stories within stories, but what really makes Gospel #3 perhaps the best and most fun issue of the series yet is that this issue not only deepens the storypast, present, and legendbut inserts a banger of a bar fight as well.
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Each issue of Gospel is an increasingly fascinating exploration of humanity, belief, and story but this penultimate issue of the series might be the best example of it.
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This is storytelling at its finest all while telling a story and frankly, this issue is just fantastic. So is the whole series. There's really no other way to say it.
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Paired with the story, you get something that feels like a throwback for long-time readers and fans of Green Arrow while also being new enough for those who haven't had a chance to truly take in this character. It's just so very, very, very good.
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This title is consistently a fun read, but this issue is honestly one of the best this week.
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While the book doesn't need it to keep you coming back, the perfect pacing of this story will definitely have you eager to find out what happens next.
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Harley Quinn consistently proves to be one of the most fun and well-crafted books DC has going right now and this issue is no exception.
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Harley Quinn #41 is a mess, but it's a fun, fantastic, and utterly bonkers mess.
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Harley Quinn works best as a character when she's allowed to simply be herself, and Harley Quinn #45 massively delivers on that front.
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Captain Triumph's story continues in Harley Quinn #52, and this issue holds on to everything that made the previous issue a standout. The pacing is perfect, with the story sacrificing nothing in slowing down from the title's usually bonkers hijinks.
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It's truly an outstanding read, and the art is pretty great too.
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The book is a true treat and a must-read.
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If you follow comics at all, you're probably aware of something called Comicsgate and if you follow Harley Quinn you that the character -- and the book -- aren't one to turn away from a ridiculous fight. That's right, Harley and Comicsgate -- I mean, "Pettergate" -- collide in #56 and it's some of the most brilliant satire you'll read.
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Harley Quinn #57 is honestly this title at its finest.
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I won't spoil the exact challenge Harley faces this issue, but the book stands as a beautiful reminder for readers to embrace who they really are as opposed to what others think they are. It's a powerful message, and it's beautifully done.
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This run overall is simply a delight, but this issue is a real winner you won't want to miss.
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It's a belly laugh, a punch to the gut, and a genuinely perfectly done issue. Read it. Now.
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Harley Quinn #65 isn't simply the next issue in the "Trials of Harley Quinn." It isn't just another comic book. Harley Quinn #65 is a beautifully executed portrait of grief and the power"and bravery"required to face pain and loss.
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If you're looking for a ton of zany Harley Quinn action, a lot of witty quips, and just the general insanity that comes with the character you're not going to find it here. Instead, Sam Humphries delivers one of the most emotionally powerful and moving issues of the story thus far.
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The story itself in the episode is honestly a little thin"but it's perfectly fitting for the absolutely bonkers adventures the book takes readers on each and the parts of it that pack a punch do so in precisely the way you'd expect a holiday tale to. The art is what wins here with a bright and beautiful holiday display, Harley style.
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It's everything you could want in a Harley comic and more.
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It's just A+ all around.
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It's beautiful, it's real, and its heartwrenching just as much as it is funny. It's a fantastic issue; it's timing just makes it perfect.
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Say what you will about the social messages of the book, but Sam Humphries delivers a damn near perfect bit of storytelling in this bonkers book. This is Harley at her finest, period.
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Harley Quinn #74 is definitely a wrap-up issue, closing out her adventures in Los Angeles and bringing the story of her grief following her mother's death full circle. It's satisfying in a truly unique way.
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The stall that Stephanie Phillips' Harley Quinn series hit in the previous issue is gone entirely in this week's Harley Quinn #5 and what readers get may be the best of the run yet.
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The "Fear State" story in Batman may be dull, directionless hot mess of nothing, but the same story (or rather, setting) in Harley Quinn #8 is a revelation of heart, action, and genuine character development that only further cements Stephanie Phillips as one of the best to write Harley ever.
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Goofy, fun, and authentic from words to art (that's it, I'm totally converted to Riley Rossmo's style), this is a knockout issue.
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The issue is simply a knockout thought provoking and fantastically presented.
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This whole issue is inventive and balanced and is some of the best Harley we've ever gotten. More like this, please.
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Harley Quinn: Black + White + Redder # 4 is just so good.
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It's a brilliant and somewhat unexpected way to end a run, and it's grimly perfect. Top notch from cover to cover.
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Hex Wives #2 is infuriatingly uncomfortable from cover to cover, and that's quite possibly what makes it one of the best reads this week.
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Even though the reader knows very clearly what they are reading and seeing, there's this incredible dissonance in how it's all presented that makes you think you're losing it (in the best way possible) too.
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Full of genuine tension and expert characterization, Hex Wives #4 is stand-out issue with the story only getting better, richer, and more interesting as it plays out.
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Hex Wives #5 is a top-notch issue, and it may just be the best of the series yet.
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Full stop, this issue is full of butt-kicking girl power in a way that is fresh, intense, and worth rooting for. The cover art's homage to Bewitched is just the icing on the cake.
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I Hate Fairyland #20 is a great big acid colored middle finger to convention and it's brilliant.
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Beneath Dark Crystal is a compelling start to a fascinating story. A worthy read.
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The tragic story Jareth tells Toby is moving and haunting, but has just a slight sinister edge to it -- more than enough to keep readers eager for more.
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This book is truly a master work and if you aren't reading it you should be.
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The art has a warm feel that is fitting with this fireside tale, making the whole issue a moving delight to read.
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While it will be interesting to see where Rain goes from here, the first issue is genuinely outstanding.
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It's rare that a second issue is as good as the first, but a dare say, Rain #2 may be even better.
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You could not ask for a better issue, but particularly of this story as we continue to explore the horror and variation that is grief.
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Jook Joint, the latest from Tee Franklin and Alitha E. Martinez, is uncomfortable even before the story starts with the big red "trigger warning" alerting people that there are some heavy, difficult subjects ahead, but don't let that stop you.
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Tee Franklin's writing in this issue will make you uncomfortable and keep you there even into the final panel, and it's a good thing.
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While this spinoff series takes readers deeper into that world long before the events of Geiger, it's a story that very much stands on its own, one that paints an unflinching look at the horrors of war, the impact of trauma, and what it means to be both human and humane.
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This book is just beautiful visually and there are many, many panels that say more in images than words can ever express. It is another genuinely solid entry in this new series.
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Come for the art, stay for the well-cracted and interesting story that will keep you wondering what's next with the same level of depth most books take many, many more issues to reach.
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While it's anyone's guess how things will fully play out, Justice League Odyssey #5 is an outstanding entry, and it's one you don't want to miss.
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The book's a visual treat as well making it a stand out in an already excellent series.
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Overall, Killadelphia #1 is a strong debut. A dark, deep, seamless story that plays into multiple genres without becoming fully any one of them, the book offers a tantalizing nightmare of urban horror that feels real, rich, and mysterious. It'll infect you if you let it, and you should.
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Paired with the beautiful and hauntingly understated art, it's a thrill ride of a story done with skill and class making it another stellar issue and one not to be missed.
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This issue has a real energy to it that makes it a thrill to read even with its darker themes.
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Throughout the series thus far Killadelphia has brilliantly shined a light on the racial inequality of America generally, but this issue and Jupiter's story is a sobering punch in the gut about the harsh realities of slavery and America's history"vampires notwithstanding.
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It's a knockout issue with absolutely stellar art that tells the tale almost as precisely as the words on the page.
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Killadelphia is, at its best, an outstanding and often difficult series. This is definitely one its best.
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There are a lot of complex stories at play in Killadelphia, especially in recent issues. But this week's Killadelphia #17 brings everything together in a way that shifts the story in a way that takes it from the relatively contained battle for America's soul to one for the very world as we know it as the past (literally) wages war on the present with the idea of the future in the balance.
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Killadelphia is probably one of my favorite ongoing series and Killadelphia #19 is a prime example of why.
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Killadelphia #20 is a very heavy, dense issue and rightly so.
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Truly, Killadelphia is always good but this issue? Magnificent.
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Killadelphia as a series is phenomenal, but this issue is easily a series best to date.
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Somehow, Killadelphia #26 might be the best of the series to date.
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Killadelphia #27 is another very dense issue with narrative split across several characters but the real gem of this issue is George Washington.
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Every issue of Killadelphia is brilliant in its own way, but #28, while also furthering the story a bit, also does what this title does consistently at a masterpiece level: tells individual stories about its characters.
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This is storytelling at its finest and there isn't anything more that I can say about this issue. It's as close to perfect as they come.
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It is not an exaggeration that if you read just one comic this week or maybe even this year, it should be Killadelphia #30.
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For a story that takes a lot of twists and turns all without ever losing sight of the core issues and commentary, this is a very big swing but it works brilliantly, completely redefining things in a way that just makes it all fresh while still feeling familiar. The art here is also incredible. This is a great issue.
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Deftly written and beautifully drawn, Killmonger #1 may be one of the best comics this year as it takes a familiar story and gives it completely new dimension. It will be interesting to see exactly where the series takes us, but one thing is for certain: you'll never see Killmonger the same way ever again.
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It's a complex, powerful, and beautiful issue.
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This issue is absolutely haunting, one that will linger in the reader's mind for quite some time.
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Through hauntingly beautiful storytelling and truly excellent art, all the hope and promise of who N'Jadaka could have been washes away with swaths of bright red blood.
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Killmonger's story is one that is a cautionary tale of the toxic nature of anger and vengeance, and despite the ominous final panel, it's difficult to not feel devastated about the road the once-promising young man went down.
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King in Black: Black Panther #1 is a moving and engaging delight of a read that never loses sight of its greater purpose.
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While as an event series, the tie ins for Knight Terrors have no consistency whatsoever, Knight Terrors: Action Comics #1 is actually really fantastic and is probably the best one of the whole event thus far.
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Cover to cover, this issue is as good as it gets, making it not only an amazing Halloween selection but a truly great comic overall.
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You don't want to miss out on this one.
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Overall, this issue -- and the whole run -- is one of the best things in comics right now. It's a delight you don't want to miss.
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With a good balance of story, action, and heart there are no tricks or lies here: Loki #1 is a brilliant, practically perfect first issue and I can't wait to see where the story goes next.
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Loki is one of those titles that is a delightful read each issue partly because the character is just one that is fun to read, but Daniel Kibblesmith not only knocks it out of the park with how he writes Loki, but the surprising twist at the end of the issue is one that you might guess, but it's presented in such a way that it still manages to be, well, a surprise.
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Daniel Kibblesmith is killing it with this adventure tale for the Trickster God and the conclusion of the series' opening arc is equal parts engaging, funny, and heartfelt.
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The best thing about Looney Tunes is that reading each issue is truly the comic-book form of sitting down and watching classic Looney Tunes cartoons, and this issue keeps that tradition going strong.
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MirkaAndolfo's Mercy has been an incredible comic since issue one and this week's issue #4 tops anything we've seen yet.
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As is everything with Monstress thanks to Liu's words and Sana Takeda's incredible art, Monstress: Talk-Stories #1 is haunting and beautiful"an absolute knock out.
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Lavish, lush, and haunting, this might be the best issue in the Monstress story put out not just this year, but ever.
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Combine Liu's impressive writing this issue with Sana Takeda's sublime art and you have the best issue of the series to date.
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There isn't a single thing about Monstress #19 that is anything short of excellent ,and if you aren't reading the title yet, this issue is a great place to jump in -- and you should.
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Stunning to look at, deftly crafted, and a joy to read, Monstress is a book you won't want to put down.
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Monstress' latest issue is a jolt to the story, presenting new mysteries and new momentum that will leave you wanting much, much more to dive into by the time the issue ends.
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Monstress continues to be on a hot streak and while last issue flipped the story on its head by introducing Maika's father into the mix, #22 continues to turn the story in new directions that appear to be on a rapidly converging path.
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As usual, it's another impressive issue and a solid reminder of why the series won a handful of Eisner Awards last year.
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It's never been more clear that Monstress may be a comic book, but it's also an epic story, done as deftly and masterfully as any of the great fantasy classics.
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Marjorie Liu knocks it out of the park this issue with her crafting of this long, complex, ongoing story, injecting some stunning humanity into a moment in which the character embraces her monster self. It is, in a word, perfection.
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It's an exquisite issue from start to finish.
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The issue is full of tension, terror, and a sense of humanity. Monstress is consistently an incredibly comic, but this issue may be among its best.
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Monstress is already a rich and dense comic that's deftly written. Monstress #30 just reminds you how skilled Liu really is.
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Monstress #34 might be the best issue of this series to date.
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This is a powerful and brilliant issue.
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Paired with exquisite art, this is a truly amazing issue of a genuinely wonderful story over all and while not much is resolved, everything we learn in this issue only heightens the story. It's exquisite.
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I don't now how Takeda and Liu manage to somehow make each issue better than the next, but here we are.
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This deep into a story, it would be easy to slip on the emotional stakes, but Monstress #40 simply doubles down on it.
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This is easily one of the best issues of the current arc and possibly the series on the whole. It's going to be a long wait for the next new issue because of just how good everything here is.
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Monstress is always a top notch comic but Monstress #42 somehow manages to take readers into uncharted territory with an unexpected turn for a change, we're going into Zinn's story now even as we're still dealing with Maika's predicament.
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I love this issue of Monstress. The art is, as it always is, fantastic, but it's at a new level this issue as we go into a completely new world one that looks beautiful but has horrible purpose.
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Monstress #46 is a fairly dense issue, as many are, but a lot of the individual bits of the story come together here and it feels like the issue is a massive turning point for everyone involved on Golga.
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This third part of the "Teenage Wasteland" story arc will keep you glued to the story, even right up to the surprise turn on the final panels.
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G. Willow Wilson is a master at layering mutliple stories in one arc, and the conclusion of "Teenage Wasteland" is no exception.
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Even though the issue is setting up a bigger story, there's no lacking in depth and meaning. Kamala's growth as a person is every bit as important as her heroics. No issue makes that more clear than this one.
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Kamala has done a lot of growing up this year and this issue celebrates that in a truly unique, beautiful and engaging way.
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It is a mystery of the universe as to how G. Willow Wilson manages to write Ms. Marvel so consistently and so brilliantly each issue, but she does it.
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Sure, there's a villain, a bigger story, and real problems to be dealt with, but it's these deeper layers that make the issue truly great.
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One of the best things about G. Willow Wilson's work on Ms. Marvel is that for every mystery that is solved the groundwork for a new mystery or chapter is laid. It's that storytelling momentum that is on full display in Ms. Marvel #34.
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Bruno's ancestor is along for the ride as well, and the whole thing is beautifully written, beautifully drawn, and comes together as one of the most lovely issues of comics this year.
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Ms. Marvel is at its best when the story is simple, direct, but deeply real, and this issue fits the bill. Kamala learns a lesson about life itself, and it's one that we can all benefit from being reminded of.
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It's a charming, delightful, truly exciting read and you certainly don't want to miss it.
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To put it briefly, Ferry and Cantwell are giving readers Namor in his purest form and this first issue is an absolute gem.
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This issue is a fantastic examination of Namor as a character.
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This issue is masterfully written with great reverence to history of these characters. It's intriguing and fresh and heartbreaking all at the same time.
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The final panels of this story are some of the most beautiful I've read in some time, a beautiful and hopeful full circle moment that genuinely had me in tears as the true nature of the idea of doom is explored and not necessarily one of gloom.
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Overall, it's a stunning, festive, deeply enjoyable read sure to be a holiday classic for years to come.
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If you're a fan of horror films and horror stories, this is a title you'll find yourself quite comfortable with even while there's the promise of plenty of scares coming.
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The final installment of Scott Snyder and Francesco Francavilla's Night of the Ghoul arrives this week and while landing a horror comic can be a tricky thing, issue #6 manages to pull it off in a fashion that is just as heart-pounding as the previous chapters of this time shifting tale and that delivers on a twist that while perhaps not entirely unpredictable is surprising nonetheless.
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This issue is a high octane one, but it gets everything right even if it's taking Nita and readers right to hell.
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This comic is just fantastic.
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Everything herestory, art, colors, even the letteringis top notch. This is a damn fine issue.
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This isn't just a comic book. This is art.
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Barnes is a master storyteller and you need no further proof of that than Nita Hawes' Nightmare Blog #9.
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This is a fantastic issue that works on every level.
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The result is an installment with perfect pacing as the two storylines converge in a pulse-pounding moment at the end where it all comes together. All of this works along with Szymon Kudranski's fantastic art and really, this is such a polished, elevated issue that you'll find ourself reading it a few times trying to pick out details that might help you guess what's next. It's just such a damn good issue.
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This is purely outstanding, and all of that is before we get to the always solid art.
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Frank Tieri has somehow taken the hot mess that was the one-shot story in Harley Quinn #42 and turned it into a witty, fast-paced, brilliantly self-aware and bitingly satirical thrill ride so full of Easter eggs and truly interesting story that you won't want to put it down.
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Juan Gideon brings his A-game with fantastic artwork that is only enhanced by John Rauch's perfect, vintage-feeling colors. This is a knockout first issue that is quite honestly great.
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Pennyworth continues to be one of the best things DC is putting out right now and this third issue, while a touch predictable, is thrilling.
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With the solid storytelling and genuine surprises"not to mention really slick art, this is a book that continues to deliver and this issue is absolutely top notch.
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It's complex, it's interesting, and the more Ivy questions herself, the more it reveals about ourselves. This is a fantastic issue; I don't know how the series will top it.
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This whole story walks a very fine line and does it well and as always the art bumps its impact up to 11, this time with some truly chilling images throughout.
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I particularly love the idea that there is beauty in acknowledging the horrors of our reality and a gorgeousness and finding humanity in unexpected places.
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This is truly a glorious issue and while sure, it could be seen as "filler" in the overall story it's actually a beautiful character study and it's expertly done.
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The art here is also unbelievably stunning for a net effect of an issue that works on every level.
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It's subtle, but notable that the narrative is truly discussing two types of sickness: the one on the page and the one within our society and itself. Wilson does a fantastic job of balancing both of these things in this issue while digging even deeper into Ivy as a character and paired with Takara's art and Prianto's colors, is beautiful even if it is a nightmare.
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This is a standout issue of a standout series.
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Scott Lobdell's dialogue is sharp and precise while Dexter Soy's art (with color by Veronica Gandini) is pitch perfect, particularly in the issue's final panel.
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Bizarro's sad secret is finally revealed and the slow burn build up has an emotional pay off. But what makes Scott Lobdell's Red Hood and The Outlaws such a good read are the layers built into each chapter of the story and this latest one is no exception.
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Red Hood and the Outlaws #22 is a bit of a filler issue, but even for being a filler issue Scott Lobdell's ability to tell a layered story shines.
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Overall the issue, is well-paced, well-told, and brilliantly layered -- assuming you can read it through the tears.
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There is so much packed into this issue that you won't want to miss a single panel of this incredible, expertly crafted story.
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Yes, Jason Todd is beating the crap out of and killing pretty much every bad guy in his path, but there's a focus to his actions that reminds the reader that there is a bigger story here, one very worth sticking around for.
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Red Hood: Outlaw #27 is a masterpiece of a comic. Visually beautiful and narratively engaging, it goes far beyond simply telling a story of loss, grief, and moving forward. It makes you feel it in your very bones taking on the subjects of trauma and loss in a way that his respectful, honest, and utterly unpretentious.
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Jason is growing a lot overall in this book, but this issue might be some of the most marked character development yet, and it's a joy to read.
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Overall, issue #30 continues a string a of solid reads for the title, cementing its place as one of the better books currently out there.
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It's definitely a solid read and maybe one of the best issues to date.
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Horror comics can be kind of a mixed bag. They either jump too quickly into a complex and twisted tale and, thus, don't offer context or they don't jump quickly enough and end up giving readers too much to work with but nowhere for it to go. Red Mother, however, manages to get the balance just right and sticks the landing with a creepy and intriguing first issue that sets up plenty of mystery"and it's mystery that actuall feels worth exploring.
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The issue answers literally no questions and offers up a bunch more, but it's intriguingly done and beautifully drawn making it another outstanding issue.
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Red Mother continues to be one easily one of the best horror comics out there and #5 is no exception.
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It's an issue that is both a lovely story and just a touch foreboding"just perfect for a horror series.
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As a standalone issue, it's a good one, but taken in context with the rest of the series, it may well be the best. It is absolutely fantastic.
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Overall, Red Sonja's a solid win for the series and one you should absolutely read.
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Ultimately, Redfork is a knockout comic book. Both a horror story and a real-life tale of terror, the story injects a great deal of humanity into something that could so easily become caricature. Beautiful, haunting, and horrifying all in turn, it's an absolutely fantastic book. Read this instead of watching Hillbilly Elegy and prepare for a horror story that is truly terrifying for the reality reality it depicts, not just the supernatural terrors.
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TKO's River of Sin is near perfection.
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Rogues' Gallery #2 is a stunning comic.
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Much like the previous issue, Rogues' Gallery #3 is a very well-done issue from every aspect.
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There's a lot of layers to this story in just issue one and it's beautifully paced and written not to mention that Sandy Jarrell's art is fantastic, too.
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With strong writing and structural aspects to match, this is simply a marvel of an issue, and it will be fascinating to see where things go next.
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While there is plenty of satire in this book and it is something that could come across as too heavy handed at any given time, Mark Russell has managed yet again to be more thought-provoking than preachy. This is a fantastic issue.
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Honestly, this comic overall is brilliant, but this issue is just so incisive it's practically perfect.
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Truly, this issue fires on all cylinders and I'm already eager for more.
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Shuri #7 is a gem of a comic. The story builds on the previous issue, as one would expect, but it goes the extra mile by offering context to why Augustin made the problematic glove.
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Slow Burn #1 is a rich, interesting read that couples one of the more interesting enduring American mysteriesthe Centralia mine fire in Pennsylvaniaand a haunting story of not just the ghost town but the junkie who has happened upon it as she and her dying partner flee a botched robbery.
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Bryan Lee O'Malley's story has had a slower-paced start, but "Weekend Part One" rewards fans with a sharp left turn well worth reading.
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While the last issue of Snotgirl ended with a cliffhanger, Snotgirl #10 doesn't quite give a satisfying resolution. What the issue does do and does well is continue add to the layers of story that keeps pointing to something being very off about Cool Girl.
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The second issue of Spider-Man: Spider's Shadow #2 somehow manages to improve upon its debut, proving that Chip Zdarsky has not only a masterful grasp of the various facets of Peter Parker/Spider-Man, but also is an absolute gift to the "What If" story.
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This issue is honestly one of the best Spider-Man stories I've ever read. It's perfect.
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Spider-Man: The Lost Hunt #4 is a little long, but it's a fantastic read.
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The nail-biting conclusion to the limited series, Spirits of Vengeance #5 does a brilliant job of wrapping up the story while leaving just enough loose ends and questions that you know this won't be the last time Daimon Hellstrom, Santana, Blade, and Ghost Rider will have to try to save the universe from the forces of Heaven and Hell.
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Yes, this issue is a lot. But it's a good form of a lot, something that you should read over and over to fully get the nuances and richness from. Absolutely incredible.
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This issue sees a reframing of the origin of King Arthur that has to be read to fully appreciated and while this issue, like its predecessors is very dense and requires a deep time investment, this issue may be the series' best yet.
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While I've said before, this is a story that should be all in one volume and not multiple issues, this one issue is sheer perfection as it launches things into what feels like a somehow even wilder and more impossible next level in that final page with a call for Arthur to return to defend birthright.
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This book is an absolute feast, especially for the eyes.
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Even if you haven't been reading Suicide Squad, this issue is enough to pull you in and get you hooked, leaving you wondering just how bad things are going to get for the Suicide Squad and Waller and judging on the laste few panels for the issue?
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Suicide Squad #36 is another engrossing, fast-paced issue that really has it all. The only downside? We have to wait for the next issue to get more.
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Overall, Suicide Squad as a title has ups and downs, and is sometimes dramatically uneven, but Suicide Squad #40 is by far the series' strongest issue to date and gives readers a real reason to invest their time.
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Well paced, well written, and geuninely interesting, this issue may be the set up for a new adventure, but it's an adventure you definitely want to go on.
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With Supergirl coming to an end next month, this issue very much felt like a personal, carefully crafted story that Steve Orlando and Vita Ayala wanted to write while they still had the chance and readers willing to take the time with a slower paced issue will be so very glad they did.
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Well-paced and well-constructed, Supergirl #31 is a great read and a great reminder of the power of the House of El.
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Kara finally goes to make her last stand against those who destroyed Krypton"Rogol Zaar and Gandelo"but, like much of this Supergirl story, it doesn't go as planned. That might actually be what makes this issue and the bulk of this run a genuinely worthwhile story.
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At last, Supergirl: Woman of Tomorrow earns its hype.
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This issue has actual emotional stakes that linger after you've done. And Evely's art is an absolute revelation. Hands-down, this is the best issue of the series thus far and it is exquisite.
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Even if you haven't been carefully following along with Superman or even Supergirl and other titles up to this point, Superman: Leviathan Rising #1 is an excellent way to get set for the DC event of the summer"and if "Event Leviathan" is even a fraction as enjoyable of a read as this book, we are in for a serious treat.
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Taylor has crafted a heartfelt and human story in this debut and it's truly something to behold.
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Superman: Son of Kal-El #3 is absolutely everything that a Superman comic should be even if the Superman at the center of it isn't Clark Kent/Kal-El.
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If you want to sit down with a comic that is genuinely one of the finest examples of the medium, Superman: Son of Kal-El #9 is it.
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This is the sort of issue that leads readers to review an entire series as it pulls on threads introduced more than a year ago to present its climax. It is an approach that's bound to read splendidly in a collected format, but the ambition of this story told in tight, serialized editions strains readers memories as they consider what's happening and the importance of seemingly every sequence on the page.
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It's a fun, weird, disorienting issue that also is just a delight to read, making it a real winner this week.
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Symbiote Spider-Man: Alien Reality #2 may be one of the most pure, genuine, and absolutely wrenching (and good) Spider-Man stories you'll read.
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Charming, well-written, and quite clever, it's a fantastic story enjoyable from cover to cover and a solid reminder why the Addams Family can be so charming.
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The Crow: Memento Mori is a rare thing. Not only is it absolutely stunning visually -- Werther Dell'Edera's art and Giovanna Niro's colors are gorgeous and perfect for the feel of the issue -- but the story is striking while also bringing something new to the table.
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Absolutely stunningly done. There's no other words for it.
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The Many Deaths of Laila Starr #1 does something that too few comics do. It presents an elegant, richly human story told in a steady, poetic voice with equally elegant and poetic art that speaks to a larger sense of the living experience.
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Everything flows here from the story to the art, which itself is breathtaking and unique. It's another knockout issue.
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The Many Deaths of Laila Starr #3 is nothing short of divine.
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Ram V is at his finest in this issue. This is a masterpiece.
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The bottom line is this: The Many Deaths of Laila Starr is an incredible work as a series, but #5 is a brilliant piece of art that goes beyond it's pages as both wisdom of the human experience and art. It is, simply put, a masterpiece.
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There's a pulse of something dark right below the surface, but the issue is just so brilliantly done that the reader, like Ro, will be easy drawn in.
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This series just keeps getting better and it's very clear here that it's something truly special.
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Young does an almost disturbing job of balancing the supernatural horror of the story with the real life horror of domestic violence. This issue is outstanding.
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This is a stunning book in the very best way.
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Every word of the story and ever image of art deliver with deftness and grace the maximum amount of emotion and power, making for a truly powerful tale with a powerful message: the sum of the parts is always greater than the individual when we come together.
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Overall, this issue is absolutely incredible and if the series continues along this path we're in for not only a real treat from an entertainment standpoint but an education as well.
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This book and everything about it is absolutely amazing. I'm not sure how each issue manages to be this good, but here we are.
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While this issue has a distinctively more "comic booky" feel than previous issues, it's absolutely fantastic.
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The issue is equal parts action, poignant story, and stunning reveal with a huge punch. Gillen and McKelvie continue to stun with this tight, precise story but this issue is truly a standout and easily one of the best comics out there.
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While the story in Titans: Burning Rage #1 may not be new"they were originally published in Titans Giant #1 and #2"veteran comics fans and those new to comics won't want to miss this one.
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There's a little bit of something for everyone in the issue, the end result being a story that is fun and accessible for all fans and a joy to read.
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With an intriguing story, haunting realism, and a dose of optimism Wayward #26 might be the most perfect comic book you read this week.
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The issue is a genuinely uncomfortable read -- which is exactly how it should be.
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With a perfect balance of action and actual suspense, Wayward #29 is an immersive thrill ride that almost makes you forget the stop is right around the corner.
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The issue isn't perfect " there are pieces of story and character that some readers may wish had gotten a bit more time " but overall it is an elegant, beautiful finale that will give fans a lot to love, both in the first reading and in what is sure to be many re-readings to come.
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There is a lot to like about Weapon X #27. While the book has been uneven more times than not, #27 begins to bring Sabretooth's story of redemption full circle, and there is something beautiful in how that plays out.
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Really, everything here is just so well-done and so engaging, conveying a rich understanding of Wolverine at nearly every turn in a way that will make even those who dislike the character see him in a new light. It's a fantastic book.
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The story advances in a deeply satisfying way and still leaves you wanting more. It's an excellent issue, full stop.
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This is a knockout issue.
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The real standout this issue, however, is the art. Marcio Takara does great work here in an issue that is absolutely fantastic in every way.
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A deeply satisfying end to a shockingly satisfying run.
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It's hands-down one of the best books to come out this year and one that every Wonder Woman fan needs to read.
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The result is a rich story that shakes the very idea of Wonder Woman to the core and leaves the reader feeling like they've been punched through the heart"just as Wonder Woman feels in its final pages.
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It's brilliantly written, stunningly drawn, and is easily one of the most well-considered, and truly faithfully written Wonder Woman stories I have ever read. Both alone and matched with the previous two issues, Wonder Woman: Dead Earth #3 is the best of comics. Period.
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This book is about as perfect as it gets so do yourself a favor and read it.
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X-23 #2 is another strong issue, and Mariko Tamaki is knocking Laura out of the park with spot-on characterization perfectly balanced with Gabby's softer, pitch perfect annoying little sister vibe.
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Make no mistake: this is a top-notch book and I can't wait for more.
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After a somewhat serious and heavy previous arc, X-23 #6 gives readers something they don't often get in titles involving Laura: fun.
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From hilariously perfect Golden Girls references to the genuine, pure eagerness Gabby has to accept this newcomer as family, the issue is a shining example of the differences and similarities between the sisters, making for a fun and exciting romp with real stakes and excitement to boot.
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With every issue of X-23, more of Laura's humanity is revealed by those around her, and that's true for X-23 #10.
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X-23 #11 takes the well-worn Laura and gives her a whole new life and dimension and, in the process, delivers one of the best X-Men stories out there.
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It's an incredible story not to be missed.
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Yasmeen #1 does both of those things, inviting us to see a world we only know from half-accurate, sound bite-ready news, a world we can easily wave a way as "not ours," and it forces us to see that there is more to every story and every event than we allow ourselves to see and hear. It's a comic that serves as both a window and a mirror, and we cannot look away.
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Easily one of the most powerful and human issues of this indelible series, Safir A. Ahmed continues to craft one of the most important and human comics out there.
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Overall, Yasmeen #5 is the best issue yet in a series that is one of the best comics of the decade.
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In the end, it's a meaningful and powerful conclusion to an incredibly important story and it is, indeed, as close to perfect as you can get.
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It's messy and beautiful and raw, something emphasized with by the pitch perfect art and colors that heighten everything even as the stakes become even higher for the characters. It's a masterpiece of an issue.
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You may not be clear on what's going on, but the references and madness from cover to cover is worth it. Also? There's a bonus appearance by Method Man.
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Action Comics, and really all Superman stories, work best when they're not trying to reinvent the Superman mythos but instead use it ways that drive story, feel authentic, but are also fresh and in this week's Action Comics #1031, Phillip Kennedy Johnson knocks that out of the park.
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Whatever is next for Superman after this, the issue feels reassuring and hopeful. The art throughout is also solid and even better, the supporting story is fresh and intriguing. Overall, it's a really solid issue.
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We get a frustrated Superman who reacts, not out of character, but accordingly and there's an honesty in it that Action Comics has been lacking for some time. As for the Martian Manhunter backup story, while Superman's story is heavy, this issue gives us a delightful moment of J'onn and his tabby cat that frankly I didn't know I needed, but it's both a truly wonderful "aww!" moment and also absolutely perfect to the character and the story. Both stories" this is a solid, solid issue in all aspects.
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I've mentioned a few times how the Warworld-related stories haven't been my favorite Superman tales, but Action Comics #1043 might be the issue that sways me.
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Overall, the whole issue is strong from cover to cover and an excellent chapter of this saga.
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Ultimately, Action Comics #1050 was billed as a major shift for Superman and it more than delivers.
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The result is an issue that works not just for Superman, but for the full roster of characters in Superman family, all while giving readers a lot to enjoy.
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Action Comics #1053 is just really damn good.
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All around this is a great issue of Action.
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Action Comics #1057 is interesting in that the main story is phenomenalif not darkwhile the two backup stories leave a bit to be desired.
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As a whole, Action Comics 2022 Annual employs the idea of how one moment in life can shape everything else in a way that, while not exactly groundbreaking, is so well-written and well-illustrated that it elevates an otherwise ordinary story to the level of a classic, offering new insight on a beloved character, fleshing out a newer foe, and reminding readers of the superpower we all have in the compassion and care we share with others.
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Overall, this is a fantastic book and a really lovely "Superman" story.
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Overall, it's been a Superman story for the ages and this issue is a fitting conclusion.
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It's a bit long and a bit dense, but even at that it's still a good tale. Overall, this anthology has something for everyone and is very well-done. It's easily one of DC's better spooky anthologies.
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Yes, this is an issue largely of setup, but Lemire and Nguyen have managed to pull of one that is very, very, very well-done.
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Pacing wise, things move very fast and that certainly does make it perhaps a little less strong story-wise than some of the earlier installments. That said, the art this issue is the best its been and Lemire crafts this absolutely gorgeous emotional gravity that holds all the stakes you'd expect it to, but still ends in a way that is satisfying and doesn't break your heart. It's wonderful.
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This issue is, on every page, a breath of fresh air and while I do still have some reservations about Abyss, I'm eagerly along for the ride.
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This is a great issue and one that doesn't just feel like a cog in a larger story.
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This is, in fact, the second chapter of a miniseries in much the same way that Powers of X #1 was the second chapter of its own. Once readers understand that positioning, this is an easy issue to enjoy as it frames a very promising saga ahead.
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Admittedly, a little bit of the storytelling is weak in spots and it does at time feel a little rushed, but there's a lot here that really speaks to the core of Batman as a multidimensional character, something I think a lot of creators miss. The art here is also bananas good.
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There are many things in the darkness; this Batman: The Imposter #1 makes them worth exploring.
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If Black Cat #5 offered an elegance to the heist, then Black Cat #6 is all brash and bold and it's perfect for this chapter of the story.
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Black Cat #9 is just flat out fun.
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Even if "Infinity Score" isn't my favorite arc ever, this issue is pulling things together very well. It's a very well executed issue.
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This is a fantastic issue. Period.
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Black Knight: Curse of the Ebony Blade reaches its finale this week with issue #5 and while the entire run has been an action-packed ride that simultaneously delivers on some deeply thought-provoking concepts about the accuracy of the history we're told as well as mental health, Si Spurrier saved the biggest punches and most exciting moments for this finale and the result is a fantastic book.
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If all of B's tales are like this one, then they will all be a delight to read.
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While there's not a story to tell on these pages, the covers here themselves tell a story of one of DC's finest characters who frequently doesn't get quite enough her own due.
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As a prologue for the big "Dawn of DC" event, Dawn of DC: Primer more or less does its job. Joshua Williamson gives readers an important piece of world building for the story, offering up a frustrated Amanda Waller who is just done with the heroes of the DCU and is now ready to take actions against them from the shadows, of course.
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Where the real strength lies, however, is the commentary about the nature of people " just how far we'll take things, how cynical we can be, and how history doesn't always repeat itself but frequently rhymes. For a book that was, fundamentally, an exploration of humanity and faith, it's a knockout send off.
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This is a fantastic book and I wish there were more like it.
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Issues like this, that contain little vignettes, can be hit or miss, but this is definitely a hit with two stories that are fully well crafted, just in totally different ways.
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While this issue does feel a little slow in pacing, that's actually a very good thing as it lets you soak the story. You're left wanting more even as the story shifts to the present and leaves on a big cliffhanger.
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The creative team does a fantastic job of staying true to these iconic characters while also keeping the story fresh and approachable and building this quirky story with some good momentum. It's a solid issue.
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If you aren't having fun with Fire & Ice: Welcome to Smallville, you're missing out.
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It's a great issue, the only real "negative" being that readers might really need to go back and do a touch of homework to get the full force of things, but man it is worth it.
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Nuts and bolts here is that this is well-done and thought-provoking title that avoids being preachy but stays true to its message in a way more comics should.
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Future State: The Next Batman #3 is a solid book but what really stands out is the art.
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Ghostlore #3 is so very good and the same things that have been outstanding in the first two issues are strong here, too in particular how we build on the fraught relationship between Lucas and Harmony.
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This is just such a good story, it's okay to take a moment here.
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It is a truly great issue and one that welcomes long-time Harley Quinn fans and prepares to win over plenty of new ones.
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This feels like a Harley comic in all the right ways: snappy dialogue, action, a lingering mystery, and some major surprises along the way.
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It's solid all around, including art making this one a real winner.
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While annuals can be hit or miss, Harley Quinn 2021 Annual is definitely a solid hit.
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I Hate Fairyland #6 is bonkers, which is par for the course for the series, but it is somehow even more bonkers and more colorful than previous issues.
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Rain #4 is absolutely outstanding.
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There's some really beautiful storytelling here, some very well-done character work and all of it bolstered by truly gorgeous art. But the issue also starts really setting up for a greater conflict that seems like it will end up impacting not just Muddy and Joe, but the Munns as well.
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While this is a complex issue, it's also fantastic and truly one of the better ones this entire series.
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It's all just so good, somehow maintaining this incredible story that never turns away from examining the darker parts of our collective American history. Killadelphia #18 is fantastic.
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Killadelphia #24 is a heavy issue, both in terms of actual amount of contentthere are a lot of words on the page, a lot of exquisitely crafted images, and a lot of story to work throughbut also in terms of the nature of the content.
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Killadelphia #25 is a truly outstanding issue and continues to deliver readers an incredible story on the page and plenty to consider after closing the comic book.
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The result is a comic that is chilling and weirdly heartfelt and unsettling that you know will have impact far beyond the event it's been dropped into. It's a solid reminder why the Poison Ivy series is one of DC's best even when shoehorned into a mediocre event.
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Everything here is beautifully executed. It's very, very well done.
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As individual stories, this is a great one-shot that makes the whole event a lot more interesting.
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All of the stories are solid and have solid art, but the POV approach to Cindy Moon in "An Unraveling Web" by Jeremy Holt (art by Eric Koda and colors by Erick Arciniega) is an absolute gem.
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It's a fantastic anthology overall, full of impressive work and stories. All of the Marvel's Voices comics should aspire to be this.
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There's a lot here that's done well excellent pacing, good distribution of plot between the event and the main series, and even the art pops off very well. This is a solid one.
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After a few tense but quite dense issues, the family drama that has been steadily weaving through the current arc of Monstress explodes just as war does as well, exacerbating existing tensions and taking everything to an explosive new level"literally and figuratively.
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Monstress, as a series, is a near-perfect comic book and issue #35 is no exception.
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Marjorie Liu, as always somehow manages to expand the world she's built in a way that is both explosive and quiet and Sana Takeda can do no wrong with her art.
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Monstress is never a bad comic, but when it's good it's very, very good which is the case with Monstress #45.
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The issue is expertly paced lays a good bit of groundwork for what's to come all while giving readers just enough of what came before to get them back into the action. It's a nearly perfect issue of the series.
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This one is a very engaging issue that might require a few reads to fully catch all the interesting reveals, but it's expertly done and carries a tension that seems to be leading to something big.
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This book is beautifully done and endlessly interesting. It's another strong issue.
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Everything that was outstanding about the first issue of Night of the Ghoul continues with issue #2. The story continues with readers getting a bit more of the "lost movie" that isn't the fiction that Forest Innman thought it was (thus revealing even more of the "ancient evil" story to readers) while also ratcheting up the terror in the present, particularly for Forest's son.
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One of the interesting things about Night of the Ghoul is that it refers to the issues as "episodes" and it's truly fitting considering that each new installment of this horror story is both complete and offers just a bit more to the larger tale of terror that is unfolding.
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It's a nail-biting thrill ride with an abrupt stop and one that does a damn good job of keeping the reader hooked.
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Everything about this comic, from the story to the art is fresh, fun, and frankly, you'll want more after reading this one shot.
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While this issue is a bit heavy on exposition, it needs to be and it's a really great start to what might be a fantastic series.
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This is quite honestly an outstanding comic book.
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What is particularly outstanding in Pennyworth #2 is that Wilson manages to balance the mysteries with a real sense of emotional weight. This is a fantastic issue.
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Scott Bryan Wilson has crafted something incredibly special with Pennyworth and this issue is just more proof positive that not only is this series easily one of DC's best comics right now, but Alfred is absolutely the best Batfam character.
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Poison Ivy #1 is very close to perfect.
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The best villains are deeply human and G. Willow Wilson not only gets that but writes it near flawlessly in Poison Ivy #3.
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Poison Ivy #4 continues the series' elegant and eloquent character study of Pamela Isley whilst also offering up timely social commentary, but it also delivers to readers the first real swing toward a villain that isn't Poison Ivy and her crusade.
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Poison Ivy #17 is a really good issue with a lot of furthering of the plot without neglecting any of the characterseven Janet from HR!but it does have a little wobble at the end in that it feels that it ends too quickly.
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There are a lot of layers here and watching Ivy try to reconcile all of them is a great bit of character development. It's beautifully done and lands on a wild cliffhanger that leaves the reader wanting more. It's fantastic.
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It's beautifully done even if there is little action and it is beautifully crafted both in story and art. Poison Ivy #19 is a fantastic issue.
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More DC characters should be given this sort of introspection, though it's interesting to see where this new facet of things will go once we return to the main story.
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There's nothing groundbreaking here, but as these sorts of collections go, this one in particular is very nice and well-executed.
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Other than it being such a fast and succinct conclusion to things, it's an issue that works on nearly every level.
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It is a fantastic issue and while it's not clear where the overall story of this series is going, this issue along is a standout.
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The issue fires on all cylinders (story, art, colors, it all works here) and is a fantastic first outing for this alternate look at the Marvel universe.
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This close to the end of Spider-Man: Spider's Shadow, the last thing one would epect is another major plot curveball, but here we all.
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Between the action, the world-building, and the pure heart, this is a fantastic issue that caps off a truly great Spidey story.
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This is a solid issue and now that things have gone awry even further, it will be interesting to see what's next.
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I have just one criticism of Starhenge, Book One: The Dragon & The Boar #2 and it's that I have to wait and read this issue by issue rather than having the full volume in my hands to lose myself in all at once.
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With that in mind, the only real "weakness" of this issue falls to the same complaint I had for the previous: this format does not suit this wide, expansive story. It should be one immersive body of work, not an issue-by-issue adventure.
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In Superman: Son of Kal-El #2, Tom Taylor really is pushing the idea of Superman into modern territory with Jon Kent in a way that feels of the moment and genuine while never losing the wonder that goes along with a hero of that magnitude of power.
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I don't love the art in Superman: Son of Kal-El #4, but I do love the way Tom Taylor is continuing to develop this story and fully flesh out Jon Kent, both as Superman now that his father has left the world and as a man in his own right.
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Superman: Son of Kal-El #6 serves as a strong reminder that not every issue of a superhero comic has to be all action or have something on fire to be satisfying and worthy and to keep things going forward.
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The only real slip is that it feels a little like the pacing is off this issue, but it's overall a beautifully done issue of a fantastic series.
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Superman: Son of Kal-El #10 is an almost perfect comic. You've got everything you could want in a Superman story.
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Superman: Son of Kal-El is very easily one of the best books DC has right now and this week's issue is just another example of not just that but of Tom Taylor's mastery of this story and it's young heroic lead.
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This is an exquisite issue and an absolute essential chapter in Jon Kent's story.
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The Me You Love in the Dark #1 is a fantastic start to what promises to be a rich, dark, and vibrant tale.
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In a lot of ways, the book cleans up nicer than it ought to. But at the same time, it's that hope as well as the acknowledgement that we are as a people stronger together that feels like just the message we need.
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There's a lot of commentary in the issue that is applicable to our own society that is worth really thinking about. The whole issue is uncomfortably thought provoking and that is a very good thing.
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It's an interesting approach to not only the character but to a new year of stories, and it's one that is both of the moment and that has a great deal of momentum.
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There's a lot going on in Titans #2, but Tom Taylor has it really well under control thanks to an obvious understanding of the characters in play.
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It's a solid issue and a great kickoff.
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This is a fantastic book with a quiet strength.
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Still, cover to cover, it's a stellar issue and is makes a strong case for this being one of the best Wonder Woman stories in years.
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If there is any one small negative to the whole issue is that it is a little too exposition heavy, but other than that, it's fantastic.
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Conrad and Cloonan are delivering one of the best Wonder Woman adventures of all time and it's very obvious here.
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That said, in terms of pure enjoyment, Wonder Woman #777 might be the most fun issue of this arc to date and Emanuela Lupacchino's art is absolutely fantastic - especially in a fight scene that pits Diana against a male version of herself.
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It's a bit crazy, and things get intense, but as we get closer to this story's resolution, things are more invested than ever.
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The art is strong on all fronts and sure, there is a little bit of an issue with pacing in a few places, this is good issue of Wonder Woman, one that feels like the start of an adventure that will encompass a lot of really interesting corners of that universe.
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Lauren Keely and Jonathan Luna's true strength with this book is how it's put together in a way that is both futuristic and clean as well as heavy and emotionally devastating at the same time. It's a well done issue.
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Overall, this is a very solid tribute to and celebration of Wonder Woman.
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Between the words and the art, there's a respect and a gentleness for the horror of mental illness without flinching about what Cleo is facing with her other, higher purpose. While there's not a lot beyond general table setting in this issue, it's intriguing and very well done.
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Action Comics #1014 continues to offer a bit more insight on the ground-level threat with a sense of urgency that makes the whole mystery all the more exciting. It's a must-read this week.
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The whole issue feels genuinely like Superman and the Action Comics title is back after a rather lackluster run from Brian Michael Bendis.
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With all these moving parts, Action Comics #1032 could be a real mess, but Phillip Kennedy Johnson makes it work and work beautifully by keeping they story centered around good characterization, particularly when it comes to Superman and to a slightly lesser extent, Lois Lane.
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Overall, this is an exciting and through-provoking issue on all fronts and while the "Warworld Saga" may not be every Superman fan's cup of tea, the quality here hits the mark.
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I am admittedly not a huge fan of "The Warworld Saga" arc, but even though it's not my cup of tea I can recognize just how solid Philip Kennedy Johnson's writing is this issue and just how well he understands Clark Kent.
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I'm still not the biggest fan of the storyline overallthat's a personal preferencebut this issue is really solid.
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Superman is very much peak Superman here in terms of his character and humanity (even if his powers are failing) and it makes for an incredible read to see this kind of humanity in a dark time, especially considering it's simultaneously still very much unclear how it will all end.
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While Action Comics #1049 may not be the best Superman story, it is a good one that ticks a lot of the boxes.
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Overall, solid issue from cover to cover.
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What the issue lacks in plot it makes up for in heart, and that works just fine.
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Full of action, this issue surprises with a few moments that make it look like the Sons might be betrayed by their robot friend Hex and it even looks like they may not make it out alive. That actually makes the story more interesting, which is why the reveal at the end that help has arrived in the form of the grown ups a little disappointing.
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The best part is that the issue is very much in line with the overall sense of adventure the entire series has had, which makes it a solid, truly enjoyable issue from one of the best series DC has going right now.
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A story within a story within a story, a clever Eminem reference, and a whole lot of action. That's what Adventures of the Super Sons brings in its final issue and while it doesn't all come together seamlessly, the overall effect is a bright, fun, thrill ride of an issue very much in keeping with whole maxi-series.
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It's funny, relatable, and honestly just darling. It's not exactly intellectual, but this book is just fun.
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Aggretsuko: Out of Office #2 is the palate cleanser everyone needs during the hustle and bustle this time of year.
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Honestly, it's a ton of fun and really well put together and this issue really turns up the heat on everything. It's not your regular comic, but it's pretty great.
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It's a great book. Truly.
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The issue is not one you want to jump into if you haven't been reading along for at least a few issue prior, but it's certainly an excellent kick off to what terrifying plans Kindred has with the Sin-Eater.
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It's a well-told story that manages to hit all the right notes and establish an adventure without sacrificing the current story for the larger arc.
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There's a lot of development in this issue and a lot of stunning art and while the story elements are a bit messy, a bit ragged, and quite frankly A LOT to process, the book is a fun one to read, leaving you with a lot of questions as the fight makes its way to the big bad's territory at last.
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Amy Reeder's Amethyst has been a delightful series thus far and Amethyst #4 continues that streak.
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The only real hiccup here is that there are times when orienting yourself as the reader takes a moment, but it's a solid start to what feels like a truly intense (in the best way) series.
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This is truly a great issue and while there are some small details that feel just a touch cliche at times, the sum of the parts here is just a really strong story.
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While I ultimately wish there had been just a little bit more of Aquaman & The Flash: Voidsong, the third issue is honestly pretty great.
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Archie #30 puts the whole story in position for what feels like the ultimate action point of the whole arc but with so much steady storytelling it's hard to get excited for what's to come.
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With just the right amount of action and plenty of heart, Ascender #3 finally finds its footing, striking an emotional chord that will keep the reader connected, despite the relatively slow burn of the actual plot.
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Ascender is one of those stories that may have taken a bit to get going but it's one of the best books out today now that it has.
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As always, I could praise Dustin Nguyen's art all day and it still wouldn't be enough"and it's excellent here once again. Truly a solid issue and a joy to read.
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One of the best things about Ascender is that while this deep into the story odd twists and turns are to be expected, they frequently delivery in a way that is very unexpected.
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Overall, Ascender #15 is another fantastic chapter in this saga and a good place for the story to continue from.
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Overall, it's a solid penultimate issue. Bring on the end.
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The book itself is beautiful and subtle in its storytelling, finally pulling back just a bit to reveal that the real story here is not Tillie and Bix, but the story of lawman Zeke West who has been pursuing them.
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By taking what feels like an unconventional and unsettling pairing and attaching it to a harder, more authoritarian take on Batman and Gotham that Black Label allows, this dense issue both captures a great deal of Batman's noir aspects and pushes the boundaries of what readers expect from both hero and villain.
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Overall, this issue is a big improvement over the second issue and definitely feels much more interesting.
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The weird alternative universe/timeline story started in Batman #45 continues this issue and doesn't get any less weird, but it simply works better.
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It isn't often that readers get to see the, dare I say, human side of the villains in Batman's world, but Batman #49 does just that and it makes for one of the more thought-provoking and powerful issues of this run.
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Overall, Batman #50 may not live up to the overwhelming hype that led up to it, but it doesn't need to. It's an issue that redefines and fundamentally changes Batman -- and Catwoman -- forever in a way that has been far too long in coming.
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A little light on action, but strong in emotional weight, readers might not claim Batman #54 as a favorite, but it's definitely a turning point and it will be interesting to see where things go for both Dick and Bruce going forward.
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Admittedly, it's a slightly cliche story, but King tells it well, moving back and forth from the story of a son dealing with a father who was less than stellar and a pseudo-father dealing with grief and rage over what's happened to his pseudo-son. He even manages to slip in another somewhat unusual villain.
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Batman #62 is, in a word, weird. But that isn't necessarily a bad thing.
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Despite the solid action and beginnings of a resolution, there is just this vague sense of being left wanting. However, if for nothing else than it's sharp honesty and vulnerability in showing Batman for who he is, the book is a fine and worthy read.
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Every page is an exquisite delight so beautifully crafted you can feel the desert sun on your face as you read and as the Waynes make their way towards an uncertain destination.
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If #75 was too narrow, #76 is open exactly wide enough. There's a lot revealed in the tight narratives in the issue and you'll want to carefully read every expression and every word on every page.
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Everything changes in this issue and, even with a shocking semi-cliffhanger, it feels like the story is truly coming together"even if it's in the darkest possible way.
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The ending of the issue isn't a twist, you can largely guess what's coming, and like many issues of King's run this one could have benefitted from being part of a larger story rather than a single issue. But it is an excellent issue, one that truly sets the stage for the end in a powerful and important way.
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Ultimately what works here most comes in the last few pages, when you realize Batman's plan isn't going to plan. It makes up for the somewhat disappointing undoing of most of the series' drama and the fact that we still haven't gotten to Bane.
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The second-to-last issue of Tom King's run arrives with Batman #84, but it's an issue that, with so much story left to tell, feels an awful lot like stalling as it takes readers not into a final showdown but reminds them how we actually got to this point. To be fair, it's a beautiful stall.
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The third issue of James Tynion IV's Batman has arrived and while the previous two issues have been a bit difficult, Tynion genuinely finds his footing in Batman #88.
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Batman #97 finally reaches the tipping point where the grand art can no longer cover the holes in the story. By now we should know what Joker's grand plan is or at least be stepping into a showdown. We're not. And it almost feels like we never will be.
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It's not a flawless issue, but it's probably a best of run and a damn fine read.
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The bar wasn't terribly high, but Batman #120 as an issue is wildly better than anything in the previous run and the "Abyss" arc just keeps getting better.
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This is a really solid issue that caps off a refreshing and solid Batman run.
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Batman #123 does exactly what it sets out to do: it advances the "Shadow War" arc in some big ways, not only pushing the story forward, but also connecting a few dots as Batman and Robin work together to get to the bottom of who wants a war between Deathstroke and the League.
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Joshua Williamson's run on Batman wraps up in Batman #124 and it does so in a satisfying fashion.
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While I would like to see this story progressing a little faster so that we could get back to the main universe so that Bruce and deal with Failsafe because it feels more and more like we've just forgotten the urgency of that storyline entirely, this adventure in this alternate Gotham is still a fascinating one, particularly this issue as we dig a little more into the cracks in the system as it were.
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If Tynion's main Batman work were even half as good as this story, readers of the main line would be in for a treat. At least with this book Clownhunter feels like a character worth caring a bit more about.
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The much anticipated Batman/Catwoman #1 is finally here and while it's not a perfect book, it's one that lives up to the hype.
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Overall, a really strong issue and great fun to read.
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This is a very strong issue that highlights relationships and personality and it's beautifully executed.
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Writer Bryan Hill brings a bit of a fresh approach to the team by incorporating numerous big fan favorites, such as Black Lightning, Katana, and Batman, with younger characters The Signal and Orphan for team incarnation that feels a lot like the Bat Family and is equally as complex and slightly dysfunctional.
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The same clich story elements that created pitfalls in the debut issue still exist here, but the action is hard and fast and fun to read while being even better to look at thanks to Dexter Soy's engaging art.
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The theme of the Outsiders as a broken team continues this issue and, while that's a point already made in the previous two issues of Batman and The Outsiders, this week the story shifts towards healing even as, in a paralell plot, the person the team has been charged with saving falls further towards darkness in the hands of Ra's Al Ghul.
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Nothing here is easy, as we're learning, and it makes for another solid read.
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Batman and The Outsiders #8 is flat-out one of the best issues of the series thus far.
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In truth, there is a lot of establishing in this issue, but it works well in that it helps resolve some of the emotional notes that have been running through the series as well as bring all of the major players to a spot where the real fight can jump off: going up against Ra's.
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The story is a little dense and a bit repetitive at points, but it's a wonderful read and an absolute must for anyone already invested in the Batman and the Outsiders story.
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Batman: Dear Detective is going to be a divisive comic book because it's neither a true comic book nor an art book, exactly, but tries to land somewhere between the two concepts.
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It's the second-to-last issue of Betty & Veronica, and Jamie Lee Rotante once again nails the female friend dynamic in an honest, relatable way.
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There's an elegance to this particular sort of heist story and Jed MacKay pulls off something that is hearbreaking, thrilling, and satisfying all at once.
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Generally I hate story arcs that conclude with everything in a neat and tidy box, but Black Cat #7 pulls things together cleanly and neatly in a way that may be light on action, but is a really great story.
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If you're a Black Cat fan, this comic is an absolute feast of good things. It is a little wordy in some places but other than that it's a solid, exciting read.
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There's a lot of unmined treasure in the Black Knight and this comic is digging into both the humanity of the character as well as the Arthurian aspect of things; the result is something deeply engaging, relatable, and exciting"allowing readers both familiar new to the character to identify with his flaws and the darkness within him and still be thrilled by promises of more adventure around it all.
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Another solid mx of humor, action, and exposition, Giles #2 is a fun read, and you can't help but find yourself hooked.
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It's something that honestly elevates the entire issue from simply good to great as it invites you further in and breaks your heart with each and every page.
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It may be repetitive in terms of challenges, but each time the heroes learn something new and that more than makes this issue worth the read.
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In many ways it feels an awful lot like a Cartoon Network show circa 2000 and if that's not enough reason to read it then I don't know what is.
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Coda #2 is a little hard to follow; something with the narration and the individual stories between Hum and Serka don't really differentiate enough on the page in places to keep it all straight at times, but if you go slow and are careful, it still ends up being a solid issue.
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It's beautiful, it's gut wrenching, and ultimately it is a story about hope and it's one that is very finely crafted.
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Overall as a series, Contagion has been an incredibly fun ride and this issue brings it all to a fun, satisfying conclusion. And, of course, we get a great panel of Ben Grimm and his cat. Who could want anything more?
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This title is simply a breath of fresh air and while it may not pack any major punch, it's just a delight to read and you won't be able stop yourself from wondering what the evil queen of Venus is up to next.
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It's a great issue with a lot of fun to balance the fact that we know even less than before.
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The book doesn't take itself seriously while also taking itself absolutely seriously and the result is a kick-ass read from cover to cover that also looks cool and delivers quite a few full belly laughs.
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Overall, Harley Quinn Gossamer Special #1 is a fun break from the usual insanity of the Harley Quinn world.
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DC Mech #1 is a lot of fun, even if at times it feels very much like an extended advertisement for some cool new toys (toys I would shamelessly buy, for the record.)
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Overall, each of the stories in this anthology is a winner and it's a really great book overall.
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Really, this is one of the weirdest holiday specials DC has put out, but it has a ton of heart and is a fun, offbeat read from cover to cover.
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It's a good second issue from cover to cover.
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The previous issues of Edge of Spider-Verse have been a little uneven with their stories that introduce the various players in a larger, coming adventure, but issue #3 is a trio of stories that are all winners, both in terms of their narrative and their art.
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Event Leviathan #3 may not be the strongest issue so far, but it certainly gives readers a lot to consider ensuring they'll want more.
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What really makes it an interesting read instead of being cumbersome the way some backstories can be is that it's hard to tell who you feel most for, Kate and Cate or their mother as all three (well, two) are victims of deals with the devil gone awry. What makes the story even better, though, is how no one seems to learn from these deals.
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While the book often reads like it's trying too hard, especially with Kate, the only real let down this issue is that there wasn't more of it.
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Things take a sharp, sudden turn towards the resolution in a way that feels a little too convenient and easy, but other than that, Fairlady #2 is an absolute delight.
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The book is a bit silly, but also really fun and heartfelt. It's a blast throughout and hopefully we'll get more adventures from these two.
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Flashpoint Beyond has just one issue to go after this week's Flashpoint Beyond #5, and the penultimate issue may be the series' strongest.
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It's not the cleanest series finalethe series largely serves to set up the upcoming JSA title in a lot of regardsbut it sticks the landing and offers a lot to consider about the nature of moving forward from insurmountable loss.
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This is a book that's fun to read even when uncomfortable and is very much of the moment in a way that feels timeless.
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While the story does feel like it moves a little fast and there's a sense of wanting more, it's a solid issue of a truly great Batman story. I can't wait to see what happens next when Tamaki and Mora take over Detective Comics next month.
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They only "bad" thing I have to say about Future State: The Next Batman #4 is that it's the last one and with the quality of this book"specifically this issue and the little series overall"that's just wrong.
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While the lack of color has been problematic previously, it really works this issue and, in a sense, brings everything we've seen thus far together in a rich and immersive way.
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Ghost stories can be tricky, but Ghostlore #1 manages to set up an interesting approach to the genre.
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Ghostlore #5 is a really lovely issue, even if the overall tone of the series had me on edge the entire time waiting for something awful to happen.
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It's well-executed and perhaps the most interesting look at Lucas so far, making it a really fantastic issue, even if somewhat slow.
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Overall a refreshing, darling issue.
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It reveals a tale that is much more than it initially seems taking the threads of medieval history, the hero's journey, issues of faith, and all out adventure to take on something biggernamely questions of selfwhile providing a dreamy visual quality as dynamic as the story on the page.
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"Angry Bird Part One" is compelling follow-up to the "Batter Up" story arc and while it's a lot of set up with the promise of action to come, it's fully of humorous pop-culture references that helps Harley pop right off the page and draw fans in as for what the eventual showdown between Harley and Penguin might hold.
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Harley's adventures on Apokolips come to an end in this issue, and while the conclusion is just as bonkers as anything you'd expect from Harley Quinn, there's a serious quality to the way things wrap up with Granny Goodness.
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After a not-so-relaxing vacation to Apokolips, Harley is back and in top form in Harley Quinn #48 and that means a campy, somewhat bonkers adventure for the beloved character, but where previous recent storylines have lacked in presenting a fitting challenge for Harley, "Clown For Hire Part One" might just be the most Harley Quinn story in several issues.
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While the "oh no, Harley broke continuity" schtick is more than a little yawn-worthy, there's something charming about #51 with Captain Triumph being stuck out of his own time, trying to be a hero the only way he knows how and colliding directly with a society and time that he simply doesn't understand.
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It's a fun read with real heart for a message, something that doesn't always come across in comics featuring Batman.
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While the story is a little bit tricky to follow in places -- it has quite a bit of table-setting to do -- stick with it for just the insanity of it all.
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It's raw, it's genuine, and it hits you right in the gut. That's the story the book is hopefully getting back to. It's the story where the character shines the most. -
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Think of Harley Quinn #67 as DC's Thanksgiving Special and it's a clever, funny, goofy romp full of heart and a bit of sly commentary that is both fun and fresh.
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It's refreshing and fun and funny and a great way to close out one year and enter another.
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It's a lovely send off for the title, a book that fully humanized one of comics more colorful and sometimes underestimated characters.
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With Stephanie Phillips behind the pen, Harley Quinn's voice is the most authentic and enjoyable that it has ever been and that's very obvious in Harley Quinn #2.
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There's a solid balance here between words and action, Harley being both brilliant and, well, Harley, and it all just works well.
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In life, there are rarely storybook endings to chapters and that's the case here for these two but this issue shows us a Harley who is finally strong enough in her sense of self that she is able to help the person she loves find that same clarity"all while setting the stage for what is likely to be a very exciting and action-filled story to come.
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Riley Rossmo's art does not work especially well with this character so you get that little bit of dissonance in what is otherwise a strong issue.
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Howard has a real grasp on Harley's complicated mind and Sweeney Boo's art is an absolute home run.
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It's a pretty strong issue and one that has great appeal in terms of exploring this wildly multifaceted character.
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This issue is almost like a mini-movie and it's a hoot from start to finish.
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What works best in Heroes Reborn #1 is that while this is yet another event series and the story draws on aspects of current Marvel continuity this first issue is accessible to both readers who buy every single issue every single week and far more casual fans. That aspect of things just puts a nice little bow on a comic that looks good, reads well, and makes the familiar concept of an alternate reality feel fresh.
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The entire issue is a done like a series of watercolor paintings, fitting given that Mokey is a painter, and is stunningly beautiful to look at. Very well done.
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As always the art in this book is top notch, but there is a great story this issue as well. It's a solid read.
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While having a current working knowledge of the goings-on of the DC universe would be a plus, the story does an excellent job of setting things up in a way that its accessible for all readers and doesn't loose any of the interest in the process. There's a lot to be interested in here, too, especially with Darkseid's perhaps unexpected role in the issue.
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Justice League Odyssey #4 makes a couple of things pretty apparent. The first is that Darkseid is up to something, which really isn't a surprise considering its Darkseid. The second is that each of our heroes, save for maybe Jessica, is going to find themselves worshipped. But once you get past those fairly thin elements of the issue there's a lot to enjoy.
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Overall, the issue is a turning point for the series, deepening the cosmic mystery in a solid, visually spectacular way.
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We finally get some answers in Justice League Odyssey #8 this week, and while the issue doesn't really do much with them, what really works here is the interplay between Darkseid and the heroes.
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Justice League Odyssey has been an enjoyable read overall even when it dips into exposition territory and, to an extent it does that this week. However, this issue it's a weird shift of sorts that may finally be starting to give Green Lantern Jessica Cruz a real purpose in the story.
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It's hard to miss the obvious Guardians of the Galaxy inspiration in Keepers of the Cosmos, but where this comic book excels is that it pulls no punches.
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Killadelphia continues to be a fascinating book, but this week's issue shifts a bit to digging into backstory.
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Overall, the issue does what the series has done best from the start in revealing just enough of the true conflict to push the story forward while challenging the reader to consider the larger picture and this issue perhaps does that the best the series has thus far.
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While the story is not over (there's more Killadelphia coming) the end of this arc lacks the bite it started with. Still, it's a good book, just not great.
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This week's Killadelphia #7 kicks off a new story arc and, in many ways, feels like a completely different book.
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Rodney Barnes is a fantastic storyteller, and the crafting of this issue is further proof of that.
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While I still don't quite get the idea of bringing the catalog of (admittedly cool) Image characters into Killadelphia, I can't pretend that Killadelphia #34's introduction of Blacula to the mix isn't both cool but interesting.
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Action Comics was the best of the Knight Terrors tie-ins and that holds true with Knight Terrors: Action Comics #2, specifically when it comes to Leah Williams' Power Girl story.
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Knight Terrors: Poison Ivy #1 understands the assignment when it comes to delivering on the idea of taking its characters into their worst nightmare and, as has been true with G. Willow Wilson's overall work on Poison Ivy, it does so by taking an unflinching and uncomfortable look at reality.
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While I haven't been sold on "Knight Terrors" as an event that much yet, Knight Terrors: Robin #1 is solid. Not only does the issue give readers the same general conceit as the rest of the eventthe villain Insomnia has dragged everyone into dreams where they face nightmaresbut it adds an added element by having Tim Drake and Jason Todd dragged down together so they aren't just facing nightmares, they are facing each other's nightmares while connected.
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It's fascinating.
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The penultimate issue of Last Flight Out is honestly surprisingly good.
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The issue, as a result, ends up being better than the majority of not just the most recent Wonder Woman run, but the full "Lazarus Planet" event.
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There is only one way to say this and it's directly: Loki #2 is less light and fun than its introductory issue, but that doesn't make it any less brilliant.
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The best part of the issue is actually not the comics stories at all, but the prose pieces sprinkled throughout. Those are worth reading. But overall, Marvel could do so much better and it's disappointing they did not.
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It's a fascinating start for a series.
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Overall, the issue is a bit complex and requires a few reads to truly let the horror of it all sink in, but it's a fantastic book and I can't wait for more.
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While the issue is light on action, it's rich in mystery. It's an excellent issue that will leave you wanting more but in the best way possible.
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Overall, Monkey Prince #1 is a very good comic. It combines the familiar with a lore and mythology that is, for many less familiar to deliver something fresh and new. The only real hiccup is that the pacing and some of the characterization feels somewhat off or unrefined in places. Even with that, the art makes the entire read worthwhile and sets up Monkey Prince as a story you won't want to miss.
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This book is just beautiful and fun to look at. I love a story that I can enjoy without having to read it and this one certainly hits that mark. It's a very solid issue.
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Sana Takeda's art continues to be the absolute highlight of this book, though, and when combined with this issue's more deftly crafted story, you have a story whose sum total truly is greater than all of the individual parts.
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Monstress #18 brings to a close the third arc of the series and while the issue is, as many are, very dense, it is worth carefully reading each and every page.
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The book is still hands-down one of the most visually stunning books available and there's no question that the details that fill the narrative in the issue are necessary. But it feels heavy and there's a lot there to wade through.
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It sometimes feels like heaping praise on Monstress is a bit of broken-record behavior. but Monstress #29 is a reminder of just how great this series is and this issue specifically, will leave you a little haunted at least until the next one.
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The only real "negative" is that you might need to go back and re-read a couple of installments to fully be prepared for this issue, but it's absolutely worth it.
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Monstress can be a long hike sometimes, but it's issues like this that make it all worthwhile.
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There is a lot that goes on in Monstress #47 as we get into the heat of the battle, as it were, with all of the characters joining in the fight. And to an extent, that's when Monstress is at its best as Marjorie Liu does these large, ensemble moments with incredible precision so that you can clearly follow the story as it plays out across each of the characters and why their efforts matter.
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We've come to another story break in Monstress #48 and there's a lot packed into this issue, which might be the one flaw.
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Overall, the issue has a lot of promise, especially when you find out that the "Smartest Person in the World" might not be able to use her smarts to deal with Kingpin's plan... whatever it is.
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Coming off a long run of too-smug adventures for Lunella, this latest chapter is refreshing and fun and definitely worth a read.
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Ms. Marvel is consistently good. Each issue, G. Willow Wilson somehow manages to craft a balanced, well-thought out story that not only advances a greater plot but also delivers a character with a ton of heart and personal growth.
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It's an over the top, semi-nostalgic reunion type romp packed with insanity of the best kind and while it is at times overstuffed with dialogue and the art is a little shaky in places, it's very promising on nearly every front.
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This is a very, very weird storyand it admittedly did take me a couple of read throughsbut it's got nods to classic DC moments, genuine threats, and it's melodramatic in all the right ways. And the bright colors make things even more jarring. This issue is just so much fun.
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Night of the Ghoul #4 is easily the scariest issue of the series yet.
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There is a rich and fascinating story building here. But the pacing is a bit of a challenge for a casual reader.
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Here's the bottom line: Old Lady Harley #1 was not a fluke. Frank Tieri continues to craft a story that is equal parts bonkers and compelling.
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Old Lady Harley has been a wild, bonkers ride for its whole run, and that remains true for this, the miniseries' final issue.
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There are a few little hiccups along the way, especially when it comes to the last few panels that leave readers with some questions about Livia's beloved Pip, but it's clearly a setup for the finale, making this a fitting cliffhanger, even for those who have read the source material.
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This isn't the most action-packed issue, but it gets to the heart of Alfred and helps even further developed the character in a way that is richly humanizing and deeply fascinating - and if you don't want to kick Shirley's butt after reading this issue, I simply can't help you.
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Truly, Pennyworth has been a great series and this was a very fun way to end it while keeping sight of the character, the legacy, and maintaining the quality right to the end.
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Overall, it's a solid issue capping off a solid series, and one can only hope we'll see more of Eel O'Brien soon.
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While the story is definitely setup for "Knight Terrors" and loses just a little bit in terms of the issue being almost all exposition, it's a good lead in overall when you consider the full series and makes for a nice read generally. The art also continues to be strong especially with Killer Croc.
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First dates? Awkward. A first date to talk about the weird behavior of your friend and teammate? Beyond awkward, but in Red Hood and the Outlaws #19 writer Scott Lobdell manages to make those awkward exchanges engaging and engrossing.
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If you thought the last issue of Red Hood and the Outlaws was emotionally devastating, then this week's issue will leave you wondering if you're even reading the same series.
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While Red Hood: The Hill #1 has a slower pace than one might expect for a title with Red Hood in it, the debut is a strong issue that understands the real backbone of storytelling lies in character.
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Red Mother is probably one of the best horror mystery comics out there and issue number four definitely is a reminder why.
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If you're looking for action, Red Mother #6 isn't it. The issue has a slow, rather mundane pace, but it serves to bridge Daisy's story from her major step forward last issue to her settling into her new life in London.
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Nine issues deep into The Red Mother and there are somehow even fewer answers than what we started with and while that sounds like something that should be a red flag that the story isn't going anywhere, it's the opposite that's true.
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All of the little stories that have been slowly simmering away in Red Mother finally come to a head in The Red Mother #10 with some major reveals.
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Lighthearted and a joy to read, it's a solid issue -- and a great palate cleanser for the unrelenting darkness of the series.
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Riverdale's third season ended on The CW last week with a jaw-dropping finale, but if that wasn't quite enough for you the comics have you covered. Riverdale Season 3 takes readers a bit deeper into the television drama's season and this third issue is still firmly focused on the beginning of the season.
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Overall, a fun, fascinating read and another strong issue from Ostow.
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Justin Mason's art is a big part of what makes it work, with the characters and settings all having a lived-in feel while Hannah Rose May does a very good job at writing the mix of personalities in this group of fans. This is a solid first issue.
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Savage Avengers #1 is a good read. It's not perfect, due to the verbosity of it all and there are moments when you are keenly aware you're reading introductions, but there is a lot of appeal here.
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Savage Avengers #3 is epic in pretty much every aspect.
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This is a book that really looks great and that art also drives story. It's a good issue across the board, especially in how it sets up for the next adventure.
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New arc, new time period, new threat all of these things are present in Savage Avengers #6 but staying consistent is well-done action, solid pacing, and very strong art.
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The only real little hiccup is that the book does take a bit to get to its first scare, but really, for a series debut, you've got a solid plot, engaging story, and the promise of serious scares. It's a good one.
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The emotional stakes are starting to form with Scarenthood #2, making the long read investment worthwhile.
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Mark Russell pulls no punches with his social commentary, but does it in a way that doesn't feel like you're being beaten up by it. It is, in a word, fantastic.
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There are some interesting lessons there about power, perception, and ideas of faith and who its for and frankly, while this book is a rich satire, there's a lot of wisdom there and a sense that everyone's a mess but it's how you treat others that ends up defining your course. That part makes the whole issue worth it.
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It's an interesting mix of things, bringing these two stories together, but it makes for a very balanced issue and while it's still a little unclear where the overall story is going, it doesn't really feel like there needs to be a strong, driving plot. It's a nice change of pace.
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Second Coming: Trinity #4 is a grim, but important issue.
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The result is an uncomfortable and heavy read that fits in very well with the narrative of the story. Taking Second Coming: Only Begotten Son as just a comic book, this bleak issue really feels like a turning point. But the weight of what's being presented here is the first time the series feels like it has an agenda or is perhaps a bit preachy.
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It's a solid issue with a strong message. I wish the series on the whole had been a bit more like this, but even for all the questioning, we land in a good place.
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Truly an intriguing and engaging first issue and you'll want to see where it goes next.
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Overall, there's solid improvement from the first issue to this and if that's any indication, readers are in for a wild, worthy ride.
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The book is so well-drawn and generally well done that it doesn't matter. It's a fun romp that leaves you wanting more.
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Slow Burn #2 is, well, a slow burn which might ultimately end up being an issue for a series that has just five issues. That said, the issue is a lovely read, focusing on the character Patti and the history of the town and how it came to be abandoned and she came to be trapped there with her own trauma and ghosts.
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Snake Eyes: Deadgame #1 feels like a fun blast to the past. Don't take it too seriously and it will leave you oddly excited for more.
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Overall, though, solid start. New readers have enough of an entry point to invest themselves in while fans of "Mirror Broken" will no doubt be hooked for the next chapter.
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Suicide Squad #38 is finally starting to connect the dots it's been plotting out over the last handful of issues and while the story still has some pacing issues, this issue packs some serious punches to the gut while somehow managing to insert a little bit of sharp humor.
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Suicide Squad delivers another strong issue with just the right balance between Batman and Deadshot's quest, Zoe Lawson's predicament with Kobra, and Amanda Waller's counter plan.
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Suicide Squad #46 isn't really an issue of Suicide Squad. It's really an Aquaman story and honestly? That's a very good thing as the whole Suicide Squad title, while not necessarily bad, has become something of a chore to read.
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The story is packed with both humor and heart, giving a deeper look at Captain Boomerang's life. It's frankly refreshing for a series that too frequently has far too much Harley Quinn being, well, Harley Quinn.
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Overall, Suicide Squad Annual #1 delivers a solid story with well-done, fitting art and is absolutely worth the read -- as well as the questions it will leave you with as to just who the bad guys are and what real monsters look like.
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Overall Supergirl #23 finally sets things on the right path with both a story and a character worth investing in.
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Kara's quest to find out what really happened to Krypton and Rogol Zaar's involvement continues in Supergirl #24 and while earlier issues have struggled with how Supergirl is portrayed, this week's issue hits it just right.
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It's a lovely end to the arc and while it may not be the most exciting issue, it's beautifully done.
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Supergirl finally gets in on the "Leviathan" story this week and it makes for an excellent change of pace from the previous Rogol Zaar storyline.
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Marc Andreyko's Supergirl run ends this week with Supergirl #36 and he goes out on a solid note.
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It may not win over some readers"it does have, at times, a bit of self-seriousness to it"but it's a really lovely read and while it does feel a bit like stalling for this title overall, it's so good. It's a worthy pause.
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One definitely gets the sense that the conclusion this issue is setting up for is either going to be devastating or underwhelming, but at least this issue is a lovely read.
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Taylor is creating something special with this story and yes, this issue could have moved the story a bit further forward, lingering here in these life lessons for Jon is time well-spent.
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Quite honestly, this is one of the best books that DC is putting out and while this issue isn't especially spectacular or groundbreaking, it's solid and a great read and just continues to show how good Tom Taylor can be.
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Clayton Henry's art here is perhaps not as polished as I might personally prefer for this issue, but it's still very solid with a net result of an issue that is exciting and scary bot in terms of story and visuals.
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There is a lot of good stuff going on in Superman: Son of Kal-El #14 and it should be no surprise because it all builds upon story elements that Tom Taylor has been laying from the start.
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Superman: Son of Kal-El is always good but this week's issue #15 is the end of the Henry Bendix chapter (at least for now) and it is a conclusion that delivers on pretty much every level.
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Tom Taylor is at his best when digging into the heart and who of these characters, and that's on display here, even if the issue feels a little like a pause or a spacer as this series winds to a close.
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The end of Tom Taylor's Superman: Son of Kal-El series in a sense ends things much like where they began, with a good balance of strong characterization and an interesting story that digs into not just who Jon Kent is, but what it means to be Superman as well.
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It feels like it's been forever since the last issue of Symbiote Spider-Man: Alien Reality and this week's issue #5 is a hell of an issue to come back on.
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It's wild, but so far, it's a strong story.
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While The Banks has a satisfying conclusion, the landing is somewhat shaky due to a few extraneous threads the narrative could have done without. In spite of those missteps, The Banks is an engrossing and thought-provoking read, one that feels of the moment, yet absolutely timeless.
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Scott Snyder and James Tynion IV do an excellent job telling an engaging origin story, but the Grim Knight doesn't feel like a far departure from the Batman we've seen in Tom King's run.
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If you're not accustomed to the Jetson family's comic book adventures -- which are quite a departure from the classic cartoon -- the whole run of The Jetsons may be a little jarring. However, if you can get past that and the somewhat distracting and haphazard art, The Jetsons #5 is very much worth reading.
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Whether something like this is really necessary or should be done in this particular format is up for debate, but if approached strictly as an art book, it's a nice issue.
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Instead of celebrating the hero with a simple trip down memory lane or a rehash of their greatest hits, the new series examines the hero's legacy while really examining his American history and values within the context of a mystery. And despite a few flaws, it works quite well.
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This one is off to a good start.
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This issue is good and is the shot in the arm this title should have had from the jump.
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My only real concern is that with this being the penultimate issue, Fitzmartin has set up a lot of things that might not get fully delivered on, but this is a strong issue overall.
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Titans: Burning Rage #3 is, like the previous two issues, one of the most fun comics you can get this week.
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This issue is easily one of the most fun to date.
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Titans: Burning Rage #7 is just such a fun, wholesome issue. That's really all there is to say.
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It's a little hard to follow at times early on, but it definitely has a lot of fun energy. It's a good start.
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It's a fascinating read that feels less like fiction and more like reality in a truly terrifying way, and even as things get worse for Turn, the story just gets better and better.
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Raw, intriguing, and also somewhat hopeful, Vindication #3 takes the story to the next level even as it causes you to question everything you think you already know.
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Even though the issue doesn't quite explain what's going on with Shirai just yet " he was murdered but is somehow still alive, after all " it's still a spectacular read.
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Weapon X #14 is a perfect close to the "Nuke-Clear War" arc, one that you don't' want to miss.
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It's one of those issues that gives the reader hope that maybe, just maybe, this title is finally starting to find real footing, and it's definitely worth a read.
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After an interesing if not shaky start, Werewolf By Night #2 comes back strong.
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Werewolf By Night #3 is easily one of the most interesting and visually fascinating of the short series.
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Very easily, Wolverine: Black, White, and & Blood is one of the best comics this week.
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It's probably good that this is the last issue of the series, but even at that these final trio of stories are fantastic.
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Ultimately, Wonder Woman #750 is a beautiful tribute to the character, one that serves to remind the reader of her core values as well as why she's perhaps one of the most popular superheroes in popular culture. She may not be from man's world, but Wonder Woman is at her heart as human as we are. She's the best of us and this book offers us the best of her.
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Coming off of the beautiful love letter that was Wonder Woman #750, #751 is a delightful day-in-the-life type of story that, in a sense, allows the reader to see Wonder Woman from the eyes of a skeptic.
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The art remains iffy and messy at best, but as the fight truly kicks off, everything is starting to come together for a solid, engaging issue.
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If there is one thing that can be said about Wonder Woman #757 it is this: the issue takes a hard left turn and ends up in an unexpected and completely incredible destination.
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It's a solid close to Steve Orlando's run and one that sets the stage nicely for Mariko Tamaki when she picks things up next issue.
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The story this whole arc has been a fast paced ride and this issue is no different, but the substance makes it a strong read, especially paired with some really nice art. It's a great leaping of point for what comes next overall.
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You could almost strip out every written word in this issue and still get a story that was entertaining and very easy to follow. There's so much espression in just the art that everything else is extra.
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It's an outstanding issue and a reminder of just how great Wonder Woman can be.
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This was a fantastic issue, a solid read.
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Overall, this whole issue was a great change of pace and a solid start to a new chapter.
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This is a beautiful issue.
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Wonder Woman #793 is a a genuinely nice issue and a very welcome reprieve from the more recent story arcs in Cloonan and Conrad's run.
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Wonder Woman 2021 Annual is a really interesting comic. As we move away from Diana's time in the afterlife and set up for "Trial of the Amazons," Conrad and Cloonan do a fantastic job of positioning the heroine as being both utterly herself, but also changed by her experience.
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Overall, it's a powerful and beautiful book with a solid ending and while the open-ended final "conclusion" feels like it could have been tightened up just a bit, Wonder Woman: Dead Earth #4 is an absolutely amazing finale for this series that is easily one of contemporary comics' best.
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First things first: the story being told in X-23 overall is a fascinating one. Not only is Laura trying to protect her sister Gabby, but she's on a journey of self-discovery as well and for the first three issues of the title it's a journey that's been a thought-provoking, enjoyable read.
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The art in X-23 #7 could be better. The story? It takes a little bit of time to pick up speed. But what this issue does well is illustrate the difference between Laura's struggle to embrace humanity while contrasting that with Gabby who is struck a perfect balance with her clone identity and her human heart.
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X-23 #8 picks up right where it left off last issue and it's a solid leap into the larger mystery of the arc.
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It's a hard read a times because of the subject matter, but it's handled with care. It's an extremely good issue.
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Yasmeen #3 may be the most "chaotic" issue of the series thus far, but don't let that surprise you or convince you that it is anything other than brilliant.
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Ultimately, while Youth #1 has moments that feel too engineered, the heart of the story is one that beats with a fresh and refreshing honesty.
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While I wish A Haunted Girl was a bit more refined and a little less on-the-nose at pointsespecially because I feel like there is a rich story in Cleo's family history that could be beautifully exploredissue #4 concludes with what might be the most interesting and optimistic representation of someone fighting their demons and winning.
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Story-wise, Phillip Kennedy Johnson has a good grasp of Superman and also does a solid job of making Mongul a distinct character in a way that doesn't always happen with some of the major alien big bads. In fact all of the characters are well-written, with distinctive voices. That said, there are moments where it feels like the issue doesn't quite have the space it needs to flesh out what's going on.
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Overall, it's a solid issue that pushes the story forward while revealing just a bit more in terms of detail.
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It's a good book, just gloomy and grim and it kind of pulls everything down a bit for a character so rooted in hope.
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Superman is officially back on Earth in Action Comics #1047 and it's a welcome return after the long, sometimes uneven "Warworld Saga" especially with this issue seeing a strong return to form for the hero.
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While Phillip Kennedy Johnson's run on Action Comics has, overall, been very good with some truly excellent storytelling, Action Comics #1060 is a little on the weaker side overall.
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After the previous run, this feels like a downgrade, but in terms of being fun, it is a good, if forumlaic, start.
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The issue has a ton of action and plenty of stakes. That said, at times it feels like it's overstuffed and almost too much.
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This is a pretty strong start overall.
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Things definitely take an unexpected turn in the issue which is enough to keep the interest and story moving forward. It's a decent issue, though the pacing does make one wonder if this story might be better suited for a collection rather than an issue by issue story.
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The pacing is strong, the storytelling is solid, and while there are things that do feel a little like caricature with Department H, there are real stakes for the characters and and investment in how things are going to play out.
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Amy Reeder's done some outstanding work, both story and art, on Amethyst as a whole and this issue certainly drives that home as well with a book that may not be the most polished in terms of the way it wraps up its story, but is visually gorgeous in every possible way.
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While the first issue of Aquaman/Green Arrow: Deep Target was clunky and confusing and left off with a sense that Brandon Thomas had no idea where he was going with things, issue #2 seems to have a much better grasp of things.
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This issue by no means saves the series to date"a poorly executed comic is still a poorly executed comic even with one fun issue"but at least this issue is both entertaining and even a little interesting, finally paying off on the Silver Age riffs of it all.
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Overall, Aquaman and the Lost Kingdom Special #1 is a surprisingly solid comic book. All three stories in the issue are good reads, though the Black Manta offering is probably the best of the trio.
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Barnstormers #3 is very much working its way to have a bit more substance to go with its style, though the style is definitely still its defining attribute.
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In the end, the "Failsafe" arc concludes almost predictably and while the quality of Batman #130 isn't quite to the high standards set by Batman #125, it's still an interesting issue that positions the story to progress in intriguing directions. Yet it's an unfortunately bloated and somewhat rushed conclusion that doesn't quite land and leaves the reader wanting more because they're just as tired as Batman is by the end.
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While it's a move that might feel like it operates counter to the idea of balance Zdarsky created up to now, the result is an intriguing detour from what Batman fans might expect even if this first installment is a little slow to get off the ground.
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Batman #134 is an issue of layers, both in the main story and the backup, and while not every layer holds it's still a solid issue and an interesting one.
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While I wish the pacing of the issue was a bit betterit feels a little too slow and lags at timesstory wise, there is quite a bit in this issue that very much works.
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It's entertaining and has obvious room to grow and, if nothing else, the art is out of this world pun intended.
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All around, this is a truly interesting read and feels like a turning point for this title.
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Batman: The Imposter is a solid experiment, in terms of Batman stories. Taking a realistic approach to the character and his world is fresh and interesting, but this finale issue reveals a pretty sound weakness in how this creative team did that and it's inconsistency.
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There is no sugar coating things. Black Knight: Curse of the Ebony Blade #2 has a lot to process in terms of the mythology and that lends itself to a lot of exposition and panel after panel of words. However, the way Spurrier uses that mythology to weave in other aspects of the story, bringing together parallel storylines and build a larger mystery, it makes the density worth it.
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If you weren't engaged in this story before, this issue will change that - and there's even an appearance by Gentleman Ghost.
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This series has been pretty up and down so it will be interesting to see if the finale sticks, but this issue is a truly solid read.
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Black Manta #6, despite its somewhat abrupt ending that leaves a great many of loose ends, is somehow better than the entire run of the series to date.
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To put it bluntly, the Wolverine-adjacent of it all is getting old, even as the story starts to heat up.
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BRZRKR #6 finally picks things up rather than completely fizzling out and while we do spend a good bit of time with B getting into his feelings, we do it in a different setting, on the battlefield in the present, as it were and it makes all the difference both in how we as the reader perceive him and, perhaps, how B perceives himself.
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What works here is that there is a combination of a slight bit of humor as well as an increasing sense of escalation and while some of the action sequences here feel ridiculous at times, it's still an intriguing and fun read all around.
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It's just the right amount of horror for this time of year and a pretty fun comic at that.
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Told mostly in flashback to give some context for who Jolene is seeking for assistance, this issue really feels fleshed out and cohesive, unlike some of the more frenetic previous offerings. It's a solid issue.
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Overall, this issue has decent balance and while it's not great, it's not awful.
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As the stories in this round of Edge of Spider-Verse have gone, Edge of Spider-Verse #3 is pretty solid all around provided that you have frame of reference for them.
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The only real weakness to this issue is that if you aren't familiar with Eve, you aren't on the best footing to start this off and are left with a lot of questions that even a simple basic recap in the story could have fixed. Other than that, this is a strong start.
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Future State: Gotham #1 is a comic book that no one really asked for, but between the writers' solid grasp on Jason Todd and their willingness to go (a little) outside the box with him along with the unexpected approach to the book's art, it manages to land as a solid read.
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While I'm still not loving the black and white for this story over all and that especially holds here given that Future State: Gotham #4 follows some of Gotham's most colorful characters, this chapter of the story is actually kind of refreshing and delightful.
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Harley Quinn #6 sees an artist change, with Laura Braga taking over for Riley Rossmo and while I wasn't exactly a big fan of Rossmo's art and I do enjoy Braga's work, it's a hard shift that feels a little unsteady with this next chapter of Harley's story.
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For as much as I love Harley Quinn as a character generally and have been enjoying Stephanie Phillips' approach to the character, Harley Quinn #12"especially when paired with the preceding issue #11"feels like the comic book equivalent of "this meeting should have been an email."
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Harley Quinn #16 is an issue of necessary exposition and it's surprisingly good.
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The final issue of Harley Quinn: Black + White + Redder is perhaps the most unique of the run but that's not a bad thing with three very different stories each with very different takes on Harley that show both the wide range and the endless potential of DC's most dynamic character.
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Rain, as an overall series, has been one of the most moving and interesting comics thus far this year and while that holds true through this week's fifth and final issue, Rain #5 may also be the weakest issue of the series.
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While I would like for things to be a little meatier story-wise here, it's obvious that we're about to head into some interesting territory and this is a strong left turn.
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Junkyard Joe concludes and while this isn't exactly a perfect endingat times it feels like there are some bits of the story that aren't fully fleshed out and questions fully answeredthere's a lot here to love.
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It's a complicated issue of a complicated story, but at least this installment makes the effort worth it.
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This week's issue of Killadelphia in many ways feels like the most ambitious yet, but it's also the most action-packed and pulls together so many threads of the entire series.
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Monkey Prince #2 is fun and bonkers and energetic and a very fresh and original experience. It's also a little chaotic, with a few too many things happening all at once and the result is a book that manages to be pretty average even if a ton of fun.
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Ultimately, this is an issue that is fun to read and to look at, just perhaps a little too rushed.
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Monkey Prince is clearly a big story and this issue just shows that it would do well to give itself a bit more space to tell it in.
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Monkey Prince #11 is a solid issue that manages to acknowledges its tie to the "Lazarus Planet" event without sacrificing its own story and managing to bring Marcus back into his own story again in a way that feels like it has real stakes especially as we finally get to meet the Monkey King and question the connection between the two characters.
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While the story is dense, there is a lot going on visually that tells almost a more exciting tale. There's something about the art this issue that works a bit better than the written part of the story.
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Nita Hawes' Nightmare Blog isn't a comic. Okay, yes, it is a comic in terms of genre, but it's also an incredible history lesson disguised as a horror story and that's what makes issue #3 such an enthralling read.
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The first "case" concludes in Nita Hawkes' Nightmare Blog #6 and it's a solid ending, albeit one that sort of wraps up a little too cleanly.
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As Poison Ivy goes, this issue is just pretty okaywhich is still high praisebut coming off of "Knight Terrors," it has a little bit of table setting to do to reestablish what had been going on prior to the event and while that's not the most exciting, this issue does it serviceably.
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It just has some weaknesses that would see things better served over a longer run or all in one volume. But, all that aside, there's some absolutely adorable art of Scooper in a sheep costume that is well worth the long read for.
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Honestly, there are a few little surprisesand one that feels a little weirdbut it's a solid issue and keeps things interesting enough for readers to want to know more.
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Scrapper #4 gets a bit back on track and while the pace is slower, things make more sense and we get introduced to a whole new set of animal characters: the cats.
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It's a very solid issue and hopefully, there's much much much more story to come in another installment.
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Overall, Sh*tshow #3 is a solid conclusion to this arc, shows a lot of development from the first issue, and leaves the reader wondering what's next. Here's to hoping we find out.
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The art here has an interesting 70s vibe to it as well, even though it's set more contemporaneously which is a nice treat.
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Color me intrigued and while stories that go into "untold" parts of the past can be a mixed bag, this one so far seems to be strong.
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Other than the art in this issue being a little offthere are some weird angles and distorted facial features and limbs at various pointsSpider-Man: The Lost Hunt #2 is a pretty solid issue.
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Spine-Tingling Spider-Man #0 is a collection of the Infinity Comics series from the Marvel Unlimited app and as such, it makes for a very hefty read that might have benefitted from being broken down into a few additional issues because reading it all in one sitting feels cramped and overwhelming at times but that isn't a commentary on the quality of the story.
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While Superboy: The Man of Tomorrow is still very much trying to fit itself into the same general space that Supergirl: Woman of Tomorrow did for Kara, this deep into the series and despite its general messiness, there's a lot of really good work that Kenny Porter is doing with Conner and his own dark journey of self discovery.
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For as well as King has developed and understands Ruthye, one can't help but feel like he doesn't know Kara at all which ultimately leads to this issue being a strange collision of flawless art and less outstanding words.
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Mark Waid and Clayton Henry's Batman/Superman story is a standout, as is Marv Wolfman's and truly, those two stories alone make this issue very worthwhile. But overall, it's a nice reminder of who Superman is and that his stories are, at their heart, as much about the people around him as they are about Big Blue himself.
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Superman: Son of Kal-El continues to be an outstanding book and this week's #12 is pretty great as well.
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Just when you think that Peter David can't get any crazier with this story, Symbiote Spider-Man: Crossroads #3 drops and the bar gets set to a new level of insane that is unlike anything we've seen before and for all the chaos, this slightly disjointed story is proving to be a heck of a ride.
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This may not be the most coherent of stories but it's a lot of fun and this issue is a wild, wild ride.
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There's plenty of action, the story hums right along, and there's even a bit of a cliffhanger. Solid book.
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A lot here still doesn't make sense"that's the nature of the "King in Black" story generally"but this issue gives readers a much more firm understanding of where they are and where they're going next.
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It's a good issue. Maybe not a classic, but a heck of a ride and maybe the most fun this tie-in.
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The issue is well-written, and Greg Land's pencils and Jay Leisten's inks as paired with Frank D'Armata's colors are both a treat and a perfect fit. Symbiote Spider-Man: King in Black #5 is so much fun you'll amost wish for more.
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A little cliched, but solid.
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The general pacing of the book seems a little uneven and generally the characters don't rise much above almost cartoonish caricature, but there's a bit more kick to this issue and the introduction of a few layers of mystery certainly offer a bit more intrigue to push things forward.
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There's a good bit of setup here, but it's meaningful and as has been the case with previous issues, the art is good and the character building is solid.
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The issue does feel slightly rushed, but that's more a product of what is going on and less the writing we're coming down to the wire and things are getting crazy and it shows.
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This is really just a lot of fun to read and while there's not a lot to dig into here, it's just fun. And sometimes, that's what you need.
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Even with its trio of good stories, Wolverine: Black White and Blood #3 is starting to feel repetitive in a way that does none of those stories nor the character any favors.
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Women of Marvel #1 is a solid issue in each of it's 11 stories. An issue that has a little something for everyone, there are a few stories that shine perhaps a bit brighter than others.
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Like most special event or commemoration anthologies, Women of Marvel 2024 #1 is a little bit of a mixed bag. There are some strong stories, some less strong.
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The wild ride that has been Diana's pursuit of Janus comes to an end in Wonder Woman #779 and it is ultimately a satisfying, albeit predictable end.
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If you're looking for big plot or major story, it's not here. But there's a pure love of the character and a hopefulness that just feels so good and, well, like Wonder Woman. It's a fun issue and an inspiring read.
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Wonder Woman #785 is a dense issue and it's one that almost requires you to read the previous installments of "Trial of the Amazons" to make sense of exactly what is going on as the various Amazon tribes come together to not only battle it out with one another but also figure out who killed Hippolyta.
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Short of clunky dialogue, Wonder Woman #786 may be the strongest issue of the "Trial of the Amazons" event yet.
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It's expertly paced in terms of getting things moving and setting the story up for a bigger conflict. The only real "problem" here is that we're so close to the end of this miniseries that one cant help but wonder if things are going to be rushed now that we've gotten things rolling.
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For readers who have been keeping up with Bendis' run on Action Comics, they're probably used to that by now, but it can be a little jarring at times for those hopping in, curious as to what all this Leviathan business is about.
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If the previous issues of Action have had an urgency, #1015 feels like a slow stroll"at least until the confusing and chaotic last panels that bring the story sharply back into focus.
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Overall, it's a pretty average issue with cool art, a fun fight scene, and serves as a bit of a breather from some of the other madness in the DC Universe right now.
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Ultimately, Action Comics #1017 falls into a space in which the story is is good but it just doesn't execute the way perhaps one might want a comic book to, creating a bit of a disconnect between the story and the images that support it. It's a "good" book. It's just nothing special.
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When it comes to Action Comics #1034, I'm torn. While Phillip Kennedy Johnson generally demonstrates a sound understanding of Superman and the characters in the hero's general orbit, this issue feels a bit off.
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The result is a functionally good issue that is just tainted by what came before, which is deeply unfortunate.
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Perhaps this is all just the calm before one bonkers storm of an ending, but as a single issue goes, it's just okay.
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If there is one thing that is consistent across the entirety of this Action Comics story, it's the art and it's excellent here.
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The art in this issue is unfortunately a bit lacking which also doesn't really help things, the end result being a very "okay" overall issue.
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Action Comics #1059 isn't bad, but it's not good. It falls kind of in the middle when you take in all three stories in the issue.
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There's a potentially interesting twist at the end, but the breakneck pace taken to get there almost makes it feel like it has less impact.
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The net result is a book that doesn't feel like it has the significance that it should while also feeling a bit rushed. Still, if you're a Superman fan, it leaves the reader with a lot of possibilities and that's a big win.
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There is so much going on in Alpha Flight #3 that I almost wish this particular issue had been divided into two parts or it had been paced a bit different, but that is more a hallmark of everything going on with all things "Fall of X."
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The pacing is a little off, but it's still a good read particularly with the promise of seeing some of these characters again in other comics in the near future.
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For Aquaman fans, this might be an interesting premise, but it doesn't really seem to serve Green Arrow/Oliver Queen at all and it feels at times like Brandon Thomas doesn't really know where he's going with things. Ronan Cliquet's art is very nice, however, so even if the story feels messy, at least it's nice to look at.
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It's a fun issue with a lot of lead up that will hopefully pay off soon.
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Overall, it's a solid issue. It doesn't particularly stand out, but it also isn't a bad read.
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One of the major strengths of Mark Waid's work with Archie is the pacing and that holds true with Archie #31. The issue kicks off with just the right amount of urgency and maintains the energy through to the last panel. Unfortunately, this issue falls into the same trap that most of the previous issues have before it, and that is that it sets up little cliffhangers that simply aren't necessary.
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A marked improvement over the debut issue, Ascender #2 moves away from the table setting of the first issue to some real conflict and action.
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Ascender #4 really advances the story this week and as the different elements of the plot start to come back into play, it makes for a genuinely engaging and intriguing read.
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There is a lot here, but what makes the book perhaps a big stronger than some of the other transitional issues of the run, is we get to really dig into Mila, her personality, her thoughts, her situation.
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Overall, it's a good read, but not great, though there's lots of potential in the mystery presented.
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Barnstormers #1 has quite a few things going for it. Perhaps the biggest and best of those things is Tula Lotay's art.
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It makes for a very slick, stylistic issue and while it still seems like Barnstormers overall is going to be a book more of style than substance, it's still a good bit of fun as things begin to pick up.
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What it lacks in depth, it makes up for in its stylistic sense.
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Batman & the Joker: Deadly Duo #4 is an interesting book, but I don't mean that in the sense that it is intriguing or fascinating. Instead, I mean that it is interesting in that it should be intriguing and fascinating with Batman and Joker weirdly working together to deal with a dialed-up-to-eleven take on the Trolley Problem and it has good visualsthe Gotham bullet train is absolutely gorgeous and a sight to beholdbut the whole issue feels overly burdened with trying to out-grimdark itself on nearly every page.
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The twists this issue lack punch even as the art pushes things over the top in the gritty department which, in turn sort of has an unintentional "pick me" vibe mixed with the 80s. Add to that, this is a very, very dialogue heavy issue so it is, at time a slog.
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Batman & The Joker: The Deadly Duo #6, as is most of the series to date, fairly ridiculous though not unenjoyable.
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It's dated in a sense and because of that, never really rises to reach its full potential. It's not bad, it's just. not great.
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Batman #45 is an issue that you will either love or hate. Tom King's story here is solid. Well-written and well-paced, it is slow to dawn on the reader the major twist the story takes at the end.
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The issue is visually beautiful -- a largely wordless fight between Batman and the man who shot Nightwing -- but it lacks substance.
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We're no closer to answers to this mystery, but there's a twist at the end that makes this darkness worth sitting in a little bit longer.
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To say that Tom King has been taking Batman to unusual places is a little bit of an understatement, and those unusual places haven't always worked. This week, however, Batman #63 takes us deeper into the "Knightmares" arc and in doing so follows along with Batman into what feels less like a Knightmare and more like a dream come true.
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We are finally at the end of the "Knightmares" arc, but while Batman #69 does serve to shift the narrative towards the next chapter in an engaging way, it really only illustrates what readers know and editors should have: the entire "Knightmares" arc was a long stall, filling issues and pages for no redeemable purpose bt to extend the run.
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It's a worthwhile read, and at least there's the promise of a showdown soon.
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This deep in, readers get it: Bruce Wayne is a mess with a whole lot of daddy issues. Do we really need to drive that point home every issue?
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If you can get past the threadbare cliffhanger approach once again, though, the use of orange tones in this issue tells a story all its own and is a real treat for the reader.
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Batman #87 firmly establishes that we are in a new era for Batman, but it's an era fraught with issues.
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The big threat in Gotham is starting to take a more distinctive shape in Batman #89 and thanks to a bit more time spent on Catwoman's part the story it's more interesting than ever.
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Batman #90 gives readers what they've been waiting for: the Designer's grand design, the big plan, the "what is the Designer up to" of it all by revealing Catwoman's big secret and, to be blunt, it's kind of a let down.
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The real star of the issue is both the art and sense of subtle vulnerability that Tynion gives Batman"an unexpected treat in a fairly average issue.
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The bottom line is this: while the amount of time fans have had to wait for the issue thanks to the coronavirus pandemic make things feel a bit more special in the immediate term, the issue is only average at best.
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The issue is simultaneously too much and not enough and ultimately lands as just an "ok" book overall.
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Things aren't thrilling or groundbreaking, and there's still this nagging sense that the whole story is going nowhere, but the issue is an intriguing read if for nothing else than a glimpse at what Bruce's ideal world looks like.
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It's an okay issue that feels almost like it could have been a summary at the front of something more exciting. Not bad, not great and in some regards better than "Joker War" was an entire arc.
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The bottom line is that Batman #102 is one of Tynion's better runs, but the story feels sort of recycled which detracts from its overall quality. Perhaps instead of constantly trying to create "new" characters there should be some investment digging into Batman's lesser-explored qualities first.
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We're a few issues past "Joker War" into a promised new chapter of the Batman story and yet it's the second verse same as the first.
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Batman #104 may be the most interesting installment of the "Ghostmaker" arc thus far, but that doesn't necessarily make it good.
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The post-Future State Batman is certainly giving the series a much-needed mystery, but in James Tynion IV's hands, that mystery is getting muddled thanks to an excessive amount of dialog and posturing, much of it which serves only to kick a dead horse, as it were.
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The Unsanity Collective is still a snore and the road to the Magistrate and Future State is still a snore and an eyeroll, but there are some genuinely well-done moments here. Whether they will restore your faith in Tynion as a writer or remind you of just how weak the rest of his Batman work is, that's up to you to decide.
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The art is solid, which is nice, but again, it very much feels like a lather-rinse-repeat sort of situation in which Batman hasn't learned anything, just this time jammed full of references that don't always work.
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It's a convenient and rather tidy way to close off Tynion's run, but while it will satisfy some Batman readers in that it gives a distinct sense of closure, one can't help but walk away from the issue feeling as though it was all very superficial " a very slick way to shuffle characters around, clearing the board for the next creative team while also never really dealing with any of the issues presented over the course of the run.
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Not a bad book, but certainly not a great one, Batman/Catwoman #2 is enjoyable enough but that only holds if you remain on the surface. Any real scrutiny just weakens the whole issue.
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When it comes to Batman/Catwoman #11, you have to think of it as two different books: one comprised entirely of art and one comprised entirely of narrative. The former is exquisite. The latter is at least readable.
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This would have been so much better with just a bit more care and substance and as a result, it's the art that gets this issue the bulk of its rating from me.
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While some of the actual storytelling and art both leave something to be desired, Batman and Robin #1 shows a lot of promise.
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Overall, still solidly in the range of just okay.
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Batman and Robin #4 is definitely an improvement.
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What doesn't quite work, however, is the art. just doesn't quite do it when it comes to the human characters. It's messy and a complicated and it detracts from the overall quality.
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It's not a bad issue. It's just not particularly great as it lurches forward towards what is (hopefully) an action-packed future.
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It's a solid read and a good lead in to the next arc in the series.
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Batman and the Outsiders #7 still struggles a bit with too much exposition, but we're finally getting into the story for real now -- and it's one that has promise.
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It's not that it's bad or problematic that the book puts so much weight on this aspect of the story; these relationships are interesting and inform the future of the team. The problem is is that these are conversations that happen in nearly every issue of the series, almost exactly as they do here, and thus far has done nothing to advance the idea of the Outsiders as an actual team.
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Batman and the Outsiders had definitely hit its stride in terms of story and while things do drag a little in terms of pacing in Batman and the Outsiders #14, the issue rightly focuses on a bit of character development"Black Lightning getting his upgraded powers in particular"in a way that starts to truly set things up for a coming battle with Ra's al Ghul.
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It feels like we've been waiting for the Outsiders to take on Ra's forever at this point. The book just needs to get on with it.
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It's a slightly too-tidy wrap up, but it delivers on the characters in a thoughtful way that serves as a "what might have been" while also serving as an adequate goodbye.
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Batman: Off-World #3 is a bit of an improvement from previous issues in terms of its pacing and in that it does coalesce around a strong direction for the story going forward. Unfortunately, that doesn't help in terms of the characters that still feel disconnected to the point of it feeling like it is weighing things down.
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While I continue to have some major concerns about the diagnosis salad (I'm starting to question if Tomlin fully understands the conditions he tosses around) that is part of the Dr. Thompkins' internal monologue about Bruce Wayne"and I really don't buy the presentation of how Alfred would handle young Bruce"Batman: The Imposter #2 continues to be a really interesting exercise in realistically approaching the iconic character and his story.
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Taken as a whole, Billionaire Island is a great series, but issue #6 loses its footing, weakening an otherwise great run.
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As annuals go, Black Cat Annual #1 is fun.
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Like the issue before it, Black Knight: Curse of the Ebony Blade #3 has a lot to process in terms of mythology. It's something that makes the book very exposition heavy and while it's a good read, given its juxtaposition with what should be a significant battle, the result is an issue that looses its footing just a bit.
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Black Manta #2 is a strange book and it's honestly a little boring, but it isn't necessarily bad.
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The most notable thing about Bloodrik is the visuals. While the issue's story sees Bloodrik following a light he saw on a mountain and it is a, generally, uneventful and, introspective sort of journey in terms of narrative, it is the art and the way the journey is presented that is most interesting.
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BRZRKR #1 is a fun read, but it's going to need a lot more than the Keanu Reeves of it all to make the ongoing series worthwhile.
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There doesn't feel like much to propel the story to the next issue here, but the issue is honestly surprisingly good overall and despite the rather ordinary "extraordinary" origin, it's a solid read.
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Overall, this issue kind of feels like a decision point for the title. Either it's going to kick fully into gear or it's going to fizzle. In either case, things are just okay.
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If last issue was a decision point between full steam ahead and fizzling, BRZRKR #5 takes us closer to fizzling. It's not bad, but it's not great, leaving an issue that feels like it needs a shot in the arm.
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BRZRKR #7 takes the story on a bit of a turn that feels weirdly calm and almost comforting in that we get some answers"or at least what are presented to B as answers"as to what they really want with him.
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BRZRKR #8 is a decent comic. When taken in the context over the overall series, this is definitely an issue that feels like it moves a little unevenly and on some level there are aspects that feel like they don't need to be a full issuewe already know the government is up to some less than savory things.
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While this is an issue that does still suffer a bit from having a lot of moving parts and there are pages that feel a bit like filler the final pages ramp up quite a bit of tension, just enough that this epic story feels like it may have gotten well back on track as it rounds into its finale.
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Overall, it's an okay issue but it takes so long to gain momentum that one has to wonder if it will hold through to the finale.
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It's, on the whole, a book that works for BRZRKR fans but probably isn't going to make much sense for new readers.
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There's just enough mystery about both the demon and Roux that you'll want to keep reading to find out more.
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If you're invested in the series, it's a solid read, but this issue really is nothing to write home about.
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There's aren't a lot of words in Cemetery Beach #3. The issue tends to let the art do the storytelling and while it does it well, the words that we do get as the story progresses isn't particularly deep.
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The story here is a common one: someone in power wants to remain in power and will do anything to stop those who threaten that. Finally that's becoming more clear, and with Cemetery Beach so close for our two protagonists, this issue feels like it all might come together at long last.
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Compared to the two previous books in the series, Coda #3 is a bit messy and has some structural weaknesses that make it difficult to follow as there are multiple things happening at once, though none of them are particularly clearly laid out.
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While Coda #4 is longmaybe a little too long at pointsits an issue that brings the story into very intimate focus.
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It feels very much like a transition issue, but one that offers a lot of promise for what's to come.
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Does it all work? No, but it is engaging and a bit of an improvement over issue #3.
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It's very much the equivalent of reading a magazine in a sense, where you get a some good stuff, but you flip through some lesser things for those few things and for a book this size, it feels like we should get something just a touch better.
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DC Comics continues their tradition of annual holiday specials, and, as these things go, DC's Nuclear Winter Special is unique.
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It feels a bit too much like "Riverdale" in the worst possible way and that doesn't really move much this issue. Other than that, Dead Day #3 is a strong comic.
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Well-written, heartfelt at times, and fast moving, the only real problem with Dead Day #4 is that it just wasn't long enough"it's an issue that certainly leaves you wanting more.
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Still, it's an excellent read and, when taking this issue with the whole of the series, one of the better comics this year. I just wish there had been more.
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That's one thing about this overall title that has been pretty consistent and makes it an immersive world, even if it is largely a confusing one.
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Lead-in series have a lot of ground to cover and that means a lot of risk of being too much. That's the case here. Hopefully, things will improve going forward.
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As an anthologywhich is roughly what this is with different writers and artists on each storyit's enjoyable and oddly consistent in look and feel save for "Mini-Spider" which looks a little rough, but is still fun.
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With Spider-Ham, the Disney Princess Version of a Spider Person, the Spectacular Spider-Mobile, and more, Edge of Spider-Verse #4 is probably the weirdest issue yet of this series and, save for a few spots where the overall "plot" is forced into things, this is honestly the most delightful.
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Neither of the stories are bad but there is a definite imbalance in the amount of space each one is given and how that impacts the quality.
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Elvira does a lot of talking and it takes up a lot of the page where the book might be better served with some showing rather than telling. But even with that, it's a fun little romp of a book.
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To put it bluntly, it's a very weird issue that doesn't seem to conform to any real rules, but for movie buffs, it's a ton of fun even if it does feel a bit like a narrative disaster. The art is also really kind of fun, though just a little inconsistent.
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With this being the penultimate issue in the series, there is still a lot of questions and no real set feeling that a firm direction is at hand, but the investment in terms of story is finally starting to gel and it's a marked improvement.
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Overall, the series never delivers on any of the stakes it sets up and just lands the reader in a place where they wonder where eve will go next and while that's not a bad place to end, it just feels very basic.
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Exorsisters #1 is one of those comics that seems like a light, slightly campy and fun read, and for the most part that's exactly what it is.
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Cate's story about her ex-boyfriend Buzz is genuinely interesting even if it only barely moves the story forward.
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Overall, though, Exorsisters #6 is a fun read and here's to hoping we don't have to wait so long to see what's next for the Harrow sisters.
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Fire & Ice: Welcome to Smallville #4 is cute and while I'm still not fully clear on what the plot that is carrying through this series actually is, it does seem to be starting to take some subtle shape and this issue has Lobo showing up even as the rift between Fire and Ice grows deeper.
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Fire & Ice: Welcome to Smallville #5 starts to pull things together in time for the next issue's finale and while the overall plot of the issue is a little clunky and jumbled because it has the task of throwing a lot of new information at the reader while also tying that information to previous events, it's still pretty enjoyable largely for the character development on the part of Fire.
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It isn't bad, but it's also not as great as it could be especially considering the quality of the art is already top notch.
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Two issues into Flashpoint Beyond and I think that this event may end up being just as divisive as Flashpoint, but perhaps for different reasons.
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In a sense, Flashpoint Beyond #3 definitely feels like a turning point for the story, but it isn't clear if that turn is going to pay off. That said, Penguin is delightful in this issue, as he has been the whole series so far. I wish we could get a book of just him and Dexter.
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Ultimately, Future State: Gotham #2 is just okay.
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The art itself is solid, but the choice to make the book black and white doesn't really work so well when without color it's becoming increasingly difficult to tell characters apart. Particularly in the case of Punchline and Harley Quinn, the two characters are essentially identical in terms of features.
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This story"and indeed this issue"would pack more of a punch if we hadn't just sort of resolved The Magistrate in the main continuity.
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Again, it all just feels like everything we've already seen from Batman and other Future State stories run through a blender and while it's executed well-enough, the overall story just lacks punch.
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Overall, this is a good issue, though it feels a bit like it might move a little too fast, which leads to concerns that we're rushing towards a final showdown of sorts.
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Max Sarin's art, coupled with Whitney Cogar's coloring, is charming as well, bringing the whole ordinary story together and making it a little fun at the same time.
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There is a fine line between letting Harley Quinn be herself and turning her into a discount Deadpool, and, unfortunately, Harley Quinn #46 leans a little too hard into the latter.
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One of the best things about the Harley Quinn book is that it's fairly predictable and, no, predictable isn't bad.
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It's a lovely read, and it's even nicer to see Harley continue to evolve in a real and meaningful way.
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It's a it messy with a lot of moving parts and while it does show some growth in Harley as a character in that she doesn't try to quit and is determined to save her friends without question, it's wrapped up rather quickly and too-tidily before being decorated with a little bow as part of Harley's trials.
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Even with Rossmo's art hitting a stride, the actual story it is supporting simply doesn't move leaving the issue to be little more than a fun and pretty piece of mostly filler.
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Generally, I like Stephanie Phillips' take on Harley. She leans into the psychology of things in a way that differs from most previous takes on the character and that holds true in this week's Harley Quinn #7 but that doesn't work quite as well as it should when jammed up against the "Fear State" event.
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To perhaps put a finer point on it, the issue feels tired.
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No new ground is tread here and as Harley stories go, it's just okay, but that's good enough.
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There is a lot going on in Harley Quinn #28 and, at some points, almost too much for it to make sense or even less sense than most Harley stories, anyway.
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Things are still a bit chaotic and messy and at times hard to read and keep up with, but this at least feels like it makes sense and builds on what happened in "Knight Terrors" as opposed to just leaves it as some weird thing that half-happened.
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There is a lot going on in Harley Quinn #33 and while the previous arc was a mess at best, even with so much packed in this issue's pages, things come together so much better here.
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Harley Quinn #34 is just weird. That is no real surprise because this whole run has frankly ben extremely weird, but there's something nice about seeing Harley stand up for herself this issue as well as a quiet little reunion between Harley and Ivy which is what the issue really needed amid the chaos of a few too many puns and visual jokes.
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Harley deserves better, especially from her creator.
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With this being the series finale, the issue does a solid job of wrapping up the story while giving lots of tantalizing opportunities that we can only hope writers will take when Kate Bishop's Hawkeye returns.
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There is a lot to unpack in the first issue of The Heathens and to be honest, not all of it makes a ton of sense.
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Better-written than previous issues, but still a bit rushed, it's a reasonable enough ending.
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To be kind of blunt, Heroes Reborn #2 reads like a DC comic, but not in a good way.
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The bottom line is that there's enough here to keep the reader interested, but as for where it's all going, it certainly feels like there's an awful lot without a plan.
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On the plus side, the story really moves here and while the issues upon issues of setup do not fully pay off, the pieces that do come together do so well-enough for the stakes in the final pages to feel very real and for the story heading into Heroes Reborn to feel a lot more interesting. However, the overall quality of this issue's story reveals just how unnecessary most of the preceding issues were even as a few elements connect here.
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It's just okay and it works well enough as an end for an event that I'm still struggling to understand the point of.
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. This issue is largely a set up for the next issue, but even if the story is lacking, the colorful art is absolutely a delight with its perfect balance between the goofy and the grotesque.
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Skottie Young's I Hate Fairyland is bonkers even as it marches towards the end and that might be what works best about the book.
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Inferior Five has been a rather inferior book thus far, but this week's Inferior Five #3 does something a bit unexpected, reversing that quality issue by way of finally offering readers a sense of context to the story already in progress.
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Much like the main story, though, it's unclear how it's all going to come together in the final issue making everything about Inferior Five #5 promising, but really messy and uncertain.
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Overall, the issue is a pretty average read and enjoyable if you're a James Bond fan, though the mystery the issue sets up isn't likely going to hold the attention of those without some sort of genuine interest in the character from movies.
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While the issue does have some low points, particularly in places where Bond doesn't exactly appear to be the best at his job in surpring un-Bond-like fashion, the issue is very much exactly what you'd expect from an issue bearing the famous secret agent's name.
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Overall, a fun read, especially with the two, unconnected stories format. Definitely worth checking out.
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The issue is just a lot of set up which isn't bad and tends to be just enough make the reader curious for more - even without having much knowledge about the original.
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Justice League Odyssey #3 is the issue of the story that starts to plunge what could otherwise be a very thin premise into real story depth. It's a solid read.
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Killadelphia #11 feels a bit like filler even as much as it comes across as another unexpected right turn in an already slightly confusing narrative.
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Overall, the issue is a little messy in terms of its narrative, but it packs a solid punch when it comes to not only the direction of this arc but the emotional core of the story as well.
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The storylines in Killadelphia have started to converge in issue #14 which definitely makes it a much easier read.
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I'm going to be honest. I love Killadelphia and have since the very first issue, but I'm starting to wonder i this current arc is taking things a direction too far with the addition of Spawn and now, Savage Dragon.
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You get the sense that the story doesn't really know which character it wants to follow, which contributes to some difficult pacing. The art, however, is interesting and well executed landing the issue as just an average entry in the overall event which itself is so far just average, too.
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Guggenheim and Ferigato have crafted a rather mediocre issue here. It's just okay.
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The art is pretty solid throughout, which is helpful but overall, this is just an average comic that feels weirdly out of place, crammed into two different "runs" is were and not really fitting into either.
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It's frustrating that Lazarus Planet: Revenge of the Gods #4 is as good as it is considering that the other issues of this mini were relatively weak.
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It's a book that is still finding its footing but not losing ground in the process.
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The penultimate issue of Mirka Andolfo's Mercy is out this week and while it is every bit as visually stunning as its predecessor's issue #5 gets a little muddled in its storytelling
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One of the most layered and engaging comics this year comes to an end with Mercy #6, but the issue is a little bit of a mixed bag.
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While the issue is still good, the overall vibe is one where you wonder how much better this would be if the story had more space (meaning more issues) to expand into.
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Monkey Prince #9 feels very much like a completely different title than the issues before it. It's more cohesive, a lot darker, and the stakes feel very high not to mention the humor finally hits just exactly the way you expect it to and it works.
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There really is only one thing I can say about Monstress (other than how Sana Takeda's art continues to take my breath away each issue) and that is that I truly wish this were a graphic novel and not individual issues.
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The art this time around is bright and fun as well, and overall it feels like the story is taking a turn for the better.
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There is a lot of promise with the idea of the "Smartest Person in the World" trapped in a giant dinosaur body, but it feels a little bit wasted with the issue largely being a set up to make Moon Girl look "crazy" to those who witness her during the mind swap -- something that could be used by Princess' advantage later on -- and for Lunella to try to solve things in one of the most reckless ways possible.
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The plot of the overall story arc just feels like it's dragging issue to issue and in many ways #34 feels like it doesn't really have much movement. That said, the art in the issue is a treat " especially as we're seeing a whole new look for Devil Dino.
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Moon Girl and Devil Dinosaur finally finds some balance this week, which is a little late considering we're nearing the end of the arc, but better late than never.
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A little fun, nothing to write home about, and per the usual Lunella's personal Doombot kind of steals the show.
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Ms. Marvel #30 continues to do what this book does best: tell stories that are both about being a superhero and about being an ordinary person with real-life challenges and drama. However, that strength is also a weakness this issue.
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While there's a lot of high concept, not the best execution going on, there's something fun in how frantic it all is and there is also something to be said for just enjoying a wild and bonkers ride that happens to have some pretty high stakes.
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Napalm Lullaby #2 improves on its debut by helping fill out just a bit more of its world, but we're still lacking a great deal of context that would generally be needed to truly push this narrative forward.
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Overall, it just feels like a lot more than is necessary even for this completely out-there title.
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Come for Mayor Lobo, ignore the bad neon tackiness, and stay for a truly interesting step forward towards finding out what the heck is really going on with the Joker.
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Overall, while Olivia Twist may not be the best comic out this week, it's certainly off to a promising start and one you certainly don't want to miss.
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We don't break any new ground in explaining how this dystopian world comes to be, which is a big bummer as it's one of the more interesting elements of the adaptation.
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The book would have been done much more justice had it been a five-issue run instead of a four-issue run, and because everything had to be crammed into one final issue, the final race to the end simply stumbles.
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It's a fun premise with a fresh take on vampire lore and while the execution is a little rough at points, the issue sets up a blood sucking horror story that feels just new enough to venture into the light with.
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It's a little rough, just like the first issue, but it still holds promise.
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Overall it's still a good comic, but it's certainly not quite at the level the previous issues have been at.
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While I don't love Janet in this issue, I love the "side quest" feel of Poison Ivy #10 and all of the jabs at the "conscious capitalism" and toxic wellness movements. That is, perhaps, the absolute best part of the entirety of the Poison Ivy series how it shines a light on our culture in a really interesting way while also examining the character.
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I really like Poison Ivy as a series and while this issue is a good one with its further explored idea of Ivy developing a conscience and doing better to make some sort of amends for her previous actions, it's also obvious that this is where the series was intended to end before it was extended.
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It's good, but mostly just okay.
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There's not a lot of new ground covered, and it definitely feels like it's setting up for something more harrowing, especially considering the final panel of the issue finds Raven in serious danger.
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Not quite to the midpoint of the limited series, Raven Daughter of Darkness #5 suffers from the same bloated exposition that much of the rest of the series is weighed down with.
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We hit the midpoint of the 12-issue Raven: Daughter of Darkness series this week and, in many ways, it feels like we're starting a whole new book.
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The penultimate issue of Raven Daughter of Darkness finally manages to get it right.
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The issue is ultimately a case of a lot of build up that doesn't fully deliver, which is truly unfortunate, because it was a great ride until now.
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Red Hood: The Hill #2 feels like a repeat of the first issue, just with a few more details and a little more complexity and Jason continuing to take a backseat to the rest of the players in this vigilante story.
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Good horror stories require careful pacing and generally, that's something that The Red Mother has excelled at, unfolding just a bit of the mystery and its terror each issue. However, in its third installment, things don't come together quite as well as in the previous two.
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The Red Mother is, overall, a fantastic series and each issue does a solid job of building on the one before it, expanding Daisy's story with a horror slow burn that is both chilling and intriguing at the same time. However, The Red Mother #8, while sill technically good in terms of art and execution, feels a little lacking.
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There are strong ideas here, but they just don't come across as fully-realized or entirely fleshed out.
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Overall, it's an issue and a story with a specific audience, but the interpersonal conflict created between the characters' personality types makes it relatable and a fairly solid read. We'll see if that holds up.
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Overall it's a light, fun read that doesn't require too much fluency in the television series to get immersed in the story while also offering fans stories that are just different enough from the show to make them worthwhile, but the appearance of Fred Andrews -- played by the late Luke Perry on the series -- is a bittersweet one.
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There are two stories in the issue, but the issue does a bit of a disservice to readers in how they are ordered.
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I really liked Savage Avengers #1, but the verbosity of the first issue does not let up in issue 2 and while there are some stylistic choices that I don't love as a matter of personal preference, this is also a book that has just way too many words.
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Bottom line this might be the weakestbut also weirdestissue yet.
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This issue throws everything and the kitchen sink at its pages and it works.
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This book is very much larger than life and sometimes it suffers for that, but it's still a solid read if you can invest the energy to follow all the threads.
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There's a lot going on in this issue, so much so that while the story packs in all of it to try to wrap up the story, it feels like a chore to read especially since so much of the "win" comes in the form of cliches like love and leaps of faith. It's okay. It's just very busy and needlessly so.
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Scarenthood is a story that I really wish were a novel or a novella rather than a comic. That is to say that it's a really good story very well-told and well developed, something that is very clear in Scarenthood #3. However, for as good as it is, this issue feels almost like it missed something between its pages and the end of Scarenthood #2.
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Scrapper continues to be a solid comic, but Scrapper #3 doesn't quite hit the way the previous two issues did.
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I hate to use the term filler, but it does almost feel like this issue is a bit of filler in that it has to take up the space but also introduce a couple of quick things for what is going to be either a gut-wrenching finale or something truly uplifting. It could go either way at this point.
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Overall, it's an enjoyable read, I just wish it could have gone a little deeper and been a little tighter in its execution.
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Second Coming: Trinity is always heavy on the social commentary and issue #2 isn't an exception to the overall Second Coming series, but it doesn't work quite as well this time.
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There's a ton of promise here, just prehaps a bit more of a bumpy start than you'd expect.
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It just feels like there could have been so much more to this if we weren't running as fast as we can towards Dark Crisis, which has the result of this issue and event feeling like a lot of missed opportunity.
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Overall, a little bit of a mixed back, but that first story alone is absolutely worth it.
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While #10 wraps things up in a terribly convenient bow, it does so in a way that offers a strong sense of hope, empowerment, and sets the stage for a very promising future for the character.
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A pretty solid adventure all around. However, the issue lacks some of the humor from previous issues and the characterization of some of the other characters in the issue just feels off. The overall effect is a book that feels merely "OK" rather than "good."
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The last two issues of Shuri were delightful, particularly #7, but Vita Ayala's arc is over and Nnedi Okorafor is back on the title and, unfortunately, that means the story is back to being something of a meandering mess.
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The result is an issue that is hard to invest in within a story that was already a challenge to follow.
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Slow Burn's finale ultimately is something of a smolder rather than a blaze, one that doesn't really feel like it is every truly extinguished.
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Lottie Person is back after a five-month hiatus, unfortunately, you might need to go back and read the previous issues to find your footing with Snotgirl #11. While the issue does offer a brief recap, it picks up right where we left Lottie and her world of shallow, image-obsessed frenemies. Once you've acclimated, however, the issue seems to mark a shift in the story.
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It's been three months since we last got a glimpse of Lottie Person's world, and that might be too long to be away from Snotgirl, though maybe that's a clever commentary on just how shallow her life really is.
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This issue the focus shifts a great deal to the men"a bachelor party gone wrong"but it almost feels a little too cliche, even for a book that deals with the superficiality of influencer life. Not helping things is the length of time between issues of Snotgirl"it's been almost four months since our last visit to Lottie's world. That gap makes it a little difficult to maintain the momentum of a mystery that increasingly grows more complex with every page.
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The gist of it is Snotgirl is a fun comic that's been sold short by its long publishing cycle and that's painfully evident here.
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Fast-paced, surpisingly nuanced for a book so full of insane action, Spider-Geddon #5 may not be perfect and may wrap things up in too-tidy of a bow, but it's a ton of fun that you won't want to miss.
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Overall, other than it being a part of a larger whole, it's not a bad issue.
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It's charming, but it's also just kind of average. Bendis throws a lot of little things into the story trying to tie things up, but it still feels unfinished and a little disappointing.
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While there is a lot about this issue and this story that feels tied up a little too neatlyand, if I'm being honest, I feel like this story would have worked so much better had Peter Parker just not been part of it in the end because the story of Orisha and her son is just so much better when it's just the two of thembut it's still a pretty solid tale and a satisfying conclusion.
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If you're already reading Subgenre, maybe this issue is one that you'll have a better grasp of in terms of the larger story, but on its own, for the most part, it's fascinating.
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Picking up right where issue #36 left off, Suicide Squad #37 is a decent read but doesn't really deliver the same way the previous issue is.
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Suicide Squad #38 is a little predictable, but delivers more of a punch than its previous issue.
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Batman may be one of my all-time favorite characters, but there are times when even I think that his holier-than-thou need to play everything on hard setting wears think. Suicide Squad #43 is one of those times and, unfortunately, that leads this whole issue to feel over played and unnecessary.
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Harley and Boomerang feel like afterthoughts, their presence in the story along with Captain Cold only there to provide an excuse for Amanda Waller to make an appearance in the issue. Unfortunately, it's a misstep that makes for a mediocre issue, despite the significant character growth on the part of Deadshot.
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Even for the engaging concept and interesting characters, there's just something lacking this issue and that thing is the well-developed Amanda Waller we got a few issues ago.
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Suicide Squad is at its best when Amanda is treated as the villain and while that's not exactly the case here -- someone is clearly behind her sudden misfortune -- it's just enough to remind readers that there is still humanity in the members of Task Force X, probably more than Amanda Waller ever had.
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Superboy: The Man of Tomorrow #1 isn't a bad comic. It's an easy read and it's one that fans of Conner Kent will be excited about as it's nice to see the character back in action and in his own story. Unfortunately, it's a story that feels like it needs a more focused direction.
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Superboy: The Man of Tomorrow #2 feels, tonally, like a series that doesn't know exactly what it wants to be.
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The issue feels like it's missing a lot of its emotional core, something that makes the surprising twist near the end a little hollow where it's supposed to feel ominous.
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It's not the most earth-shattering conclusion to "Plain Sight", but one just intriguing enough to make readers wonder what's next for the Girl of Steel.
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Overall, it's that Jurgens story that elevates the whole book as the primary story is really a lot of nothing.
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Supergirl #26 takes a sharp left turn from where the story's appeared to be going the past several issues, and while it's not without interest, it suffers under the combined weight of feeling a lot like Brainiac and his bottle cities and the overdone trope of evil clone plans.
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The fight with Splyce is pretty cool too, but Supergirl #27 just feels a little lackluster, even as Supergirl sets up to face off with Hokum's latest creations.
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It feels an awful lot like what we've seen from most of the previous issues: Kara gets information, Kara has to fight some impossible fight, Kara comes out on top, but is a little sadder for it because of what she learns. It makes for a fairly average, almost-boring issue.
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Supergirl #29 finally gives Kara and readers the answers they've been seeking, but other than the identity of a few major players, it's an answer we already kind of had.
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If you like issues that are pretty much just one long fight scene, Supergirl #30 is for you, but if you're looking for something with a little more substance you're not going to find it here.
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It just sort of falls flat.
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It could be better, but it could also be worse which is unfortunately just par for the course for Supergirl these days.
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A little bit of a letdown in many ways, interesting in others, a few solid emotional notes that manage to rise above the lackluster art and rather threadbare plot"at least until the rather abrupt lack of conclusion.
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Kara Zor-El heads into space and finds herself on yet another quest for identity, but while it's a strong enough start, there are enough missteps to make readers question if the hype for this much-anticipated miniseries was overblown.
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While the third issue of Supergirl: Woman of Tomorrow delivered on the hype the title has received over its short run thus far, issue #4 crumples a bit under the weight of its narrative.
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Supergirl: Woman of Tomorrow, when taken as a whole, is an ambitious comics story with some genuinely shining moments and even this final issue isn't without merits.
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The result is a fairly average issue that ends with a twist that currently feels kind of flat.
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After an uneven issue #2, Symbiote Spider-Man: Alien Reality #4 evens back out and delivers an interesting issue that despite feeling very expected and not particularly groundbreaking does offer a bit of an adventure as we head into the Nightmare Realm.
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Ultimately, this issue hints at some potential for a really unique and perhaps even bizarre Spider-Man story, but already sets some concerns as to just how much payoff will come from digging into obscure, unexplored territory.
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Symbiote Spider-Man: Crossroads #5 is, like the issue before it, very much an "everything and the kitchen sink" sort of book, this time with the goal of wrapping up the story and bringing everything to a tidy conclusion.
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If you aren't super current on Marvel comics, this might be a little hard to fully follow and appreciate, but it's engaging enough that you catch up fast and the chaos level is just enough to make you want to come back for more.
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It's a good concept that needs more than just this one issue to play out in.
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It's a heavy, complex take of something that's been done, and while it's worthwhile and excellent, it can be a lot to take in. Though, bonus points for the authentic 90s feel all around.
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It's not great, but it's also not bad and maybe that's where Tales of Mother F. Goose wins. It falls right in that middle, with a pulpy sensibility that isn't for everyone by design.
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If the series somehow manages to dig its way out of bad cliche, it really could be onto something.
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Things go from zero to insane in record time in Holy Roller #2 and while it's kind of entertaining, it also feels a little too fast and almost a little sloppy with how cartoonish the bigoted villain is and how heavy handed his driving anti-Semitism is.
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The Holy Roller #3 finally seems to find a balance in its storytelling and actually starts more fully developing the characters and really digging into what is ultimately Levi's vigilante origin story.
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If you want an issue that is more or less just a guy beating the snot out of racists and bigots page after page, Holy Roller #4 is great because that's mostly what it is. Just page after page of the Holy Roller dealing with racists. And it's great.
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Ultimately, the comic book just feels very much like caricature and that's not the best thing.
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It's not bad, it's just on the low end of average without much in the way of strong action to give it a jolt.
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The Invincible Red Sonja #4 finally takes readers to where Sonja is, in fact, made invincible, but the issue to that point is a messy, chaotic, action-filled run that tries to pull together the various story threads from the previous three issues with mixed success.
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A solid end to the story, Jetsons #6 wraps up all of the narrative threads over the course of the limited series, but even though the book ends on an optimistic note, the final chapter of the possible end of the world seems a little bloated and overly complicated without any real need or solid explanation of what's happening.
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Overall, though, Fitzmartin brings the first half of the series together with the last and ties most things up well and that's an accomplishment.
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Titans: Burning Rage #4 continues the pattern established by the previous issues of the title in being a fun, accessible read that is very "comic book" in nature meaning it is enjoyable for fans of every level of involvement.
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In keeping with the previous issues of Titans: Burning Rage, this week's issue is a dynamic and fun visual adventure which sees a lot of thrilling and kinetic action on nearly every page and, frankly, that's what Titans: Burning Rage does best generally and it's the best course of action here.
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The art leaves a bit to be desired"and at times makes it a little hard to follow the action"but this is an intersting story and a decent issue overall.
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It feels like the real payoff is coming in the next issue, though Trinity #18 is worth your time if for nothing else than Batman riding a unicorn.
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The momentum that Venom #25 lacked, #26 regains. Overall a solid, enjoyable issue. Not perfect, but not bad.
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Vindication #1 is a deeply uncomfortable comic, and it should be.
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War for Earth-3 #1 is a decent enough book. There's plenty of action, a lot of interesting payoffs for those who have been following Suicide Squad, and it's just removed enough from the "main" continuity that there's space for pretty much anything to happen. But with the hard shifts between narratives, and a sort of "drop in" feeling, the issue can be disorienting and requires an adjustment that detracts from the overall fun of events.
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For the first time in awhile there's a reason to wonder what happens next, and that's enough to consider this issue a success.
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Weapon X is fairly middle of the road this week.
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While Weapon X #19 doesn't quite deliver on the set up from last issue, it does lead to a satisfying status quo change of sorts for the team and that alone is worth reading for.
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It's a great surprise twist at the end of the issue that finally gives the whole arc a solid payoff. Unfortunately, the art in this issue is messy, distracting, and odd -- seriously though, ask yourself what is wrong with everyone's faces this issue.
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The evolution of Victor Creed continues in Weapon X #22 and even with the team turning from heroics to, essentially, mutants for hire, he just can't seem to escape doing good. That character development is what makes this issue worth reading even if it's starting to become repetitive that each issue we're reminded that Sabretooth has turned a new leaf.
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Weapon X #23 is a mess and that's honestly what makes it awesome.
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If you can get past the uneven art and the overcrowded cast, though, there's some not-so-subtle commentary about political campaigns that's a nice touch in an overall barely average issue.
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Weapon X goes to hell this week, and while the issue isn't hellish to read, the entire theme of Sabretooth's redemption and the question of whether he can truly overcome his past and his nature is starting to get a little thin.
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Ultimately, Werewolf By Night is a fun read that offers some interesting and thought-provoking moments. It feels like a promising reinvention of the classic Werewolf By Night. There's enough here to encourage readers to come back for the next issue, but it may be too light for readers hoping for genuine horror or a monster story.
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Taken as a whole run, Werewolf by Night is fantastic. As a single issue #4 misses the mark by trying to do too much with too little.
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Overall, there is a lot going on in the issue, but while there may be many moving parts, the book is tightly told, full of action, and a solid read.
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The result is an issue that is heavy on action which is always fun to read, but it also comes across as a bit haphazard, narrative-wise, and muchof the Valda element of things just feels superfluous once it comes to a rather lackluster end.
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It's an enjoyable enough of a read, it just feels odd and out of place and a bit like the reader is being preached at rather than entertained.
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Pair it with Jesus Merino's at that is a bit uneven"it's good in certain action sequences, but just messy in others"and you get a book that's just okay, but has potential to do something more as the story continues next issue.
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Overall, it's a solid issue and definitely one that is visually fantastic.
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Still, given the pacing and the stakes of the story, Wonder Women #762 may not be a best of run but it's still a solid read overall.
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Wonder Woman #764 feels a great deal like a filler issue and while the story is setting up for bigger things, nothing here feels particularly special. It's just okay"but even Tamaki's "okay" is pretty good, even when bland.
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As Mariko Tamaki's Wonder Woman run has gone, Wonder Woman #768 isn't quite as satisfying as some of the earlier issues in her run, but what it lacks in narrative satisfaction it makes up for in the way it sets up the battle to come not to mention the outstanding art from Rafa Sandoval.
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It's a good, but not great issue.
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Not good, but not bad, this is an interesting if not pretty average-ish issue of things that hopefully will turn around.
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Overall, it's an okay issue. It does what it sets out to do.
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It's something of a mixed bag, though not necessarily mixed in a "bad" way.
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Wonder Woman #790 ends "The Villainy of Our Fears" arc and while it's an arc that has been very uneven in its execution, it ends reasonably well.
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Wonder Woman #792 is kind of a mixed bag. The art in the main story (done by Marguerite Sauvage) is very well done and the actual main story is interesting as well, but there doesn't seem to be much heart behind it.
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While Wonder Woman #795 is an improvement over the previous issuelargely in that it's well-paced and full of actionit also falls into what too many Wonder Woman stories do and that's treat Diana as a sidekick or supporting character in her own story.
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Phillips is crafting a really interesting story with Wonder Woman: Evolution and she does really well with placing Diana in a "fish out of water" sort of situation, something that is always enjoyable when it comes to a character as incredibly powerful as this one.
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While Wonder Woman: Evolution still feels like a really unnecessary comic book, issue #5 does at least seem to be a little more cohesive.
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Laura's conflict with the Stepford Cuckoos comes to an end in X-23 #5, and for all of the energy and excitement the story started with, the ultimate resolution is remarkably quick, tidy, and average.
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The real issue with X-Men Gold #27 is the lackluster art. Geraldo Borges' work this issue is inconsistent and messy, making the whole issue a little bit of a chore to read.
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Youth #2 is a little light and a little lacking, but it serves the overall thrust of the larger, meatier story well.
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A really enjoyed A Haunted Girl #2, but I feel like there is a bit of a disconnect from the end of the first issue and this second issue, almost as if the second issue is as much a first issue as the first issue was.
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When it comes to Acid Chimp vs. Business Dog, there are certainly aspects of that concept in the unexpected crossover between My Bad and Billionaire Island,which sees a superhero parody (My Bad) collide with an economic dystopia (Billionaire Island). Unfortunately, while both premises are independently funny and sharply incisive satires with a lot to say about the world, when you combine them and put their animal stars together, the result is a story that loses its bite. It leaves readers with something that is unfamiliar unless they are a big fan of both series; that winds up feeling as superficial and superfluous as the society they seek to skewer.
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The art's nice, but everything else here is superficial and flashy and not particularly well-crafted and ultimately highlights Jason Aaron's bigger weaknesses as a writer: things sort of come unglued all too easily and too quickly and there's no gloss that can hide that.
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Things feel cluttered, story wise and while dark and gritty with a sharper edge is something that should work for Batman, this issue veers a little too far into the grim and the weird, ultimately creating a lack of balance that throws the whole issue off.
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For all of the ideas that James Tynion IV brings to Gotham as he overstuffs it with flashy new characters, the real disappointment of his Batman run ultimately comes down to two things: an over-reliance on hype that is enver really delivered upon and a lack of Batman.
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Batman returns this week after taking a brief break for "Future State," but if you're expecting Batman #106 to live up to the excitement and sheer quality that was Future State: Dark Detective or even Future State: The Next Batman, this issue will probably disappoint.
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Everything else just continues the same boring and largely formulaic we've seen in this arc.
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Ultimately though, the closer we get to the end of Tynion's run, the more it seems like the real plan is just to keep repeating things and hope no one notices there's no "there" there.
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The fixation on a host of one-off "original" characters has left "Fear State" and this run and this penultimate issue lacking any nutritional value, as it were. At least Jimenez's art is good and Morey's colors fantastic.
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The writingspecifically Batman's inner monologueis campy as hell and while none of it is patently bad, it's also just not good. It feels tired, worn out, exhausted, which is a shame because the art in the issue is bright and alive and really quite good.
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Batman #142, kicking off the "The Joker Year One" arc, is part origin story, part retelling, and part attempt to reconcile current elements of the character's story in Chip Zdarsky's Batman with more definitive tales preceding it. But instead of making important connections between the Joker's past, present, and future, the issue over-explains unnecessary details about DC's most iconic villain and offers very little of substance.
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With the confusing and derivative "Joker: Year One" arc over, we're finally back to dealing more directly with Batman and the issue of Failsafe and this issue largely does the work of setting things up and laying groundwork. There's a little action, a lot of talking, some bland inner monologuing, but it's readable.
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Batman 2021 Annual #1 is, generally, wildly better than the majority of Tynion's Batman work but it suffers from a lot of the same pitfalls, especially in that it feels more like an imitation of something else rather than an authentic creation.
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Between the two separate stories, the issue has a disjointed feel to it that functionally nudges the story along but doesn't really feel like it delivers anything al that interesting. I hate the term filler, but it might just fit here.
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It's actually kind of an interesting read and it certainly makes for a nice contrast to everything going on in the main continuity, but the plot feels thing and I'm already wondering how long the overall conceit of things will carry.
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While Black Manta #1 possesses some intriguing ideas and an interesting overall premise, the first issue has many moving parts that never offer readers quite enough context to warm up to the mystery this story is establishing.
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With just two issues to go, that's really disappointing. The slow burn of this book really deserves something a bit more elevated because the art brings everything else down.
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BRZRKR is a series that is up and down a lot and while there is a lot that looks really, really cool in BRZRKR #9, story-wise, this is a bit of a down for the series.
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As conclusions go, BRZRKR #12 is "okay" at best and, at worst, an issue of missed opportunity.
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DC: Mech is proving to be a title that is just so specific and so niche that it's not really for most readers but, more than that, it seems to lean too much into its weakest points.
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This is very much the definition of style over substance and a case of even the style being thin.
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DC: Mech #5 continues this title's general trend of being style over substance, or more specifically, of trying to shove the world of DC into the box of another genre only to end up with a very mid result.
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Deep Beyond is an ambitious title and three issues deep, it continues to be visually fascinating and lovely to look at, but the story in progress drags and feels a little dull, if not bloated in places.
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Puzzle boxes are fun, but this far in, we should be making more progress.
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As a reader, I'm still not really sure what's going on and this far in, that's concerning.
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There's a bit more to work with this issue than previously, but it unfortunately doesn't improve things much.
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Deep Beyond #7 takes the story a lot deeper, but the continued issue of interesting elements that don't fully connect that has been an issue for the whole series remains strong here.
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This issue has some stable art that is better than most of what we've seen in the run, bu the story is still cluttered, convoluted, and very hard to follow issue to issue.
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At the end, I don't really know what the point of Edge of Spider-Verse was. Was it just random Spider stories? Was it meant to be some connected web as the final story in this final issue sort of tries to suggest? In either case, the series never really succeeded and this issue sort of is a pretty strong example why.
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While not a bad read, Superman vs. Imperious Lex #3 misses the mark, overstays its welcome, and simply leaves readers wondering what the point was.
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This book felt a lot like a low key Fear State and now it feels like we're moving to a high key "Fear State," just with a different name. Gotham, and readers, need a break.
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While I get that the issue and indeed the whole title is supposed to have a manga-like feel, it never really hits that mark, both in terms of visual and story.
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I realize that the art in Future State: Gotham is supposed to have something of a manga feel to it, but as I've said before this really looks more like someone's rough sketchbook rather than developed art.
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It's not unreadable. You can certainly pull things of value from it, but so much here just feels like an elaborate junk drawer of ideas that DC can't justify throwing away but also doesn't really want to do justice and sadly it shows.
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Ghostlore #7 brings Harmony's group face to face with Shane's peopleor his emissary, at leastand starts to set the stage for a major battle between the two all while fully establishing the idea of a coming storm. The problem, however, is that other than the set up for a conflict between the two sides, there's still a lot that we just don't know about w hat's actually going on.
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Harley Quinn #13 gets things a bit more on track after the rather unnecessary previous issue, but that doesn't do much to help the overall momentum of things, at least not until the final pages which presents something of a new challenge for Harley.
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It's not the weakest book in this current Harley run, but it's just very, very mid.
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Overall, this isn't a bad issue, but it just isn't great and feels pretty crammed full of things that don't really have anything to do with Harley.
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The result is a slightly bloated issue that is just okay and generally pretty disappointing.
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There's still too much reliance on the idea of Harley defined by being wild and crazy for this story to work.
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If this issue had just been maybe half of what was ultimately packed into it in terms of number of stories, it might have been better but as is, it's just a bit mediocre and doesn't fully do the character much justice.
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I'll be honest: The Heathens #2 seems as convoluted and messy as the first issue and it's really only bolstering my initial thought that this is a story better suited to the graphic novel format than that issue-by-issue serialization format.
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The Heathens #4, structurally, is a bit more coherent than its previous issues which is something of a feat considering how the book is divided up across multiple points of view and narratives.
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The result is a pretty book"the art is nice"that feels like it's taking up space rather than telling a story.
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Chalk it up to structure, but this series and this issue just isn't adding up.
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If the issue was intended to be just a one shot, it would probably be better, but as part of a larger series"and a major event at that"it just feels like filler.
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Ultimately, Knight Terrors #1 isn't bad. It's just a symptom of how crowded and contrived the entire event feels so far.
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As a series overall, Last Flight Out is average at best.
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Much of the lack of direction that we got a sense of in the initial Lazarus Planet book continues here and while the art is overall good and the writing isn't bad, this story just doesn't feel like it's going anywhere and this comic book just reinforces that.
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The one thing that Lazarus Planet: Revenge of the Gods #3 does very well is that it pulls together the various story threads that have been going on prior to this and, as a result, puts all the players into position for the finale. But that, and maybe the revelation that Diana is an actual god now, is about it.
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The real standout of the issue is Leah Williams' Black Cat story as it broke away from using its space as a billboard declaring how queer it was and instead told a nuanced and engaging story that has real potential outside the pages of this poorly considered anthology.
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Each issue of Monkey Prince can be a bit of a wild ride, but Monkey Prince #7 is a wild sort of chaos.
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It's a really interesting premise and when it's goodas it is with the first half of this issueit's very, very good. But when it isn't, it becomes cliche and sort of a mess.
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While Monkey Prince #12and the series overallis a fun one, the issue is kind of a mess.
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Harley Screws Up the DCU #3 is a little weaker than its previous installments, but that's largely because of how chaotic it is in what it tries to pack in with Harley screwing up Kal-El's arrival on Earth and then also somehow getting distracted by Barry Allen before he becomes the Flash.
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We're dropped into this world with no real understanding of what's going on or why this is bad. We're just told it is bad and somehow, that feels like we're being told how to feel much in the way a dictator or ill-meaning god would. Maybe that's deliberate, but it makes for a weird, off center start for a book that is clearly intending to have a message.
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For a first issue it's too early to see how the racial aspects ill shake out, but one can't help but already be concerned that the series will have a heavy hand as it attempts to gore up a classic.
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It's an interesting readHex's history at this point is proving to be more compelling than the actual plot of the bookbut the issue just serves to illustrate that this is less a vampire epic and more of a jumbled and tangled mess of things that isn't bad, but needs a lot more direction and a lot less jokes to work.
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Overall? It's not a bad issue. I just wish the creative team had a better grasp of the format.
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While Ordinary Gods #11 is the penultimate issue of the series, it doesn't really feel like it. The stakes are certainly there as we get a back and forth between one of the ordinary gods and the Warden that does lead to a very important conversation that changes everything, but so much of the space in the comic is spent fleshing out what feels like unnecessary details and filling in gaps that could have been recapped a bit more efficiently.
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Overall, it just feels like a bit more time could have been spent here to make this really work but simply wasn't.
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There is certainly promise hereboth in the art and the storybut it's too early to see if it's enough to carry.
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Red Hood: The Hill #3 continues the series' trend of having the character who is theoretically supposed to be the main character or at least a central character, Red Hood, be mostly a side player. It also continues the feeling that the story is treading water.
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What is pretty fantastic, however, is the art. This might be the best art on the series thus far, with one panel in particular with all the heroes leaping into the scene that is just a real delight.
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Slow Burn continues to suffer from something of a pacing problem something I think is probably remedied when you have the whole story all at once and can read it in its full form rather than issue by issue, but that doesn't help here.
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Well, at least Invincible Red Sonia #8 moves things forward.
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It isn't so much "bad" as it is boring. What makes it subpar is the art, while consistent with the rest of the issues in this series, is just not good.
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Only Tim getting his own arch-nemesis makes the story worth continuing and even then, it's under visual duress.
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The end of Transformers: King Grimlock #5 is a bit of a mess, visually, and a bit predictable, narratively.
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The bottom line is that this book leaves way too much on the table, but at least looks pretty doing it.
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War for Earth-3 #2, unfortunately, suffers from most of the problems the first issue did. It's overstuffed, kind of chaotic, messy, and seems kind of like an idea that wasn't really thought all the way through.
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There was a real opportunity here to go full horror and this falls far, far short of that to deliver something that is just a slightly bloodier version of a story we pretty much already know.
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Overall, this is just not as strong an entry in the run as we've seen thus far.
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This issue feels very jumbled and shaky. It will be interesting to see how next issue recovers.
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This book in particular just feels without spark and energy. The art isn't bad, but it doesn't make up for what feels boring on the page, narrative-wise.
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Wonder Woman #797 is, like much of the Cloonan/Conrad run in more recent months, frustrating. It's a patchwork of ideas as the story edges to its conclusion that pits Wonder Woman against Hera, but the ideas never really deliver and, more than that elements that are teasedsuch as the new champion of Shazamaren't delivered upon.
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The most interesting thing about Wonder Woman #798 is that Diana gets a major power upgrade (the art here is pretty good, too), but overall, the story just feels really rushed and needlessly split up between the Wonder Woman title and Lazarus Planet: Revenge of the Gods and even at that the issue itself is split into two stories that is also divided between the two titles.
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Wonder Woman #799 is really interesting and honestly, I wish that Conrad and Cloonan had spent less time with the previous arc/crossover and more on this one because with just two issues left in their run, this already feels rushed.
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Wonder Woman #1 is a comic book likely to be of great appeal to King fans but it is already showing signs of falling short of servicing the character whose name is on the cover and remains strangely absent from its pages.
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I realize that that is a matter of taste, but honestly, the art here looks phoned in, poorly considered, and just flat in every sense of the word. It pulls everything else down with it leaving the whole issue just a mediocre at best meh.
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The book is just a big meh, even with the fun of a really interesting Justice League brawl.
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While none of the current Wonder Woman stories are especially strong right now, this one is certainly the weakest with only the wildly improved art making it.
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While I think there's certainly somewhere that this story can go, given the distance between this chapter and previous chapters, it's going to require a lot of work to make the story interesting enough to push forward.
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With a threat like Leviathian supposedly being a huge issue, it all just sort of falls flat. For an issue with such incredible visual appeal, there's just nothing else there.
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There's a nice little bit of humanity to the bulk of the issue, but the end result is an issue that is just functionally okay"not even really good, just kind of there.
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At this point, the fight feels like it's been drawn out too long and it's that concern that drags the issue out. There's just too much going on and in too many points in time. Too much tell and not enough show.
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This arc is one that is well past its prime. It's time to end it already. We already know Superman isn't winning the day. Let's move on.
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It's a lackluster issue on almost every page.
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The current run of Action Comics is honestly a mess and understandably so. There are a lot of moving parts, a lot of things unexplained and it's not always the easiest to read and this is especially true in Action Comics #1022.
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You know that a story has gotten overly convoluted when you have to rely on a fairly extensive, full-page (and then some) recap in order to make sense of the issue in hand and that's where we are in Action Comics #1023.
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With the gravity of the story being weirdly undercut by needless awkwardness, the book ends up being promising but a little to try hard. Story wise, it's good. Execution wise, it leaves a lot to be desired.
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It's another miss.
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Action Comics #1027 is a weird mess of an issue.
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Bendis' run held promise; this finale shows just how much that promise was wasted.
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America is such a unique and interesting character, readers will no doubt wish she had a more unique and interesting conclusion to this grand adventure.
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It's nearly impossible to miss the heavy Star Wars feeling Ascender #1 has and while hero journeys are universal, Ascender is too reliant on stereotypes and tropes, resulting in a too cliche debut.
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The Autumnal started off with an elegant and fairly strong first issue, but issue #2 has already started to slip into obtuse mystery and difficult cliche.
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Batman #112 like so much of everything in recent arcs just feels like a reheated version of things we've seen before. At least this time Tynion is recycling his own homework.
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One thing Tom King has excelled at during his Batman run is humanizing the villains in a way that doesn't make them sympathetic but instead gives better insight into who they are. Unfortunately, despite a genuinely intriguing setup with The Penguin, the issue continues with a further dehumanizing of Batman.
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Batman is at his darkest, most unrestrained worst this time around, to the point it's getting nearly impossible to want to root for him in any capacity. To an extent that's the point, but the deeper we get into King's run the more and more this bleak fall from grace into utter darkness becomes a chore to read, and that's especially evident here.
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King's told this story nearly thirty issues before and, by bringing it back here only serves to stall any forward motion the book should have had -- something that feels awfully dangerous in the first chapter of a new arc.
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It seems like a waste of narrative space, and it's likely to leave fans wondering when -- or if -- the story is ever going to start moving forward again.
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Generally speaking, these Knightmares stories have largely worn out their welcome. While Tom King is trying to tell a larger story arc (he has to get to issue 100, after all), these stories feel more like filler, a way to technically complete an issue without having to expend too much story.
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Switching storylines, inconsistent continuity, and a disconcerting sense of not ever really be certain what parts of the story are "real" and what parts are hallucination has become almost a default for Tom King's Batman run, and that holds true for Batman #71. Unfortunately, that also means that Batman #71 is a bit of a mess to read.
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Not even the one "shock" reveal is enough to lift this from what feels like a major low.
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The overall issue ends up feeling a little too bland and a lot too clean for a Batman story and while one could argue that it's never been a Batman story, it's a Bruce Wayne story, even from that angle it misses the mark.
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The book is one that in a sense serves to let readers catch their breath before things really pop off, but it generally just feels kind of messy, almost like Tynion didn't know really where he wanted to go.
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Ultimately, the issue feels like a half-hearted mashup of the weaker parts of Nolan's The Dark Knight and The Dark Knight Rises with a bit more Joker and yet another random shiny thing"this time literally with that new Batsuit"to distract from what is becoming painfully apparent: fun ideas don't always make for a good story.
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It's well past time for this story to come to an end that, if the lead up is any indication, is going to be nothing more than smoke, mirrors, and marketing hype. Just like the whole arc has been.
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This isn't about frightening the dark elements of Gotham nor is it about saving a doomed city. Batman #100 is about nothing more than Batman's (and, perhaps, the author's) ego. That's both a waste of this story's premise and a crying shame.
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Bringing Batman to account by making him a somewhat realistic character would be a good idea, but a complete take down of the vigilante with issue after issue after issue of kicking him while down is just too much and it's that lack of nuance and forethought that shows itself sharply here.
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The current core of Batman's story isn't serving to tell a Batman story. It's designed to back fill "Future State," just with Tynion dressing things up with flash and gimmick characters. When you realize that, when the whole of Simon Saint's plan is laid out completely bare in the issue, it takes the shine off of everything else.
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At this point, Batman as a title just feels like biding time until this whole arc and run is put out of its misery of mediocrity.
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There is just too much going on and anything important feels poorly jammed in. This is not a good Batman story.
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It's no mystery that I've found the bulk of this run, and especially Fear State, to be a mess and while Batman #117 is less messy than previous issues, it's certainly not raising the bar by much.
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Batman #140, like much of Zdarsky's current Batman story, is a case of potential squandered.
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The result is something that feels cheap and a little messy and whose purpose remains a question.
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Batman #144 provides the conclusion to "The Joker Year One" arc and ultimately, it all ends up feeling like a needless detour from the general trajectory this run of Batman has been on with the Zur-En-Arrh arc or even the Mindbomb arc.
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The result is an issue that is messy, confusing, and a little overcooked with a story that could have just been a one-shot.
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If this is par for the course for the rest of this series, it's going to be a very long, boring, unsubstantial drag.
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Batwoman/Catwoman hasn't been living up to the hype that preceeded the series for a while now, but Batwoman/Catwoman #5 might be the weakest issue yet.
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The art's okay, but the story itself and its execution leaves a lot to be desired and really should have been reigned in a long time ago given the bloat, the fluff, and the lack of substance overall.
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Everything about this issue just screams busy work and while not unpleasant, it doesn't really serve any purpose and even the art isn't especially strong or organized, either.
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The finale of "The Demon's Fire" storyline hits in this week's Batman and the Outsiders #16 and rather than go out with an impressive, spectacular finale, the whole story comes to conclusion with a whimper.
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Bloodshot #1 is a comic with good intentions that doesn't work very well, save for a whole lot of explosions for fun's sake.
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Here's the thing about Giles #4: the conclusion of "Girl Blue" is supposed to have emotional weight, especially after the revelations about Roux's past last issue. Unfortunately most of the book is tied up with tedious exposition that is honestly better suited to another medium.
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Overall, kind of a mundane and average read. Here's to hoping they pull out all the stops next issue to make up for it.
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The end is finally here for Buffy the Vampire Slayer and Season 12, and Joss Whedon's finale manages to pull together all of the threads of the series -- both television and the many comic book continuations -- into an oddly satisfying conclusion.
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Cemetery Beach is a unique book that suffers from a too-common problem: the concept is strong, but the execution sloppy at best, and the end result for issue #4 is a book that feels like everything is being run into the ground.
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Cemetery Beach continues to be weighed down by the very thing that makes it interesting: strong concept, weak execution.
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While the story is wrapped up in what generally works as a natural stopping place, if you've managed to make it this far with the series, you may well find yourself feeling like you've wasted your time.
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The art this issue improves a bit, but at the end, this whole series and this issue in particular was just a bit of harmless and at time mindless fun the absolute definition of mid.
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I'm still not seeing the allure of Deep Beyond. Nine issues in and with so many twists and reversals and what feels like a truly pointless motivation from the politian in the story, nothing feels like it has any real stakes.
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Eve: Children of the Moon #3 feels a little lackluster.
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It's a very middling issue in a promising series that is starting to buckle under its own bloat.
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Future State: Gotham #10 kind of feels like it could be sorted out using a series of bullet points at this point because most of the criticisms the previous issues have earned remain here.
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It's just so meh and the manga-inspired art, which itself isn't particularly well executed, doesn't help.
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There's no way to put this other than bluntly: Harley Quinn #43 is a mess.
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Harley Quinn isn't Deadpool and DC isn't Marvel, but someone might want to tell Harley Quinn #50 that. Not only is the issue one giant breaking of the fourth wall, it's an Avengers: Infinity War-esque story as well, just insane in a bright and sort of wacky way.
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Harley Quinn #11 is a new arc that sort of continues from the end of issue #10 and in terms of plot, this issue is honestly kind of lacking. It's pretty weak overall and the set up just isn't there.
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The only thing that's really done well here is the pacing in that it's clear that Phillips is setting up for a tidy end, both to the story and her run on the title, but this issue feels like a reminder that both can't come soon enough.
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This is pretty messy and it feels like this issue in particular is really losing its thread.
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This is very much all over the place and chaotic and while that is accurate to Harley as a character in broad strokes, this isn't really working in terms of larger storytelling.
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As a reader, I'm still not sure what this whole story was about.
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Harley Quinn: Black + White + Redder #6 is easily the weakest of the series.
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Each issue of The Heathens only further solidifies my initial thought that this was a story that should have been a one-and-done graphic novel rather than an ongoing comic and this time it's because it's almost impossible to make sense of without going back to reference the first two issues.
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When the end arrives, there's some hope that perhaps the miniseries is just a slow burn that will pick up in a few issues, but readers may have a weird, bumpy ride getting that far.
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I know that as critics go, I'm probably in the minority on this title, but Inferior Five #2 is just as weird as its debut issue and while there is a bit more to this one in terms of story, it's starting to seem less like a slow burn.
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After an issue that felt like things were starting to even out and make sense, The Inferior Five #4 comes back feeling a bit messy, a bit hurried, and with artwork that looks as messy and rushed as the book feels.
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Visually it looks very cool but at its heart, Killadelphia works best when it is its own story. And right now, it just isn't that.
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There's no heart, no connection, and what should feel like a major, emotional reveal just feels really boring and not worth the investment in any sense of the word.
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The only real positive here is that at least the issue manages to follow one character so it feels like it has some direction, even if the whole tie in, like most of the "Knight Terrors" tie-ins, seems to have no idea what the parameters of the event actually are.
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The bottom line for Lazarus Planet: Alpha is that this is what it looks like when what might be an interesting idea isn't given the proper space to develop.
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However, while the book does have some genuinely interesting things to offer as well as some fun stories, this year's edition suffers from the same issues that last year's did in that the bulk of the issue feels more like rainbow-tinted marketing than a genuine, substantive celebration of queer representation.
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Monstress is, usually, an epic and intricate book that is both a pleasure to read and advances the story just enough each issue that the plot doesn't drag. This week's issue, however, is the exception to that rule.
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It'll be interesting to see what comes next for Lunella, but if this was what they've been setting up for, this whole arc ends up being a massive disappointment that ultimately didn't even tell much of a story at all.
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Things feel stale, stuck, and utterly without substance. It's an issue that feels phoned in.
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If things don't pick up soon, it's going to be a long journey to get to the end of this 12-issue series.
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The longer this limited series goes on the more it feels like the real mystery here isn't what is going to happen to Raven, but when is Wolfman going to start writing a story worth reading? At least the art is nice, as always.
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After nearly every preceeding issue of Raven: Daughter of Darkness somehow being more about Trigon than Raven, #7 finally seems to give Raven a story independent of her father.
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There are too many moving parts, too many questions, and things simply move too fast to have a solid understanding for what's going on.
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The art is lovely, but the issue itself just feels like a lot of work for readers.
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None of the characters ever really flesh out, the quest is too easily completed and the book just stops. The art continues to be lovely, but the whole thing just ends up feeling a bit empty when the dust settles.
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Really though, this week's issue is just marginally less a mess than the previous and still a far cry from the strong debut. Here's to hoping we get something more concrete, story-wise soon.
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Overall, while it's always good to check in with Lottie and her shallow, image-obsessed ways, the issue lacks depth, making it more a miss than a hit.
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There is a ton of potential here, but it just all gets swamped by too many Spider-folk talking and not enough doing.
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With Suicide Squad #49 being the penultimate issue of this incarnation of team, writer Rob Williams starts setting up for a big finale, but 49 issues into a 50-issue run, the reveal of the villains and the setup for the end evokes largely the same feeling the majority of the run has: disappointment.
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Suicide Squad #50 is a pretty entertaining issue. There's a lot of action, a lot of emotional moments for various characters -- especially Flagg. There's even some great team work between all of the Squad members that is truly a delight to see. Unfortunately, as is a common theme with Suicide Squad titles, everything feels superficial.
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There are a lot of people who will enjoy this issue as there are a lot of people who are enjoying the Rogol Zaar story, but overall it still feels like yet another angry reimagining of angry Supergirl who has learned nothing from her various adventures to now.
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Overall, it's not a "bad" issue, just one that feels like wasted opportunity to tighten up the story.
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The idea of the Dark Supergirl story is an intriguing one, but as we get to Supergirl #39 it's just starting to feel a little old with each issue reiterating that nothing and no one can really get through to Kara in her infected state.
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It's an interesting story, even if one that feels too familiar (and at one point even has a really odd placement of a Spider-Man joke), but it continues something that has been far too done with Supergirl stories as of late: focuses entirely on her survivor's guilt.
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I'm sure that there is an audience for the grunting and sweating and highly sexualized story that is Invincible Red Sonja #6, but even though it has its fans and readers, it's just not great.
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Invincible Red Sonja #7 is really more of the same at this point. Barely serviceable art that doesn't even try to do anything interesting or even good with the sexualized schtick that is Sonja being mostly nude the whole issue is the only thing that is really noteworthy.
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Red Sonja is, generally, a very specific character for a very specific audience and I"m certainly not it but this whole series just misses the mark even with a palatable final issue.
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While Tim Drake: Robin #2 is a marked improvement over the first issue, it is still something of a mess.
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This comicboth the issue and the overall titlewould be a thousand time better if the art wasn't horrible. I know that's harsh, but the art is really bad and it's extremely jarring.
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While one can appreciate that the issue finally takes the time to flesh out Bernard, it's done very awkwardly.
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While Torrent #3 is still overwritten and relies too much on some really bad tropes, this issue is a marked improvement from the previous two issues at least in terms of the writing and story.
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Largely a repeat of the previous issue, Weapon X #16 continues the fight between Old Man Logan and Sabretooth.
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For as much fun as the issue is story-wise Ricardo Lopez Ortiz's art is so chaotic and messy in places that it's distracting.
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There is a lot going on in Wonder Woman #787 and unfortunately it's kind of a mess.
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The whole issue feels lazy and convoluted in the weirdest way and while Wonder Woman stories can, at times, be campy fun, this is just bad.
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Wonder Woman #796 has solid art and an interesting cliffhanger, but those two elements are not enough to make up for the fact that this book drags and feels overly long and needlessly complex.
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Given the character's importance, one would expect that when it comes to the milestone Wonder Woman #800 the issue would feature a story befitting the character's stature. Instead, the issue delivers a long, weirdly toned trek that has nothing to do with Wonder Woman at all, missing what is meant to be a well-intentioned love letter to the iconic character to instead serve up head pats for everyone around her and once again deny one of the greatest members of DC Comics's pantheon her due.
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Daniel Sampere is a master of art here and it might be the finest thing about this book, particularly with how he uses the art to mirror two stories in a way that is absolutely gorgeous. Unfortunately, art alone does not make a story or a comic or a story and we are once again mired in wasted space and wasted time as Tom King drags on two battles that take too long and really offer nothing other than to display Diana's prowess something that literally anyone who has ever heard the name "Wonder Woman" is already well aware of.
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Overall, this is a frustrating issue that just illustrates that we're dealing with someone who doesn't understand the character and doesn't care to.
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The only real redemptive quality of this issueand the seriesis Sampere's incredible art. That is museum quality work.
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Wonder Woman #6 is stunning. Daniel Sampere's art is absolutely astounding on literally every single page and it is particularly glorious during the issue's copious fight scenes. But once you get past the beautiful exterior, this issue lacks, much in the way that King's run thus far has.
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Wonder Woman #7 isn't an issue that illustrates Tom King's potential as a writer. It tries at being a fun riff on "For the Man Who Has Everything, which doesn't work on its surface, but struggles even further with poor characterization. The idea of a fun mall romp between two-thirds of the Trinity sounds good in theory, but it requires so much more to make that story worthwhile. Maybe this one was meant to be an online shopping trip.
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Wonder Woman: Evolution #1 sees Diana put to the test when she's chosen as a representative in a cosmic trial for the fate of humanity. But while that's an engaging premise, in the execution what we get for this first issue is a lot less dynamic and a bit slower to unfold and while setting the stage for the larger story to come is critical in a first issue, so is setting the expectation, which this issue sets at a fairly low bar.
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I still haven't quite figured out what we're supposed to be taking away from things here, but at least this issue is easier to look at.
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Wonder Woman: Evolution is a story that works better as a complete story rather than individual issues, though the story itself is kind of lacking (there were many times throughout that I thought I was reading a different Wonder Woman story as the idea of a mysterious "trial" isn't new.)
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Fundamentally, the issue is doing a lot of showing instead of telling and while that's usually a good thing, there are too many details needed for the reader of this series generally that cannot be left to visual alone.
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Unfortunately, when you look at Youth #4 and its unique characteristics, the conclusion feels cliched, too easy, and while it does stage the possibility of more stories to come, it reads too much like a "Diet Marvel" attempt at superhero storytelling.
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Other than art, this issue is just poorly executed over all. The characters deserve better and so does the reader.
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In the end, it's a disappointing issue, a disappointing finale, and a disappointing series all around.
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The only real "win" this issue has is the art, but it's not enough to lift the story.
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This deep into Batman/Catwoman, it's fairly obvious that the only thing this series really has working in its favor is the art
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If you've been holding out for Tom King's Batman/Catwoman to finally pick up and go somewhere or for the multiple storylines to somehow make sense, you will be gravely disappointed.
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In the years since Batman #50, a lot has happened, both in terms of King's run on Batman, as well as with the characters themselves with all of it leading to this: Batman/Catwoman #12. The issue finally delivers that wedding after giving us a dozen issues of story that also wove in bits about their married life and family between a murder story and other elements, but while the issue finally offers up a conclusion and delivers on the "Batrimony" of it all, much like the rest of the Batman/Catwoman series it lacks substance, sense, and lands as little more than a somewhat pretty string of gimmicks that just feels like cheap fan service in the end.
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What happens when the goal is finally in reach just not the way Batman himself would do it? That is, at is core, the premise of Batman/Catwoman: The Gotham War Battles Lines #1, but while the idea of seeing Batman come to clash with Catwoman over ideology as Gotham finally gets as close to safe as it has ever been is a hell of a premise, unfortunately the execution of this issue just doesn't deliver on it.
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On the whole, I went into the DC Pride: Tim Drake special wanting to love it. The idea of one of the most enduring of Batman's sidekicks being bisexual is something that feels both groundbreaking and natural all at once, but these stories don't handle it well, particularly out of context.
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Deep Beyond saved its big swing for the end and missed completely.
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In terms of story, Future State: Gotham #17 is a slight improvement over recent issues but that isn't saying much.
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It's chaotic, it's weird, it's lazily put together, and I'm thankful it's over.
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Harley Quinn #15 is something of an unexpected entry in the series to date, but unfortunately it doesn't really work.
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Phillips can write a good Harley. But this issue just isn't it. Nothing about this issue is it.
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It's a lot and it's a mess. At this point, it feels like we're reading a caricature of a caricature and this issue is a prime example of it. And it's sad.
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The issue is generally just an example of DC trying to throw things at the wall to see what sticks and in this case, nothing really does.
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This is just a mess of a book in a mess of a run.
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Knight Terrors #2 is a case of a comic that doesn't really know exactly what it's trying to do all built on a premise stretched so thin that the holes get bigger and bigger every page.
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This one just isn't worth the time.
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To put it directly, Knight Terrors: Batman #2 is not good. Not only does the story of both this issue and the previous issue of Knight Terrors: Batman it continues from have no real story to speak of, it also sits in this weird space where it tries to propel the reader into a cliffhanger of sorts that forces them into the main event, but the story here is so nonexistent that you almost don't care.
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This is just a rough, rough issue and further cements that no one knows what they're doing with Harley.
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Knight Terrors: Harley Quinn #2 continues to have absolutely nothing to do with Knight Terrors and while the main story in the issue has its moments and is interesting, like the current Harley Quinn title it's honestly just a mess that feels like it is less a coherent story and just a grab bag of discarded ideas that got stretched into something else.
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Three issues in to Tim Drake: Robin and honestly, it's not really going anywhere or improving.
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Unfortunately, Torrent #2 is just as tired, overwritten, and under developed as the first issue.
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While Torrent #3 offered a sliver of hope that it's protagonist Michelle was starting to become a little bit less of a caricature, issue #4 reversed course and doubled down on the angry wronged woman with a taste for blood and vengeance of it all, then went heavy on those tired cliches.
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The whole event just seems unfinished and undercooked, and ends without any answers or direction. It's disappointing.
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Even reading the issue three times I'm still not sure I could tell you what was going on other than something that feels like the comic equivalent of throwing every random idea at the wall and letting it all just slide down and calling that the story. It's just very weird. -
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It's tedious, heavy-handed, weird, and has a muddled message about misogyny and patriarchy to boot. The art, however, is glorious.
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Everything here feels both overwrought and under developed to the point that readers might actually find themselves hoping Superman loses just to put him"and this run"out of its misery.
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This issue, like the series thus far, has been little more than an unnecessary mess that does a disservice to the characters and the talent involved.
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Maybe if you're reading it just for fun, there's redeeming value, but when these two characters deserve more substantial adventures, this is just not it.
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Overstuffed with far too many words"dialogue, narration, all of it"and further burdened by art that is disproportionate and poorly executed, Batman #86 drowns in its own failed attempts to imitate better works resulting in unrelenting mediocrity.
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This issue feels very much like they've just taken literal years of Batman development and thrown them in the garbage to push through a half-baked idea of pure, rushed, nonsensical ridiculousness.
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This issue, and rapidly this whole title, is just not worth the read.
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Every issue of Batman/Catwoman has somehow managed to get worse than the one before it, but this week's Batman/Catwoman #7 is spectacularly awful.
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If I'm being honest, I have no idea what is even going on in this title anymore - and I don't want to.
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Story wise, the plot makes no real sense either, and there's a very juvenile quality to the writing that, when paired with Cizmesija's art, feels so rough you'd guess this was a poorly done draft if you didn't know it was a fully finished piece. This is all just extremely disappointing.
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This comicand the whole eventfeels like a really bad Mad Lib. In fact, it might have been better of being a Mad Lib. Thank gods it's over.
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Everything here is just a disappointment which is unfortunate because Jason Todd is a character with great potential that deserves vastly better
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It's flat, it's predictable, and it's boring, leaving readers with no real investment or no real reward for opening up the issue.
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Future State: Gotham continues to disappoint, which is really sad considering that the creative team is certainly capable of better work and there are even moments within this very series that prove that. Future State: Gotham #15 suffers from many of the same issues that previous installments have, though somehow they all seem distilled here.
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There really isn't any way to say this softly. Future State: Gotham is terrible.
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There's nothing to like here, which is really unfortunate considering how much fun the rest of this book has been lately.
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The real threat that seemed so promising before feels too much like it was forgotten and by the time the arc ends, it's all so unsatisfying and lackluster that you can't help but wonder what the point was at all.
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I'm not entirely certain what was the driving force behind making Harley Quinn a weekly title, but I think it's a situation of diminishing returns.
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The best thing I can say about Harley Quinn 2022 Annual is that it concludes the "Task Force XX" story arc. Beyond that, the same issues that have plagued that arc are present here.
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I said this last issue, and I will say it again: Harley Quinn deserves far better than this.
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Heroes in Crisis is now three issues in, and a few things have become clear: Tom King fundamentally does not understand Booster Gold as a character, and the story is going nowhere so efficiently that it's not clear what the story actually is.
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As a reader, I'm just left feeling like this was all a weak cash grab in a universe overstuffed with ill considered events in need of serious editorial rethinking.
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Much like the "Knight Terrors" event overall, Knight Terrors: Night's End #1 is a mess that ultimately was all spectacle and no sense with pieces of story sort of haphazardly strung together in an attempt to offer up some semblance of conclusion.
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There's sadly not much in Mall #1 to instill any real sense of attachment to the story. It may be a book about the end of the world, but whichever world ended doesn't really feel like our own, making this mall one you may not want to visit.
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Moon Girl and Devil Dinosaur #28 is worth reading if you're already invested in the series, but otherwise, this one is definitely a pass.
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Marvel has a long history of PSA comics, and this Moon Girl and Devil Dinosaur issue joins it. Unfortunately, there is zero subtlety to it with the issue practically screaming that smoking is bad.
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The same issues that have plagued Raven Daughter of Darkness for its entire run continue in #9. It is bogged down with exposition and the continued "mystery" of whether Baron Winters is on the up and up while Raven is tangled up in uneven portrayal -- the issue is overwhelmingly lackluster and unnecessarily tedious.
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There's only two issues left in this miserable run, but at this point we're no longer limping to the finish. We're all but dragging the corpse of what could have been a good series.
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In the end, Raven Daughter of Darkness is a clumsy, often dull, and mostly poorly executed story that was never quite sure what it really wanted to say.
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With the previous issue being nearly flawless, it was unlikely this week would reach that same height, but Red Hood Outlaw #28 might as well be taking place in an alternative universe.
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In short, the issue is a mess that might need more time focused on the story and interior art than the infinite number of variant covers that seem to be taking up all the air.
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I've hung on with this series thus far with the hope that we'd get back to some of the promise of the very first issue, but it seems like the longer this goes on, the more and more this whole thing gets phoned in. But hey, at least we can laugh at the knees.
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Overall, it's a bland and lackluster issue but when taken into context over the series"especially considering how promising the debut issue was a year ago"this is just disappointing.
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Supergirl #20 is the end of the run for the title, and given that it is a finale issue, one would expect the story to be about the Girl of Steel herself. However, that is far from the case.
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Supergirl is back, but maybe she shouldn't be. Last we saw her, she had worked to redeem herself in the eyes of the public and made the choice "to inspire and be inspired" and to build a brighter future. Unfortunately, Supergirl #21 seems to have forgotten all of that.
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Tim. It just doesn't work. Nothing in this issue works.
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Riley Rossmo's art just does not work for this title at all to the point of making the whole title nearly unreadable in how everyone seems juvenile in what should be a more mature tale.
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The whole comic feels and looks and reads as tired and honestly a little misogynistic.
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This whole thing is tired.
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For all of the battle and intrigue leading up to the conclusion of the "No Home For You Here" arc, Trinity #19 is a boring, long-winded, disappointment leading up to the least surprising reveal you could imagine.
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There is no kind way to say this: Trinity #20 is another disappointing, boring, poorly written issue of a once-promising title.
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Forced setup, superfluous fighting, the heroes seeming to be a little slow to figure things out -- it's starting to feel like the end of Trinity might already be here.
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A boring villain with a boring and ridiculous motivation combined with a too-easy conclusion is uninspired and a sad ending to what should have been a stellar book.
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All in all, it's a pretty boring issue, but what takes the issue from being passable to being borderline intolerable is the messy look of Roland Boschi's art. Boschi is a talented artist, but it just doesn't work this issue, which is particularly a letdown considering last issue was truly fantastic.
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Everything about this series to date has been uncomfortable but this issue goes beyond that to disrespectful for no real narrative value.
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