Dijjo Limas colors are, surprisingly, somewhat lackluster here. His previous work for Marvel has often been vibrant, but here he has gone for a more washed-out look. In fairness, this probably serves Villanovas style better than going with brighter colors, but in many places, the characters feel lighter than they should, especially in panels where theyre using their powers which Lima brightens to an almost neon degree. Those moments are more visually stimulating which unfortunately draws attention to how subdued the rest of the issue is.

A.X.E.: DEATH TO THE MUTANTS #2 is a largely compelling issue when it is focused on the Eternals society, their internal conflicts, and their ages-old struggle with the Deviants. It continues the story thread that began in A.X.E.: EVE OF JUDGMENT, tracking the Eternals with a level of detail that isnt present in any other series. Unfortunately its interaction with A.X.E.: JUDGMENT DAYs overall story is where the issue falls down. I had no idea why the Progenitor judges the way it does (it feels totally random). By the end I had lost interest in that story thread. We know the Progenitor won't destroy humanity. The compelling part of the story is the way people are judged and why. And thats a question Gillen doesnt answer in most cases.

A.X.E. DEATH TO THE MUTANTS #3 proves to be the best issue of the miniseries. The art has improved in quality along the way. The issue pays off the Machine's character development via its narration. And thanks to taking place after the Progenitor made his decision this issue avoids the event's major pitfall which was present in the previous issue: vague and seemingly contradictory judgments. The issue would be a little stronger with more time spent with the other Eternals. But overall this is a satisfying conclusion.

ARCADE KINGS #1 is relatively straightforward and ends with a lot of potential. This series is a fast paced, bright, somewhat larger than life comic and might not be for everyone. But its a fun, funny, and exciting read that deserves a look.

ARCADE KINGS #2 delivers unrelenting fun. Its a fighting game captured in still images on paper, and yet somehow no less exciting. Burnett and his creative team have made something unusual and unique with this comic. Its worth a look for the visuals alone.

BIRDS OF PREY #1 is an absolute winner as a first issue. Thompson lays out all the groundwork for why Dinah gathers the team and whos on it. Romero, Bellaire, and Cowles create a particularly distinct visual look for the series. This is a first issue that offers the possibility of an altogether different experience than almost every other team superhero book on the stands.

BLOOD STAINED TEETH #10 caps off a series that has had no equal. Nothing else charts a similar course visually. The writing is similarly complex. For instance, the general sense of discomfort Atticus evokes makes him more complex and compelling than any other lead character. Everyone should check out BLOOD STAINED TEETH.

This is a reasonably well done issue for what it is. Though it might be possible for new readers to use the CAPTAIN AMERICA AND THE WINTER SOLDIER SPECIAL #1 as a jumping on point, it reads like an enhancement to the ongoing story in CAPTAIN AMERICA: SENTINEL OF LIBERTY. In that way the narrative is quite effective and further enhanced with high quality art.

DEADLY NEIGHBORHOOD SPIDER-MAN #2 exists in its own world in a way. Its still inside regular continuity. But it feels is completely different from the other Spider-Man books being published now. It feels fresh. But the creative team hasnt had to go beyond the confines of what makes Peter work. Even as it goes to places Spider-Man doesnt usually find himself in, the focus is always on the character so it retains that smaller, more personal quality that makes Peter and Spider-Man work.

DEADLY NEIGHBORHOOD SPIDER-MAN #4 pushes the series further into horror than its been and somehow it still feels like a Spider-Man comic. That is largely due to Taboo & B. Earl fully capturing Peter Parkers voice even while placing him into progressively more disturbing situations. With this issue the series remains the freshest, most creative Spider-Man book on the shelves.

This a captivating, energetic first issue, moving at an unstoppable clip even in its slow moments. Bucky is an engaging characteralmost too gruff to be likable but clever and introspective. The mystery is slow developing and compelling. Deer Editor #1 is a must buy for everyone who loves a hard boiled mystery. Deer Editor #1 is available to order until Monday, December 11 and arrives in your local comic shop on January 10, 2024.

The issue includes some nice dream sequences depicted largely in grayscale with hints of accent colors. Given how vibrant the rest of the issue is, this is good work from Kotian and Grundetjern to set them so very much apart from the rest of the issue and emphasize their importance.

JOE FIXIT #1 is a lean issue where the narrative is concerneda quarter of it is basic Joe Fixit exposition and almost half of it is a fight. But appreciation and for the character is ultimately driving the series. As a result the first issue doesn't need to be more than simply a fun read to be effective. And in that regard it succeeds.

Final ThoughtsMINOR THREATS #1 begins simply. When Oswalt and Blum introduce the social commentary we've had plenty of time to get to know Frankie which makes the commentary all the more effective. The point of the story is not the heroes' behavior and their excesses in the wake of The Stickman's actions. Instead, this is Frankies story, and we see the commentary through her experiences. The comic never sacrifices story for message, and as a result it makes for a compelling and fun narrative.

But most interesting visually is Shalveys use of color. The intercutting scenes make use of different palettes, with one time period depicted in bright colors and the other faded and more monochromatic. I dont know if Shalvey intended it, but the way the issue leans into the usual color choices of this particular storytelling convention provides a nice clue to what is really going on.

PARASOMNIA: THE DREAMING GOD #1 is a high concept comic not unlike the issues that preceded it, and like those issues it benefits from multiple readings. The greater the interest in these concepts, the more likely a reader is to want to continue the series. And certainly Muttis art helps as it contributes to the immersion. The visuals are definitely a key selling point that elevates the book.. Nevertheless it's hard to care about characters we know little about which makes it difficult to stay interested in them.

The ongoing conflict between Pearl and Mr. Miike was the principal downside to the previous issue. Their interactions had reached a level of repetition that was less engaging. Resolving this conflict in PEARL #4s early pages gives the issue extra life by letting it focus almost entirely on Pearl and RIck. It also added surprise to the final page that a reappearance of Mr. Miike wouldnt have provided it. And from a visual standpoint, in a series like PEARL which uses minimal dialogue, the ability to so skillfully use color to further convey character development and plot progression is a valuable tool. Overall this issue, despite being the most lowkey, is the best of the current run.

PLUSH is a series that almost certainly isnt getting the attention it deserves. Its a fun comic to be sure with a darkly comedic premise. But as PLUSH #3 shows, there is a lot more going on here. The furry costumes and the cannibalism probably gets the reader to open the book, but once they do theyll discover a funny, fresh, and surprisingly smart series.

There is something to nitpick here. Its somewhat unbelievable that the two women could clean this garden area in one day. Among the garbage strewn in it is a rusted-out truck with no tires and weeds growing out of its engine. I dont know how much of the detail of the gardens original state was dictated by Willow and how much was created by Takara, but it makes what is essentially a montage sequence of yardwork feel a little silly. That said, its a very minor complaint and there is a good narrative reason for Ivy to not stick around beyond a single day of work.

In issue after issue POISON IVY has delivered a fascinating character study of someone committing terrible actions because they are motivated by a great cause. What Ivy is doing is beyond horrible on every level but she remains captivating because she recognizes how inhumane it is despite deeming it absolutely necessary, In POISON IVY #4, the strongest to date, she is forced to confront those two competing convictions in the most powerful way yet, and its hard to find fault with any part of Willow, Takara and Priantos presentation.

POISON IVYs strength to this point has been in presenting character vignettes that link together to form a larger, ongoing narrative. Each issue presented insightful interactions with other people even as Ivy intends to kill off most if not all of them. POISON IVY #5 breaks that pattern. Ivy doesnt spend any enlightening time with other people. The issue is not self-contained. As noted, this is obviously setting up the end of the arc. Unfortunately giving into that necessity results in the weakest story to this point. But the art, even more, interesting than previous issues, more than makes up for it.

Final ThoughtsPOISON IVY #7 is carried largely on promise, but that doesnt make it a bad comic. The story remains compelling, and Ivy seems to have gone through genuine character growth. The revelation in the final page also adds surprising stakes. I look forward to reading this new arc.

POISON IVY #10 suffers somewhat from Janets presence. There are possibilities for her going forward depending on how Willow further crafts the story. But in this issue she doesnt add much more than a cheerleader quality. That said, a weak issue of this series is still high quality and shouldnt be missed.

POISON IVY #11 recaptures the energy from the series first six issues. This isnt a criticism of recent issues. But Ivy using these other women to help her agenda, gaining a new ability, and facing consequences to her actions is a reminder of the complexity that Wilson introduced in the series first arc and that hasnt been quite as prevalent since.

POISON IVY #12 wraps up the series second arc on a very strong note. Wilson successfully ties it into the first arc. By doing so, she lays the foundation for what could be a series where characters actions truly matter and will impact stories down the road. A new arc begins in the next issue, and its worth checking out by anyone who hasnt yet sampled the series.

Readers who perhaps avoided POISON IVY because they didnt get onboard with the series in the beginning should give this issue a look. For all intents and purposes, POISON IVY #13 is a new first issue. But its also not limited by that fact. And while this issue does have a rough patch or two, this series floor is still higher than many other series ceilings.

POISON IVY #14 advances the newest storylines that started developing once Ivy returned to Gotham. Setting Ivy up in an investigative role rather than the direct advancement of the story is a compelling new angle. But most interesting is Wilsons advancement of the series characters, something that will continue to keep the series fresh.

POISON IVY #16 is a novel issue. Real world Ivy narrates, but is otherwise out of the issue. Meanwhile Ivy from the dream sequence is particularly menacing. And all the while, the aftermath of Ivy's actions are on display. Meanwhile, getting to know Chuck in advance of whatever is coming makes the reader sympathize. It's a good start to a new story arc.

There have been very few missteps in POISON IVY. To be sure, there are comparatively weaker issues. But POISON IVY #17 is the first one that doesnt work on multiple levels. If it didnt appear to be key to the ongoing story arc, it would be worth skipping.

PREDATOR #1 isnt revolutionary. It does upend expectations about how a PREDATOR story is supposed to work, but it never pushes the bounds of the universe it exists in. Even so, the twist is good enough to set the new series apart. It leaves me with more curiosity than I might not otherwise have. When the name PREDATOR is attached to a movie or book or comic, the mind conjures up an image of what that story is going to be about. This issue does defy that expectation but not in a way that feels truly surprising.

The issue quickly tempers the brief emotional outburst, though, and sends Theta off in search of materials needed to fix her ship. This is where PREDATOR #2s focus on desperation comes in. She has too far to go in a freezing cold environment and not enough rations to last her. But Theta is obviously not going to die in the second issue of her series, so she must encounter unexpected circumstances that can boost her chances. These two scenes are recognizable from just about every wilderness survival story there is. One sequence, though, does impart an additional piece of character growth as Brisson shows us what Theta is willing to do to accomplish her self-imposed mission. But mainly this sequence reinforces what we already saw in PREDATOR #1.

On first blush the new PUNISHER series seems to be returning to the original concept behind the character. It's not complicated, and that makes for a story and character that are easy to get into. The art is the perfect tone setter for the story Pepose is telling. As an issue designed to introduce a new series with a new protagonist, PUNISHER #1 is effective and holds a lot of potential.

ROGUE & GAMBIT #1 is a strong opening for the series. It acknowledges that we havent spent much time with these two characters together in a long time and turns that into a story component rather than just assuming a status quo akin to the end of MR. AND MRS. X and rushing into the plot with a perfectly happy couple. Fans of these characters can go into this book eagerly and be satisfied. And readers who generally like some nice character drama should consider giving this a shot as well.

Most fun visually in the issue, though, is Angulos colors and its a result of subtraction rather than addition. ROGUE SUN has been a series of vibrant colors since the first page.  Its bright when nothing is happening, and its even brighter when Dylan and company are throwing powers around. Angulo keeps that trend going in this issue. So, midway through the issue when Dylans interactions with Ornate take place in front of a completely gray background, we feel the importance of the moment because Rogue Sun and Ornate jump off the page.

ROGUE SUN #8 continues the series focus on Dylans growth. There are a lot of comic series about teenagers who gain powers and learn how to be heroes. But Parrot adds an extra dimension to that premise, keeping Dylans heroic journey tied to his journey as a teenager. You dont get one without the other in this series, and that continues to make ROGUE SUN one of the best series about a young hero on the shelves.

Final ThoughtsParrot, Renna, Marques, and Carey deliver another strong issue in ROGUE SUN #9. Seeing Dylan brought low in the manner that he is here is a new storytelling dimension. Its the kind of development to build on an already strong run and keep the series fresh.

ROGUE SUN #10 is the first issue that doesnt feel like a metaphor for a teenagers life. Instead it comes across as a commentary on Dylans life and what it seems to be missing. Hes advancing as Rogue Sun. He has more significant interactions as Rogue Sun. And when he expresses his confusion, he has someone to reassure him in the form of Caleb. The series continues to be the best and most heartfelt teenager superhero story on the shelf.

I probably sound like a cheerleader for this series every month, but the book usually deserves it. Parrotts tells a story on two levels that at times reinforce each other and at other times diverge. It proves consistently compelling. The series has also consistently developed Dylan as a character. At no point has he tread water. ROGUE SUN #11 sets the stage for a possible collision of the two sides of Dylans life. Parrott's writing and the art team's work makes this particularly effective.

ROGUE SUN #12 is an exciting issue. It hits the ground running and doesnt let up until the end. It also delivers the series biggest shocks to dateboth in how the fight unfolds and in the ultimate consequences to Dylan. ROGUE SUN has yet to disappoint, and this issues cliffhanger will make it impossible not to buy the next issue.

ROGUE SUN #13 is a quiet issue as far as this series goes. Much of it is Dylans disembodied conflict with Caleb which provides for good dialogue exchanges and interesting reactions from Dylan but cant really advance further than that (at least until the issues later pages). But the issue does set the stage for Dylan to discover things about himself which can only fuel good stories going forward.

ROGUE SUN #14 does a lot of things right. Its abrupt change in priorities for Caleb isnt one of them unfortunately. It steals some of the thunder from the basic need of Dylan getting his body back which is the chief conflict coming into the issue. In a series that sees strong showings issue after issue, this is one that isnt quite up to standard.

Calebs ongoing villainous turn remains the weakest part of recent issues including this one. ROGUE SUNs strengths as a series are the personal interactions and Dylans personal growth. Those are on display here between Dylan, Marcus, and Owen and between Aurie and Dylans stepmother. These moments, as well as the visuals, are when ROGUE SUN #15 is at its best.

Final ThoughtsSAVAGE AVENGERS #8 is the latest issue in a series that delivers fun and compelling stories every month. The story balances character and action expertly while the art team realizes events that stop just short of delivering a gut punch. The one reservation I have is that this issue raises the stakes so high that a satisfying conclusion could be hard to achieve. But in any case, its the most incredible ending in the series so far. And for a series that never pulls punches–that's saying something.

SAVAGE AVENGERS #9 has the unfortunate distinction of following up the most intense and shocking issue of a consistently high quality series. But being a relatively quieter and somewhat more predictable issue isnt a letdown. The slightly less intense pace also allows for greater anticipation ahead of the promised endgame. And this issue still lives up to the overall standard the series has set.

SAVAGE AVENGERS #10 is emblematic of what has made this series stand out. The creative teams efforts are so cohesive that its impossible to imagine anyone else doing the work. It has again found new ways to excite, surprise, and engage the reader. And what is most special to meI have gone on a journey with a group of characters, shared their highs and lows, and seen their stories successfully resolved so that now, at the end, Im very happy to have spent my time with them. And I hope to see them again.

SCARLET WITCH #1 is a promising first issue. Its light on character development, but that isnt a huge drawback. There are enough character moments to drive curiosity in future issues, and it avoids continuity messiness that is as likely to turn readers off as it is to engage them. What really drives the series potential is the concept of the Last Door. Making it untethered from specific corners of the Marvel universe (magic, mutants, cosmic, etc.) keeps storytelling possibilities remain wide open. The series only real limit is how imaginative Orlando can be when it comes to the characters stepping through that door.

SCARLET WITCH #2 continues to re-establish Wanda as a fully realized character in her own right, jettisoning much of her difficult history. The way Wanda defeats Dreamscape is representative of that. The issue also shows off how individual stories with random people coming through the Last Door can further inform Wanda. Orlando can use these one-off plots to reveal nuances about Wandas character via how she responds to those shes helping. This is another very successful issue in a fledgling and compelling new series.

SCARLET WITCH #5 is an action packed issue. Its exciting and high energy throughout. Orlando still finds time to deliver strong character interaction. This series strength is in heartfelt character exploration, and its relieving to see that Orlando can deliver that even in a heavy action issue. As long as that balance is maintained this will remain one of Marvel's best books.

The Last Door concept allows Wandas story to be limited solely by Orlandos imagination. SCARLET WITCH #6 is the most ambitious use of the idea yet. Unfortunately, going larger in concept diminished what the series does best and the result is a weaker issue than the series usually delivers.

After a larger stakes incident in the previous issue, the series returns to what it does besttell stories that both reflect and are reflected by Wandas personal journey. SCARLET WITCH #7 proves to be an effective blend of introspection and humor.

This is an absolutely charming issue. The plot elements are secondary (and feel somewhat insubstantial) compared to the interaction between Loki and Wanda. SCARLET WITCH #8 showcases the series strength in character exploration. It is an outstanding issue and wonderful for new readers to check out.

SCARLET WITCH #9 is a fine issue. It advances multiple plot threads, and delivers amusing sequences along the way. At times it feels two-dimensional, though for the most part it stays fun. But of the issues in SCARLET WITCH to this point, this isnt the best one to highlight as an example of what the series can do.

Though SCARLET WITCH leaned more into plot than character in the immediate run up to this issue, Orlando balances both elements here and hits the kind of emotional beats that made the series successful. SCARLET WITCH #10 ties everything together and sends the series out on a high note.

Though branded as part of the upcoming Contest of Chaos, SCARLET WITCH ANNUAL #1 is largely self-contained and as a result reflects the same high quality as the rest of the series. So far, SCARLET WITCH cant miss.

Luckert must also be singled out for his depiction of the married couple in the first story. The subtext of their deteriorating marriage is communicated entirely through the art before a single line of dialogue even hints toward it.

STAR TREK #4 continues something that is becoming easy to take for granted: the more than successful blending of subtle character arcs, larger philosophy, and sci-fi wonder into a strong and compelling story. Trek is always at its best when it does this very thing, and so far the creative team on this STAR TREK hasnt missed.

STAR TREK #5 is the strongest issue yet, Alexanders clumsy appearance notwithstanding. Loughridges coloring choices continue to impress as he takes advantage of the possibilities this story and setting offer. Rosanas and Tamayo close up strong character work and exciting space action with equal skill. And the writing for both large scale plot twists and small scale character conflicts will serve to keep readers on their toes.

STAR TREK #6 is another strong issue in a consistently strong series. Kelly and Lanzing's script again balances action and character emotion. In this case they weave them together to work symbiotically to advance the plot. The full creative team's efforts continue to elevate every issue. This is the strongest that Star Trek comics have been in a long time.

Final ThoughtsAfter six issues of almost nonstop high stakes action, STAR TREK #7 is a fun change of pace. It provides a nice opportunity to let recent events breathe. The storys new direction opens up a lot of possibilities for the future. And the character vignettes are particularly compelling, especially for Sisko whose almost religious fervor finally breaks.

STAR TREK #10 is a culmination of story and theme that, alongside very good art, creates the best issue the series has delivered to date. Its both exciting and contemplative. It makes for an excellent lead-in to the Day of Blood crossover.

Day of Blood hits its middle issue here, and its a good onenot just exciting, but also introspective. The crossover continues to improve with each entry, and this one shores up the few criticisms from past issues. STAR TREK #11 delivers a fun and intelligent sci-fi adventure as only Star Trek can.

Final ThoughtsThere is something about having a dog on Deep Space Nine that is both alien and fulfilling. The show was frequently a dark one, and something as joy-giving as a dog and a holographic dog park at first seems out of place. But it adds such a new flavor to the setting and the characters that the Borg plot almost seems unnecessary. But whether reading the issue for Latinum or the Borg, STAR TREK DEEP SPACE NINE: THE DOG OF WAR #1 is a start to what looks to be a fun Star Trek outing.

At first blush it looks like this series shouldnt work. The two plotlines, one featuring Quarks newfound love for a dog and the other the hope that Borg technology can help win a war, sound too at odds to combine cleanly. But STAR TREK DEEP SPACE NINE #3 successfully merges them, setting the stage for a fun and exciting conclusion.

Final ThoughtsThe opening pages with their difficult introduction to the series premise results in an overall uneven first issue. That said, STAR TREK DEFIANT #1 offers a great deal of potential. Cantwell has peppered in a number of small details, of which any or all could lead to future story arcs. When it comes to the art, though, the issue is a runaway success and establishes a distinct feel from the start. Readers currently enjoying the new STAR TREK series should definitely pick this up. This series doesnt get off to quite as smooth a start as its parent. But its still worth it to experience this very separate side to the same story.

Not having to include as much exposition gives Cantwell more room for character interaction and development. Aside from questions about Lore, everyone in the issue is immediately believable. Ro and Belanna are definitely a highlight. The art team continues to develop this world as well, reinforcing its separation from the series that spawned it. STAR TREK DEFIANT #2 is a strong issue that builds on and improves from the foundation built in the first issue.

STAR TREK DEFIANT #3 is the most energetic issue yet and the most narratively creative. Cantwells use of the Neeva/Xaucus story adds weight that this issue would not otherwise have and creates a sense of foreboding. The issues relatively minor missteps arent big problems, but they are distracting. However, while this is the weakest of the current STAR TREK series, STAR TREK DEFIANT remains a compelling read.

The art stays strong in this issue. And most importantly, the writing hits all the right notesboth plot and character wise, and avoids even minor criticisms. After three previous entries, STAR TREK DEFIANT #4 is the series first showcase issue.

The Day of Blood crossover is an intense story. It hasnt let up at any since the first page. This issue balances the storys action and fast pace with a lot of dialogue. It features a few significant exchanges such as the one between Sisko and Worf. STAR TREK DEFIANT #6 is the series best issue to date.

Day of Blood started off shaky in a few aspects, but with each issue the crossover has improved in quality. Its a fair question whether the final issue can live up to what precedes. But thats for another time. STAR TREK DEFIANT #7 is a gripping and energetic penultimate issue.

STAR TREK: HOLO-WEEN #2 is a fun issue even if not particularly deep. Readers hungry for Star Trek comics in a general sense will enjoy it. Those who prefer solely serious stories may not be as interested. But the issue is fairly successful at what it sets out to do.

Perhaps most surprising is that the lack of movement doesnt detract from the art whatsoever. The television series is high energy, even in the quieter moments. That energy is a big component of grabbing the viewer from the start and never letting go. Replicating that in still images presents a challenge, but its one Fenoglio is more than capable of meeting. The issue doesn't lose that energy in transition.

STAR TREK LOWER DECKS #3 is a funny, at times hilarious, comic book. The whole series has been. And it would be a fun enough comic if thats all it was. Instead North and Fenoglio tell a story that uses the humor of Star Trek Lower Decks to get at the heart and soul of what Star Trek is all about, and I can think of no higher praise for an adaptation of this television and movie franchise.

STARHENGE BOOK ONE #2 is a comic that really wants you to roll up your sleeves and fully engage with it. In that way, it feels like its building a grand epic rather than just telling a long story. And the world always benefits from new grand epics.

STARHENGE BOOK ONE #3 is the latest outstanding issue in a series that is among the most creative I have read in recent years. Sharp was not afraid to appeal to his readers' intelligence in the first two issues. They relied on readers' curiosity, willingness to fully engage with a new and detailed world, and patience for the story to lay its foundation. This issue begins to pay it off. It commands the same level of attention while being less dense and faster paced. The book is an elegant turn from exposition to plot advancement.

The art on these opening pages conveys a power that no amount of narration can. Ambers report of what happened carries weight entirely because we got to see it in all its glory.

I'm not sure that I know what I expected from STARHENGE BOOK ONE #6. I wasn't expecting something that would serve as an end. But I'm also not sure I was expecting such major character revelations. The idea that Arthurs death destroyed future magic intrigues me since in our own history and lore, Arthur did die. It provokes many questions about where the story might go. But while I do find this issue to be somewhat less effective narratively, the art is more impressive than any issue to this point. In short another winner. And I eagerly await the next issue.

THE DEADLIEST BOUQUET #1 is the perfect start to a mystery story. It asks several questions as a jumping-off point for the story. And it provides an answer or two to tantalize the reader with breadcrumbs and make them eager to know more. The three sisters command attention every time the issue focuses on them. Unfortunately, that strength of character also means that the few pages and panels without them feel less energetic. The first issue's strengths outweigh its weaknesses, though, so fans of murder mysteries will be easily drawn to THE DEADLIEST BOUQUET #1.

Borellis art is solid once again, andas with Contrerass colorsit shines especially bright in the flashback sequences. The sisters emote more and possess softer shells than in the present. This makes sense now that we know what we know. And the sequence with the sisters parents is especially intense.

Final ThoughtsTHE DEADLIEST BOUQUET #4 raises the emotional stakes to the point that its very unclear how the story will shake it. To an extent its unclear whether the sisters will even come down on the same side. In the end Schultz does an excellent job raising the stakes and priming the reader for the final issue.

THE DEADLIEST BOUQUET set out to tell a murder mystery that was a vehicle to explore the relationship between three sisters raised into a dysfunctional relationship. The fact that the victim was their mother proved to be the perfect catalyst. This issue wraps it up very well. It's not quite perfect, but it delivers a surprising and effective resolution that is more than satisfying.

The creative team isnt subtle here, but it lets them quickly establish the main characters abilities (and in Santiago Vieris case, some of his weaknesses) while never slowing the story's advance. The violence is extreme and builds up the stakes for future issues. THE DEVIL THAT WEARS MY FACE #2 is a fast accelerating chapter in an ever more disturbing horror story.

THE LEAST WE CAN DO #1 is largely carried by the visuals. The narrative tells us very little about Uriel, but Romboli's art makes her enthusiasm contagious. This goes a long way toward drawing the reader in. It also helps the narrative which, despite the somewhat heavy-handed delivery of exposition, effectively depicts a dangerous and oppressed world while somehow maintaining an almost light-hearted flair thanks to its depiction of Uriel. This is Zanfardino's chief success. Unfortunately, Uriel's actual story is barebones at best, and the extent to which THE LEAST WE CAN DO #1 is interesting is the result of whether or not the reader connects with its world.

Fitzmartin does a good job weaving together Tim's personal life and his life as Robin in a way that assuages my worries over whether the character would have any real identity. That said, the overall character arc of self-discovery seems out of place. Even so, the writing is the strong point of TIM DRAKE: ROBIN #1 thanks to Rossmo's style ultimately proving distracting.

Readers familiar with Taylor will find the issues story beats and themes recognizable. This issue isnt particularly deep. But it is a good introduction to the team, their mission statement, and the first arc. The art uplifts the book considerably. And while TITANS #1 isnt an exceptional first issue, it does offer a lot of potential for the future.