Suffice it to say that introducing your main character in a scene that derides your audience with an ugly stereotype seems like a bad way to win that audience over. Perhaps if the remainder of 3Keys #1 was more impressive I might have moved off that scene. But the issue never recovered, and I cant find enough positive qualities to recommend it.

A Vicious Circle #1 has at its core a compelling idea, not just in the time travel mechanism as a stand alone concept but in how it shackles the two characters together. Unfortunately Tomlin doesnt really turn the compelling idea into a compelling narrative. By the time the issue ended I had lost all interest in the story. Ultimately the issues saving grace is the art. Bermejos work will bring me back for the second issue.

The virtue of Absolute Power Task Force VII is that every issue features a character centric story while delivering excitement and possibly key plot points. They also raise questions about the Amazos. Absolute Power Task Force VII #3 isnt the most exciting issue in the series, but its look inside an Amazos head is the best yet.

Absolute Power: Task Force VII continues to impressthough its fair to say that this is the least compelling issue so far because Failsafe doesnt prove as interesting as the Amazos. But as was the case with the first three issues, this one also feels essential to the larger Absolute Power storyline. But the focus on Nightwing in Absolute Power Task Force VII #4 is effective, subverting expectations for his typically strong leadership.

This comic defies expectations. Though the idea of Burke surviving was already an intriguing one, grounding it in events that did happen in the movie rather than changing them significantly made it more compelling from the jump. It reads less like a What If? and more like a spin-off which is to its credit. In the pantheon of Marvels Alien titles, What It? Aliens #1 might be the most promising first issue theyve released yet.

Who is this for? was a reasonable question to ask about a series focused on a largely two-dimensional antagonist from Aliens. Was anyone clamoring to know more about the slimy Carter Burke and whether or not he survived? But the series has proved surprisingly engaging. This largely owes to the creative teams ability to fully realize Burke as a complex individual. What If? Aliens #2 does a lot of the heavy lifting to make that happen, proving to be a compelling, character oriented issue.

The strange humor that results from Burkes behavior in What If? Aliens #3 sets the story apart from most of the franchise which is often deadly serious. Its a fun issue, but hopefully not a big lurch in this direction going forward.

What If? Aliens started in a dark, complicated place as it revealed how Burkes life unfolded after he survived his near death in Aliens. The darkness remains, but bit by bit the complexity has drained out of the series in favor of exasperated dark humor. Within that framework, What If? Aliens #4 succeeds as it sets up a shocking conclusion.

Antarctica #1 starts at Hannahs formative moment but then doesnt seem to know what to do with itself before the final pages and the twist ending. It spends a lot of time with a character that it tells us very little about. The art helps flesh Hannah out considerably. But in the end, the events of the last few pages, rather than the time spent with Hannah, are what make Antarctica #2 appealing.

Batman Beyond Neo Gothic proves with each issue to be a consistently strong series. At times its good without having standout moments. Thats not the case with Batman Beyond Neo Gothic #4 where the creative team delivers an in-depth character examination.

Batman Beyond Neo Gothic #1 is an effective first issue. The new setting is engaging, and the relatively small scale stakes create a more personal story. Terrys latest adventure is off to a good start.

Batman Beyond: Neo-Gothic #2 is an exciting, high energy issue thats strong on action. The entire creative ups their game. This is an issue that readers who arent reading Batman Beyond should check out.

Batman Beyond: Neo-Gothic #5 does its job effectively. It doesnt have the same depth in character exploration (though the Lumos scene is quite revealing), but it does what it has to as a penultimate issue: set up an high stakes finale.

This is a peculiar issue. It is well written, but its depiction of Mr. Freeze is not particularly interesting. This is due in large part to Duggans choice to spend relatively little time with him outside fight scenesand hardly any time telling the story from his point of view. Meanwhile the Robin arc is very well done and has the show dont tell quality that I expected for the titular character. In the end it is an issue with exceptional art but a mixed bag narrative.

Batman One Bad Day: Bane is a fascinating character study. Its a story about an old man (even if Bane is not old in years) who sees his life as a failure even though he did something incomparable. Williamson, Porter, and Morey have taken a villain who did what none had done before him and turned him into a broken individual withering in the light of his own success.

In a series of character examination one-shots, Ras al Ghuls should stand out. He has watched centuries pass. His goals, as he sees them, are noble. His ambitions are on a scale far beyond anything Batmans other main antagonists are capable of. And his relationship to Batman is frequently conflicted. Unfortunately none of that rich tapestry is put to use in this issue. Aside from the ending, which is only made possible because these one-shots dont strictly fit in continuity, Batman One Bad Day Ras Al Ghul #1 offers little more than what might be found in a story arc in one of Batmans ongoing series.

Almost all of us have met a person like Claysomeone who turns out to be fake and self-centered. Granted, most Clays arent shapeshifting murderers. Lanzing and Kellys choice to make Batman: One Bad Day - Clayface #1 not about the brilliance or power of a villain but the small inadequacies of a man make it the most human of the One Bad Day series. And its that easy ability to connect to Clayface and his story, made even more possible thanks to very good art, that makes it an overwhelming success.

The story in Batman One Bad Day: Two-Face #1 is in some ways immaterial. Indeed, attentive readers will likely clue in on the perpetrator long before they are revealed. But what truly matters is the examination of Two-Faces duality and how it might reflect the duality that is inherent in us all. It is a distinctly Two-Face comic and an exceptional one at that.

This is not a deep character examination of Penguin. We don't learn anything new about him, nor is there some fresh take on what we do know. But it's a fun story that makes us want to root for Oswald all the way through.

Beyond the Pale starts slow. Its in no rush to get to the horrorcertainly not at the expense of getting to know Hetta, the other characters, and the setting. Even so, Beyond the Pale #1 is a taut first issue full of tension and anticipation, and its a first issue thats worth a look by horror fans.

Blink #2 is an all-around disturbing psychological horror experience. Every part of this comic contributes to the constantly building tension and fear. At no point does the issue put all its cards on the table, instead leaving much of whats going on to the imagination. It is crafted to get deep inside our head and let the worst things we can imagine run wild, and it succeeds wildly.

Backmatter should not better explain a series first issue than the issue itself. Unfortunately thats what happens here. The underlying premise has potential, but very little of that shows in the story itself. Its very likely that Blood Squad Seven #1 will live or die based on how interesting readers find that backmatter.

The mystery running through Blow Away works particularly well because its so vague. What did Brynne see? Was it a murder? And if it was, which climber committed it? Blow Away #2 furthers the unconventional detective story by adding intrigue and confusion.

Thompson methodically tracked Brynnes thinking process over the first two issues, making her turn toward a more obsessed frame of mind easy to follow. And yet her actions are still surprising and extreme. Blow Away #3 successfully moves the series into a more intense, higher tension phase.

Blow Aways story grows in complexity with every issue as Thompson gets deeper into Brynnes head. This issue all but upends the storyline as Brynnes frame of mind threatens to throw everything into question. Blow Away #4 is a solid psychological thriller that drives heavy anticipation for the series final issue.

Graduation Days spirit continues here without interruption. This is an engaging comic that sets up what promises to be a fun series. Blue Beetle #1s entire creative team does what they did in that mini-series: contribute their talents into a final product that is far more than the sum of its parts.

Blue Beetle #3 is a shakier issue than any the series has delivered yet. Thats not a huge demerit. The series is reliably very high quality. But in delivering a largely A to B to C plot advancing issue, it doesnt carry as much punch.

Blue Beetles creative team has built a compelling world and character set. As a result, this is a charming issue. Its thoughtful at times and fun at times. It doesnt necessarily advance the plot but is likely essential to where the plot will go and how it will resolve. But more than anything, it is a superb example of something that should happen in action oriented superhero series. Blue Beetle #4 is a tight, character focused issue that is as good if not better than the action oriented issues that preceded it.

Blue Beetle #6 is largely an action spectacle. Its a fun read, though at this point in the story arc it isnt non stop excitement. Part of that is both the result of a few confused moments in the visual presentation, as well as the recent slower pace in the ongoing story arc. Fortunately the sudden conflict between Jaime and Khaji-Da does add new stakes and essentially refreshes the storyline.

One comic cant come close to capturing even the best of Keith Giffens work. Thankfully, this one doesnt try. The issue doesnt include references just because theyre recognizable, but because theyre also logical for its needs. Giffen could blend compelling plots, emotional characters, and absurdist humor with seeming effortlessness. In that way Blue Beetle #7 tries to be as much a tribute to what Giffen made as it does to how well he made it.

Blue Beetle #9 largely transitions the series into new storylines. It wraps up old character arcs and leaves open the door for new ones. The creative teams handling of Victoria, especially, showcases the series strength in developing and paying off character arcs. Its also a reminder of how the collaboration between these creators is integral to every issue.

Gutirrez more than delivers on Blue Beetles biggest action set piece to date and turns out a fun, visually exciting issue. But more than that, Blue Beetle #10 provides unexpected but very welcome emotional closure. This is a showcase issue for everything that makes Blue Beetle exceptional.

Blue Beetle Graduation Day #2 is a comic that will make you smile. A bigger story is coming (the end of the issue is a good cliffhanger) but that doesnt mean it cant be a fun comic with an easy to relate to character who wants to have a good time during the summer. In fact, as someone generally unfamiliar with the character, thats made getting into this book very easy. If you missed the first issuedont miss this one. You wont regret it.

The creative team for the series has outdone themselves on Blue Beetle Graduation Day #3. Its a visually stunning issue that will captivate through its art alone. And Trujillos story gives the series title new meaning with Starfires decision to mentor Jaime. Its a fun, clever comic that you shouldnt miss.

Blue Beetle Graduation Day #4 delivers the fun once again. The Jaime character story is compelling, but so far Trujillo has kept it relatively light as he builds toward a potentially explosive ending. With this issue the series continues to be a visual feast as well. Indeed, Im having a lot of fun with Trujillos story but I also have no problem just staring at Gutirrez and Quintanas rich pages. If youre looking for a fun comic, this should be on your pull list.

Blue Beetle Graduation Day is one of those series where its obvious how integral every member of the creative team is to the books success. As a result the series becomes more than the sum of its parts. Blue Beetle Graduation Day #5 is the most shining example yet. Its hard to imagine this book being done in any other way by any other team, and it once again outshines the competition.

Blue Beetle Graduation Day is a series that feels like it matters. Characters in superhero comics are almost trapped in ambertheir evolution is slow and limited. But by the end of Blue Beetle Graduation Day #6, there is the sense that the creative team has delivered a story that will stay important for Jaimes development going forwardthe point at which he grew up. Or, in this case, graduated.

Canary #1 provides everything you want in a horror comic. The creative team delivers a lived-in setting without a need for excessive exposition. The characters are captivating, even those that appear briefly. The horror elements are on a very slow burn, creating a great deal of tension, and the disturbing elements promise yet more. It will be hard for the rest of the series to live up to the first issues standards. But for now this is a must buy, especially for horror fans.

Canary #3 is an effective and exciting conclusion for a slow burn horror story. The issue doesnt abandon the series larger sensibilities, but it moves with a great deal more urgency. As a horror series, Canarys quality writing balances mood with the right amount of monster action. Panosian delivers just enough gore to drive home the characters terror and the danger theyre in. Horror fans who missed Canary need to go back and take a look from the beginning.

Zdarskys exploitation of Matts established history as a Catholic who is a real believer even if not an actively practicing one adds an extra dimension to a philosophical discussion. If not for that, it might be easy for a character to dismiss Goldys claims. Matt doesnt really have that luxury. And in a certain way this plays into a reveal in the final pages. Zdarsky ultimately leaves Matts reaction to what Goldy tells him somewhat open-ended which makes Daredevil #2 a very compelling presentation of this theme. It makes for an exceptionally strong character story that highlights Zdarsky as an ideal writer for Matt Murdock.

Theres a lot to like about Daredevil #3. It is a very strong issue in most respects but definitely the weakest for the first three. What deficiencies it has, though, are not enough to prevent a fervent recommendation.

Daredevil #4 does what has to be done at some point in any story featuring a major transition: move from the old to the new. To his credit, Zdarsky has laid enough groundwork that the idea of the transition works well. Unfortunately the issue that has to make this leap isnt as successful. But given the strength of the previous issues, I expect this to be more of a blip caused by the demands of these particular plot points.

Daredevil #5 is really the first issue that feels like the promise of Zdarskys new direction is starting to be fulfilled.The goodbyes are said. The old love is in the rearview mirror. And the transition, handled somewhat clumsily in the previous issue, is over. Its another solid issue that keeps the new storyline fresh and interesting.

Daredevil #6 returns to the very strong character work from the first three issues that still took place in New York. Issues four and five both dealt with Matts transition to the leadership of the Fist (especially four). But both were more nuts and bolts plot oriented. And while this issue does significantly advance the plot via Elektras scenes, the strength of the issue is the character beats which are what has made the series compelling from the beginning.

Daredevil #7 continues a series trend where the more down to Earth, character oriented story elements are much stronger than the long developing Fist/Hand arc. As welcome as the opening page recap was for whats going on with the Punisher side of this story, I still found myself losing interest in these moments. This is another strong issue, but I would like to see Zdarsky find more balance in these two sides of Matts motivation.

There is an unfortunate been there, done that sense to the dominant themes continuing through this issue. And the underlying contradiction of Zdarskys themes (Matt believing that the existing justice system needs to be destroyed while remaining faithful to a religion that has rigid rules and punitive consequences) feels even more on display than usual. But on its own Daredevil #10 is largely effective with a fun story and exciting, high energy visuals.

Daredevil #11 is a step back up in narrative quality as this storyline comes to a close. The Iron Fist backup story is also fun and effective, though not at all connected to the main story. The main story ends on a note of equal parts desperation and foreboding.

Daredevil #12 continues to tie the series themes together as Zdarsky closes in on the end of his run. Anyone who doubted this runs effectiveness, as indeed these reviews did at one point, can be reassured by these last two issues.

With two Zdarsky-written issues left after last month, the natural thing would be to expect a two-part final battle against the Beast to rescue Matts friends and tie up what loose ends remain. Daredevil #13 proves to be an effective and surprising penultimate entry, and it leaves the final issues events even more up in the air.

A fight in hell between Matt Murdock and demons is hard to top. And the expectation going into this issue is that despite what we saw happen at the end of that fight, Zdarsky has to resolve it so the series can move on. But thats completely subverted here, and the issue goes for a thematic closure rather than a literal one. It succeeds. Daredevil #14 is a powerful and exceptional comicthe pinnacle of a short, but successful series.

The most recent Daredevil run received a lot of praise and could be a tough act to follow as a result. There might also be reader trepidation over whether the new run will continue where the previous left off or try for an immediate reset. None of that need be a concern. Daredevil #1 is a strong first issue that also feels like a natural extension of what came before.

Ahmed is playing a slow game with these first two Daredevil issues, leaving the plot on a slow burn while he concentrates on developing Matts character both as Daredevil and as a priest. Daredevil #2 is an outstanding example of how to use character development to further larger plots and themes.

The current Daredevil run is a high quality series that is starting to feel like its laying groundwork without getting anywhere. Daredevil #3 is the biggest transition issue yet. The series continues forward, but future potential remains its greatest selling point.

Dark Crisis: Young Justice #3 is the weakest issue of the series so far. Given where the story is at the end of the second issue, there is relatively little advancement until the final pages. The opening of the issue touches on intriguing themes of wish fulfillment and catharsis but devolves in quality quickly. Bart is the only character keeping up with the changing circumstances, and while Connors reluctance to face the nature of the situation is understandable, Tim feels a step behind for much of the issue because of his refusal to listen to Bart and failure to empathize with Connor. He feels a few steps behind what we know despite how obvious it is that they are being manipulated, and that creates a frustrating experience. Fortunately the mystery of what is happening to the trio remains intriguing, making up for the at times uneven character portrayals, and the art contributes to the strong Bart and Connor portrayals.

Dark Crisis: Young Justice #4 is a further drop in quality for the series. Baragas art remains consistently strong, and the traumatic events Fitzmartin is grounding the story in are ripe for exploration. But where Fitzmartin has interrogated these issues in a meaningful way with Cassie and Cissie, the quality with which she has handled the other characters both in overall story and in dialogue has dropped with each issue. In this issue specifically it may have been a mistake to attempt to hash out these deeply emotional issues in the middle of a fight.

This is a frustrating issue because the idea behind it is ambitious and carries with it a lot of potential. Unfortunately Fitzmartins ongoing stumbles with consistent character development in earlier issues undermines these efforts.

Dark Crisis: Young Justice has been a fairly weak series to this point, almost entirely because of Fitzmartins writing. But this issue is almost entirely a storytelling failure as Fitzmartin ignores most of the material she wrote in the previous five issues. Further, despite the series title, Dark Crisis: Young Justice #6 fails to establish any connection to the event its nominally involved in and, thanks to the unsatisfactory resolution, feels like a waste of time.

Deer Editor #1 is available to order until Monday, December 11 and arrives in your local comic shop on January 10, 2024.

This is probably not the kind of second issue readers envisioned when they finished Deer Editor #1. It makes a few unexpected creative choices, not least of which being the vampires. But the issue doesnt devolve into some kind of supernatural horror story. Nor does it turn into an ensemble story even as it pushes Dan front and center temporarily. Deer Editor #2 maintains its hard boiled sensibilities while looking to surprise its readers.

Comic books do many things. They entertain. They inform. They explore real world topics both directly and through metaphor. And some comic books speak to the fundamentals of life and humanity, inviting reflection. Doom #1 is an essential must-read that reminds everyone to rage.

Drawing Blood as a series operates on a few levels. Theres the likelihood that some of it is autobiographical. Additionally, parts of it can be read as a commentary (if not critique) on the comic book to mass media pipeline that was in its infancy when Eastman was connected to Teenage Mutant Ninja Turtles and is now a giant cash cow. But mostly Drawing Blood #2 is a fun read with a creative yet dysfunctional main character that can draw tears and laughs.

As a tie-in to A.X.E. Judgment Day, Fantastic Four #47 is hardly essential. The circumstances provide the impetus for the Midas Foundations actions but they ultimately dont matter to the story that unfoldswhich could have been told at any other time. But that isnt important in the slightest. Its a fun issue. Its paced spectacularly. The visuals capture the Die Hard mood completely. And once the action gets going we only care about how much ass Sue can kick.

Fantastic Four #48 is a strong issue but in a different way from the previous one. As Die Hard in the Baxter Building, Fantastic Four #47 is more fun. But ultimately the end of this issue is more satisfying than simply foiling a caper would have been. And as an added bonus Pepose wrote one of the most clearcut, understandable judgments of the event.

Fantastic Four #1 is a fun, lighthearted intro into the titles new run. North softpeddles the introduction of a mystery so that at no point does it ever feel like there is missing information. Theres never a time where it feels like North is being clever with dialoguehave the characters dance around discussing something they know so that it can stay hidden from us. As the first step into a new arc as well as a self-contained story it works very well.

Fantastic Four #2 is a wonderful story about two people who love each other and, more than anything else, are always eager to help others. That sometimes gets lost in this series (especially when it comes to Reed) because giant, occasionally crazy plots take center stage. Also, some writers, in portraying Reeds intelligence, will leave him feeling somewhat cold. But North really humanizes the characters here, and I expect reinforcing that feeling will be important down the road when we find out what happened to the Fantastic Four.

Fantastic Four #3 delivers another very strong issue building up toward the reveal of what happened to split the team apart. And North adding in a little reminder of how these characters benefit by being together is a bonus. But what steals the show here is the artspecifically what Coello and Aburtov do with the Human Torch. And it makes me very excited for the kind of rich, creative visuals we could get down the line.

Fantastic Four #5 continues the series stellar new run. Norths writing is a little more complex. And though the artist is different here, the issue doesnt miss a step. This series remains a must-buy even for readers not usually dedicated to Fantastic Four.

This series charm lies in Norths ability to blend clever stories with the humor and sense of family inherent in the teams interactions. In Fantastic Four #6, his script, combined with the art teams talents, creates a fun and surprisingly introspective Johnny story. Everyone should give this Fantastic Four series a look at least once.

As oversize anniversary issues go, this is one deserving of the extra couple bucks. Norths use of Doom in Fantastic Four #7 is pitch perfect. The character is complex, operating on multiple levels, and his presence fits in with the themes North has been weaving through the series to this point. He also doesnt overstay his welcome. Hes here for a specific purpose and leaves once that is resolved, leaving open the possibility for more encounters in the future.

Fantastic Four, more than anything else right now, is a fun series. North knows what to take seriously, what not to take seriously, and when to lean into each. And at this point the issues are still largely self-contained, so someone who didnt hop on in the beginning can jump on at any point. And Fantastic Four #8 is a great time to do just that.

A hallmark of the current Fantastic Four run is the sheer variety of stories it is telling. That on its own makes Fantastic Four #10, the most science-fiction oriented issue yet, feel fresh and engaging. Add in the creative teams continued superior performance, and its no surprise that Fantastic Four is among Marvels very best series at the moment.

This Fantastic Four run is doing a great job highlighting each character while also delivering compelling and original team stories. Its a very effective balance that the entire creative team is able to support from Norths writing to the art teams ability to go for big and wild or small and expressive. Fantastic Four #11 keeps that trend going with another strong Ben issue.

Fantastic Four #13 comes at just the right time. The issue is a detour into lighthearted fun that precedes the teams return to New York in the next issue. Its smart timing on Norths part, and the entire creative team delivers.

Its hard to argue that Fantastic Four is one of the smartest (the smartest?) comics on the shelves. Certainly Norths scripts delve into the straight up fantastic at times. But most of the issues are rooted in real concepts that can be explained and extrapolated from. Combine that with top notch art, and almost every month is a winnerwhich is exactly the case with Fantastic Four #14.

Its hard to call Fantastic Four #16 a departure for the series. While the featured characters are not who weve typically seen to this point, the tone is consistent with what the series has established. Nevertheless, its lower stakes and slightly ramped up humor bring a breath of fresh air after several more urgent seeming issues.

Fantastic Four is a high quality series in every facet, from writing to art. But Fantastic Four #17 highlights how North keeps the series fresh and smart with every issue, even as the series is primarily made up of one-and-done stories. This issues setup is the king that could lead into a complex ongoing story arc, but North addresses it in a novel way and in a single, clever issue. Its another very successful issue.

Smart is an adjective that can be applied to almost every issue in Ryan Norths Fantastic Four run. In the case of Fantastic Four #18, it applies to Franklins character development and the ease with which his status quo is adjusted. Perhaps this will prove to be a milestone issue. But for now its just a good story about a kid who wants to be a kid.

Fantastic Four #19 never feels committed to a thematic choice, whether playing the genre straight or attempting a parody. A large part of this failing is Alicias narration which has no real depth, be it humor, emotion, or commentary. But while the story does falter, the issue is uplifted by the visual choices. But ultimately, Fantastic Fours first real misstep remains a higher quality experience than the best issue of many other superhero series.

An ongoing trait of Fantastic Four is the high energy and positive mood. All the creative choices maintain that consistent tone. Theres no part of it that works against the rest. And in that way, little more needs to be said about Fantastic Four #20 beyond it being fun.

Ryan North writes almost every issue of Fantastic Four as a window into one of the main characters. There are no special character oriented issues because theyre all character oriented. Here he takes the circumstances created by a major event, largely ignores the event itself, and turns it into the series best Reed-centric issue. Indeed, Fantastic Four #21courtesy of outstanding writingtakes one of the deepest dives into Reed Richards mind in a very, very long time.

This series Blood Hunt tie-in issues are the best of both worlds. North balances the circumstances created by the larger event with his own stories and accompanying character exploration. The creative team continues to deliver outstanding issues. Fantastic Four #22 wraps up a strong Reed arc in a compelling and personal way.

Fantastic Four #23s lighter tone is perfectly timed. And the best thing about it is that North doesnt have to find an excuse to strike that tone. Levity is built into the series DNA, and North is able to slip in and out of these kinds of stories effortlessly. Its a very approachable issue for new readers, playing up the series tendency to showcase actual science and its generally fun atmosphere.

Fishflies #6 is the weakest issue in the series to date, largely because of how it interrupts the series pacing. The flashback exposition feels like an afterthought, as though it was forgotten and had to be inserted in as easy a way as possible before the final issue. Ultimately the momentum that the issue, indeed the whole series, loses during the flashback isnt recovered by the issues end.

There is a good blend of smart and fun here, though Gordon is more of an idea than a fleshed out character. The result is a story that relies primarily on emotion. But overall Flash Gordon #1 is off to a compelling start and does enough to warrant checking out the second issue.

Gotham City Year One #1 is a hardboiled detective story, and its a very good one. If you have an aversion to this genre, it is probably not for you. But for everyone else, especially genre fans, this is an exemplary entry and easily one of the best comic examples in a long time.

In all honesty, part of me was worried going into this issue that I was so enamored of the first one that this might not live up to the high bar I felt these creators had set for themselves. I neednt have worried. These are creators who clearly understand not just their story and the genre its a part of, but how to use the ordinary conventions of that genre to tell the story even better. Gotham City Year One was essential hardboiled fiction last issue, and its essential hardboiled fiction again this issue.

Gotham City Year One #3 is almost as near-perfect as the first two issues. I didnt even get to the usage of SLAM as a sound effect in that opening flashback. But King really steps on his own ending, and its too bad. I honestly was surprised there was that extra page at the end of the bookI thought the issue was over. Now is this arguably a nit pick? Yes. But the choice ruined what could have been a much more powerful moment.

Gotham City Year One #4 sets out to accomplish more than any issue in the series has. But its very much a transitory issue. Each of the previous three was constructed both in story and theme to advance the mystery plot in a specific way. This issue puts the broad strokes of that plot to bed as King starts to do something new. It is compelling in its own right, but because so much is open ended it doesnt function quite as well narratively as a single issue. Without a doubt riveting, though, is Bradleys attack on the police commissioner. Both in a real and metaphorical sense, its the most visceral moment in the series yet. This is yet another must have issue in a must have series.

Every issue of Gotham City Year One delivered a compelling chapter in the style of a classic hard boiled mysterya genre that, unfortunately, is far less common in comic books now than it was decades ago. Gotham City Year One #6 excels as the conclusion to the story. The entire creative team delivers an ending that will not only thrill existing fans of this genre, but also cap off a story that will almost certainly convert some new fans.

There isnt a lot to link the various stories in this anthology comic. Yes, there is the theme of darkness. But theres no guarantee that all of these will appeal to one audience. That said, the issue is largely successful. None of the stories are true misses. Even the weaker entries have high quality elements. And more than one of the stories is a home run. In short, every horror and thriller fan owes it to themselves to check out Hello Darkness #1.

Hellverine is much more than an excuse to bring back a flaming Wolverine. The first issue introduced a multi-layered plot that gave Logan multiple reasons to be involved. Hellverine #2 elevates the series by connecting the plot emotionally to the various characters involved, especially Logan. The result is an even more engrossing storyone that still features a flaming Wolverine.

Hellverines visual intensity remains the series key selling point. But the narrative impresses more and more with each issue. Hellverine #3 is a good issue to pick up, and is engrossing all on its own even if readers missed the first two.

Hellverines creative team largely sticks the landing. The issue would benefit from a little extra space, but that doesnt seriously handicap its execution. Overall, Hellverine #4 is an effective final issue though not an exceptional one.

James Sargent makes a big impact as a main character. He walks a fine line between ridiculous and serious (leaning more to the former than the latter), and will be quite memorable. With Immortal Sergeant #1 Casey and Niimura have created a fun, energetic, and highly original new series that you wont want to miss.

The series first issue proceeds slowly. While Earth itself may be a horror show, there are almost no traditional horror elements. But the early pages create an ominous feeling that follows the story from start to finish. Into The Unbeing #1 starts slowly but hints at otherworldly and disturbing visual horrors.

Into the Unbeing #2 takes the simmering combination of human ego and the drive for discovery and morphs it into a slow burn story of exploring horror.

Into the Unbeing #3 is an issue based on mood more than story. The tension and anticipation from the previous two issues remains but doesnt necessarily increase. The issue itself feels like a transition more than anything else as the characters within it move from whatever was up top to whatever is down below.

Its Only Teenage Wasteland #1 is an engaging comic because Javi is easy to connect to. Virtually nothing about the post-apocalyptic world is communicated in the issue, so in that way its a comic built on potential. But there is a lot of potential here. And its fun, too.

Juvenile #1 presents an intriguing world that simultaneously scratches the surface and goes too deep. Most of the characters are blank slates, and exploration of the concept raises more questions than it needs to. But Juvenile #1 is extremely good at communicating narrative via art and color. For that it absolutely deserves a look and a chance for the story to live up to the first issues artistic promise.

Lawful gets off to a strong start here. The first issue is complex, featuring a fascinating fictional world while offering commentary on the real one. Lawful #1 is an engrossing comic that will both amuse and inspire.

Lawfuls society is creative, and a good way to look at a puritanical classist society in an easily explainable way. At this point the series has gone from one that raises an issue and lets the reader consider it to one that tells the reader to think. In that way Lawful #3 isnt a particularly nuanced issue. But it doesnt diminish the story from being creative and engaging.

The overall Lazarus Planet story provides a reasonable if not exceptionally compelling framework for these smaller stories. But if the stories on their own are compelling that framework doesnt really matter, and Lazarus Planet Legends Reborn is the first tie-in issue that provides four compelling stories that stand almost entirely on their own with either a complete plot or character arc. This is the first issue that made it feel like Lazarus Planet is a truly global event that matters to everyone and it rekindled my interest in future issues.

Lazarus Planet: Assault on Krypton is unfortunately a very middle of the road issue. And the fact that Jons and Power Girls stories end with a to be continued for series after Lazarus Planet somewhat undermines the idea that these will have a significant impact on the larger event. Ultimately the stories are a mixed bag with weak narratives, but they do benefit from strong art that uplifts the issue overall.

Lazarus Planet: We Once Were Gods is not much more than an advertisementand a worse one even than Assault on Krypton. Every one of the stories is carried by the art even when the art is fairly ordinary. Like Assault on Krypton before it, there is really only one story that tells a complete narrativein this case the one featuring Mary and Malik. To its credit, the story featuring Jonn Jonnz reaches for significance in its attempt for a serious theme, but there isnt enough space for it to feel anything but contrived. The remaining two stories are not much better than what you might find on Free Comic Book Day. And something that costs $4.99 should not have material akin to something found on Free Comic Book Day.

Making a satisfying transition comicthat single issue that has to rip off the band-aid, turn the page from old to new, and end one story while simultaneously beginning anotheris tough. And ultimately thats what Lazarus Planet Alpha is trying to be. But as a result it has no real identity of its own. It tries to dispense with Batman vs Robin as fast as it can before rushing headlong toward the character transformations that look to be be Lazarus Planets bread and butter. Unfortunately, hurrying as it does between old and new, it fails to actually deliver anything interesting in between.

Lazarus Planet Revenge of the Gods #1 lives on the strength of its potential. As such, its a qualified recommendation. It is quite successful in what it sets out to do, but arguably it doesnt set out to do very much. Fans of Wonder Woman and Lazarus Planet should absolutely give it a look. For everyone else, its a decent grab and youll probably know with this issue whether the series is for you.

This world and the story that takes place within it has potential. Peace Dog and The Kid make for an odd duo. And as the issue goes on, there is a blending of science fiction and western that hopefully plays out in greater depth over the course of the series. But its the art that sells this book. For now Long Cold Winter #1 is a detailed and colorful experience.

Maskerade #2 is a better issue than the series first. The art remains engrossing. There is more weight behind the different story threads and as a result they feel less superficial. But the characters dont get the same level of enhancement and I am as uninterested in them after the second issue as I was after the first.

Masterpiece #2 is a fun issue. It brings more clarity to the series than the first issue. That clarity doesnt sustain the same level of curiosity the first issue developed, but it does bring more energy. For now, this is a worthwhile series for fans of heist stories and potentially crime fiction overall as long as the expectation isnt for too dark a story.

Murderworld lavished Arcade with the attention hes always deserved. He got to kill people with creative abandon. And the way Zub and Fawkes built the story probably leads to certain expectations for most readers when it comes to Murderworld Game Over. The way this issue unfolds will surprise most people who are following the series. And in the end its safe to say this is a wonderful end to a story Arcade has long deserved.

Arcade goes from gleeful to angry in Murderworld: Wolverine. It had to happen eventually. And its easy to invest in the moment. Arcade is the only character thats factored substantially into every issue, and Ive found him more compelling than the point-of-view characters at several points. So when he went from fun to furious it grabbed me. I would never have expected to say this when the Murderworld series began, but the chance of Arcades plan getting upset is a far better cliffhanger than whether a contestant will survive. I cant wait to find out whats going to happen to this attention craving maniac.

Murderworld: Spider-Man is another fun and funny romp that highlights how gloriously insane Arcade is when he gets to actually do what he always wants to do: kill people in complicated and entertaining ways. Zub and Fawkes are doing an outstanding job telling this story, and the art teams havent missed yet.

As long as you dont come to Murderworld: Avengers expecting to do more than laugh and smile, this will be a great book. Zub and Fawkes at last give Arcade the chance to do what every fan of the character always wants: kill, kill, and kill some more. Paired with Moraless art and Millas expressive colors, this is a win.

Aaron finds a way to turn Namors long standing character traits into a source of inner turmoil and even, arguably, a weakness. At the same time he sets Namor up as an outsider. The art team transforms the character as well, making him almost more average. When all is said and done, the creative team hasnt changed Namor in an essential way or made him more sympathetic, but they have humanized him. Namor #1 begins a story that takes a complicated, broken monarch and sets him on a path of potential redemption.

Nights is an unusual series and hard to classify. Boiled down to its basics, though, its largely an exciting comic that runs the gamut between humor and horror at a fast clip. Nights #7 fits that bill and will satisfy any fan of the series.

Profane #1 pushes against type in several ways with its detective story. At first it seems to undermine the issue, but the big reversal in the end recontextualizes everything thats come before. That ending more than anything else drives interest for the second issue. So for now, Profane is more about future potential than anything else.

The story slows down following last issues revelation that Will is fictional and his creator is dead. The flashback exposition doesnt generate much urgency. And Will continues to be a largely static, uncompelling character. Profane #2 is diverting enough, but it doesnt seem to be in a hurry to get anywhere.

Profane began as an unsteady murder mystery that didnt seem like it knew what it was. But its been on an upward trajectory over these last two issues thanks to Wills further development. Profane #3 is a big step forward, adding considerable dimension to the main character and generating new anticipation for upcoming issues.

These two stories are relatively successful within the framework of what theyre trying to achieve. And even their shortcomings are largely masked in the moment by an overall humorous, sometimes ridiculous vibe that will keep readers chuckling. In both cases the art does a lot of heavy lifting to make the stories as successful as they are. Combined with two very intriguing prose pieces, they make Project Cryptid #8 a comic that is amusing enough.

Quest #5 is an improvement relative to the series previous issues. Lunas art, which began more as a collection of static images, finally feels like its telling a story. Woods dialogue is still flat and cumbersome, though there are some bright spots. Unfortunately the end result is still a flawed comic.

The Caleb-turned-villain arc continues to be the least interesting component of Rogue Sun to date. The dynamic between Dylan, Marcus, and Owen is elevating these issues. The additional backstory that Rogue Sun #16 provides elevates this issue in particular. While its not an ideal issue for new readers, it will satisfy the existing audience.

Rogue Sun #19's manipulation of convention to tell its story is very effective in developing both characters settling into this new father/son mentor/mentee relationship. With the Caleb story arc firmly in the rear view mirror, Rogue Sun returns to its across the board high quality.

Sanctions murder mystery is intriguing all on its own, and it has the potential to become something greater after this issue. So far, though, what sets it apart is the time and place in which the series occurs. Whether or not that setting will ultimately play an integral part in the series plot is unclear. But for now, it lets Sanction #2 chart a course that makes its story stand out.

The environment that Sanction takes place in has stolen the show so farboth in the bizarre way it impacts the story and the hard and cold visuals. Thats finally not the case. Sanction #3 advances the murder mystery in a good size leap, one that leads to shocking developments on the final pages.

The series first issue isnt the most gripping comic. Main character Jerry is a little on the thin side as far as development is concerned. Ultimately, though, he works for what has to happen by the issues end. In the end its Self Help #1s final pages that give the issue enough of a boost to see future potential.

Sensational She-Hulk #9 very much a transition issue (somewhat appropriate for the series penultimate entry). Jen is moving beyond her relatively small world in this series toward presumably a bigger role with the Avengers. But even with that on the horizon, the creative team doesnt lose track of what makes this series work.

Sensational She-Hulk ends much as Rowells run with the character beganwith a focus on characters and relationships. On shelves full of books built around superheroes versus supervillains always commanding the A story, Sensational She-Hulk (and She-Hulk before it), stood out for its drama and comedyfor its humanity. Sensational She-Hulk #10 caps off one of the most all around entertaining series on the shelf, and its sad to see it go.

Silver Surfer Ghost Light #1 may inspire some curiosity on the final pages, but it does little more than that. Theres not much to really dive into: the characters have little to no depth, theres no plot in evidence, and the title character appears on a mere three pages. The art does a lot of heavy lifting here and makes much of the issue more interesting than the narrative does. Im not sure how compelling the issue will be to readers who are not already invested in the Silver Surfer.

This is a first issue that offers near limitless possibilities for the series. The repeated surprises along the way will keep readers guessing when the issue ends. The art maintains a high standard and the writing is outstanding from start to finish. Soul Taker #1 promises a compelling series of the highest quality.

Space Ghost #1 was a fun read. It was an exciting, high quality setup for a new sci-fi epic. It was a good action comic that earned a look at its second issue. Now the series earns a spot on pull lists as Space Ghost #2 delivers not just action but also subtle humor, fun character dynamics, captivating artwork even in quiet moments, and an unexpected but very welcome ending.

Pepose, Lau, and Dalhouse deliver another fun one. The action is beautifully rendered. The Widow is an engaging character that hopefully returns. And Jans arc delivers good character development, giving the issue added weight. Space Ghost #3 extends the series high quality with the teams first standalone adventure.

Every issue of Space Ghost is an exciting combination of superheroes and science fiction. Along the way the series has delivered strong character moments, but almost all of them focused on the characters surrounding Space Ghost. Thanks to an exciting fight, that lens of character development is turned on Space Ghost himself, making Space Ghost #8 a great issue thats truly about Space Ghost.

Loughridge is most well known for his strong coloring work. But as a writer he delivers an offbeat and compelling first issue that carries with it a lot of potential. And the design and art choices enhance its narrative strength. Standstill #1 is a great pickup for readers who like darkly funny stories.

Standstill #3 isnt quite as dark as the preceding issue, but Rykers behavior manages to be even more unlikable. Loughridge is very effectively turning the tables to make the character the reader knows the best more and more unsympathetic as he builds toward a Colin/Ryker confrontation that is almost certainly on the horizon.

Star Trek #1 is a solid introduction to what looks to be an ambitious story. Sisko is the perfect character to use to explore a story involving advanced godlike beings. And the crew around him, based on the characters development in their various series, should offer a variety of viewpoints. Its a great starting point from which to boldly go.

Star Trek #2 is a nice blend of storytelling styles taken from the three series it is principally borrowing from. In that way it feels fresh and not a retread of ideas weve seen before. And its focus on Ben Sisko, which ultimately drives many of the themes at work here, will be especially appreciated by Deep Space Nine fans.

A comic book written by Michael Dorn sounded a bit gimmicky when announced. But Steelworks #1 isnt a gimmicky comic. Its a strong first issue thats developing an interesting plot while delivering thoughtful ideas. Pair this with strong art, and the result is a first issue that deserves your attention.

Steelworks #3 is another strong issue thats not afraid to tackle complex themes. Dorns writing gives short shrift to one very compelling issue. But overall this is a minor criticism and doesnt change the fact that the series is something you should be reading.

Steelworks is a series that started with a very strong first issue but has lost a step with each subsequent one. The big ideas continue to fall further into the background. That isnt to say the series cant regain that complexity. But it doesnt happen in Steelworks #4.

Steelworks #5 is a huge issue in an already successful series. Eventually the story had to dig deeper into the motivations of its characters. This issue does that in spades.

Steelworks began with a great deal of promise. Dorn introduced complex themes and fully developed most of the characters in relation to the story. The series stumbled at times, but stayed largely consistent through five issues. Unfortunately Steelworks #6 doesnt fulfill that early promise as the final issue lands with a bit of a thud.

This is considerably more engaging visually than narratively. Dreamers fans will find a lot to like in this issue and, based on the way this is set up, probably the whole series. Beyond that, though, Suicide Squad Dream Team #1 is a weak issue. In terms of telling or even setting up a story it accomplishes very little. At best, this is a first issue that offers potential because it delivers on little else.

Superboy: The Man of Tomorrow #1 is a high energy first issue that delivers a lot of fun. The issue makes much more effective use of Jons difficulties reconnecting with this world than has recently been done. The story elements are direct and simple (as is the art at times). But its easy for the reader to quickly invest in Jon and his compelling story.

Superboy: The Man of Tomorrow #2 is a fun, action packed issue. It also very effectively continues the main theme Porter set up in the previous issue of Conner finding his place in the world and opens up additional possibilities for where Porter could take this story. Most importantly the series remains an excellent showcase for the character and one that readers curious about Conner should check out.

The adventure plot that this series is built on is fun enough, but Conners character arc is where the meat of the story lies. Superboy Man of Tomorrow #3 complicates that story and raises anticipation for future issues more than either of the first two entries in the series.

Conner's solo outing is a series that highlights the strengths of the entire creative team. It's also grown in complexity as it's gone on. Superboy: The Man of Tomorrow #4 is an exciting and emotional journey that fans of the Superman family can't miss.

An already strong series hits an even higher note here. What seemed like a straightforward adventure with a predictable arc and ending became something more complex. Superboy: The Man of Tomorrow #5 gives the series a deeper character arc and punctuates it as a true story of self-discovery.

The Approach #2 doesnt quite have the strength of the first issue, but mostly thats the result of the art not quite meeting the storys needs. However the story itself is just as strong as the one in the first issue with its small character moments that communicate larger emotions. That, plus the characters immediate assertiveness, still makes this a solid horror/creature story.

The Butchers Boy starts with a shock, enticing readers to jump into the series with the promise of fear and gore to come. The characters are dysfunctional yet compelling. The art succeeds in the ordinary and mundane while also hinting toward intense horror in the future. The Butchers Boy #1 is a first issue that all fans of bloody, disturbing horror should check out.

The flash forward that started The Butchers Boy #1 hangs over the second issue like a ticking clock in the same way it did the first. At times the tension is almost unbearable. And theres a kind of impatience at seeing what Greenwood and Simpson are going to do visually once everything goes bad. The Butchers Boy #2 is a fast moving, high tension issue that will make readers impatient for the horror they know is coming.

The Butchers Boy #3 is a furiously paced finale that wraps up everything faster and more efficiently than seems possible when the issue begins. This series creative team told a visceral and tightly plotted horror story, fitting a surprising amount of narrative into three issues. Horror fans who missed The Butchers Boy need to find the full story immediately.

Horror fans will find a lot to like here. Certainly there is the horror imagery such as the mutilated bodies and the rail thin killer Santa Clause. The flashback to Michaels childhood where deviant activities, pardon the pun, became tied up with Maichels developing identity is ugly because of modern day events. And main character Michaelis somehow not right. The Deviant #1 is horror meant to disturb and discomfort. It succeeds at both.

The Deviant continues to be a largely compelling series, but The Deviant #3 is a step down compared to the first two issues. It adds mood and characterization but doesnt keep the pacing and creep factor that preceded it. Nevertheless, the issue itself is worth picking up if the reader is interested in the overall story which remains strong.

The Deviant #4 elevates the series back toward the same intensity seen in the first issue. Theres meaningful advancement in the story. At the same time, Tynion maintains the overall troubled mood. And most importantly, he adds dimension to the main character. The issue is well timed to reinvigorate the series.

Though the series felt like it had begun to spin its wheels, this issue makes up for that with its huge leap in development for Michael and his relationship to the murder plot. The Deviant #5 adds extra layers of complexity to the story and its characters.

The Deviant started with a very strong first issue. The combination of mystery, generally disturbing imagery, and outright body horror promised a series that would balance thriller and horror. Subsequent issues have struggled to equal that one with varying levels of success. The Deviant #6 is an unfortunate step down in this regard as the story feels like it loses focus.

The Devil That Wears My Face #4 is a big jump in stakes and action. After three issues that were on a relatively slow burn to set up the collision course Vieri and Legion were on, Pepose and Cormack over deliver on expectations. The horror elements remain, and now the heavy action adds a new dimension.

By the end of this penultimate issue, the stakes couldnt be higher. The Devil That Wears My Face #5 continues the trend of every issue being more disturbing than the last and sets up an intense good versus evil finale.

There are times when The Displaced feels like someones attempt to reason through an existential crisis. Is someone real outside another persons observation or memory? Curiosity drove urgency in the first two issues. But with the rules of the situation largely established, The Displaced #3 plays out with less urgency and relies more on the weightier ideas behind the series.

The Displaced #4 is a great comic that has the potential to depress a lot of readers. The series has been heading toward the kind of emotional gut punch that this issue delivers. But in a strange way it also delivers a tiny bit of hope that propels the series toward its final issue.

It is very possible that The Displaced #5s ending will not satisfy all readers. While it concludes the series, it isn't necessarily a resolution. But it delivers an emotional finale that includes a measure of catharsis while being truly honest to everything that came before.

More than anything else, this issue is designed to provide the reader with the information theyll need to get into the upcoming Infinity Watch. On that level, it succeeds. Landy does try to infuse the issue with character development but his efforts are largely unsuccessful. Thanos Annual #1 is not a bad comic, but its story beats are largely predictable and the only sense of urgency it has is to close the back cover and get to the meat of the event.

Whether The Mammoth ultimately leans heavily into gruesome horror or sits more on the side of a thriller, the series is off to a good start. This first issue generates a lot of curiosity that is certain to motivate most readers to pick up the second issue. The Mammoth #1 is sure to entice horror and thriller fans.

Penguin #0 is a strange comic. It establishes a new status quo for Penguin without really being about him. Its also not paced quite right for a single issue because of its nature as a collection of shorter backup stories. Its probably not a necessary read for the upcoming series (especially since this is written by Zdarsky and the upcoming series is being written by Tom King). And the story isnt terribly gripping. But its fun enough and diverting, especially for readers who like a nice Catwoman entry.

King once again takes a series decisively into noir and hard boiled territory with another complex, though somewhat less morally gray, strong first issue. The entire creative team realizes this vision with outstanding work. Penguin #1 is a masterclass in resetting a character and fully realizing a new world for them.

King is developing Penguin on a slow burn. After an urgent introduction to set up the main story, the series is proceeding very deliberately by putting pieces in place and building up Oswald. In that way Penguin #3 is a must-read and also a great issue for new readers to check out.

The Penguin remains fresh with every issue. Each one is deliberative. And it doesnt come as the result of any one member of the creative team shining more than the others. This is a true group effort with every part of a given issue reinforcing its various dynamics. The Penguin #4 is a masterclass issue that every fan of the medium should read.

The Penguin #7 branches out well beyond the titular character. Batman is more prominent, and King uses his criminal protagonist and intertwined first person narrative to examine the hero from a different angle. This level of character examination continues to set The Penguin apart from most other crime series on the shelves.

As subverted caper stories go, The Penguin continues to be the best one on the shelf. Kings ability to tweak structure with any given issue keeps the series fresh. Visually the series remains complex even when it seems simple. So its not surprising that The Penguin #8s day in the life story is both unconventional and exemplary.

As noted in prior reviews, Penguin is a series that plays with the conventions of crime fiction and its various subgenres. This issue is almost a reverse detective story with the antagonist being the detective and seemingly being misled. Thanks to this and other story developments, including the surprising ending, Penguin #9 successfully throws a few curve balls at readers.

The Penguin has remained largely accessible throughout its run. This issue is the first that is difficult to follow without some background in the series. It doesnt take time to drop much in the way of exposition. But for readers familiar with the series, The Penguin #10 is a fast moving, potentially game changing issue.

Penguins downfall was never a certainty. A likelihood, perhaps, by virtue of a villain generally not being allowed to win. But King never telegraphed his eventual defeat. As a result, the abrupt turn of events proves unexpected and the speed with which the consequences unfold is shocking. The Penguin #11 is a thrilling penultimate issue that makes you impatient for the finale.

The issues first five pages portend an exciting and visually stunning story that weaves history and mythology with action and a modern day setting. These pages also set up the expectation that Stanley will be a complex character. With the exception of the art, none of this potential is realized. As artistically impressive as the comic is, The Writer #1 is a heavily flawed first issue that doesnt offer a compelling reason to continue reading the series.

The crime story elements here are limited. Readers going into this issue expecting an intricate story set heavily in that genre wont find it (at least at this point in the series). The hints toward the supernatural drive curiosity for the next issue. For now, Underheist #1 suggests a stronger story developing over future issues than a truly gripping issue all on its own.

William of Newbury #3 delivers the weightiest story point in the form of Edward and William losing their souls. There is no fire and brimstone, but it is a serious idea that may push back against the all ages label the series has. That aside, it remains an easy to digest story with historical elements that are made fun.

You Never Heard of Me #1 is an engaging issue about a teenager growing up. Upcoming issues promise a story involving the supernatural. But what is most enticing is how Will develops and what he will do in the face of a suddenly changed life.