Theron Couch Comic Reviews

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 surprise in Absolute Evil #1s final pages is certainly setting up future Absolute Universe events, and the way the issue ends creates even more potential for the universe as it continues. Though it isnt a necessary issue, Absolute Evil #1 is a good read and a fantastic jumping on point.

Even when its critical to a comic, coloring is often seen as secondary in an issues art. Sometimes it is undeservedly disregarded altogether. Absolute Martian Manhunter #1 turns that kind of thinking on its head by delivering a comic book not just driven by but reliant on the rich, varied, and complex coloring at work here. Johns examination couldnt be experienced in the same way without this kind of artistic journey. Even if the story wasnt compelling enough to make the issue a cant miss (it is), Absolute Martian Manhunter #1 is an art and color experience thats a must have.

Absolute Martian Manhunter #1 is a hard act to follow. It was the kind of first issue that truly announces itself. Indeed, Absolute Martian Manhunter #2 doesnt quite reach that same height. But it gets very close. The Martians dialogue proves a bit of an attention hog. All in all, though, Absolute Martian Manhunter #2 is another showcase for the power of the comic book medium.

Absolute Martian Manhunter is sometimes difficult to review on an issue-by-issue basis because so much of its success comes from the visual style at work. What might be exceptional in any other series is instead as integral to Absolute Martian Manhunter as simple text is to every other book. That said, the emotion carried by John and Bridges encounter, both in vivid color and simple black and white, steal the show here, making Absolute Martian Manhunter #4 a must have in an already unmissable series.

Camp doesnt make it easy for new readers to jump onboard Absolute Martian Manhunter #7. But that isnt too far from how the series began. Camp asks a lot of his readers, and indeed Absolute Martian Manhunter #7, like every previous issue in the series, benefits from a repeat reading. Even so, Absolute Martian Manhunter #7 is captivating and the most visually stunning book on the shelf.

Readers need to come to this comic expecting a lot of things to be thrown at them. Like so many issues of Absolute Martian Manhunter, it benefits immensely from multiple readings (especially the opening and closing pages). Its an experience well worth the effort, though. Absolute Martian Manhunter #8 is captivating in its development of John and one of the series most intense issues yet.

Absolute Martian Manhunter is a unique series. But after so many issues, it’s easy to just shrug at its particular type of storytelling because it’s become so consistent. Absolute Martian Manhunter #9 is a good reminder of how critical all facets of Rodriguez’s work is to what is also a very well-written story. This continues to be a must-read series for fans of comic books as art.

Absolute Martian Manhunter #10 benefits from multiple readings more than any issue to this point. Not only is there character development for John, but there are also a lot of abstract concepts via Rainbow and Green Martian. And at the same time, the issue is one of the most visually impressive and complex as any book on the shelves.

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.

Absolute Wonder Woman #5 is a successful and satisfying conclusion to the series opening arc. Even though there may be many more stories to tell from Dianas past, Thompson brings the two storylines in these first five issues together in a nice bow, concluding the emotional arc underpinning Dianas first appearance on Earth. Its a strong first entry in a promising new series.

Jessica Jones is back in force in Alias Red Band #1. She’s a powerful character here. The mystery is engaging. The issue reads quickly with several intense, fast moving scenes. Alias Red Band #1 is a must for fans of private eye crime fiction.

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.

Arcana Royale #1 suffers from a noticeable lack of tension. This is likely the result of its chief failinga crucial lack of depth and detail. Its certainly possible that Bunn is intentionally leaving mysteries for future issues. But even so, more information is needed here. The art and color, while interesting, isnt enough to complete this comic. Fervent fans of supernatural horror stories might find enough in Aracana Royale #1 to satisfy them, but it doesnt offer much for anyone else.

Arcbound #5 is an entertaining issue, action packed almost from start to finish. Kyras return doesnt provide the deepest character advancement but is a welcome event. Given that, it seems like Arcbound will remain an exciting sci-fi adventure but only deliver character depth at the margins.

Astro Quantum #1, though lighter on plot, is a good start to a new outer space science fiction series. Explicit Moby Dick story references suggest a promising backdrop for bigger themes that are already being raised here. Astro Quantum #1 is an ambitious first issue for a smart and promising series.

Barbarella is a fun and thoroughly retro experience, from its storyline to its visuals. The series isnt afraid to acknowledge that titillation was part of the experience. At the same time, Northcott and her artistic collaborators know how to balance it. This issue does lack some of the action and media commentary as it rushes to finish the story. Nevertheless, Barbarella #5 is a fun experience and a great way to end the series.

Batgirl #11 feels like a turning point in the series. Cass view on her family remains complicated, but it feels less tortured. The final page reads like a narrative sunrise with a new day ahead. This series continues to be one of the best written superhero books on the shelf.

Batgirls greatest strength is the psychological journey Cass is on. No matter what the story is in any given issue, Brombal keeps Casss emotions front and center. The result is that Batgirl #12 avoids the trap of many transition issues and doesnt get bogged down in exposition. Its a fascinating issue and an excellent place for new readers to give an outstanding series a chance.

Even as the series moves further from Shivas death and the trauma Cass experienced as a result, Brombal doesnt lose track of the psychological character examination that made it so compelling out of the gate. Batgirl #14 is a little messier in its narrative, and this story arc will almost certainly benefit from being reread as a whole once it is complete. But Batgirl #14 is another strong outing from a strong series.

Batgirl #16 is a solid wrap-up to The War of the Shadows story arc. It brings everything back around to Cass internal emotional struggle. The issue is easily the best since part one of this arc, and a good example of the series ongoing potential.

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.

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.

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.

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.

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.

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.

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.

Behemoth #1 is a very standard fare first issue. The bulk of it doesnt create a sense of demand for the next one. Its really only in the final two to three pages that a compelling sense of curiosity for the second issue is created. The art elevates the issue, but the narrative feels like a story that began too early.

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.

Blood & Thunder #1 is a smooth blend of science fiction and light comedy. This owes largely to the issues opening pages and the inclusion of Bloods gun, Thunder. Fans of space science fiction will find the issue immediately appealing. But Blood & Thunder #1s writing and high quality makes it an engaging read overall and a first issue absolutely worth checking out.

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.

This reads as though Oliveira had very specific things he was trying to say about the creation of art. The problem is that whatever is being said is lost in a confused presentation. This owes in part to an important character that comes across less as a person and more as a device with which to convey the intended message. The art improves the issue significantly, but it cant fully compensate for a narrative that reads as confused.

The virtue of fantasy epics is that they can take place in any world that can be imagined. Bugs in someones front yard are just as good as any other world. Rooting this fantasy world in the real world with real world characters adds dimension to the story and builds extra investment for following issues. Bug Wars #1s unique world is certain to draw in fantasy lovers.

Buried Long, Long Ago is set up to be an unusual series. Based on a true story, it is clearly taking liberties with history to create a horror framework surrounding real events. For the moment, the true story is somewhat underdeveloped. But ultimately Buried Long, Long Ago #1 is a compelling blend of horror and historical true crime.

Caesars Spy is a historical epic. Themes of loyalty, power, and vengeance tie together to create a strong story. The art is intense. Readers looking for a powerful story will find one here. Caesars Spy is a must buy for fans of historical fiction generally, and the Roman Empire era specifically.

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.

Captain America #1 is a risk in some ways. Zdarskys tweak to Captain Americas early days is jarring at first. But once that sensation is out of the way, the necessity of it is clear, and the narrative is all the more compelling. Combine that with captivating artwork, and the result is a stellar first issue. This Captain America #1 is a relevant story and a must read whether youve ever liked the Captain or not.

Captain America #2 lays a foundation for real world commentary that is certain to be a critical part of the series. The characters are richly developed both in text and art. Coltons flashback sequences seek to invoke the complicated feelings that most people have about the Afghanistan and Iraq wars. Zdarsky has made Captain America truly relevant again.

Zdarsky isnt afraid to bring up major, sometimes divisive topics head on. Hes also willing in most cases to let the reader draw their own conclusions. This issue is no different than the first two in that regard. Its a good way to keep the series both compelling and relevant to major issues of the day. All of that said, Captain America #3s greatest strength is the powerful art in the issues final pages. If you havent picked up Captain America yet, do yourself a favor and grab an issue.

Grnbekks Catwoman run is already very engaging. The art and coloring is likewise gripping. The story is complex, and the third person narration provides added depth to the characters. Though the overall story might become hard to get into down the road, Catwoman #71 is still a good opportunity to jump into it.

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.

Dark Pyramid #1 takes a while to get going. Eventually it turns into a horror story (or at least it seems to in the final pages). But patience is definitely necessary to get there as most of the issue leading up to it lacks any sense of urgency. There is more than enough material in the final third of Dark Pyramid #1 to interest horror fans, though, so in that regard this is an issue worth picking up.

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.

Dick Tracy is Dick Tracy so in some sense the character isn’t going to change regardless of the story plays out. That said, the first issue of this new gang war story arc is compelling for how much is developing beyond Dick Tracy himself. For readers curious about this classic character’s latest incarnation, Dick Tracy #16 is a great start.

Dick Tracy is a fairly well-known quantity. It’s crime fiction with a hardboiled aesthetic but less moral relativism–a lovingly idealized pulp detective. Dick Tracy St. Patrick’s Day Special #1 is a great look at what the current Dick Tracy series is doing. Fans of crime fiction should absolutely give this easy to digest one-shot a look.

Multi-story anniversary issues can be a mixed bag when it comes to quality, especially relative to what they sometimes cost. And not surprisingly, quality is not uniform here. One of the stories even seems to be a commercial for another character. But all in all, Doctor Strange #450 is a worthy anniversary issue and deserving of a look by fans old and new alike.

The One World Under Doom event banner on Doctor Strange of Asgard #1 is misleading to the point of almost being a bait and switch. The issue has virtually nothing to do with the event. That said, its a legitimately strong and entertaining issue on its own. The humor is top notch. The art mostly works, and the coloring excels. Doctor Strange of Asgard #1 deserves a chance regardless of whether youre reading One World Under Doom.

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.

Doom Academy announces itself as a non-essential tie-in with Doom Academy #1, an issue that is also an uneven start to the series. While its ultimately possible that the series will play a larger role in One World Under Doom, there is little here for readers who arent already invested in Strange Academy stories and characters or readers who are looking specifically to get involved in them.

A positive aspect to most comic book events is that they can introduce less well known characters to new readers. Certainly thats what Dooms Division #1 is trying to do. Unfortunately as a first issue, it doesnt deliver on that promise, at best setting up the potential for later issues to do just that.

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.

Dungeons of Doom #1 is essentially a collection of advertisements for potential future stories. But there is just enough of a thought-out aftermath to One World Under Doom that the issue is compelling on its own.

Event Horizon: Dark Descent is obviously a prequel series to the cult sci-fi horror movie. And yet Event Horizon: Dark Descent #1 is surprisingly accessible. No knowledge of the movie is required to get into the story, but certainly readers familiar with the movie will find the issue more rewarding, of course. Either way, fans of sci-fi horror series should absolutely pick this up.

Event Horizon: Dark Descent is a reasonably good prequel to the movie. Fans of the sci-fi/horror cult classic will find a lot to like here. And even though Event Horizon: Dark Descent #5 has a few visual stumbles, the issue overall is a strong finish to a good horror series.

Everything Dead and Dying #1 is a clever take on zombies. Its character oriented in a way the genre often isnt, partly because Bromball doesnt rely on the same formula for what the zombies are. Phillips art and Martins coloring further elevate the issue. Horror fans should definitely give this a look, even if they have zombie fatigue.

Zombie stories are still a dime a dozen these days. And most of them follow very similar patterns. This series and its heavily emotional core stands out among the rest. Everything Dead & Dying #2 is a powerful look at how living in the past can separate one from the present, even in dire circumstances.

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.

Fantastic Four almost has to be graded on a curve because so few issues in Norths run have missed the targetand none of them seriously. Fantastic Four #31 doesnt have quite the same emotional heft that the previous issue did. Bens emotional journey, while not ignored, does take a backseat to the teams problem for much of the issue. That said, Fantastic Four #31 is another strong entry in the series and a particularly noteworthy issue in the One World Under Doom event.

The Fantastic Four creative team delivers another winner. Readers familiar with the original Twilight Zone may see parallels to Its a Good Life, the episode where six year old Anthony Perkins sends anyone who doesnt think good thoughts to the cornfield. North uses a similar theme herea child with god-like powers who could never be disciplined and thus could never learn and grow. But in Fantastic Four #32 it is slightly more poignant because the same characters who caused the problem in this divergent timeline, Reed and Sue, successfully nurtured Franklin in the real one.

Fantastic Four #33 is at best tangentially related to the event its branded with. But ultimately One World Under Doom created a storyline that is perhaps the most emotionally affecting of the series current run. The entire creative team delivers top notch work. Its strange to say this about a runs final issue, but Fantastic Four #33 encapsulates the best parts of the series and is perfect for new readers.

Fantastic Fours fantastic streak continues with the beginning of its new volume. Norths story will satisfy both new readers unfamiliar with his style as well as established readers who have been enjoying the series for years. And another strong art team creates complex, exciting visuals. Fantastic Four #1 is a winner that every superhero fan should check out.

Fantastic Four #4 is a perfect issue for readers wondering what the series is all about. North completely divorces it from larger concerns and delivers an easy to follow story that centers the family dynamic around a real world phenomenon. Ramoss art very effectively complements Norths storytelling. Fantastic Four #4 is a fun, charming story that will amuse readers both new and old.

Fantastic Four #5 is an unusual misstep in an otherwise consistently strong series. The issue isnt some kind of serious failure, but it is comparatively middle of the road. That said, middle of the road for Fantastic Four is still on par with high quality for some series.

Fantastic Four #7 is a playful, heartfelt issue. Though lacking the science basis that forms the backbone of almost every issue in the series, the focus on the kids makes for an offbeat story with no shortage of humor. Its hard not to read this one with a constant smile.

Fantastic Four #9 is a lighter affair where issues of this run are concerned. There aren’t any scientific principles at work, and character drama and development is extremely limited. The art team delivers big on the fun and excitement, though, and the result is an enjoyable issue that sets the stage for bigger stakes to come.

Are underground monsters at the heart of this series? Quite possibly. And dont forget the nostalgia factors. But at the moment Far Down Below #1 is more potential than anything else, in search of a little more substance.

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.

Flash Gordon #0 is one of those ideal jumping on points that practically demands a look from new readers. It is easy to understand with its quickly and successfully developed universe and characters. The art is engaging, and Abnett’s writing promises rich stories.

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.

Criminal is back in a big way in this book. Yes, its in some ways a commercial for the upcoming TV show. But what difference does that make? This book is a lot of bang for the buckgoing so far as to include a whos who of Criminal characters and a Keiron Gillen created Criminal RPG. It doesnt matter whether someone has read all of the previous series or none of themGiant Size Criminal #1 is required reading for crime fiction fans.

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.

Green Lantern #19 is a troubled issue. It works narratively as a bridge issue going into the Fractured Spectrum Saga. But as constructed overall, its visual flaws and general lack of plot advancement urgency hurt it. Green Lantern #19 will likely work better as part of a fully collected story than as an individual issue.

There are definite shortcomings in this issue owing more to construction than anything else. The creative teams work is high quality, and they are more than effective at doing what they set out to do. A bonus is that Hals storyline connects thematically to the recent Green Lantern Corps #1. Overall, Green Lantern #20 is a strong start to the series next chapter.

Green Lantern #24 isnt necessarily spinning its wheels, but the Hal and Carol storyline doesnt feel particularly productive at this point. The issues visuals elevate it, though, helping to keep the series worth following even in these slow moments.

"The Starbreaker Supremacy" Part 3 starts slow in Green Lantern #26s opening pages, but it isnt long before it shifts into high gear in what is the most action packed entry to date. The story advances much faster here and justifies sticking with the first two issues through the longer exposition.

Adams skill at crafting effective transition issues is once again on display. Marions art is a fun and exciting accompaniment, adding a more urgent energy. Green Lantern #28 wastes no time setting up the next big storylines. Its a fun new chapter for established readers and great jumping on point for new ones.

Sometimes its impossible to see how beneficial a change of scenery can be until it happens. Green Lantern #29 is a case in point. Nothing about recent Green Lantern issues has called for a step away from the galactic setting and its ongoing storylines, and yet this smaller scale adventure turns out to be exactly what the series needs in this moment.

Green Lantern #31 is the series most atmospheric issue in quite some time. Thanks to the larger Barry story its connected to, the issue has a distinct feel to it. Hals Green Lantern concerns are so totally in the background that its easy to follow even if a reader has missed other recent issues. Green Lantern #31 is a top quality comic and an example of Adams being on top of his game.

Hal’s sabbatical from larger Green Lantern events has been fun. The issues have had a good guest cast, and each one notched up in importance. Green Lantern #32 works as the perfect finale to this arc, delivering an enjoyable Hal/Carol outing even if the action beat is unnecessary.

Green Lantern #33 (Green Lantern #600) is a near perfect jumping on point. The issue does pick up two ongoing story threads very briefly, but it makes them relatively easy to understand. Meanwhile, it brings Kyle Rayner back for an extended period, kicks off that run with a fun and easy to get into story, and even provides his origin story. Adams and the assorted art teams absolutely nail the landing on this one.

The parallel storytelling in Green Lantern #34 lets Adams play both with serious and humorous tones throughout. Additionally, it’s nice to see the variety of characters. This particular issue possesses somewhat uneven art, but overall it’s a good continuation of the title’s ongoing storylines.

Aside from Sinestros appearance, Green Lantern Corps #1 isnt a spectacle. Its not a splashy first issue. But its fun and entertaining. And most important, Green Lantern Corps #1 absolutely drives interest for the new series.

Hampton and Adams are striking a good balance between character oriented stories with emotional consequences and the large scale Green Lantern style science fiction story at the heart of the Fractured Spectrum Saga. This series especially is off to a strong start in that regard, and Green Lantern Corps #2 keeps it going with an intense and emotional story.

Unrealized potential might best sum up Green Lantern Corps #5. The Guy Gardner storyline works. Its fun and delivers on its story arc, such as it is. Unfortunately the mind maze story, aiming a little higher in substance, misses its target. Its ultimately a misstep for a series that started out strong.

Green Lantern Corps #6 steadies the ship after two uneven issues. Nahuelpans art is gripping and a perfect canvas for Prianto and Sharpe to do their best work. And while one of its two stories is much more relevant to its main character, both are engaging.

As strange as it sounds, part two of Starbreaker Supremacy is almost a better entry point into the crossover than part one. Readers wont get much of anything when it comes to Starbreakers backstory or motives. But the easier to digest bits of exposition are clearer and leave room for real story and character development. As far as Adams second big Green Lantern story arc is concerned, Green Lantern Corps #7 is a must have. But beyond that, its just a damn good comic.

Green Lantern Corps #11 is a good setup issue. Each of the three storylines are charting a course toward bigger events. On a story level its not the most impressive thing the series has done by any stretch, but its effective for what it is. Visually, though, it is somewhat rocky with the multiple art teams. With nothing exceptional to recommend it on either front, this is one Green Lantern Corps weakest issue.

Green Lantern Corps #13 is a good enough wrap-up to the Enquar storyline. There is a sense of missed opportunity, but the direction Hampton does go in largely works. The lack of a stable art team continues to hold the title back, but this is one of the more successful issues on that front.

A single art team is a welcome development for Green Lantern Corps #14. Narratively, the issue is 100% a transition into new storylines. Unfortunately context and backstory for the beginning of these storylines is in short supply. But they end with potential for the future.

Green Lantern Corps #15 is a very successful issue but not really for the plots that it is advancing. The examination and development of John Stewart is where the power is, and it gives the issue considerable heft. Combined with the art team’s high quality work in all aspects of the book, this is definitely a winning entry.

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.

This issue is different enough from the past Hellverine stories that it feels fresh. In that way its easy to get into without any prior knowledge of the character. The writing is character based. And the art is effective in many ways. No matter a readers preconceptions, Hellverine #1 shows a great deal of promise and is worth a look from most readers.

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.

Hellverine works especially well as a deeply character oriented series. Unfortunately this issue is somewhat uneven, especially in comparison to the stronger issues that preceded it. Though Percy keeps the issue largely tied together thematically, the merging of what is effectively two stories creates pacing issues. It is also less visually effective by the standards of this series. Hellverine #4 will still satisfy fans of the series, but it doesnt impress as much as the first three issues did.

Hellverine #8 comes across as a placeholder issue. Percy has to deliver backstory before Hell Hulk and Hellverine encounter each other, so he takes this issue to do that without doing too much else. The problem is that it very much feels like a placeholder issue with none of the creative teams work standing out.

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.

Conrad and Pearson take the already complicated story begun in In Bloom #1 and add even more complexity. In Bloom #2 takes full advantage of the medium by not just using art to tell the story, but by using the art to create tension with the text and ultimately add more dimension to the story. Through its first two issues, In Bloom is a must read series.

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.

Read with other issues in the ongoing Ragnarok storyline, JSA #5 is an exciting issue with notable character moments. As a standalone issue, though, its much less effective. And as an early issue in a new team series that features (between heroes and villains) a dozen consequential characters, it is difficult to follow or invest in.

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.

Events look dire based on the cover of Kill Train #1. And they certainly have the potential to go that way. But this issue, not yet filled with the horrific circumstances the title suggests, is fun and surprisingly character centric. Horror may be front and center later, but for now Kill Train #1 is a comic that will appeal to a wide audience.

Knight City #1 begins in fairly straightforward fashion before morphing into an entirely different comic roughly halfway through. That change makes the issue considerably more compelling and adds a lot of uncertainty (especially in the final pages). Knight City #1 is a fun entry for readers who want a mind bending, unconventional superhero comic.

Kraken is a fun blend of classic serial adventure and light Lovecraftian horror. There isnt much complexity to the story, but its an easy read. And despite the coloring misstep, the art itself is largely engaging.

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.

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: 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.

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: 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.

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.

Lenore The Time War is much better read in this collection than the individual issues if only to simply never break the mood. The humor here works best when taken in one long stretch that isnt broken up. Beyond that, Lenore The Time War is everything fans would expect from Lenore. Indeed, the strange set of circumstances makes it even funnier than usual. Fans of black humor who have never checked out Lenore should give this a try, and Lenore fans shouldnt miss it.

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.

Lost Fantasy #1 delivers a lot of potential. Narratively speaking, the world, characters, and plot are not exceptionally compelling on their own. And indeed, if not for the shocking events on the final pages, there probably wouldnt be enough in the story to push an on the fence reader to come back for a second issue. The art, on the other hand, is considerably more enticing. The net result is that Lost Fantasy #1s potential makes the first issue worth a look for fans of the genre.

Priest, Quesada, and Isanove aim high here. Unfortunately, for as much as the art and coloring elevate Marvel Knights The World To Come #1, the overall narrative holds it back. While there are intriguing character moments, they arent surrounded by much in the way of world or story. For the moment, Marvel Knights The World To Come #1 is more about what the series might offer in the future than anything it brings to the table now.

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.

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.

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.

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.

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.

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.

Neighborhood Watch #1 is a fun comic with an unusual but inevitable end. The back and forth structure drives curiosity from the very beginning, and the issue goes out with a mysterious final scene that sets up a potentially unorthodox murder mystery. It’s a quirky comic and worth a look.

Lima and Beredos visuals are the most compelling part of this issue. Humphries delivers a narrative that is stronger on plot than character presentation. Overall New Avengers #1 is a reasonable start to a new series, especially for readers with an otherwise light week.

News from the Fallout #1 isnt like any other book on the shelf right now. Less is very much more here. The black and white and relatively low detail art combine with an essentially text-free second half to create a truly distinctive experience. Horror fans owe it to themselves to pick up News from the Fallout #1.

Its a mistake to discount News from the Fallout #2 based on the seemingly limited art. The issue invites readers to go through it quickly because on first glance, there is very little going on visually. This was the case with the first issue. But in truth, the art deserves significant consideration. This series continues to show how art can tell stories in different ways in comic books. News from the Fallout #2 is an excellent example of how less can be more when it comes to visual storytelling.

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.

Nightwing #136 is an effective start to a new story arc. The art team has a rough start when it comes to character work, though it succeeds in other aspects. Narratively it’s a very moody comic as Watters sets up another supernatural story in what is becoming a very distinctive setting with the city of Blüdhaven. Perhaps best of all, Nightwing #136 is a perfect jumping-on point for an already strong run on the series.

Nullhunters retelling of Hercules is a lot of fun. Its different enough that even readers familiar with the myth will be surprised by how the series unfolds. That is very much the case with Nullhunter #9 which departs from the myth significantly while still delivering an entertaining story.

One World Under Doom managed to balance political commentary and story demands for the first two issues, but it falls down hard here. From a visual standpoint, the issue is entertaining. But its narrative is unsuccessful. The issue is predictable almost from start to finish, a carbon copy of what came before in some respects. Given the twist in the final pages, its possible this is just an uneven transition issue. But in any event, One World Under Doom #3 fails to live up to what came before it.

One World Under Doom #5 is an outstanding comic, both narratively and visually. More than that, it is also honest. There have been multiple instances in this series where the story has strived to make a point related to real world considerations. Here, North delivers an admission by some heroes that, based on the evidence, maybe Doom is doing the right thing for the right reasons. For a series that at times has been very blunt in its metaphor, the dialogue exchanges in this issue are essential because history proves that good people do have them in such circumstances. One World Under Doom #5 has the potential to elevate this series from fun and smart to essential.

One World Under Doom #6 is a pressure cooker. North is able to elevate a dialogue exchange that could have brought the issue to a halt without developing any tension. In doing so, he continues developing One World Under Doom as the smartest comic event in a long time. The result is a constant rising action to a shocking climax and the most shocking One World Under Doom ending yet.

North keeps hitting home runs with One World Under Doom. Coming as it does on the heels of the previous issues revelations, there are many predictable elements here. But it benefits considerably from smart decisions North made earlier in the series. These strong ongoing narrative choices, combined with continuing outstanding art, make One World Under Doom #7 yet another big success.

One World Under Doom upped the stakes with every issue. And each time, North made it clear that Doom was unbeatable so long as he chose to be unbeatable. On top of that, Doom took actions that could change the world forever (or at least until the next major event). Readers could be forgiven for expecting a reset button type finale. North, Silva, and Curiels final issue is anything but that. One World Under Doom #9 is a character driven, surprisingly sentimental, world shaking conclusion to one of the smartest Marvel events in a long time.

A rich blend of steampunk, folklore, and myth, Our Soot Stained Heart #1 turns the idea of gift giving on its head. Hgg and Morian have created a truly novel story. Though not technically a Christmas comic, its debut is perfectly timed, and it should be on everyones list.

Poison Ivy taking over as mayor is a major change to the status quo and will likely work or not based mainly on Wilson’s development of the character in this role. That said, the entire creative team is delivering high quality work making Poison Ivy #43 a solid issue in the new run and status quo.

This is an enjoyable romp of a first issue. The story and humor are offbeat, and the art is vivid and dynamic. Pop Kill #1 is an effective beginning to a fun and possibly absurd action comedy series.

The issues surprise resolution doesnt quite live up to the moody beginning built up by Volks dialogue which is full of complexity and sub-text. But this is a relatively minor critique and doesnt take away from Prairie Gods #4 being another strong entry in 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.

A readers interest in Racer X will likely depend on their interest in Speed Racer. Though the issue is heavily expository, there is a lot to like. For Speed Racer fans, it answers many questions. Everyone else will simply find a compelling character, even if he is presented in a relatively slow issue. The art is considerably uplifting though. So while Racer X #1 isnt a must have, its worth a look if its a light week.

Racer X immediately established itself as a perfect accompaniment to Speed Racer (if not strictly necessary to read). This is the most action-centric issue yet, but it never leaves the series complex character development and motivations behind. Racer X #3 is a must have for Speed Racer fans.

Racer X has consistently upped the stakes issue to issue. At the same time, Russell has never lost track of the character examination that makes the series as successful as it is. Racer X #4 is the best issue yet, combining high octane action with rich character development.

Rebel Moon: Nemesis #1 is fascinating and hard hitting, digging deep into Nemesiss emotions. At its heart its a strong character piece about Nemesiss deep trauma and how she came to deal with it. You dont need to have seen the movies to find value in this story.

Jason Todd feels right at home in the city of New Angelique and his new mature targeted solo series. Felker-Martin gives the series and its main character a voice distinct among the extended Bat-family group of titles and perhaps all of DCs anti-heroes. Red Hood #1 is a must have for fans of hardboiled and noir detective fiction.

In the larger context of One World Under Doom, Red Hulk #1 suggests itself as an important tie-in. Percy sets the escaped prisoners up to be an internal threat to Doom, and in doing so adds tension and urgency that has not been present for many of the tie-in issues to this point. This is further enhanced by detailed and vivid artwork. Where other tie-ins to One World Under Doom are obviously tangential to the event at best, Red Hulk #1 is a must read for those interested in the broader event.

Red Hulk #3 is a very good now what? issue: Ross escaped his dungeon, but thats hardly the end of his problems. At the same time, Percy digs further into how Ross views warfare. In a larger event where all of Dooms enemies are trying to outthink him, Red Hulk #3 sets up a potentially unique confrontation within the larger, momentarily predictable One World Under Doom framework.

Red Hulk remains one of the best One World Under Doom tie-in series. Percy consistently weaves together a relatively independent General Ross character study with the bigger story. Red Hulk #5 leans more into that bigger story, delivering a fun action romp to pay off the four issues that preceded it.

Red Hulk #6 represents a significant shift in the series as the action moves beyond Latveria and a direct confrontation with Dooms forces. In that sense it is an issue of transitiongoing from the established location where the characters were to whatever mysterious location theyre at now. The same is true for the shift in antagonists. Narratively its very well executed, and Shaw and Valenza make sure the art doesnt disappoint even though it is pretty low octane.

Percy has excelled in changing General Rosss circumstances issue-to-issue, showing the character from slightly different points of view as the series goes on. Red Hulk #9 is yet another different look at the character, and once again its a very effective examination of whats going on in General Rosss head.

Red Hulk #10 caps off an outstanding character exploration of General Ross. The issue doesnt feel rushed, nor is there gratuitous action. Percy finishes the story with the same level of character insight that he began it. Guzmans art in these final issues is different in style but just as strong as Shaws in the earlier issues. A must have conclusion to a must have series.

Expectations coming into Resurrection Man: Quantum Karma #1 should be tempered. While this series may eventually hew closer to a superhero outing, right now it is anything but that. Further, it is on an exceptionally slow burn as it moves toward wherever it is going. That said, it is overall a compelling issue both in art and narrative for readers who like high concept stories.

Its difficult to tell what is most important in this first issuethe murder mystery, the political commentary, or the character conflict. A large part of this owes to the troubled pacing. Ultimately, there are the makings of a clever story in Ripperland #1, but they remain disparate, never blending into a cohesive experience.

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.

Although the character arcs that continue here benefit from having read the first 24 issues, this new story arc makes for a perfect jumping on point. Parrott and Cotton provide enough information to get new readers up to speed. The art and lettering is also of very quality, typical for Rogue Suns best issues. Long time readers will find the character focused issue very satisfying. But no one should sleep on Rogue Sun #25, most assuredly one of the weeks best books.

Thanks to almost exclusively following Dylan, Rogue Sun has been able to look at a variety of themes surrounding growth as a young man. Growth never comes without criticism, thougheven the good natured kind. For all its excitement, Rogue Sun #28s greater success is advancing Dylan as a character by criticizing most of his actions, especially in those moments he can be compared to Aurie.

Rogue Sun #29 raises more story questions than it answers. But its the head-on tackling of a question thats lingered since the series beginning that is most compelling. Little space is devoted to it, but Marcus does answer the question of why he picked Dylan. All thats left now is to see whose opinion about Dylan is correctMarcuss or Calebs?

Dylans continued growth as a person is often the highlight of Rogue Sun. Certainly thats the case here as the story hits a bit of a transition point. Dylans character development makes Rogue Sun #31 another strong issue in a continually strong series.

Dylans college trip remains the highlight of Rogue Sun #32. Despite being a too-self-centered teenager (and in that way, not so atypical), Parrott and Cotton write Dylan with a fair degree of charm. The assorted Rogue Sun centric elements are interesting enough but will benefit greatly when Dylan is involved with them.

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.

Secret Six #1 looks like the first issue to yet another reluctant hero/villain team-up book. It doesnt take long to see how much more is at work between its pages. Certainly thats the basic concept at work here. But what sets Secret Six #1 apart and makes it worth the price of admission is its serious consideration of these characters traumas rather than any superheroing they do.

Compared to its preceding three issues, Secret Six #4 is a relatively quiet entry in the series. Much of it centers around a flashback that is more emotional flavoring than anything else. Even so, the issue is in keeping with the character conflict that is Secret Sixs foundation, and it is a welcome jolt to Jons arc within the series.

Maines has turned every Secret Six issue into an opportunity to examine characters in detailsometimes one, sometimes more. This choice has helped make every issue gripping. Its no surprise that doing the same thing to Amanda Waller would make Secret Six #5 another winner.

Secret Six #6 hits like an explosion from a failed pressure valve. The series first five issues were dominated by character exploration. Every plot advancement was accompanied with an appropriate response by the affected characters. Those characters responses often triggered more responses from other characters. The result is a final issue that is more about the complicated, character-based reasons for the fights than the fights themselves.

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.

Ameziane delivers fascinating and easy to digest insight on Sergio Leone and his work with Westerns. The book is an engaging read with easy to follow text and art that makes it a page turner. Fans of Leones work, Westerns in general, and movie making overall owe it to themselves to pick up Sergio Leone: The Revolution of the Western.

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.

Sisterhoods creative team doesnt rush its way into the true horror story of the series, instead taking almost all of its time building up the players involved. Despite a couple missteps involving Violet, this choice is very successful leading to a shocking final page. Ultimately Sisterhood #1 is an easy to read, standalone beginning to a dark supernatural horror story.

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.

Super hero stories almost necessitate an action packed conclusion. Space Ghost Annual #1 definitely delivers on that score. The difficulty here is that the creative team set the bar for the series so much higher than a mere action romp that such a standard conclusion doesnt quite do justice to what came before. That said, Space Ghost Annual #1 is still a tightly developed story in its own right with rich arta strong finish to the first story arc of an even stronger series.

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.

Space Ghost #4 may feature the least amount of character exploration in Peposes run. The issue really isnt about the series main characters at all. But it makes for a fun page turner, and it goes out with a bang. As a mostly action oriented issue, it works very well.

Pepose and Lau deliver no shortage of action here which makes for a fun issue. But better than exciting action is action with a purpose. This multipronged effort by Space Ghost, Jace, and Jan to stop a war shows off how far the trio has come in their partnership since their initial meeting. Though not character development in a strict sense, the story is informative. The result is that Space Ghost #5 is the best action oriented issue in this run.

Space vampires are fairly derivative relative to the creativity Pepose has shown throughout his time on Space Ghost. But here in Space Ghost #6 they serve as an excellent vehicle to tell the best Jace and Jan story yet.

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.

Though Space Ghost hasnt been telling a long continuous arc, there is no denying that Space Ghost #9 feels like the end of the series first chapter. Part of that is the way that the text, art, and colors come together to sell a triumphant feeling that builds throughout the issue. Space Ghost #9 is a complete experience that immediately turns Space Ghost #10 into an impatiently waiting for must have.

Space Ghost #10 is an action extravaganza. Its impact is heightened by the lack of buildup. Time Master has been hinted at here and there, but in his first major appearance he is the most powerful character Space Ghost has delivered. This creative team has repeatedly proven their ability to deliver the big issues. Well, this is a BIG issue, and it is more than merely delivered.

Space Ghost is a consistently strong series. Even the comparatively weak issues are still high quality. Space Ghost #10 is not one of those, though. Thanks to the culmination of ongoing character growth as well as Lau and Dalhouses work, especially on Space Spectre, Space Ghost #10 is one of the series best issues so far.

Space Ghost #11 is essentially the fallout from the first ten issues. Space Ghost, Jace, and Jan reached a pinnacle of development only to find themselves with new emotional challenges. The villains Space Ghost has been regularly defeating have come back all at once. In some ways this collision of circumstances even works as a jumping on point for new readers as the main characters start a new emotional arc. All of these qualities make Space Ghost #11 another very successful issue.

Space Ghost #1 is an ideal first issue even if it isnt the series first issue. It successfully balances accessibility with advancement of narrative such that old and near readers alike should find it satisfying. The parallel storytelling lets Lau and Dalhouse showcase their range. Space Ghost #1 is a must have for fans of superhero comics.

The current run/season of Space Ghost has at times delivered more fun action with less emphasis on characters–at least compared to the series’ first twelve issues. But a constant in recent issues, even if only in small bits at a time, has been growth for Jace and Jan. That pays off in spades in Space Ghost #8 which feels like the first big character focused issue in a while.

Epilogue and prologue operate simultaneously in Space Ghost #9, an issue that serves as both an effective aftermath and transition issue. It continues the trend of focusing on Jace and Jan to develop them further while also re-emphasizing the emotional connection between them and Space Ghost. This is easily the most complex issue since Space Ghost #1, calling back to recent stories while driving curiosity for the future.

Narratively, both stories in Speed Racer #0 harken back to the manga that originated the concept. There are also visual callbacks. Readers familiar with past Speed Racer incarnations will recognize a lot of what is being set up here. That said, this issue (and presumably the series) is completely approachable for new readers. Speed Racer #0 is a must have for Free Comic Book Day, and if this issue is any indication of the upcoming series quality, the first issue will be worth checking out as well.

Speed Racer (MachGoGoGo) has a long history, not least because it was accessible in the United States when manga and anime were not yet widely so. If Speed Racer #1 is any indication, the creative team plans to deliver a fresh and modern American comic book take on past characters and concepts. The result is that this Speed Racer is an exciting comic that everyone can enjoy.

Speed Racer #2 succeeds in a very a different way than Speed Racer #1 did. Here its the race, specifically Tintos depiction of it that takes center stage. The surrounding world building is intriguing, but it doesnt quite live up to the strong character development of the first issue. But the net result is still a strong comic, one that effectively builds on the first issue while remaining approachable for new readers.

Speed Racer #3 works well enough. Its unfortunate that how the Racer X component is received depends on whether or not the reader comes into the issue with knowledge gleaned from another series. This quality keeps the issue from reaching the same heights as the first two issues. Despite that, though, Speed Racer #3 finishes up as a good character story for Speed.

Everything has been building to Speed Racer #5. Characters have gained depth in every issue. Jeopardy has increased. The stakes have grown. But nothing compares to how much bigger the race is. Speed Racer #5 gives comic readers all the race car action they could possibly want.

Speed Racer #6 is perfectly timed to liven up the young series. It maintains the larger story arc while complicating circumstances. Pops’ addition as a major protagonist opens the series up, and Carl’s introduction as an antagonist gives Speed’s struggles an added dimension.

Speed Racer #7 is a surprisingly character driven issue. That’s not to say that the series doesn’t deliver good character writing. But this one goes above and beyond, resolving a solid story arc with great character examination.

The greater variety of the anthology series second issue offers a welcome expansion of the Speed Racer universe. Though nothing here is required reading for the other series ongoing storylines, all three entries add extra flavor to the world. Speed Racer: Tales from the Road #2 is a very good companion issue for readers enjoying Speed Racer.

London and Pepose approach Speed Racer: Tales from the Road #1 quite differently. While neither story is a must read when it comes to following the events in their two series, Racer Xs Two Princes is very informative while Speed Racers Racers Day Off is a fun romp. Taken together, though, they do provide a nice balance. So while Speed Racer: Tales from the Road #1 isnt an ideal issue for new readers, it does make for a satisfying entry in the larger Speed Racer world.

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.

Evolution within a story is not a bad thing on its own. On its face, Standstill evolving beyond frozen time shenanigans built around a revenge story is an interesting idea. But the characters havent kept pace with the story changes. As a result, Standstill #7 lacks depth and is a lackluster entry in the series.

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.

Despite the title, this issue has little to do with a homecoming for Voyager or the emotions that event should provoke in its characters. This is disappointing as its an area ripe for character exploration. That said, Star Trek Voyager Homecoming #1 is a fun and fast paced issue, kicking off and adventure fans of the show are sure to love.

Star Trek Voyager Homecoming #5 isnt the most satisfying conclusion to a story. While it does wrap up the main plot, at no time does it feel like thats what the writers were really concerned with. As a mission statement for what Star Trek can mean to people (and certainly does mean to these writers), it works very well. But the issue overall could have used more balance.

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.

Superior Avengers #1 sets a few different plates spinning. Theres no outright misdirection, but the issue opens up multiple possibilities for the series direction by the end. Coupled with strong visuals and a potential strong character arc for Kristoff and Doom, this tie-in first issue deserves a look.

Superior Avengers entire creative team are delivering the most straightforward entertaining One World Under Doom tie-in miniseries. Its fun, exciting, and funny. Superior Avengers #4 tones that down in favor of a lot of necessary plot advancement. Foxe paces the issue particularly well, though, and the series doesnt lose any steam as it moves into another big cliffhanger ending.

Superior Avengers has waffled between being an unremarkable action story event tie-in and a stronger character oriented series. Superior Avengers #5 pushes it more toward the latter going into the final issue thanks to the Kristoff character arc. Hopefully that remains the case next issue because character development is what the series does best.

This is a first issue with big ideas. Story and character details are minimal, but there are enough to set the stage for those big ideas. Synthetics Volume One #1 is a high concept comic perfect for science fiction fans.

Synthetics Vol 1 #2 advances the plot minimally but is still a very engaging comic. Straczynski makes the world that the comic exists in truly fascinating. The visuals are compelling throughout, at times flashy, and repeatedly gripping. Its harder to get into than the first issue, but Synthetics Vol 1 #2 is still approachable and a good pickup for any sci-fi fan.

Londons story would be clever under any circumstances. What makes it work especially well, though, is that the underlying idea feels ripped from the headlines. Terrorbytes #2 is disturbing and showcases the series high potential. A must read.

Terrorbytes is working as a series not just because the stories themselves are compelling, but because of what those stories say about technology today and where it might go tomorrow. Additionally, the rotating art teams give each story its own unique identity. Terrorbytes #3 is no exception, and with each issue largely stand alone, fans of science fiction and technology-run-amok dystopias should not miss it.

Artificial intelligence is once again the bad guy in the latest issue of Terrorbytes (though in this case there is a human component behind it). The topic doesnt have the same heft here as its had before, but it proves effective for the story nonetheless. Terrorbytes #4 is another successful entry in a series all about how technology can go very badly wrong.

Terrorbytes #5 doesn’t deliver the nonstop tension of the previous four issues, but it buries its lead enough that the storytelling itself is more clever. Additionally, the linkage between the main story and the bookends is a welcome development.

This is not the most elegant first issue. Even by the standards of exposition heavy first issues, it is a little obvious and dry. However, The Adventures of Lumen N. #1 is intriguing as the first entry of a steampunk series, and fans of the genre should give it a look if they can.

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.

Its difficult to know where The Last Boy is going from this first issue. Wendys real world story is on a collision course with Peters story in Neverland. Its very unclear how the different tones of angst surrounding Wesley, and humor and sad tragedy surrounding Peter will blend together. For now, The Last Boy #1 rests on an interesting premise, both amusing and full of potential even if its not a must buy.

The Last Boy #2 relies on many of the same thematic and story elements that the first issue did. They remain effective here as well, right down to the shocking events on the final pages (though in this case it impacts Peter in a more personal way). And the more emotional elements in Wendys story give the issue an extra kick. The Last Boy #2 continues a fun and creative take on an old story and is easy to get into for readers who skipped the first issue.

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.

Seasons #1 is a compelling first issue. In part thats because its a bit of an enigma, not making entirely obvious what the comic is or will be about. What is obvious, though, is that its a high quality comic. In the end, Seasons #1 is fun, funny, and sure to hold your interest.

The Slashers Apprentice #1 is an odd duck. Shortcomings in the issues construction actually benefit the issues storytelling. The result is that a narratively thin comic that doesnt have a lot to say for itself ultimately delivers a high level of potential. The Slashers Apprentice #1 kicks off a story tailor made for slasher fans.

Konyu serves up a complicated blend of psychological thriller and high concept science fiction ideas. Its not fully one or the other which results in a complex and gripping story. The minimalist art is expressive, perhaps more than it would seem at first glance. The Space Between the Trees is a must have for readers interested in complex, unpredictable storytelling.

The Terminator #10 is not the series most successful issue to date, but it is the most effective at tying the various story threads together. It serves in some ways as reassurance that Shalvey's story is headed somewhere. Its a must have for the series readers.

Fighting terminators is usually a bloody and serious business. And certainly there are no shortage of gratuitous deaths in The Terminator: Santa Claus is Coming to Town #1. But it also manages to be a strangely lighthearted story talking about some of the holidays fun traditions. By no stretch is it required reading for Terminator fans. But its a nice entry for fans of holiday comics.

More than anything else, this is a high quality visual spectacle. Readers who get lost in a comics art, especially when it is leaning into a manga style, will find a lot to like. Unfortunately the narrative cant hold a candle to it. Perhaps there is potential in the future, but it is not evident here. The Unchosen #1 appears to want readers who like a type of story as opposed to trying to win over readers with a unique story.

The aftermath of One World Under Doom should be full of consequences to deal with. The world is a changed place. Zdarsky addresses a little bit of it here, but largely substitutes action for introspection and examination. That shortcoming, combined with clumsy commentary, makes The Will of Doom #1 an unfortunate follow-up to One World Under Doom.

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.

It took two issues, but this series finally found a good way to say things worth saying. Thunderbolts Doomstrike #3 takes the clumsy message from the first two issues and reduces it to basic themes underpinning it such as the necessary equality of all people and the importance of accepting painful truths over comforting lies. Its unfortunate that a narratively stronger issue is accompanied by some visual stumbles. But ultimately this issue ends with greater promise for future issues than was the case coming in.

Thunderbolts Doomstrike #5s narrative successfully combines plot, theme, and character development while the art delivers big on spectacle. Compared to previous issues, though, less is definitely more, and this issue sends the series out on a high note.

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.

The twist at the center of this issue isnt the point of it. Rather, it sets up the complex drama that lives at the heart of the story. Vanishing Point #1 goes beyond simple science fiction and delivers a deeply human drama with universal appeal.

Viking Moon #1 is mostly set-up, but its largely well-executed. There is more exposition than is necessary which hurts the dialogue. But the story is well-paced and the art is engaging. It carries a lot of potential for future issues and is worth a look by fans of supernatural horror.

Vincent Van Gogh: Sadness Will Last Forever is a distinct voice among the many examinations of Van Gogh’s life. Certainly its graphic art nature sets it apart among many. But the way it heavily explores Van Gogh’s thoughts via a conversation between the man and his own dark feelings is very compelling. This is a must have for fans of Van Gogh in particular and art history in general.

The shift in tone between War Wolf #1s opening pages and its latter two-thirds is so extreme that the comic could easily stumble and not work. And yet the blend of the almost-serious and the near-ridiculous succeeds. Tommy is a character thats easy to connect with and fun to root for. War Wolf #1 is great for anyone interested in a less than serious action romp.

There is no denying that West Coast Avengers creative team is out to make this a fun and appropriately funny comic. The humor has been the biggest reason to pick the issue up each month. But West Coast Avengers #5 demonstrates that relatively light hearted adventures and the humor that comes with them isnt the only thing the series has to offer. While leaning too far away from those defining qualities wouldnt be ideal for the series, it works to great effect here, producing the series strongest overall issue so far.

White Sky #1 is recognizable but different enough to not be derivative. There are no zombies, for instance. Harms’ economical writing makes David and Violet engaging characters while the art team creates a compelling world around them that tells part of the bigger story. White Sky #1 delivers a great story for fans of the supernatural and post-apocalyptic fiction.

Wild Animals #1 sets a mood as much as it begins a crime story. Brisson has a lot to say via Neil and the circumstances Neil finds himself in. The visual teams work plays into that mood, especially in the final pages. Those final pages and what they mean to Neils character are a bit of a risk, but overall Wild Animals #1 is an engaging story about a young man who has had enough of the life hes been forced to live.

Wild Animals truly evolves into a crime story here as Brisson focuses the issue on Neils investigation rather than Neil himself. But thanks to the first issue being so heavily character oriented, the story remains a very personal one. That said, Wild Animals #2 is still an accessible comic. Crime story fans who skipped the first issue should check this one out.

Wild Animals continues to confound as a crime story, but its that exact quality that makes it compelling. Neil is a conflicted, complex character that doesnt fit easily into crime story character types. Wild Animals #3 blends the plot and character aspects better than the previous two issues and thus is the series best issue so far.

Brisson doesnt come at Wild Animals crime story straight on. The series approaches the genre more from the side, relying heavily on Neils personal story to enter and navigate that world. Neil isnt truly treated like a criminal or investigator. Instead, his inexperience in this world remains front and center. Wild Animals unexpected approach to a crime story makes it especially compelling, and Wild Animals #5 is a definite high note for the series to go out on.

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.

Wonder Man #1 is a curious issue. There are serious elements at play, but they are tucked inside a lot of very offbeat moments. The issue ends with a lot of promise, but Duggan will have to blend the issue’s various facets better.

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.