The ‘Raid on Graymalkin’ crossover event between Jed MacKay’s X-Men & Gail Simone’s Uncanny X-Men kicked off in exciting fashion! I know a lot of fans were concerned for a crossover event so soon into From the Ashes, but I thought the way MacKay set this event up in this first issue gave this X-Men vs X-Men story an interesting new angle as two groups of mutants try to save their teammates from the depravity of captivity. It wasn’t anything groundbreaking, but he used all of the tension that has been building since Krakoa’s final days to introduce a clear explanation for what’s happening.

However, one head-scratcher for me was how Cyclops was all of a sudden fully trusting in Psylocke’s ability to be in field again after he sidelined her in the previous issue. I noted there that his objection to her participating in the previous mission was strange and it was made even stranger here when as it seemed to be completely forgotten. Does he think she’s better now? Did he forget? Was this just a contrived plot point so Psylocke’s solo series could be set up? My vote is the latter.

With that small nitpick aside, every other aspect of MacKay’s script hit for me. I loved the interactions between Beast, Jubilee, & Calico in the Graymalkin prison. It showed that underneath it all, these are individuals with deep histories who have far more in common than they have differences. Beast standing up for Calico, a mutant he’s never met, was a great step towards building the character back up into a good guy now that we have the “new” old Beast on the team. Cyclops also gets some great commentary that reminds us why he’s in charge. MacKay has really shown he has a great handle on the voice for all the characters he’s writing in this book even if every character doesn’t get a ton of story each issue.

The big moment for this issue is the literal Raid on Graymalkin, the X-Men’s former home. Their was well executed narratively & visually. The plotting was fast-paced & intense with kinetic art that excellently depicted motion and sound effects. Ryan Stegman’s style has really grown on me since the first issue. His disjointed linework complements the tone of the MacKay’s story perfectly. JP Mayer & Livesay’s inks give Stegman’s designs extra weight, which make character movements standout & their emotions palpable. Marte Gracia’s colors underscore the bleakness of Graymalkin’s current state under Corina Ellis. He uses small moments of vibrancy to draw the reader in during key moments. This creative team isn’t holding back for this story and the scene with Beast being beaten to a pulp by Graymalkin guards was the clearest example.

Overall, this was a really exciting start to the event and I’m eager to see what the Uncanny creative team has in store to up the ante in the next chapter. So far, MacKay’s doing his usual top tier writing and the art team is matching him stride for stride. more

Much like Absolute Wonder Woman #2 last week, this second installment of Absolute Superman introduces the titular character’s main universe love interest — with a twist. That comes to life here in the form of Lois Lane working as a soldier for the evil Lazarus Corporation. The interactions between Lois and Kal were spot-on and a great representation of what you’d expect from these two no matter what universe they’re in together. It may not be the exact relationship we’re used to just yet, but there was instant chemistry between these two thanks to Jason Aaron’s dialogue.

Aaron has introduced Lazarus as a symbol of corporate greed. Multinational conglomerates are destroying our actual society, culture, and environment in the name of power and profit and that’s exactly what Lazarus is doing to Earth in this universe. Their corporate mottos about peace and other empty “aspirational” promises are plastered on their weapons of mass destruction in a nod to Orwellian doublespeak from 1984.

I’m enjoying how Aaron is using Lazarus, which is revealed to be led in some capacity by a version of Brainiac, to introduce the ethos of this version of Kal (Aaron has been very careful not to use the name ‘Clark’ for this character yet) as a freedom fighter. These types of figures haven’t been known to be too forgiving to their enemies throughout our own world’s history, so it will be interesting to see how Aaron explores Kal’s moral compass when the characters is forced to make tough, ambiguous decisions. It was also fascinating to see this Kal spent an actual childhood on Krypton where he witnessed the reign and destructive nature of an evil regime. This background gives our new Kal a layer of motivation that our main universe version doesn’t have. Aaron has already built such a deep history in two short issues that he can continue to explore in future issues. I’m really excited to see how this evolves.

Getting back to Lois for a second, Aaron subverts her usual journalistic positioning in the form of her wanting to write a military report detailing her experience with Superman. In this new world, A.I. (another very topical area where Aaron’s script provides underhanded commentary) is king and nobody is supposed to think for themselves. When Lois is being debriefed after her encounter, her words are twisted to match an anti-Superman narrative, to which she objects. Her decision to write her own report being the moment she realizes she has a knack for using her voice to tell others’ stories was such a smart and fun way to give the character a core part of her DNA without just replicating things that other Superman writers have been doing for decades.

Artist Rafa Sandoval and colorist Ulises Arreola are freaking amazing! Exquisite linework paired with bold, emphatic colors create a visual feast. Sandoval is a master of motion — his interpretation of Kal’s icy breath was so cool! He uses onomatopoeia perfectly to give the book a surround sound feel during major action sequences and Becca Carey’s lettering adds depth to some of the quieter the panels. However, the best visual execution of the entire issue has to be the life and personality the art team gives to Kal’s sentient cape. It is somehow sentient (based on what we think is it’s ability to converse with Kal) and is able to alter it’s shape to accomplish tasks like shielding survivors of a battle from harm. Getting to see all the cool stuff this team did with it was worth the cover price alone — it was that awesome! more

Emma Frost has arrived! I was a little worried this issue was going to only revolve around a showdown between Kate/Emma based on previews, but darn it Eve L. Ewing knew exactly what she was doing! This series has been chock full of character development so far and that continued here as Ewing quickly pivoted from the tussle between these two former Marauders to more character progression for the entire cast.

Axo, Bronze, and Melee are an exciting new trio — their interactions together are adorable! I loved Bronze being the one to come up with their nicknames and her drawings put a huge smile on face. It’s also so cute to see how much they already look up to Kate. Speaking of Kate, Ewing is doing a phenomenal job balancing her moments of hesitation about training young mutants for combat and rising to the occasion as the ideal teacher/mentor. Kate has literally been fighting for mutants for so much of her life that it makes complete sense as to why she is so torn in her current position.

On the other hand, Emma completely deserves to take a few victory laps after what shes been through recently. She has never quite gotten the credit she deserves so a bit of tough love seems appropriate. Also, would she really be Emma Frost if she weren’t just the right amount of sass? I feel bad for whatever villain crosses this mutant quintet once they’re fully prepared and that’s all thanks to how much work Ewing is doing to build such a solid foundation.

Visually, Carmen Carnero has quickly established herself as a top-tier X-Men artist. Her characters look like they’re straight out of a design sketchbook, plus she’s able to evoke so much emotion out of facial expressions (the panel of Bronze smiling in the mirror made me stop and stare) and body language even for characters who aren’t the main focus of a panel. Nolan Woodward’s colors elevate Carnero’s designs even higher. The icy blues he used for Emma’s eyes, outfit, and makeup, and then for Iceman were chillingly (pun very much intended) gorgeous.

We may not yet be knee-deep in action like other From the Ashes books are right now, but I’m totally happy with these slow-burn, stellar characters moments! Ewing, Carnero, and crew have my complete attention and trust. more

Kieron Gillen and Caspar Wijngaard are back this week with The Power Fantasy #4, which shifts the focus to Masumi, a depressed artists who is 1 of the 3 powerful Atomics alongside Etienne & Heavy. We haven’t seen much of Masumi so far but we learned in the last issue that she was responsible for the catastrophic 1982 “Tokyo event.”

More than anything, this issue was tragic. Masumi is the poster child for destructive mental illness. She’s not in control of her emotions, or the effect of those emotions, & is a constant threat to herself, those she loves, & ultimately, thanks to her status as an Atomic, the entire world. Many readers won’t need this book to relate to the dangers and emotional pain mental illness causes to those who suffer from it and/or their friends & family. Gillen presents the macro threat Masumi poses as someone so narcissistic she could end humanity just because her artwork receives negative critical reviews. A scary proposition for sure, but one that I know I’ve personally dealt with on a much more micro scale many times with people near & dear in my life. It made me feel entirely empathetic to Masumi, even though she likely doesn’t deserve it.

The Power Fantasy is shaping up to be Wijngaard’s best work to date. Every issue has been breathtakingly beautiful, but he raises his game even higher this issue. He uses ingenious paneling designs to visually complement Gillen’s writing. You can tell how much Gillen trusts Wijngaard as he allows the artist to tell so much of the story through art. The entire art gallery scene is a perfect example of a “show don’t tell” approach that yielded a far more ominous and foreboding reading experience that text simply couldn’t provide.

That dynamic is why I love this series so much. Gillen & Wijngaard are building intrigue without telling us every single detail about the world they’re building, especially as it relates to what these godlike characters are capable of. We’re getting clues along the way, whether it’s Gillen’s sharp dialogue or Wijngaard’s evocative visuals, to inform us that we’re always on the precipice of global Armageddon. more

Try to convince me that this week’s Storm #2 isn’t a Lucas Werneck art book. Go on, try. What’s that? You can’t? SHOCK! The visuals in this issue are absolutely STUNNING. Werneck is drawing the HELL out of Storm (& everything else) so far. Her outfits? Her hair? Her accessories? Pure haute. Everything about Storm screams regal goddess. The scene of her in the shower catching clumps of her hair falling out was so sad yet beautiful. Every wisp and flow seemed to tell its own story, revealing her deepest emotions. And even as amazing as all of the designs are, they wouldn’t be the same without the excellent colors of Alex Guimarães. He used the color white in unique ways, particularly with Storm’s hair and the spiritual whale.

I also can’t get enough of the direction Murewa Ayodele is taking this story. He’s blending so much of Storm’s past into a tale that is completely new. He isn’t bringing the character back to any former status quo. Instead, he’s using all of her past guide her to a new future — if she can survive long enough! Much like Peach Momoko infusing Japanese culture into Ultimate X-Men, I really appreciate the how Ayodele is weaving in aspects of his own Yoruba tribe’s history. I’d highly recommend reading his backup notes for a deeper understanding of all the real-world richness he’s adding to the story. He’s also perfectly capture what makes Storm such a compelling character. She’s an utterly selfless individual with an enormous heart for all living things.

The Night & Daye hospital was great reminder that Krakoa failed to reach the perfect utopia it hoped to be, even at its height. There are still mutants out there who feel shunned by the X-Men, which is a sociological analogy that would be too long to dive into for this one post. Yet Storm’s calm & poised reaction was just one example of how much Adoyele gets the character. And while the reveal of Doctor Voodoo was spoiled by solicitations, I thought Murewa did a great job introducing him at the end. He seems like a no-brainer character for this story.

I absolutely love everything about this series and can’t wait to see where things go next! more

A bit of slower issue compared to the excitement from the debut, but the reveal of the new Batmobile might have been worth the cover price alone!

A beautiful finale to one of the best new comics of 2024.

Peach Momoko's Ultimate X-Men #9 builds upon the tension that has been growing over recent issues, expertly blending mutant action, cultural elements, and character-driven storytelling. Momoko weaves together multiple storylines that she’s been juggling since the debut issue, culminating in a thrilling showdown between Maystorm and Surge that takes up nearly a third of the issue.

As usual, Momoko’s artwork is stunning throughout the book, but this big showdown is definitely the highlight. With dynamic displays of power and evocative facial reactions that reflect each character's personality, Momoko shows that she’s not just someone who can draw static characters. Her action sequences can be just as meticulous and gorgeous.

Her distinct horror abilities also shine in a chilling scene where Shinobu/Shadow King) discovers this universe's Akihiro/Wolverine, revealing the sinister plot of the Children of the Atom. The cult's harvesting of Akihiro's genes to create mutant children raises the stakes, underscoring how far they are willing to go and the dire consequences of their actions. We also see that Surge is fully aware of what’s been done to her by the Maester and the other cult leaders. Instead of being angry about being experimented on, she believes it’s been the best thing that has ever happened to it. It’s a scary reflection on how much a cult can manipulate it’s members.

One of my favorite aspects of this series is Momoko's thoughtful inclusion of cultural Easter eggs throughout her stories and then providing context via additional backup notes. This issue included students preparing for the Bunka-sai festival at Irodori High School and offered a fascinating glimpse into Japanese culture. As someone with an appreciation for Japanese culture, these touches are a delightful bonus. I’m so glad Momoko has chosen to share these parts of the life she’s lived with us. more

Skybound's meticulous reintroduction of G.I. Joe IP into the Energon Universe reaches its culmination with Joshua Williamson and Tom Reilly's electrifying debut issue. Building upon the foundations laid by recent miniseries Duke, Cobra Commander, Scarlett, and Destro, G.I. Joe #1 masterfully weaves together plot threads that have been expertly laid out on the chessboard over the past year, propelling the franchise forward with exciting momentum.

Williamson establishes Duke as the leader he was destined to become, showcasing growth from his titular miniseries and a new sense of hesitation when faced with the daunting reality of leading a team against Cobra Commander’s formidable alliance of villains. The lineup of his newly formed team is revealed, boasting an intriguing mix of fan favorite characters and the inclusion of someone longtime G.I. Joe fans wouldn’t expect to be working with the good guys. Duke's doubts about their readiness to face Cobra's threat create an immediate sense of tension for what’s in store for this team when they taste battle. Williamson's writing shines, conveying the weight of responsibility on Duke's shoulders and the new threat posed by Cobra.And boy is Cobra looking like a formidable foe! We see just how far he and Destro have advanced in their mastery of Energon. This new reality establishes extremely high stakes for Duke’s mission and the series as a whole.

Overall, the issue is very well paced, building momentum that crescendos with a climactic first skirmish between the two sides. Williamson even adds references to what's been happening in the shared Energon Universe with nods to recent events in the Transformers series. He nailed every job he had to do with this first issue and then some.

I’m so glad to have Tom Reilly back for another Joe book. I loved what he brought to the Duke mini and he didn’t disappoint. His distinct character designs prevent the large cast from blending together and his dynamic action sequences are equally impressive, injecting even more energy into the narrative. Jordie Bellaire's colors complement Reilly's art, adding depth and atmosphere to the visuals. Some of the more experimental color choices are reminiscent of Bellaire’s recent work on DC's Birds of Prey series, which made the book feel a bit less special in some regards. However, the creative duo, combined with Rus Wooton’s lettering, give us a very visually pleasing reading experience from start to finish.

G.I. Joe #1 is a resounding success, delivering on its promise to unite the disparate plot threads from previous miniseries. Williamson's character-driven writing and the captivating art make this issue a must-read. With nods to other Energon Universe titles, this debut sets the stage for an explosive, action-packed ride. The stakes are higher than ever before, the creative team's enthusiasm is infectious, and the sky appears to be the limit in terms of who may show up down the road. Hop on now before you’re left behind! more

NYX #5 brings the first arc to a satisfying close, delivering a poignant exploration of camaraderie, identity and resistance. At its core, this issue is a testament to the transformative power of friendship and found family, exemplified by Sophie Cuckoo's journey.

Sophie's decision to turn against the Quiet Council marks a pivotal moment in her character development. Her bond with Ms. Marvel, forged through mutual respect and the emotional backbone to this entire series so far, awakened a sense of purpose and belonging that she never felt even as part of the Stepford collective. Collin Kelly and Jackson Lanzing skillfully peel back Sophie's stoic exterior, revealing a complex, vulnerable individual grappling with self-doubt and emotional scars who puts everything on the line in an attempt to make amends for her recent actions. Her resulting loss of powers underscores the tragedy of her arc.

Kelly and Lanzing's grasp of the X-Men's core themes is impressive and no better representation of it was doubling-down on Kamala's eternal optimism and unwavering push for positive change. They distill the original essence of the franchise: a community of "others" uniting against oppression of any/all kind, fueled by hope and determination. This narrative thread is expertly woven throughout the issue, echoing the real-world struggles of marginalized groups throughout our own history. This may feel tone-deaf in a time when the majority of the American electorate recently chose hate over hope, NYX #5 serves as a powerful reminder of the importance of community, organizing, and supporting one another.

If there's a criticism to be made, it's in the pacing which feels somewhat rushed. The plot leaps forward from the previous issue, and the characters' accomplishments within a 24-hour timeframe are a stretch. A more gradual build-up over another issue or two would have enhanced the narrative's impact and given the characters even more time to shine.

Francesco Mortarino's return to art duties this issue and is joined by newcomer Elisabetta D'Amico on inks. The duo complement the stories' deep context with expertly illustrated facial expressions that convey a wide-range of emotions for every character. Raúl Angulo's colors were also impressive, with no better example than the final panel which pulls back the scope to beautifully reveal the grand scale of Prodigy's street art.

NYX #5 is a triumphant conclusion to the first arc, with Kelly and Lanzing delivering a poignant, empowering narrative. While pacing issues were somewhat limiting in allowing the payoff to feel completely earned, the creative team's passion and understanding of the X-Men's core themes shine through in spades.
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The good news is that Vincenzo Carratù absolutely nailed the action sequence art in Psylocke #1!

Unfortunately, the art was the start and the end of the highlights for me. Alyssa Wong’s script wasn’t bad by any means, it just didn’t make me think this series had a reason for existing (other than lining Marvels pockets). The issue begins with Cyclops sidelining Kwannon from joining their next team mission because of her recent behavior. Had she really done anything in Jed MacKay’s X-Men that warranted this decision? This sets up what Marvel promised for this series — Kwannon using her assassin training to take on missions that are “too dirty” for the X-Men. Sounds interesting, but that’s the basically the plot of any Wolverine solo.

Beyond this setup, the character beats felt like standard storylines writers have been giving Kwannon ever since she took back the Psylocke mantle. Are her identity issues a new problem that can sustain a solo series? I love Kwannon so I’m hoping Wong introduces new wrinkles to the character.

As Marvel announced more and more solo X-titles, I began to worry they were going for quantity over quality and so far they haven’t done much to assuage my fears — especially for the female-led titles. Storm has been one of the few bright spots, but that has only had one issue to date and for some reason Marvel has taken nearly two months to release the second issue. Phoenix has had it’s ups and downs, but has been plagued with behind-the-scenes issues related to allegations that the series artist was tracing designs from past Marvel works. I know this was a negative review, but I’m rooting for Psylocke. I really am. more

Jeff Lemire's debut on the Justice Society of America marks a new chapter for the team, but unfortunately, it stumbles out of the gate. Picking up after DC’s Absolute Power event, Lemire dives headfirst into the team’s internal conflicts. While Lemire's intentions are clear, the conflict feels manufactured, lacking organic tension unless you have an encyclopedic memory.

The debut issue’s biggest misstep is its inaccessibility to new readers. Without prior knowledge of the large cast of characters and their relationships, the dramatic scenes fall flat. Lemire's writing assumes a level of familiarity that may not exist for many readers. The reliance on prior storylines from Absolute Power and its tie-ins, as well as the JSA’s decades-long history, creates a barrier for the average reader. Editor's notes would have made navigating the multitude of interpersonal relationships that drive the issue’s drama a lot easier.

Diego Olortegui's artwork, paired with Luis Guerrero's colors and Steve Wands' lettering, yields mixed results. Some panels shine, while others feel average. Character designs and action sequences are decent, but the overall visual tone was underwhelming. more

"But the world doesn't wait for us to ask before it inflicts horrors upon us. All we can do is spite it by surviving or die. What will it be, Cyclops?"

Sure did pick a day to drop that line.

Green Lantern Dark #1 presents an Elseworld tale set in a world devoid of heroes and hope. Amidst the darkness, Rina Mori, a reluctant Green Lantern, wanders across cities and towns to keep evil entities away from innocent civilians.

Brombal's script sets the stage for this new world, introducing a desolate landscape devoid of heroes. While the premise isn't overly complex to establish in a first issue, it provides a solid foundation for the story. The world-building is subtle yet effective, conveying the dire circumstances and desperation of its inhabitants.

Additional characters, such as Lunette, a young tween who steadfastly believes in the Green Lantern, and her family, are introduced. Lunette's unwavering faith serves as a catalyst, while her brother’s skepticism provides contrast. Although they verge on being one-dimensional, fitting into standard character tropes that drive the plot, their interactions serve as a microcosm for the friction amongst the masses.

Regrettably, Werther Dell'Edera's artwork and Giovanna Niro's colors didn’t standout for me. The visual style felt too reminiscent of Dell’Edera’s work in the Slaughterverse. I couldn’t help thinking I was reading a House of Green Lantern or Something is Killing the Green Lanterns book. Additionally, some scenes, like Rina's introduction in a crowded diner, suffer from disjointed visual storytelling, disrupting the flow and limiting the impact.

Despite artistic missteps, Green Lantern Dark #1 still provides a worthy enough exploration of hope in darkness. As the world grapples with uncertainty, this issue's themes feel eerily relevant. With a pivotal US election looming, Brombal's narrative serves as a timely reminder of hope's importance in the face of grilling despair. more

G. Willow Wilson and Chris Wildgoose continue to expand a rich world, delving deeper into characters and conflicts in this week’s The Hunger and The Dusk Book Two #3. The issue heightens the current tension and anticipation as we watch the Last Men Standing attempt to survive without their leader, Cal, who is on a trek to reunite with Tara.

The Last Men's struggles are the focus on the issue and we see them facing the harsh realities of an ever-changing climate while they’re holed up in a cave to avoid new torrential downpours that replaced extreme heat and fires. Wildgoose's artwork shines in these scenes, capturing the group's camaraderie and desperation. His visual representation of their cramped, makeshift shelter effectively conveys their vulnerability and a world closing in around them.

Through their story, Wilson also fleshes out the world's complexities, showcasing the harsh realities of survival, struggles for resources and the ever-present threat of the Vangol army. The world's rapid decline is mirrored in the characters' desperation, making their struggles feel authentic and relatable. It was also great to see the Red Screamers, another band of human warriors who have been mentioned in previous issues. They reminded me of the “Tailies” from LOST, who we always heard about but didn’t see for quite some time. It would be great to get future one-shots that reveal how other groups of humans and/or orcs have been surviving.

On the flip side, Cal's scenes may be the “B” side of the issue but Wilson explores his struggles, showcasing a mix of personal loyalty and desperation that weighs him down. What he observes on his journey serves as a microcosm for the world's dire state, highlighting the fragile peace between humans and orcs hanging precariously in the balance as the world crumbles around them. It’s a sad reminder of our own society’s fragility as it hangs on the precipice in our current political climate.

Wildgoose's artwork remains a particular highlight, especially in action sequences. His detailed backgrounds have always helped to world-build and that continues in this issue. His visual style remains immersive, drawing readers into the world and providing small clues to the state of the world in details as minute as clothing. M.Sassy.K’s colors help bring these designs to life in vivid detail.

So far each issue in Book Two has explored the dynamics of different characters while pushing the larger story's scope to the background. The Vangol army's plans haven’t been visited in some time and the threat Wilson built towards the end of Book One doesn’t feel as high as it once did. I don’t doubt Wilson's pacing is deliberate, building tension and anticipation, but there are only so many issues left and I’d hate to see things rushed at the end.

Overall, The Hunger and The Dusk Book Two #3 is another exceptional installment in this high fantasy series. Wilson's storytelling and Wildgoose's art combine to create an engaging world, expertly balanced with character development and action.
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