I adored the debut of Man’s Best from Pornsak Pichetshote and Jesse Lonergan, so I was amped for this next issue. Man’s Best #2 ramps up the action BIG TIME, plunging our beloved trio - Athos, Porthos, & Lovey - into even more perilous situations as they journey across an alien world looking for their humans.

The concept of Homeward Bound in space continues to captivate me, and Pichetshote & Lonergan leans into this big time, delivering another exhilarating experience. However, I have a minor criticism: the characters’ personalities feel somewhat stagnant from the first issue. Their communication issues and inability to work together feel like a repeat without any new layers added. While the scale of their situation is greater now, I hope to see more complexity and/or growth in future issues to give these adorable pets some added depth.

On the other hand, Lonergan’s art is a standout yet again. The action sequences are heart-pumping. I found myself genuinely worried for our main characters during several intense panels (poor Lovey). Lonergan’s style might not appeal to everyone, but it resonates with me & really enhances the overall experience. The scene where our trio escapes Klangers by navigating a tight corridor was insanely drawn!

Overall, Man’s Best #2 is an action-packed adventure that will keep you on the edge of your seat. While I’m eager to see more character development, the creative team’s vision & execution have me hooked! more

In the latest installment of Ram V’s Gotham Nocturne opera, Detective Comics #1084 sets the tone for a thrilling new act: Crescendo. With Javier Fernández’s captivating art, Dave McCaig’s evocative colors, and Ariana Maher’s meticulous lettering, this issue is a home run in storytelling.

The writing is exceptionally strong, weaving a narrative that’s both personal & profound. V’s script balances darkness & hope, mirroring Batman’s journey from his lowest points in the previous Acts to his triumphant return to Gotham here. The art feels distinct from previous Acts as well, w/ a much brighter color palette that effectively conveys the shift in Batman’s mental state. Fernández’s illustrations are detailed & maintain a grittiness that keeps a sense of consistency, while McCaig’s colors bring a sense of depth & emotion to each panel.

The backup story featuring Cassandra Cain is a great addition, offering a new character’s perspective on the Orgham’s version of Gotham. The nod to Bruce’s flashback earlier in the issue was clever & tied the two stories together nicely. As a fan of Cassie, I’m excited to hopefully see her play a bigger role in these final issues.

Overall, Detective Comics #1084 is a really strong issue that sets the stage for a gripping & emotional ride. V has a very strong grasp on what makes Bruce Bruce & I can’t wait for what he has planned for the Dark Knight now that he has renewed confidence and a sense of self. more

Spectregraph #1, previously teased in DSTLRY's THE DEVIL'S CUT last year, presents an intriguing concept that feels reminiscent of Tynion's past sci-fi horror stories, a mix of Department of Truth, W0RLDTR33, Nice House at the End of the Lake, & SIKTC. While it didn't immediately capture my attention as some of these other works of his, this first issue hints at a rich narrative with much to be uncovered.

Part of the reason I couldn't get into this fully is that I wasn't immediately invested in the characters introduced. Janie, the main character, makes some VERY questionable choices that physically made me angry and, while it may be my privilege showing, are choices I don't think anyone would make. Val, the other prominent character, walked a tightrope of being captivating & a caricature.

From a visual perspective, Ward's signature art style shines through with vibrant, bold colors that bring the pages to life. The opening sequence is particularly striking, with bright orange flames that seem to leap off the page. However, outside of a few key scenes, Ward's talents aren't fully utilized. It was a far cry from his recent work in Batman: City of Madness where every page felt like it was stretching his skills to the max.

Bidikar is one of the industry's best letterers & does a great job here, though one speech bubble in my ARC appeared to be attributed to the wrong character. Hopefully that got fixed in a final edit.

Overall, SPECTREGRAPH #1 is a solid, if unspectacular start to what has the making of a thrilling & unsettling ride if we can get a bit more from the creative team. more

Just caught up to the Final Krakoan X-Men story. Maybe because I'm a stupid idiot, but the pacing is all over the place and this made no sense whatsoever. the dialogue and pacing does not work for me here, and the characters arent interesting.

Cody Ziglar delivers an epic showdown between Miles & Rabble that will leave you breathless. Ziglar’s script creates extremely high stakes for Miles & his team, elevating the tension to heart-pounding levels you’d expect from a summer blockbuster. The action unfolds panel by panel, perfectly captured by Federico Vicente’s dynamic art, Bryan Valenza’s vibrant colors, & Cory Petit’s meticulous lettering.

Valenza’s color palette is a standout, particularly when black & white is used after Miles is “blinded” by a solar flare for a few pages, creating a haunting & intense sequence of events that had me hooked. The art team’s synergy is on full display, as each page turn reveals a more visually stunning action sequences.

But what truly sets this issue apart is its emotional resonance. The fallout is both poignant & impactful, feeling like a long-awaited payoff. Ziglar reminds us how Miles leads w/ his heart & why he’s earned a place as a fan-favorite amongst Marvel heroes.

Miles Morales: Spider-Man #19 is a must-read, showcasing the best of comic book storytelling & character spotlighting. With its pulse-pounding action, stunning visuals, & emotional depth, this issue is emblematic of why this series is one of the best Spider-Man titles currently on shelves. more

Thank god this is over.

Bryan Hill is creating something truly special w/ this series and issue #3 is no different. I am completely enthralled w/ Hill’s character-driven focus, as he’s takes his time building a rich & immersive world for T’Challa, even if it means sacrificing action & long-term plot development in the short term. We’ve yet to revisit some of the plot threads introduced in the first issue, but I��ve hardly felt unfulfilled because of all the amazing character work we’re getting instead.

Hill’s development of Killmonger here is particularly noteworthy, as he adds subtle twists Erik’s worldviews & motivations without betraying the spirit of Killmonger of Earth-616. We also get to see more development from Shuri & Okoye as they literally go toe-to-toe in a tense power struggle while T’Challa is MIA from Wakanda. There are A LOT of seeds being planted for Shuri & these small bites are paced perfectly to keep you hooked.

But Hill’s writing is only half the equation — Stefano Casseli’s art is simply breathtaking. The environments are stunning & the character designs are regal. The new looks for Killmonger & Storm look gorgeous. It’s a really awesome homage to their African roots without leaning in too far where it edges on patronizing. David Curiel’s colors & Cory Petit’s lettering are the cherry on the sundae to make this an all-around visual treat.

What’s most impressive about Black Panther #3 is its willingness to take its time, to let the characters breathe & grow. Hill is playing the long game, and I’m more than happy to be along for the ride. If this means quieter moments now, I’ll wait for the flashier, more action-packed ones which are sure to come in the future. more

This was a sidesplitting, clever, & refreshingly self-aware commentary on the comics industry, capitalism, & pop culture all in one. It’s also literally a meta-comic, as it’s the same one Minotaur handed to Thor last issue to promote Roxxon’s corporate synergy, so it’s a comic-within-a-comic. Al Ewing strikes a perfect balance between overt commentary & nuanced subtleties, making this a multi-layered treat for anyone wanting to examine the current state of comic books, their titular superheroes, & the corporate overlords who own them.

Ewing’s script is a lesson in satire, tackling the commercialization of heroes & the influence of corporate interests w/ both humor & poignancy. The issue is expertly constructed, from the hilarious faux-editor notes to the fake Roxxon ads that add to the issue’s corporate veneer. Even Greg Land’s art, which may not typically be my cup of tea, is perfectly suited to the script, oozing the very essence of corporate superficiality.

It’s impressive that Marvel allowed the creative team to push the envelope as far as they did, or if they’re just Roxxon in disguise. Either way, Roxxon Presents: Thor #1 is a blast, offering hilarious commentary & proves yet again that Ewing is one of the best writers working today.
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The latest installment of Fall of the House of X had all the makings of a thrilling pentultimate issue, but unfortunately it prioritized quantity over quality. The issue felt like a rushed sprint from one set piece to the next, leaving key moments underdeveloped and lacking the emotional resonance they deserved.

One of the big missteps was the handling of Apocalypse's story. To save a dying Krakoa, he begins a new version of the Crucible, which had the potential to be a powerful and poignant moment acting as an homage to the early days of this era. Instead, it was weighed down with too much dialogue and underwhelming art. Similarly, the utterly consequential deal between Xavier & Nimrod was relegated to a data page. A total cop-out & disservice to the severity that one conversation will have on years of storytelling.

As touched upon briefly, the issue fell short in the art department for me. It failed to bring the action panels to life, leaving them feeling static & removed from the intensity of what the script was trying to imply. At worst, we didn't even get to see the full scope of certain scenes which were either handled via the aforementioned data page, or off-page. If this were a movie or tv show, I'd be saying they had to be mindful of budget but I'm not sure why they made the decision to limit the visuals in a comic book.

Overall, Fall of the House of X #4 was a let down for me. With better attention to pacing & a focus on quality over quantity, this could have been an emotionally powerful chapter in the final days of Krakoa. Instead, it feels like Xavier is getting the Daenerys Targaryen treatment. You can understand how they'd become an ultimate villain, but the writing fails to justify their turns & instead speeds to a finale. more

The latest installment of the House of Brainiac event in Superman #13 is a thrilling ride that lives up to its predecessor. Joshua Williamson & Rafa Sandoval deliver an issue that’s packed with action, emotional depth, & a couple plot twists that will keep you reading on.

The story picks up where we left off, with Superman’s allies captured by Brainiac & our hero teaming up w/ Lobo to take him down. The pace feels faster & more intense & Williamson starts to tease Brainiac’s sinister plans while revealing a few new wrinkles. Meanwhile, Superman’s rage is pushed to new limits, and we even see Lobo’s vulnerable side. I’m not the biggest Lobo fan around, but I can tolerate how Williamson is using him here so far. The one character who I didn’t exactly know how to feel about is Lex. I’m worried we’re falling into a redundant cycle of “is he really good?” & it’s verging on being annoying. At some point we need to move past this & establish a more firm new normal w/ him.

The action sequences are expertly choreographed, with Sandoval’s detailed linework & Alejandro Sanchez’s vibrant colors bringing the action to life in stunning fashion. They also capture the sci-fi feel of Brainiac’s galactic lair in a wonderfully creepy, foreboding way. Superman & Lobo’s space motorcycle ride may be the ultimate highlight, showcasing the creativity & imagination that makes this series stand out. more

Tom King masterfully weaves a subversive and thought-provoking narrative that delves deep into the psyches of Diana and The Sovereign. King’s character work is nothing short of impressive, as he expertly explores the intricacies of Diana’s willpower and The Sovereign’s twisted ideology.

One of the standout aspects of this issue is King’s bold & unflinching examination of religion as a tool of oppression throughout history, particularly against women. This commentary adds depth & substance to the story, making it a purposefully uncomfortable read.

Daniel Sampere and Tomeu Morey delivered truly stunning art. The alternate reality sequences, where Diana is trapped in a never-ending cycle of domestic torture, are as visually attractive as they are painful to watch. The attention to detail & the mastery of color & composition make these scenes a true visual spectacle.

Breaking up the seriousness is a delightful scene featuring Donna, Yara, & Wonder Girl playfully tormenting Sergeant Steele. This brief interlude serves could be seen as a throwaway, but I saw it as a reminder that Diana still has allies out in the world.

The usual backup story, featuring Lizzie, Damian, & Jon, is another highlight of the issue. King’s script is full of humor & heart, & Belén Ortega’s art & Alejandro Sánchez’s colors bring the story to life perfectly. Lizzie’s adventure in Samurai Japan is an absolute hoot.

Wonder Woman #8 is a triumph in character-driven storytelling, thought-provoking themes, & stunning artwork. Tom King and the entire creative team have outdone themselves, and this is only the first act of a new arc! more

We’re deep in the heart of the Sabretooth War, & this week’s issue doesn’t slow down on the action. Laura unleashes her inner berserker to escape captivity, the remaining Exiles make a dramatic entrance to save a battered Logan, & a distraught Quentin continues to struggle under the manipulative grip of Sabretooth.

The issue shines brightest w/ Laura. We see her feral rage on full display as she claws her way through Sabreteeth. Artist Geoff Shaw doesn’t hold back on the brutality, and Laura’s escape, culminating in a showdown w/ Savage Sabretooth, is a gory highlight of the issue.

Quentin’s internal conflict is palpable as he wrestles w/ his own conscience & Sabretooth’s malicious influence. His convo w/ Phoebe was so sad to read as his helplessness was on full display. This is an entirely new feeling for Quentin who has never been one to let his insecurities show.

While the action & emotion is there, this issue feels a bit like a lull in the storm. The Exile’s growing role in the story is probably my least favorite development of this arc so far so their heavy involvement here weighed down my enjoyment of the book. However, the stage is definitely being set for an explosive final three issues. So, while this might not have been my favorite issue, it feels like setup for an epic conclusion. more

Steve Foxe delivers another heaping helping of low-stakes fun, exactly what this mini should be. This issue could have easily been ripped straight from the show’s storyboards.

Foxe nails the characters perfectly. Every hero & villain drips with the perfect amount of camp, delivering dialogue that sounds like it was lifted straight from the show’s iconic voice actors. In fact, this might be some of Foxe’s best X-Men work in recent memory, easily surpassing Dead X-Men & Dark X-Men.

The art by Salva Espín & colors by Matt Milla are the perfect complements to the script. The visuals are vibrant & energetic, bouncing off the page w/ a look that perfectly captures the animated series’ aesthetic.

Sure, the stakes might not be world-ending, but that’s the beauty of this miniseries. It’s a return to a simpler time in X-Men lore, where the focus was on team camaraderie, wacky adventures, & the occasional existential threat thrown in for good measure. more

This issue was definitely a mixed bag for me. Peter’s date with Shay did nothing for me & I found the Betty storyline quite boring. Don’t get me wrong, a breather issue with some Peter Parker slice-of-life can be enjoyable, but in this case, it felt like it came at the expense of more pressing matters.

We’ve barely seen much of Ben Reilly’s return, a development that should have been a major focus given where this new arc is headed. Hallow’s Eve hasn’t really resonated w/ me, nor does she feel like a serious threat, so the relationship between these two doesn’t offer quite the stakes that it’s trying to convey.

Adding to the issue’s questionable plot construction is the Goblin Queen’s reveal. Her presence hasn’t been consistent throughout the run due to the Gang War arc, so her sudden reappearance feels shoehorned in to elevate the threat. There’s no real tension as a result, because her return hasn’t been built up.

Thankfully, Todd Nauck’s art is a saving grace. His dynamic layouts and detailed characters bring the story to life, even when the narrative falters. The few action sequences, when they appear, are a joy to read thanks to Nauck’s energetic style. more

Following up on the jaw-dropping first issue by Peach Momoko, Ultimate X-Men #2 delivers another dose of creepy horror with Momoko's signature artistic brilliance. The unsettling environment and twisted vibes are still there, holding your attention with each panel. Momoko's art remains absolutely sublime in this extended setting.

However, there's a change in pace from the first issue, with Mei's introduction feeling a little rushed. Mei seems to have an interest in & understand Hiroki's mutant struggles. While their team-up against the shadowy menace is intriguing, the development of their connection feels unearned. We get little explanation for how Mei knew about Hiroki, why she's so readily on board to follow her into a spooky abandoned building, or how/why they both ended up at the same school in the first place. Momoko seems to be implying that there's more than meets the eye here, so hopefully these unanswered questions get resolved in the long run.

Despite these pacing issues Ultimate X-Men #2 is still a decent follow-up issue. The core concept remains fascinating, and I'm enthralled with the world Momoko is building. Here's hoping that future issues can delve deeper into the characters' motivations, relationships, & mutant powers while maintaining the chilling horror vibes that make this series so unique. more

Action Comics #1064 explodes onto the scene as the opening chapter of DC's "House of Brainiac" event as Joshua Williamson’s script crackles with tension from the very first page.

The visuals by artist Rafa Sandoval & colorist Alejandro Sánchez shine throughout the issue, but their work truly takes flight (pun intended) during Superman's "morning workout" sequence. Here, we're treated to a picturesque scene with Clark flying over a body of water in beautiful splash page. For readers who might not be die-hard followers of every Superman family member, the opening pages also serve as a helpful catch-up on the who’s who of Metropolis via a day-in-the-life montage of Lois Lane getting to enjoy her one day off per year.

Williamson expertly weaves in glimpses of the extended family, reminding us of their unique personalities and powers, all while seamlessly setting the stage for the impending chaos. Together, the first few pages offer wonderful moments of peace before the action kicks into high gear once Brainiac’s plan is put into motion. After that, the story starts to fire on all cylinders up until the final page.

This first issue serves as a thrilling opening salvo to the "House of Brainiac" event. Williamson laid the groundwork for several intriguing plot lines & left me wanting to read more of the story throughout the various tie-ins. The stakes for Superman and his loved ones couldn't be higher, and the tension is palpable throughout. The art team’s action-packed panels perfectly complement Williamson's script, making Action Comics #1064 a must-read.

Rating: 9/10 more

Jonathan Hickman’s Ultimate Spider-Man continues to be a delightfully fresh take on one of Marvel's most well-known heroes. Hickman weaves a narrative brimming with heart, humor, & action, proving that there was always room for a new spin on a classic tale for an author daring enough to go there.

Every character has been given a wonderfully refreshing update & they keep getting better with each issue. Peter’s interactions with his daughter May are pure heartwarming, Hallmark moments. MJ’s depiction as a strong, independent woman, who isn’t define by her role as mother or wife, is breath of fresh air and a striking juxtaposition to her asinine new Jackpot persona in the main 616. Uncle Ben & J. Jonah Jameson have become a surprisingly lovable duo who provide Peter with both inspiration & a healthy dose of reality. But the true cherry on top in this issue is the first meeting between Peter & Norman Osborn. Hickman manages to capture a genuine warmth in their initial interaction, making the inevitable conflict all the more tragic.

Amidst all these stellar character moments, Hickman doesn’t short us on action. The battle between Spider-Man, the Green Goblin, & Bullseye features witty dialogue perfectly complemented by dynamic & fluid visuals brought to life by Marco Checchetto, Matthew Wilson, & Corey Petit.

Hickman's vision for this new Ultimate Universe is becoming fully realized. He's assembled a creative team firing on all cylinders, with Ultimate Spider-Man already in the running for Marvel’s best current series. It’s a must-read for any Spider-Man fan, new or old. I can only hope it keeps slinging issues this good for a long time to come!

Rating: 10/10 more

I'll admit, I'm not usually one for superfluous comic tie-ins. However, X-Men '97 #1 is a surprisingly delightful exception. Writer Steve Foxe, artist Salva Espín, & colorist Matt Milla have givenus a low-stakes yet thoroughly enjoyable prologue to the new Disney+ series of the same name.

The highest compliment I can give this issue is that it felt like a full-fledged episode of X-Men: The Animated Series, spledidly brought to life w/ the visual style of the X-Men '97 series. It's got everything I crave in X-Men content: a dash of camp, thrilling action, witty humor, & of course, our lovable team of mutants.

Foxe captures the distinct voices of the characters, from Wolverine's gruff one-liners to Cyclops's earnest leadership. Espín's art, w/ Milla's vibrant colors, perfectly translates the show's aesthetic to the comic page (I may actually prefer the depiction here to the new show??). This looks exactly like what a comic book is meant to be.

While the story itself might not break new ground, it serves as a satisfying bridge leading up to the show’s revival. I do wish we would have gotten this before the series premiered, but this injects pure nostalgia w/ a fresh coat of paint, leaving me eager to dive back into this beloved world.

Rating: 8/10 more

The Krakoan Era has been building towards a monumental showdown between Professor X & Moira for months now, but Rise of the Powers of X #3 fails to land the moment with a lot left to be desired.

The core conflict revolving around Xavier's descent into morally ambiguous territory has been one of the more interesting stories throughout Fall of X. His dream of a mutant utopia has become so twisted that he's willing to sacrifice lives to achieve his goals. This raises a chilling question: has Xavier become the very thing he once fought against? The internal struggle within Charles is palpable throughout the issue. Kieron Gillen crafts a tense atmosphere during the aforementioned meeting w/ Moira. The "will-he-or-won't-he" standoff kept me at the edge of my seat, but I was wholly dissatisfied w/ Rasputin IV coming in to disrupt things. It shielded Xavier from truly facing the consequences of his actions, robbing the scene of its emotional weight.

The other half of the book focusing on Moira’s conversations w/ Enigma was bogged down w/ convoluted sci-fi speak that has become a hallmark of this mini. Each new layer of Enigma’s plan that’s revealed feels like a deus ex machina of sorts to keep the story going. It’s one thing to not know what’s going on to create a sense of uneasiness or surprise. It’s another thing to never set the stage & let us as readers understand the rules of the game.

R.B. Silva’s designs & David Curiel’s colors continue to be worthy of the cover price themselves. Their are some truly epic panels featuring Rachel & team fending off Sentinels while Xavier is on his mission. Silva’s ability to convey motion is fully present throughout the action. And Curiel’s colors make every scene pop off the page.

Overall, this mini continues to be a mixed bag of unrealized potential. Gillen is trying his best, yet he’s up against months of head-scratching narrative decisions that he’s now being asked to land smoothly. more

Benjamin Percy throws everything but the kitchen sink at us in this final chapter of his X-Force run, delivering a frenetically paced brawl between X-Force & Beast Prime.

The core conflict w/ Beast Prime, the central narrative thread throughout this final X-Force arc, feels rushed & unsatisfying. Percy has planted seeds for a complex & morally ambiguous storyline for months, but the resolution feels unearned. Beast Prime's motivations are relegated to explanatory monologues that ring hollow & Defenders Era-Beast isn’t given enough time to convey his own ideology. There was a ton of potential to really get into the moral quandary between these two viewpoints yet Percy ran out of pages to explore things further & the “happy” ending comes across as a cop out.

This has been a recurring theme throughout Percy's time on X-Force. Intriguing plot threads are teased, only to be sidelined or abandoned altogether in favor of lesser storylines, like the Colossus/Rasputin arc that extended well beyond its shelf-life. That arc, which dominated a significant portion of the series’s back-half, ultimately feels like a roadblock that prevented this more compelling Beast story from reaching its full potential.

Even w/ those complaints, there's no denying the thrill factor here. Robert Gill's art, combined w/ Guru_eFX's dynamic colors, brings the action sequences to life w/ stunning visuals. Each X-Force member gets a moment to shine, showcasing their unique abilities in exciting detail. Unfortunately, where the action excels, Percy’s script isn’t as equitable in giving each member a final sendoff (I’m looking at you Omega Red). The underwater scenes in particular were phenomenal & I will miss the blues & greens utilized throughout this series.

Overall, X-Force #50 is a visually impressive comic, but it stumbles in its attempt to deliver a satisfying conclusion. While the action sequences are undeniably exciting, the story’s core thesis feels underdeveloped. more

Things pick up where we left off as we see more of Adam Frankenstein's tragic past. While the previous issue added some really interesting layers of depth to the character, this week'ss story struggles to maintain the emotional weight of Adam's origins even though there was an effort to continue adding complexity.

There were elements of what could have been, had Tate Brombal opted to focus on a single aspect. In one very quick scene, Adam comes face-to-face with a hateful town whose inhabitants are immediately scared of his presence and run him out of town. That immediate rejection, paired with the pieces around his master's desire to destroy him, could have been explored further to drive home the fact that Adam's always been hunted and had his back to the wall. In another part of the story, Adam observes a family of less-than-modest means, yet they are full of love for one another. Again, this could have been explored further to make a statement about what Adam yearns for now, yet it was presented as more of a show-don't-tell type of scene.

Soo Lee's artistic talents, so brilliantly displayed in the prior issue, are somewhat underutilized here. The more static panel layouts don't offer Lee the same opportunities to showcase her strengths in dynamic storytelling and emotional illustration as more detailed spreads do. Patricio Delpeche's color palette was also quite muted compared to what we're used to from Miquel Muerto, removing one of the book's more distinct features.

Overall, this two-part story may have been more impactful if condensed into a single, oversized issue as a bridge between main story arcs. Stretching it across two issues created a drag on the narrative momentum and ultimately left me feeling a bit unfulfilled after such a long gap. Even if this one wasn't my favorite, I'm very much excited to get back to the main story in the next issue! more

Batman: Dark Age #1 isn't your typical Batman origin story, & that’s only a small part of what makes this book so good. After working together on the hit Superman: Space Age, Mark Russell teams back up w/ artists Mike & Laura Allred to deliver a fresh, & sometimes brutal, take on the Dark Knight's beginnings.

As mentioned, the future-defining events of Crime Alley unfold differently yet their impact is no less heavy. Bruce isn’t present for the events & isn’t immediately thrown into a journey of revenge. Instead, we meet a Bruce who has become Gotham's resident "delinquent son," a brooding rich kid w/ a penchant for trouble & paying off the cops to avoid consequences. We also get to see a fun new twist on Bruce’s first meeting w/ Selina Kyle, which sets up the next issue.

Russell's narration, delivered by an older, possibly unreliable Bruce, casts a cynical light on Wayne Enterprise & the power struggles which occurred until Bruce came of age. He is seemingly aware of the evil organization, the False Face Society, who ran things at Wayne Enterprise in his stead & was behind his parent’s murder. They are hellbent on eliminating the only Wayne heir, but Alfred does everything he can to ensure that doesn’t happen. The older Bruce’s recollections of Alfred’s impact on his life are some of the best writing in the book.

Mike Allred's designs are a perfect match for Russell's narrative. He utilizes a retro motif the exudes nostalgia w/ bold lines and it’s complemented superbly by Laura Allred’s vibrant colors. The two create a Gotham that is feels classic, yet unsettling. The world feels like it's teetering on the brink of chaos, a perfect breeding ground for the Russell’s script. It’s a great juxtaposition to the all-white, pristine future Gotham the two create to show how Thomas Wayne envisioned what the city could have become.

This was a bold & audacious reinvention of the Batman origin story. It's a dark, suspenseful tale that will leave you eager to see where this alternate history takes us next & how this version of Bruce ends up becoming the Caped Crusader. more

If you picked up Feral #1 expecting a heartwarming animal adventure, think again. Tony Fleecs (writer), Trish Forstner & Tone Rodriguez (art), & Brad Simpson (colors) have another thing in store for you. Think Homeward Bound meets 28 Days Later, but w/ cats!

This debut issue wastes no time establishing the high stakes. A group of domesticated kitties are thrust into a world overrun by a terrifying rabies-like virus after their transport truck crashes on the highway, & the fight for survival is no joke. The creative team masterfully amps up the suspense right from the first scene, as we witness the brutal accident taking place right before our eyes. Fleecs’ script & Forstner & Rodriguez’s art are the perfect complement to one another, w/ each elevating the reading experience throughout the issue. There’s action, suspense, thrills, & more to keep readers on their toes.

& just when you think you've got a h&le on things, Fleecs adds in a gut punch that will send your heart straight into your shoes. In a single issue, he manages to make you care deeply about these new characters, raising the stakes even further, & then tears you down w/ the reality that none of these characters are safe in this story.

The artwork in Feral #1 is a perfect continuation of the style that won this creative team acclaim w/ Stray Dogs. Forstner & Rodriguez don't shy away from depicting the harsh realities of a post-apocalyptic world. Their detailed environments & expressive character designs paint a vivid picture of the desperate struggle for survival our feline protagonists face & the dangers that await them on their journey home. Simpson's colors further enhance the visuals, w/ a palette that mixes different color tones & pops of color to emphasize certain moments to perfectly reflect the grim & dire situation.

Feral ratchets up the horror-tone from Stray Dogs even more, making this a potentially hard read for animal lovers or the feint at heart. Even if you love zombie-genre entertainment, there is something completely different seeing it unfold w/ adorable cartoon cats being traumatized. The juxtaposition is so jarring, yet so effective. more

Ram V's "Elegy of Sand" continues in Detective Comics #1083 with the arc’s best issue to date. This latest installment maintains V’s operatic narrative that has defined the arc so far & finally ratchets this arc into an exciting territory.

Once again, V balances the story between Batman's struggle against Doctor Hurt's insidious mental manipulations & The Question's quest to expose the Orghams for the evil frauds they are & finally seek revenge for her fellow officers. Even though these two narratives have felt a bit disparate in the past, they come crashing into each other by the end of the issue.

In Batman’s story, we witness the Caped Crusader trapped in the same desolate dreamscape, forced to confront twisted versions of his past & grapple with his deepest fears, namely what he might become if he were to give into his most primal urges. The psychological torment feels palpable, but Batman is finally able to break free of Hurt’s hold & return to the land of the living where he meets back up w/ an awaiting Talia to quickly defeat one of their common enemies. Meanwhile, The Question finds herself on a reconnaissance to obtain evidence of the Orgham’s dirty deeds. She’s able to get phone recordings & tries to hand them off to Jim Gordon but is stopped in her tracks by Orgham forces ready to kill them both. What happens next (won’t spoil it here!) was truly an awesome moment & sets things in motions for “Elegy of Sand’s” next phase.

The visuals this week continue to be nothing short of phenomenal, perfectly capturing the distinct tone of each interspersed story. Ricardo Federici & Stefano Raffaele’s art, along w/ Lee Loughridge’s colors, are integral parts of Ram V’s story, especially Federici’s dramatic renderings of Batman’s journey.

Dan Watters’ backup takes the “His Name Was Doctor Hurt” story to a new, supernatural level w/ impressive visual storytelling by Jorge Fornés. While it all adds to build the villain up as a formidable mental adversary, I do wonder if it was slightly less effective after seeing Batman seemingly defeat him earlier in the issue. more

This might just be as close to a perfect comic as possible. Al Ewing has been weaving his magic with Storm & Maneto for the better part of two years now across X:MEN RED. Across that time he’s manages to unearth new layers of complexity & depth for this duo both as individuals and as peers. This felt like beautiful culmination of all those past stories. It’s a masterclass in character development wrapped in a thrilling narrative tapestry.

One can only hope Ewing gets to write Storm again (I would die for Ewing to pen an Immortal Storm) because, frankly, there’s no writer who has captured her essence quite like him. And his work with Magneto this series? Absolutely chilling. Magneto is working through decades of emotional & physical pain he has caused & endured. Several of his lines gave me literal chills. “So I acknowledge all I have done. I admit all that I am. I own the shadow that is me.” That is poetry.

But this wasn’t a one-person show. The artistic trio of Luciano Vecchio, David Curiel, & Jesus Aburtov deserve a standing ovation. This is a visually stunning book in every aspect. The creative team uses black backgrounds & gutters to breathtaking effect, perfectly capturing the void our characters find themselves traversing. Every panel is meticulously crafted, each character design imbued with a sense of grandeur that elevates Ewing’s script to epic heights on every panel. Vecchio in particular has ascended to Dominion-level w/ his work on this book. These are iconic Storm designs.

With this mini’s ending approaching I can’t help but think of the quote, “don’t be sad that it’s over, be happy that it happened.” It will suck to see Ewing (likely) off X-Men but gosh darn it did he give us everything he had. more

Nightwing #112 picks up right where the previous issue left off, with Batman & Nightwing hot on the trails of a missing boy. Batman also learns about Dick’s mysterious inability to perform his signature aerial feats. The issue comes w/ a surprising narrative choice: Batman/Bruce as the primary narrator.

While it is definitely a choice to have someone other than Dick narrate his own book, Tom Taylor does leverage this in smart and unique ways. We see a surprising amount of emotional depth from Bruce, albeit within the confines of his own head. Bruce wouldn’t be Bruce if he ever let his emotions show on his sleeves! Beyond that, there is also an acknowledgement of Bruce’s own shortcomings as a hero & father figure, which he very rarely ever says out loud, going so far as to adapt his own approach to act more like his protégé. Throughout all these little moments, Taylor showcases just how much Dick Grayson has matured to become one of DC's most respected & beloved heroes — by comic book readers & members of the DC Universe alike.

The emotional core of this issue is undeniably strong. Seeing Bruce acknowledge Dick's growth is a touching moment in the decades long father-son relationship. That being said, this mini arc did feel a bit like we were in a holding pattern. While Taylor's script remains accessible & engaging, & the artwork by the creative team of Sami Basri, Vicente Cifuentes, & Adriano Lucas is nothing short of outstanding, the plot didn’t quite push the narrative forward in a meaningful way. With the news that Taylor’s time on Nightwing is coming to end w/ one last run with his previous partner in crime Bruno Redondo, I couldn’t help but wonder if this was just filling space until that arc kicks off. more

Pets in space? Yes, please! As a dad of 2 rescue fur babies (Bella & Julep <3) & someone w/ a lifelong interest in space, I launched headfirst into Man’s Best #1 by Pornsak Pichetshote & Jesse Lonergan from BOOM! Studios, and it was all systems go for this debut issue! Pichetshote instantly creates a connection w/ the heart of the story: the unwavering loyalty & love between a person & their pet(s).

The story follows Doc, a human scientist, & her 3 emotional support animals - Athos, the feline leader of the trio, Porthos, the affable/goofy Golden Retriever sidekick, and Lovey, a gruff but loyal Boston Terrier. When their research spaceship crashes on a strange new world, the unlikely animal heroes find themselves on a mission to rescue their human and, quite possibly, the future of mankind.

Pichetshote absolutely nails the dynamics between these three characters. Their interactions w/ one another were great & really helped to build out a unique personality for each of them. What helped land this so well for me is that I kept envisioning how Bella & Julep would fare in a quest to save me & the human race (spoiler alert: we’d all be doomed). I’m sure anyone w/ pets of their own will feel a similar instant connection.

This heartwarming connection is perfectly complemented by the gorgeous artwork of Jesse Lonergan. The characters look amazing — especially the fantastic mech suits each pet gets to rock! The alien world they land on also looks great & Lonergan draws some great action panels where the pets face a really cool looking enemy.

This was a really fun & heartwarming debut issue. I’m already in love with the characters & I can’t wait to see how their adventures continue! more

Let me start by saying Cobra Commander #3 is not for the faint of heart! Picking up where the last issue left off, Joshua Williamson continues to steer this miniseries into some seriously dark territory. The Dreadnoks are unleashed in all their sadistic glory, and artists Andrea Milana and Annalisa Leoni don't shy away from portraying the brutality. Cobra Commander is tortured to the brink for more information on what he’s doing in the Florida swamp, with beautifully gruesome artwork stopping just short of showing the full extent of the Dreadnoks' work.

Williamson moves us closer to potentially seeing a major power shift in the broader Energon Universe as Cobra Commander’s hunt brings him closer than ever to stealing the Energon fuel cell. Even with this pacing of the issues continue to feel super fast and painfully slow at the same time. One minute you’re on the first page and then the next thing you know you’re at the end of the issue! It speaks to just how fun and action the entire creative packs onto each page, yet Williamson’s methodical script gives you just enough story development to not make you feel cheated. In this issue, that includes seeing the determination and grit of Cobra Commander on full display, further building this new adaptation of the character, & the reveal of his protector was a genuine surprise, well-executed by Milana & Leoni’s art.

My one gripe with this issue is that it didn’t do enough for a G.I. Joe novice like myself to distinguish between all the Dreadnoks. I found the interrogation scenes a tad confusing & found myself flipping back to remember who was who. Williamson tried to keep things in order by referencing names, but it didn’t feel like their designs were unique enough to help me keep track. Overall, you could tell Williamson had a lot of fun writing them.

Williamson has said that this series is all about watching Cobra Commander become the fearsome, ruthless leader that G.I. Joe fans have come to expect, and while we’re seeing bits & pieces of the makings of this persona, it has yet to fully realized yet. With only two issues to go, there’s not much space left to do a lot storywise & there are still a few major plot threads lingering. Namely, what else does Cobra Commander have planned for Megatron and will he actually take the Energon cell back to Cobra-La & give Golobulus an army? Williamson is an amazing writer, so let’s see what he has planned for us! more

This week’s issue is pure, unadulterated action comics bliss. Larry Hama crafts a narrative that is a thrilling ride from the very first page. There's not a moment to waste as we dive deep into three storylines where characters are embroiled in high-stakes situations: the Joes dealing with a recon team trying to infiltrate the Pit, the various activities happening in Springfield, & Serpentor Khan and Dr. Mindbender trying to enact world domination from afar.

The one downside to so many storylines packed into one comic & Hama’s breakneck pace is that each storyline could potentially be fleshed out even further. The stories are so rich with potential and characters, each plot thread could easily be divided into its own ongoing series without sacrificing for quality. To his credit, Hama does a masterful job of juggling all these moving pieces, keeping the story clear and the action flowing but I’d selfishly love to spend more time with one of them.

What really makes this issue land for me is how Hama makes me care about our heroes. Even with just a few pages for each of them, characters like Dawn, Stalker, and Lady Jaye get great moments to shine. There is so much work being done between Hama’s dialogue & the artists’ creative decisions to bring depth and personality. There is one scene where Lady Jaye appears to be struggling and I do wish there wasn’t such an overt “women aren’t as strong as men” connotations to it, but she was still shown to be an effective part of the Joe’s story.

But where G.I. Joe: A Real American Hero #305 truly shines is in its visuals. The creative team brings this each of these stories to life with stunning detail. Action sequences are dynamic, with a brilliant translation of motion from script to panel. Chris Mooneyham’s character designs are some of my favorite parts of the issue, with distinct and complex visuals for both the Joes and their villainous counterparts. Toss in Francesco Segala’s colors and you have a visual feast for the eyes on every page.

As someone who is relatively new to the Joe’s universe, this book has me completely hooked. The creative team has done an exceptional job of making this world accessible to new readers, while still offering what I think is plenty for established fans to enjoy. This issue is really setting the stakes high and I’m eagerly anticipating seeing the eventual fallout unfold. more

X-Men Forever #1is a missed opportunity that reads more like a cynical attempt to squeeze a few extra bucks out of the Krakoan finale when most readers are already losing interest in given the haphazard handling of core characters and storylines.

This issue would have felt more natural as the final few Immortal X-Men issues or a Rise of the Powers of X #0 opening salvo. Instead, we're left with a fragmented narrative that feels disjointed & pointless given how much we already know about certain characters' situations in future timelines & how few answers to questions that matter we actually receive. Was anyone really clamoring for an answer to know why Mother Righteous was working with Xavier? I sure wasn’t

Kieron Gillen's script spends a lot of time on Mother Righteous' backstory to answer that exact question. Now, if there is one Krakoan Era character who I never need to see more of, and who is likely never showing back up again anytime soon, it's Mother Righteous. Her schtick got old fast. The decision to spend so much time with her is especially frustrating considering the issue then jumps ahead quite a bit after Xavier enlists her, leaving plenty of plot holes remaining which could have made for a much more interesting & engaging story.

Adding to my frustrations, the story we got made the main cover art feel like a complete bait and switch. Jean/Phoenix played an extremely minor role when you would have expected her to be the core character if you picked up the book based on the cover. Hopefully the remaining three issue in this miniseries can quickly recover because right now I’d rather forever be over. more